Shakira Rockin' Concert Doll By Mattel (Camoflage)

Shakira Doll from the Rockin' Concert Series
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One of the most important things you can do in a scene is find the conflict. Whether it is a monologue (internal conflict) or a scene with a partner (external conflict) there is always something that is at stake for the character you are playing. Think of it this way, if there is no conflict in a scene why are you watching it? People do not want to see everyday activities, they want to see drama.

With that being said, the question of how to find the conflict arises. First off let's define what conflict is. Conflict is two opposing forces trying to get what they want at the same time. For instance, one character wants a bag of money and the other character wants the same bag. This creates dramatic tension as both the characters will try by whatever means necessary to get that bag of money! What makes the scene interesting is the conflict between the two characters and the bag of money. If they both decided to share the bag of money and went happily on their way, there would be no reason to watch. It would be absolutely and excruciatingly boring.

People watch movies and plays to be transported away from reality. They watch it because it is often times much more interesting than their everyday life. If you do not find what your character wants in the scene then you might as well not even be in it. It will be boring and unentertaining without knowing exactly what forces are opposing you and how to overcome them. However, if you know what your objective is and you know how to attain it, it will add brilliant dimensions to an otherwise dull and pointless character. Think about scenes that really stand out in film or theatre and what makes them so great. Usually it is the tension between the two characters over something very important at stake. Don't take my word for it, just watch some of the great films and the conflict that gives them life.

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Paste Magazine Music Sampler #11

1. 1. The Polyphonic Spree - Section 12 (Hold Me Now) 2. It's a Hit - Rilo Kiley 3. The New Kid - Old 97's 4. Stray Paper - Tift Merrit 5. The Day John Henry Died - Drive By Truckers 6. Rock and Roll - Lovedrug 7. You Can't Hurry Love - The Concretes 8. Chris Robinson and the New Earth Mud - 40 Days (radio edit) 9. Experimental Film - They Might Be Giants 10. If It Makes You - Bodeans 11. Brothers and Sisters - Coldplay 12. Trent Dabbs - Not Like That 13. Paco - My Love (radio remix) 14. Rubyhorse - Warning Bells 15. Richard Shindell - Hazel's House 16. Glenn Tilbrook - Untouchable 17. Richie Havens - We Both Know 18. Jennifer Daniels - Welcome to Your Life 19. J J Cale - The Problem 20. Sonia Dada - Old Bones 21. Pierce Pettis - Black Sheep Boy 22. Ron Sexsmith - Comrades Fill No Glass For Me

Wannabe producers always have at least one fatal flaw. Now the flaw varies from person to person, but they basically fall under 3 categories. So to lets list out the rules to keep you in the game.

People Skills

Lets start with the granddaddy. This is a people biz hombre. You deal with people all the time, whether it be label execs, engineers, or the talent you are producing.

Because of this critical point your people skills will make or break your career. This may seem overrated if you come from the school of thought that says, "if I get a single it will be enough." Honestly, maybe. But your success is so much more likely if you treat people in a way that makes them feel good.

That is what brings Rick Ruben success in this industry. That man is unquestionably the biggest thing on the scene. He has hits in all genres from Rap, to Country and people want to work with the cat because he makes them feel good, and alive.

Do you do this?

If not maybe its time to learn. Go get a copy of How To Win Friends And Influence People by Dale Carnegie. It could be a career changing book

Overshadowing

The second mistake that many produces make is to cast a looming shadow over an entire project. This is usually because the producer is a control freak. This type of producer has their fingerprints all over an album, and the artist feels suffocated by their presence.

Music is supposed to be an outflow of a vision. A song comes to life out of an artist, if they feel stifled by an overbearing oppressive regime you are not going to get the best production out of them. That is the truth.

Now, that does not mean that a good producer cannot point out flaws and errors, it just means that it should be done in a way that makes the talent want to change, not hole up and die.

Work on allowing the artist to breathe. Give them space to be an artist, but yet keep the project moving forward. Its tough, but hey that's your job.

Limited Chops

The last area that hang up wannabe producers is a limited pallet of chops. This shows up in the inability to get the sounds, beats, or vocal takes because of lack of knowledge. A know-it-all attitude is a sure way to shoot yourself in the foot.

This kind of problem rears its head in a production the has a good song but sounds like crap.

Luckily this problem has an easy fix: Learn to become a successful Pop Music Producer by Learning Production Chops. There are great video based resources on the web starting with this one Click Here > http://www.musicproducersecrets.info

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Are CDs still a sound investment?

There was once a time that the first milestone in a band's career was pressing a CD. There was always something special about the perfectly shrink- wrapped plastic case, the look of promise contained within the albums cover, and the power of a barcode branded in black and white on the tray card. For most, having a professionally pressed disc was like a signal that they've arrived and are proudly showing the world their art. While many still gauge their musical success in the culmination of a packed CD, the allure of digital downloads has caused many to question the need for CD Duplication in the future.

Ease of Use

Digital downloads, most commonly offered in the popular mp3 format, have quickly become a favorite of many music fans due to their easy transferability and lower cost. Mp3s use a process called psychoacoustic masking to compress a standard audio file into a smaller file size with very little if any audible quality loss ( mp3 vs CD quality test). This technology allowed artists to offer high-quality renderings of their music directly to fans through online stores like iTunes or directly from their website. Because the band no longer had to front the manufacturing cost of the audio CD duplication or music CD duplication , they are usually able to offer their music at a low price than that of a standard compact disc.

The Physiological Factor

While, mp3 technology can be beneficial to both the artist and the consumer, there are some disadvantages to purchasing music in a digital format. Aside from the loss of certain frequencies, mp3s typically live on a computer or portable listening device, which can be susceptible to data loss and system failure. Because of copyright concerns, music lost in computer crashes cannot be recovered without paying for all your songs again. For users that don't back up their data, there is a substantial risk of losing your entire music collection and ultimately your investment.

Also, many music fans still like the feeling of holding a tangible product in their hands. For them reading a CD booklet, and the physiological experience of holding a piece of the artist's work is an important experience. These same fans are probably also likely to purchase merchandise at an artist's performance or show. Since mp3s are a downloadable format, artist's who opt for mp3 only releases may loose out on a percentage of sales and impulse buyers who want to take home souvenirs of their concert.

Consumer Options

With no shortage of compelling arguments for both formats, the only thing that is certain is that technology is giving both musicians and fans a broader range of options. Because selling mp3s through digital distribution websites cost no additional money, bands can manufacture standard CDs for those who prefer owning discs, and output high-quality mp3s for fans satisfied with lower priced downloads. In order to reach all of your target audience, it makes the most sense to provide as many buyer options as possible to maximize your potential market and ultimately album sales.

For further information, visit www.Audio-CD-Duplication.com or contact at sales@audio-cd-duplication.com.

C. Jason writes many articles on technology related issues for http://www.Audio-cd-duplication.com. An excellent orator, pens down the critical facts for the Audio and Music Digital World.

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Coldplay Group Chris Martin X&Y Rush Of Blood Art Poster Print - 24" X 36"

This poster is 24 inches by 36 inches approximately and is in mint condition

Bird Name:

Canary

Latin Name:

Serinus canaria

Status:

Least Concern

Scientific Classification:

Kingdom: Animalia

Phylum: Chordata

Class: Aves

Order: Passeriformes

Family: Fringillidae

Genus: Serinus

Species: S. canaria

General Information:

The wild species is also known as Canary, Island Canary, Tame Canary, and Atlantic Canary. The Domestic Canary has been bred in captivity since the 1600s. They are divided into three main groups: Colorbred Canaries (bred for mutations), Type Canaries (bred for their shape), and Song Canaries (bred for unique song patterns). The word "Canary" is derived from the Latin canaria, "of the dogs", referring to the numerous wild dogs that inhabited the islands.

Physical Description:

The average length of the wild Canary is 12.5 cm, with a wingspan of 20 to 23 cm, and a weight of 15 to 20 gm. They are yellow green, with brownish streaking on their back and wings and have gray and brown in their plumage. The beaks and feet are pale in color. Females are duller in color.
In the case of the domesticated Canaries, there are hundreds of mutations that will have numerous variations in color.

Diet:

The diet in the wild consists of fruits, seeds, and nuts. They have a grove on the inner beak that helps them to break open nuts.

Habitat:

The Canary is native to the Azores, the Canary Islands, and Madeira. It inhabits semi-open areas such as orchards where it nests in shrubs and trees. It resides in elevations from sea level to 1700 m. A number of escaped populations occur on Bermuda, Hawaii, and Puerto Rico.

Reproduction:

Breeding is generally between January and July. Females build the nests in bushes or small trees. Incubation takes about 14 days and the chicks fledge after two weeks.

Tony Mandarich

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Getting There from Here

A lot of drummers don't really sit down to practice their instrument, but rather just sit down to "play." Just sitting down to play what you already know is fun and can be great for maintaining certain techniques, but little progress will be made.

If you are into drumming only for a hobby, then making progress is probably not really a great priority for you. If that's the case keep doing what you are doing, and enjoy it.

On the other hand, if you want to progress as a great drummer, you will have to focus. You just can't expect to sit down at your drum kit every once in a while and just beat around the skins. You need to be clear what it is you need work on, and then apply it.

Each one of your drum practice sessions should create a challenge for you to accomplish something not previously mastered.

When you sit down at your drum set do you know what you should be practicing? Many drummers don't have a clue what they need to be practicing to become better. This lack of information can kill your potential to really excel at your instrument.

Sometimes, even if we know what to practice, our drum practice sessions can still be weak simply because of a lack of focus.

If you have ever caught yourself saying, "I don't know what to practice" or, "What did I forget to practice" when you get on your drums, this cheat sheet will do you good. Hang it up on your wall and pick which exercises you want to work on before you begin your practice session.

~ Stick control

~ Playing with a metronome (playing with, behind, and ahead)

~ Odd timing

~ Finger control

~ Left hand lead

~ Double bass drumming

~ Fast tempos

~ Slow tempos

~ Odd groupings (3's, 5's' 7's and 9's etc.)

~ Polyrhythms

~ Beat displacement and/or metric modulation

~ Shuffles

~ Showmanship (stick twirling, etc)

~ Creating your own patterns and ideas

~ Filling around accent patterns

~ Triplets around the set

~ 16th's around the set

~ Left hand and foot isolation

~ Brush technique on the snare drum

~ Crash cymbal technique (which one to hit, when, how hard, etc.)

~ Two handed cymbal rides

~ Soloing

~ Recording yourself and listening back

~ All 40 drum rudiments

There are probably many more things you can practice, particularly your own technique and signatures. But, just remember, you want to be working on something new at all times.

The main thing is, keep challenging yourself by never being satisfied. Strive to constantly improve during each practice session. Just never say again, "I don't know what to practice."

Danny Brown has been drumming since 1976, and is the author of "The Ultimate Guide to Choosing Drums and Cymbals!" Subscribe to his Free Newsletter and learn the mental aspect of drumming! Find out what it really takes to truly be a great drummer... http://www.dbDrumTips.com

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Coldplay: Complete Chord Songbook

All of Coldplay's songs from their first three albums specially arranged from the actual recordings, in the original keys. Each song includes chord symbols, guitar chord boxes, and complete lyrics. 60 songs in all, including: Clocks * Fix You * God Put a Smile upon Your Face * The Hardest Part * The Scientist * Sparks * Speed of Sound * Talk * Til Kingdom Come * Trouble * What If * Yellow * and more.
Customer Review: Coldplay complete Chord songbook
I love this book! I wish more songbooks were formatted like this! Easy to read, compact, entire songs on one page for the most part so no page flipping.

If you have dreams of performing in the Winchester theatre royal, you have to consider that acting classes aren't cheap, and sometimes you even have to pay a hefty sum for being in a showcase, without any guarantee of getting an agent. Make sure you have enough money set aside for your acting needs.

Dance classes can also be additional training, though acting is what you will need most. Audition for school plays and community theatre for the experience!

I think they both have their merits, and they're both just so extraordinarily different with entirely different energies. For people who have never done theater, it's a difficult thing, because you have to be focused for an hour-and-a-half to two hours, whereas in film, if you shoot more than a page-and-a-half all at once, that's a pretty long scene. Then again, some people just learn things differently than others. Use whatever method best serves you.

By contrast, when you project a facade that differs from what you think and who you really are inside, others sense the disparity. When your speaking and who you are being don't match, it keeps you from being heard and decreases your personal effectiveness. It's time to imagine a different world. When doing a scene, if I say I'm at a restaurant, every single audience member could have a different image of where that scene takes place. One person might think fast food while another thinks fine dining.

For those looking for a job in acting, finding a talent agent is important. But, technology gives us a chance to create what we want instead of waiting for a call. Many people have found agents after they got their first gig. If a casting director really likes you and thinks you have the right look they will call you in for an audition. Actors, for instance, audition with directors and casting agents, hoping to show that they can play the role for which they're auditioning. Musicians hand out tapes and CDs of their music to convince nightclub and theater owners to book them for gigs.

The Winchester theatre royal and Army museums two fantastic sites to visit.

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Anyone who has ever been to a social dancing event knows that not everyone has a good time, or at least not equally so. Some sit out many (if not all) dances, while others never seem to sit down. Why the difference?

There is only one reason for dancing at a social do: to have fun. There is no competition, no need to be absolutely perfect in the steps, and no reason to be stern and serious while cutting a rug. The key skill is the ability to socialize while keeping feet in time to the music.

This is easier said than done for some people, and is what makes the difference between sitting on the sidelines and hitting the floor. Many people are very self-conscious about dancing, either because they dont know the steps or because they think they look silly. Others are so intense while doing the steps that they can barely look up, and even when they do, conversation is impossible because they are silently counting and concentrating on foot movement.

Beyond the basics of dance etiquette, there are some rules of thumb that warrant following to master the art of dance floor socializing. Here are some examples:

Prepare yourself. If you know that there is a big event coming up that will include dancing beyond the non-contact freestyle sort, learn the steps. Take a social dancing class or two to master the basics. And practice. When the event comes along, you will be able to take to the floor without worrying about your skill and having to count in your head.

Dress to dance. Think about the dancing part of the event when you plan your outfit. Shoes need allow you to move safely, clothes need to make it easy for a partner to make contact as you move through various steps and turns.

If you want to be asked to dance, put on your happy face. Looking stern will make you appear unapproachable. Tap your fingers or toes to the music, smile, and make eye contact.

On the other side of the coin, try not to refuse an invitation to dance. Most songs are no more than three or four minutes long, so dancing with someone that might not be your ideal partner should not be too much strain. Be gracious, be polite, and you will be rewarded!

Dont dance with just one person. Dancing with a wide set of partners is a cornerstone of social dancing. Dance with everyone, and get everyone to dance.

When you make it out onto the dance floor, keep the fun going. Again, some rules of thumb:

Be entertaining. While having a good time yourself, engage your partner. Think of dancing in terms of moving to music while carrying on cocktail party conversation. Dance at a level you both enjoy, and exercise a good sense of humor. And smile!

Make your partner feel appreciated. The most popular dancers are not the most skillful, but the ones who clearly appreciate and enjoy their partners. Most people are not interested in dancing with someone who is obviously bored or feeling put upon, no matter how great their footwork may be.

Never blame your partner for anything that may happen on the dance floor.

Do not start teaching on the dance floor, unless your partner asks you to do so. Unsolicited lessons are more likely to embarrass your partner than to make them happy. If you are a more skilled dancer, you should be able to match yourself to your partners level of ability.

If you are leading, do so comfortably. Cranking your partners arm to force a turn or pushing and pulling them into position will not be a pleasant experience. If your partner is not doing what you want, your lead probably was not clear enough or beyond her own skill level. Tone it down and lead steps that can be transmitted and received enjoyably.

If you are following, dont start back-leading. It is disrespectful to your partner when you steal the lead.

Protect your partner. If you are leading, anticipate the movement of the other dancers and move your steps into empty areas of the floor so that you dont run into other couples. If you are following, keep an eye out behind your partners back. If a couple is bearing down in his blind spot, let him know with pressure on his hand or shoulder, or simply by telling him.

Avoid humming or singing along with the music you are dancing to.

Social dancing is social. Each dance is a brief encounter that should be fun for both partners. Approach the floor with a good attitude and sense of humor, concentrate on the enjoyment of dancing rather than technical proficiency, and dont worry if there are missteps or other mistakes. Youll go home well exercised and happy!

This article was contributed by Master Portable Floors. Master Portable Floors is the floor of choice by professional dancers. The floors have been rated highest quality by the American Swing Dancing Association and the Ball Room Dancing Association. Master Portable Floors has a unique flex action that provides a comfortable dancing surface that reduces hip and joint injuries. To learn more about Master Portable Floors visit www.masterportablefloors.com.

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