Easiest Magic Tricks - Impress Your Audience With Minimal Practice

First and foremost, I'd say that if you want to learn the easiest magic tricks and impress your audience with minimal practice then the fastest and most effective way to easily learn some very impressive tricks is with downloadable video tutorials. The advantages of these are many:

1. They're cheaper than buying DVDs (which probably have too much information for your needs anyway and can cost over $100) Downloads range from under $5 up to $20.

2. You don't have to wait for the mail to deliver your stuff - you can be watching and learning within minutes.

3. Most downloads teach tricks that you can do without having to spend anymore money on props, special card decks, gimmicks etc.

4. You get to watch a full demonstration of the effect free before you commit - so you know exactly what you're getting.

There are books and articles too, of course, but for your needs that can involve quite a high outlay and apart from the fact that the texts can be quite hard to interpret into action without seeing the trick done, again will have far more information than you need, which is just money down the drain.

So, that's one way of learning some easy but good tricks, quickly and with minimal outlay.

The question is, however, with hundreds of downloads available out there, what kind of tricks should you choose? Well, if your main criteria are that the tricks should be easy and quick to learn but still pack a punch then I'd suggest you go for some simple coin vanishes and productions, card swipes and color changes, book test mind-reading and some kind of penetration magic effect like a coin through a bottle. That sort of thing. Not only are these tricks all very visually impressive, but they also require minimal or no set up and can often be performed impromptu with borrowed objects - no fixed props or gimmicks. That's a great advantage and means that you can perform at least a couple of tricks just like that, when anyone asks you. That is one of the best ways to impress and makes your magic trick look really cool and powerful because you 'just did it' close-up and with preparation.

Just a word to end on which is very important. This article is designed to help you if you want to learn the easiest magic tricks and impress your audience with minimal practice but that does not mean...no practice! Even easy tricks need some practice. So it's only fair that i ge you some advice on how to practice your tricks so that you can have them up and running and working for you i the shortest possible time.

I recommend that you learn more than one trick, ideally three to five. Why? Because, when you've done your first trick people are going to be impressed and I guarantee the first thing they'll do is ask you to do it again or to see another one. Well, never do the same trick twice for the same audience on the same day. They'll catch you out the second time because they'll be trying to and you'll turn a cool moment into a silly moment. So what do you do? You say that you won't show them the same trick because you've got something else they'll enjoy - and you do another! Not being able to follow up on your success can really make a good moment deflate, so make sure you've got at least a couple of follow-ups. After that, I think it's fine to back down without any shame.

Okay, you've selected your download tutorials and you've watched the demonstrations and step-by-step instructions. Here's what you should do next:

1. Watch the demonstration and instructions again a couple of times to be sure you understand it.

2. Go through the motions of the trick very slowly to get everything in the right order and to get a 'feel' for the moves.

3. Keep practicing and slowly speeding up. Don't be put off if you make mistakes - it's part of learning!

4. When you feel comfortable that nine times out of ten you can do the trick smoothly and confidently, then check your moves in a mirror.

5. Practice some more.

6. Think of some 'patter' to go with your trick. Avoid telling the audience what will happen next. Stuff like 'I'm going to make the coin disappear' should be avoided. 'Okay. let's see what I can do with the quarter I borrowed from you. It was your quarter, right? And you just saw me put it in this hand, right? And i haven't touched it since? Okay, watch...' You open your hand and the coin is gone!

7. Practice some more with the patter.

8. Get out there and do the trick!

There are a few places these days where you can get downloadable tutorials but my own recommendation is at the end of this article based on experience I know that it's a trustworthy source with the best quality to price ratio you'll find. If you get really into magic and you want to take it further, then my site The Magic Tricks Homepage is the one-stop place for tons of free advice and information to help the serious budding magician make a start. But if what you want is the easiest magic tricks to impress your audience with minimal practice, then following the advice in this article should get you everything you want.

Austin Hackney is a performing magician, entertainer, theatre practioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can also download magic video tutorials here which is a great way of learning and building a repertoire.

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Lorgnette Opera Glasses: What Are They?

The term lorgnette is derived from the French words lorgner, meaning to peer at, and lorgne, or to squint. The lorgnette is a pair of spectacles with a handle rather than temples, the part of eyeglasses frames that extends over the ear to be held in place. This article explains in detail what lorgnette opera glasses really are. It all started with George Adams, an Englishman who is credited for inventing these glasses. In the early 1800s, it became high fashion to use eyeglasses with a handle - especially for ladies who didn't want to wear spectacles. These glasses were used more as an accessory or piece of jewelry than for helping the user to see more clearly. The lorgnette glasses were utilized mostly for reading or to see details on stage at the opera.

It made sense to add such a handle to opera glasses for the same reason as the spectacles. One would not choose to wear or hold them up during an entire performance, so to have a pair of lorgnette glasses would enable the user to hold the glasses up to their eyes only when desiring to see more detail in the costumes or facial expressions of the actors or singers. The handle was helpful to for the user to hold the opera glasses up without having to hold their arm as high in the air to do so. Naturally, lorgnette glasses also served as a lovely accessory for the elite at the theatre.

Newer versions of these lorgnettes are available today with telescoping handles that extend the handle to the optimum length for the user. This is done by twisting, extending, and then tightening the opera glasses at the desired length. The handle can also be folded on top of the opera glasses when not in use to make the theater binoculars more compact while not in use.

Opera glasses are compact, lightweight binoculars that are usually equipped with 3x or 5x magnification. This low magnification is used to enable a broad view of the stage while reducing the amount of image shake while handling them. The lorgnette version are only one of the popular styles of available now. Some models come with a red LED light to be able to discreetly read programs without disturbing other patrons. Another popular style of comes with a chain for the user to place around their neck and are enabled to have free hands during the performance. No matter which features you choose, your opera glasses are sure to enhance your theater experience and help to make any seat the best seat.

Davin has always enjoyed a night at the theater. He currently helps run a website where they sell all kinds of opera glasses including lorgnette opera glasses.

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Atlanta Playwright, Sherry Bell-Bradley, Blossoms in New Career

While lay offs were taking place on March 6, 2009, Sherry Bell-Bradley was working at the firms satellite office just blocks away. Unlike her colleagues, she learned of her faith the next day when she received her termination package in the mail. Instead of waddling in self-pity, Sherry turned to her writing and began constructing the foundation for her comedy murder mystery, Who Killed Uncle Pete? The stage play was an instant success since it first debuted in 2009. Although Sherry could not reveal and ruin the mystery of who actually killed Uncle Pete (you will have to see it yourself) she did, however, agree to discuss the inspiration behind the stage play, future projects she is currently working on, and her most influential writer.

Janet Thomson: Good morning Sherry thank you for taking time to chat with me.

Sherry Bell-Bradley: Good morning Janet and thanks for having me.

JT: Let's get right into it. Who or what is the inspiration behind Who Killed Uncle Pete?

SB: I utilized some family members' nicknames, but the characters do not depict my family. Uncle Pete was formed by listening to family and friends refer to their own family members. I combined those characteristics to form the character Uncle Pete. Nettie, Dulie and Dump: I had been all those women at one point in my life: nave, feisty, or simply tired of dead-end relationships. As far as who inspires me, it's my grandmother, Cleaster McCloud who has since passed.

JT: I understand that this is your first comedic production. When did you get the idea?

SB: For years my writing style geared towards social issues or experiences that I had encountered. I wanted to see if I could change my writing style--I wanted to see if my writing could be comical. It was my turn to host Girls Night Out and I decided to seize the opportunity. I wrote the skit and put it on in my backyard. I invited family and friends. After the party, I thanked everyone for coming, and I told them that the skit was the debut of Who Killed Uncle Pete? - The next day, I began writing to turn the skit into a play.

JT: Why did you decide writing as a career?

SB: I didn't decide - my destiny did. I had been writing since I was about nine years old. I could take 10 spelling words and write a mystery. I even wrote a collection of poems all summer long one year, and I gave the collection to my English teacher, Mrs. Grant.

JT: Sherry not many people understand their purpose in life how fortunate you are to have known so early that writing is your destiny. Now tells us what circumstances lead to your career move from legal secretary to full-time playwright.

SB: I had been in Corporate America in the legal field for years as a legal secretary, administrative assistant -- writing was a hobby. I wrote skits and poetry for the churches I attended. I even had the opportunity to write a play A Promise which focused on physical abuse with the Coleman Jr. High School Drama team performed at the Grenville High School. In January 2009, I started my company Mississippi Magnolia Productions, LLC. In March 2009, I was laid off from my job of 8 1/2 years, without notice. Then on June 7, 2009, I was hit by a car while walking in my sister's yard. The injuries I sustained; torn ligaments in both knees; damaged cartilage; fractured bone and spinal and nerve damage. I experienced short-term memory loss, loss of mobility of my right arm due to a pinched nerve and injuries to my spine. I could only stand or sit for short periods of time. Now mind you, my show was scheduled to debut June 22-23, 2009.

JT: Wow talk about tenacity and determination Sherry. You are very blessed to still be here and to have the momentum to continue with this project. I understand that you had some exciting and interesting circumstances happen while getting this production together, can you talk about those experiences?

SB: Yes, three weeks before my opening show - I can not recall most of the events that led up to the debut because of the medication and the pain, but I do recall we sold out. Although I had my wheelchair on standby, God granted me strength to walk out and thank the fans.

The January Show was organized mostly from the bed because my body ached with pain daily and the only outlet I had was writing - it was therapy. I reviewed the DVD of the rehearsals over and over again, and then I went to work. I made the necessary changes and yet again, the show sold out at the 14th Street Playhouse in January 2010.

On May 15, 2010, we traveled to my hometown in Greenville, Mississippi with a stellar performance at the historical E. E. Bass Cultural Arts Center. Later, we returned to my community at the Porter Sanford Performing Arts Center in Decatur, Georgia in October 2010 with another successful show. I wasn't released from the doctors until May 2010, the week I was scheduled to travel to Mississippi. For almost a year I wasn't able to work, but my writing kept my spirits up.

JT: Sherry your story is definitely one of inspiration for others, particularly for women entrepreneurs. Where do you get your motivation or inspiration for writing?

SB: Writing is therapy for me. When I am writing it releases stress and it gives me the opportunity to put my thought about certain incidents I have encountered on paper. It is a ministry - here I can offer my testimonies that hopefully, educate, uplift and encourage someone else.

JT: Well your story has definitely encouraged me. What is your goal for Who Killed Uncle Pete?

SB: In the near future, I hope to get investors, take the production on the road and one day see Who Killed Uncle Pete on the marquis at the Fox in Atlanta, Georgia.

JT: You have such drive that I'm sure it will happen. Are you working on any new projects?

SB: I am. There is a sequel to Who Killed Uncle Pete as well as a few other plays I will be working on this year.

JT: When can we expect a book of your memoir?

SB: I can't really say right now. I am so happy writing plays, traveling and putting on productions that I don't know right now.

JT: Who is your favorite writer and why?

SB: Maya Angelou, I have loved her since a child. I purchased and read her collection one book at a time. Me and Mrs. Angelou's novels on a nice sunny day, lying on a blanket in the backyard of my mom's house -- I could escape my life and travel with Mrs. Angelou, experience her life, laugh when she was happy and cry when she experienced hardships. I would write poetry because one day -- I would be as famous as Mrs. Angelou.

JT: Will a DVD be created for purchase in the near future?

SB: Yes, we expect to have Who Killed Uncle Pete available for purchase in 2012.

JT: How can people contact you?

SB: I can be reached at http://mississippimagnolia.net

JT: Sherry thanks so much for sharing your journey, and I wish you continued success.

Want to increase your online visibility? An article or press release is just the tool for gaining more publicity. Weather you are a small business or first time author, using the right marketing component equals more visibility, credibility, exposure, and customers. Janet Thomson help small businesses, entrepreneurs and the creative types increase their online visibility with search engineered optimized press releases. Are you ready for more online exposure? Visit her site at http://www.wordstroker.com/ and sign up to receive publicity tips, interviews with industry leaders, guest blogger posts and much more.

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Can Irish Dancing And Panto Be Mixed?

Music and dancing are at the heart of every performance no matter what it is, or how it is intended to affect the audience. However, the performances are structured and two very different styles are not mixed. But, if you are brave enough to combine two strong styles and perform them well, I personally think you are guaranteed a success. The theatre combination of Irish dancing and panto may seem like an unusual mix but if you look at the audiences from either of these shows, you'll rarely find anyone who hasn't enjoyed the performances. Whatever your opinion is on the subject, both these performances are steeped in history and putting them together, you're offering the audience something they have never seen before.

Pantomime is a very traditional English performance that entertains people throughout the Christmas Holiday period. The history surrounding panto dates back over 100 years, and has been entertaining people from all backgrounds since the early days. Children's favourite stories are brought to life through escapism, and humour while also throwing in a few clean jokes for the adults. The audiences are encouraged to join in and help the heroes of the story to outsmart the villains. There is an overall great feeling about the panto, and everyone in the audience will leave feeling refreshed, and happy.

Irish dancing is also very historical, and is often split into two different forms of social dancing and performance art. This style of dancing became very popular in 1994 when "Riverdance" hit the stage proving that this form of dance was very entertaining. There are many different versions of Irish dancing depending on the part of Ireland you are from. Children are taught it from an early age, and at any social event or gathering you will see some children dancing. Irish dancing is very captivating, and people enjoy watching it for the technical side as well as the entertainment value.

With these two completely different forms of entertainment it seems strange to want to combine the two. However, thinking out of the box often provides the best performance of the year. There is no reason why Irish dancing cannot be combined with the entertainment value of pantomime. Both are extremely entertaining to watch and people love to see variety in performances. Although pantos are great they are very predictable and if you can inject a new element into them you will create an amazing show.

The audience will be amazed that you have included a complicated yet mesmerizing dance into the traditional feel of panto. There are no rules when it comes to performing and giving your audience something new and exciting is essential. Theatre and stage performances are all about the stage presence, and combining art forms. Using Irish dancing within Pantomime is a fantastic way to bring a new element to the panto season.

Irish dancing has become very main stream, and many people are getting interested in the dance form. It is not unusual to see the dance being done in schools, and in dance lessons all over the world. Good performers can turn their hand to anything including acting, and dancing. If you have open minded people that want to create something special this panto season, combining Irish dancing and traditional pantomimes is guaranteed to be a great success. You will be able to show that panto actors are versatile, and can give an outstanding performance every time.

I've personally been involved in the Bolton Amateur Dramatics scene for over 10 years now and enjoyed every minute of it! If it's something you'd like to try out, why not contact your local amateur dramatics society to see if you can get involved.

As for Irish dancing, this was something I was involved in when I was young. It's enjoyable to do and very entertaining. It also helps you to stay fit. However, I do advise you to wear the appropriate footwear. There are many types of Irish dancing shoes and if you are unsure what type to purchase, go to your dance teacher to seek advice.

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Famous Nights Out for London Theatre - Try West End Shows

One London theatre attraction that never fails to draw huge crowds is the West End that is home to some long-running musical and other West End Shows. Tickets to this Theatreland can be quite in demand especially during peak seasons. Below are just some of the famous musicals that you can see at London's West End.

Who doesn't know or at least heard of Les Miserables that is based on the classic novel of the same title by French author Victor Hugo? Les Miserables is actually the longest running show of all time in London's West End. This is one of the huge crowd drawers. Some people have seen Les Miserables twice or even three times and still wouldn't mind watching it again for a couple more. That's simply how popular the musical is. It seems that theater goers just can't get enough of the themes of love and redemption that is wonderfully portrayed by the play. And with beautiful songs such as "Can You Hear the People Sing" and "I Dreamed a Dreamed," it was really destined to become a hit.

Another classic is the Phantom of the Opera that opened only a year after Les Miserables, making it the second longest-running musical at London's West End. It is probably the most well-loved of all Andrew Lloyd Weber creation. Based on Gaston LeRoux's novel, the story's themes of love and obsession is masterfully represented by the blending of opera and rock. "The Point of No Return" and "Masquerade" are just two of the most unforgettable songs from this musical.

If you are looking for a more contemporary musical, then We Will Rock You will definitely be to your liking. Running for eight years already, the show is set 300 years into the future and depicts the life of a young non-conformist named Gallileo and his battle against the corporate Killer Queen. If you are a fan of the British rock band Queen then you will be delighted to know that this show features some of their greatest hits such as "We Are the Champions" and of course "We Will Rock You."

Another modern classic is Mama Mia that is famous not only among Abba fans, but to everyone who can appreciate a good light and funny story. It is about a young, fatherless bride named Sophie who just discovered that her mom dated three men at the time of her conception. For her wedding, she decides to invite all three of her potential dads, turning the story into a series of one amusing scenario after another. And with Abba hits in the score such as "Dancing Queen" and "Mama Mia," this show is simply irresistible.

With all the good theatre showing in London's West End Shows, it is not hard to imagine why it is quite hard to get West End tickets. Online Theatre Tickets outlets are definitely a blessing to theatre lovers. Through these sites, you can order your tickets in advance. No need to join the long ques at London's West End.

Frank Belanger West End Shows are the place to go for a great night out in London and get tickets at http://onlinetheatretickets.com/

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Learn How To Be A Better Performer

Imagine yourself standing on a beautifully decorated stage, with all the lights and stuff. And with crowds so large, they have to get up on each other just to see you perform. People are screaming your name, waving banners and posters with pictures of your face printed on them. Sounds great, doesn't it? Well, I'm here to tell you that it isn't impossible for you to achieve that vision. With the right passion and constant practice, you're sure to get there. But I'm also here to tell you that when you do get up to that point of your career, there's a huge possibility for you to freeze up and forget your lyrics or displease the crowd because of a poor performance.

A live singing performance is the ultimate test for all the technical skills a singer has learned from all his practice sessions. A singer must possess the right attitude towards performing, as well as inherit important habits that would aid him in his performance.

Here are three things you have to keep in mind if you want to be a good singer and performer:

1.) An amazing voice is useless if you don't possess good articulation and enunciation skills. Singing without pronouncing the lyrics correctly generally kills the whole song. For people who aren't used to singing in different accents, this skill would be a tricky one to learn. Articulation is also important because it enormously affects the tone displacement of your voice, and could also affect the way your voice resonates around your head or chest. There are many exercises on how to develop this skill. One of them is to practice reading aloud. It sounds really basic, but it works.

2.) Loosening up your jaw before every performance is a must. Most singers don't realize how tense their jaws are before they sing, and that could usually result to a disruption in their vocal tones. Remember to always stretch out you jaw muscles before singing.

3.) One of the most important things to get rid of when performing is stage fright. An effective way to eliminate stage fright is to plan out your song before performing so you won't have to stop and think about your next move in the middle of your performance. Experience is also an important factor in performing. As you play at more gigs, you gain more experience and lessen the chances of falling into stage fright.

There are many resources on the web that offer quality singing tips. In order to find the best singing tips and learn expert advice on how to sing, research about the page author's experience as well as his competency in the field of music and singing. This way, you know you are not being deceived into getting a lot from them and yield minimal to no results.

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5 Tips on Card Magic for Beginners

All of the finest card magic books follow a pattern in teaching sleight of hand for beginners. First they teach the terminology and the technical terms to define card sleights.

They start by teaching the different grips or ways to hold the cards. Women and young children have smaller hands therefore they should use bridge size cards.

1. The overhand and false shuffle : This is usually the first sleight taught. You must learn how to control the cards. I personally believe that it is easier and better for the beginner to focus on self-working card magic in the beginning so that they can get some effects that they can perform.

The next thing is the false cuts also known as blind cuts. The glimpse is a good sleight to learn next because sometimes the spectator will ask to shuffle the cards.

Forcing cards is a method for making the spectator select the card that you want them to, even though they believe that it was a free choice.

2. Palming cards: In magician's terminology means to take a card or cards and hold it concealed there without it's presence being suspected by the audience. The principle is an important one in card magic. Many of the finest feats possible depend on it.

The best methods of palming cards are not difficult to do. The reasons that palming is neglected or badly done by cardmen are:

a. Bad misdirection
b. Lack of confidence

The first thing a beginner might say is that their hands are too small, this is usually an excuse for not practicing enough or practicing wrong techniques. If your hands really are too small then use smaller cards as stated earlier like the bridge size.

3. Double-lifts: When used deceptively, naturally and in moderation this fundamental sleight is very useful. Unfortunately any card men do it badly and far too often. We would caution the student first to learn to execute the sleight perfectly and then to use it sparingly and discreetly.

As the name implies, the sleight consist of secretly lifting two cards as one, turning them face downwards again. The cards should be squared together perfectly. They should not be handled like a brick. Make it look natural.

4. The Pass: The first exposition of the principles of card magic was published in 1769 by the french writer Guyot, and it was he who first laid down the dictum that master of the pass is the first requisite of the art of conjuring with cards.

The pass is a very difficult sleight to master. The principal use of the pass is to secretly bring a chosen card from the middle of the pack to the top, or vice versa.

5. Top Change: There is no other sleight in all conjuring with cards which will give you so much pleasure as this. More than any other sleight, it lends itself to proper misdirection, improvisation, the delightful ad-libbing. This is one way to have a lot of fun with cards. This creates more of a battle of wits and so much laughter.. You can really engage your audience with this method.

To exchange one card for another boldly and under the noses of those who watch, without being detected, is a sweet triumph! It is also good entertainment.

This sleight is difficult to perfect and requires a lot of practice,understanding and timing.

Francesca Wilson has been a member of the local magic club for over eight years and has had the pleasure to meet and work with some of the best magicians in the world. Visit our site to get a FREE mini-course on the "Little Known Secrets of Magicians" http://www.magictrickshowto.com/how-to-do-card-tricks/

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Ballet Steps Through History

From its advent in the pageantry of the Renaissance period of the 15th century, ballet has become an expression of your soul by dance. During the Renaissance period in Italy, Domenico da Piacenza, a master of the arts, taught nobles and others to perform in the court. These musicians and dancers performed for extravagant events such as weddings. With the introduction of the Ballets de cour, performances showcased dancers with beautiful costumes and voices for song. The art of ballet saw great development in the courts of France in the 16th century, when Catherine de Medici of France married Henry II of Italy. Catherine de Medici helped ballet flourish in France, thus most of the terms have French origin.

In 1581, Le Ballet Comique de la Reine was performed in Paris and told the story of a magical sorceress, Circe, being defeated by King Henry III. This was considered to be the first ballet and was staged by Balthasar de Beaujoyeux. He was an Italian composer, violinist, dancer and choreographer. He worked in the court of Queen Catherine de Medicis.

During the reign of Louis XIV (the Sun King) from 1643 to 1715, ballets of the French court thrived. Italian-french composer, Jean Baptiste Lully, and French choreographer, Pierre Beauchamp, created many of these ballets. Beauchamp is credited for documenting the five basic positions of the feet.

L'Academie Royale de Danse was established in 1661 under Louis XIV. Here professional dancing was born in a room of the Louvre. Initially, dancers were men until 1681 when female dancers performed in Le Triomphe de l'Amour.

Ballet began to evolve, in time. Elegant moves were displayed with toe dancing. The lines of the body could be better seen in tutus as opposed to floor length hoop skirts. This was evident in La Sylphide, a romantic ballet danced in Paris in 1832. La Sylphide is the story of a sylph (fairy) and a Scottish farmer named James on his wedding day.

A famous ballet, Giselle, followed in 1841. Giselle is a peasant girl, who becomes a beautiful sylph known as a Wili that dances in the Rhineland forest. The Wilis have met their fate by dying before becoming wed. After midnight, filled with a grudge, the Wilis descend upon human males who may happen into the forest, never to be seen again.

In the latter part of the 19th century, Marius Petipa, chief choreographer of the Imperial Russian Ballet, contributed to the brilliance of the ballet world with The Sleeping Beauty and Swan Lake (also choreographed with Lev Ivanov of Russia.) The score to these famed story ballets were by Tchaikovsky.

The Sleeping Beauty is a ballet which begins with the celebration of the birth of Princess Aurora. Unfortunate events occur when the King and Queen forget to include the evil fairy Carabosse who in turn casts a spell upon Aurora to die on her sixteenth birthday. The spell was to be invoked after Aurora gets pricked by a pin. The kingdom's fairy of protection, the Lilac Fairy, casts her own spell for Aurora to sleep and awaken 100 years later by the kiss of a Prince. A famed ballet virtuoso of the time, Enrico Cecchetti, danced the parts of Carabosse and the Blue Bird. The Cecchetti method of ballet, named for Enrico Cecchetti, involves strict technical training and the understanding of individual ballet movements to the body as a whole.

Set in medieval Germany, the ballet Swan Lake tells the story of Prince Siegfried and his love for the captivating Odette who is a swan by day, gliding in the lake of tears. From midnight to dawn, she lives in her human form. Odette and her companions have fallen under the spell of the evil sorcerer Von Rothbart. The only way to undo the curse is to marry a prince who is pure of heart. Through deception and storms, Von Rothbart tries to maintain his spell. However, his efforts were in vain, foiled by the true love of Prince Siegfried and the swan Odette.

The Nutcracker premiered in 1892. This famed work itself had a journey. Initially, the ballet was based on the story "The Nutcracker and the Mouse King," by E.T.A. Hoffman and later revised by the French writer Alexander Dumas. Ivan Alexandrovitch Vsevolojsky, director of the Imperial Russian Ballet decided to make Dumas' transformation entitled "The Story of a Hazelnut-cracker" to a ballet. Marius Petipa and Pyotr Tchaikovsky again collaborated.

Unfolding at the annual Stahlbaum Christmas Eve party, Clara, a German girl, is given the gift of a nutcracker by her godfather Drosselmeyer. Her brother Fritz breaks the nutcracker which is soon repaired. Yet after the party, a worried Clara sneaks down to check on her beloved nutcracker and falls asleep. Magical dreams come to her of the nutcracker, a mouse king, a prince, and lands of snow and sweets.

In modern times, The Nutcracker was staged with the vision of George Balanchine. As a youth in Russia, Balanchine danced for the State Theater of Opera and Ballet. He also had exceptional knowledge of music having studied at Petrograd Conservatory of Music. With this experience and his genius, he became principal choreographer for the Ballet Russe. He later brought his expectations to the United States in 1933 and revolutionized American Ballet. Under Balanchine, The New York City Ballet Company performed The Nutcracker in 1954. The Nutcracker remains a holiday classic.

Throughout the centuries, ballet has become so refined in music, costumes and movements. Exquisite extensions are showcased from the point of the toe shoe to the aura surrounding the dancer. Ballet steps through history as art.

Learn more about the art form of ballet by visiting me at: http://ballet-steps-of-shannon.com/

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Tips for Performing Mind Reading Tricks

These tips for performing mind reading tricks should help anyone new to the art of mentalism get off to a pretty good start. There are many misconceptions about this branch of the magical art, so I'd like to start by clearing those up. First of all, despite the necessary mystique surrounding mind reading, it's something anyone can learn with a little practice once they know what the secrets are.

And the second thing that we really need to get clear at the outset is that no one can really read anyone's mind. That's a fact. Mind-reading is a magic trick just like any other magic trick and the techniques used in mind reading are essentially the same as those used in any other form of magic trick. Namely, sleight-of-hand, misdirection, gimmicks, stooges and so on. There are no psychic powers. Anyone who claims to genuinely read minds or have psychic abilities is either a liar or deluded. Mind reading or 'mentalism' as it is popularly known is simply a 'performance persona' for these tricks.

It might seem almost mystical in its effects - and you certainly want it to if you're performing it - but it is just a series of clever psychological techniques and close observations of behaviour and, in all honesty, some simple gimmicks and tricks that have nothing to do with psychology at all, that enable a mentalist to create the illusion of psychic powers.

It is little wonder that all the mind-readers and mentalists that I have ever heard of or met (apart from that wicked phoney Uri Geller - one of the worst magicians I've ever seen) are all debunkers of 'psychism' and the miraculous. Why? Because they know how it's done! Think of James Randi, Penn and Teller and Derren Brown, for example. The truth is that only the most despicable low-life would stoop so low as to take advantage of people's trust and misfortune for their personal profit. Witness any number of TV 'psychics' for examples of this. Okay, rant over. So we know we're dealing with a performance art, not a mystical one and it's just for honest fun, not for taking advantage of the gullible.

So what are these secrets that enable mentalists to apparently understand your secret thoughts, read your mind and even control what you are thinking?

There are three aspects to mental magic: gimmicks, sleight-of-hand and misdirection. I'm afraid that's it. Antone who was looking for psychological secrets for manipulating people thoughts; time to laugh at yourself for being so taken in! The techniques of mentalism are the same as all other magic tricks. Any bluff about NLP and other such stuff is all just part of the act.

So, get some mind-reading tricks tutorials and learn these tricks (video tutorials are an excellent way to get started) and bear in mind these tips for performing mind reading tricks:

1) There's no need for a huge repertoire: 5 decent tricks is plenty. Just choose five good tricks and learn them to perfection.

2) Know Your Character - Mind reading involves a,lot more bluff and misdirection than most magical disciplines because it play-acts at mystical powers; having a strong magical persona or character part can often really help induce the right atmosphere and sense of credulity.

3) Tell a Good Story - This has nothing to do with once upon a time but everything to do with leading your audience up the proverbial garden path! Every mind-reading trick has to have its story, its false premise. It could be that you claim 'conversation with the spirits' or maybe 'focussing mental energy' or as is more acceptable these days (because its pseudo-scientific language sounds more plausible to a modern audience) 'clever psychology' 'muscle reading' or 'neurolinguistic programming'. Whatever nonsense it is, know what it is, beef it up and stick to it. Under that cover, you can switch cards, check the mirror, get the signal from the stooge etc.

4) Only Do It If You Know How- Mind-reading is once again very popular and everyone wants to get on the band wagon. There's plenty of room aboard, just make sure that you know what you're doing. If you don't get the story right, the bluff, well then it's going to look just like any other magic trick (...because it is). It's all in the act.

5) Practice - This follows on from the last tip and is always true: you cannot do enough practice and many professional magicians will tell you that they don't feel happy with a trick until they've performed it hundreds of times!

That said; if you don't want or need to go into that kind of depth, there are other options to get started. There are some cool mind reading and mentalist routines that are powerful and effective and will work just a little practice if you get a good tutorial. Things like spoon-bends, card predictions and 'book test' tricks are excellent places to start. Nothing helps like a good visual demonstration and explanation. That's why increasingly I recommend video downloads as a trick-by-trick method for learning magic. You can see and hear what's going on and get a real handle on the presentation and routine rather than just the trick. You can also rewind, pause and so on as often as you like. If this is an option that interests you, then you might like: Mindbender Book Test, Thought Transmission and Emotion as tricks to get started. These and more are all available from the Video Tutorials page of The Magic Tricks Homepage.

I'm sure you'll find these tips for performing magic tricks useful and if you get yourself some video tutorials you'll be off to a great start. I have to say, that mind-reading really is one of the most enjoyable kinds of magic trick to perform. Enjoy it!

Austin Hackney is a performing magician, entertainer, theatre practioner and writer of many years standing, always keen to share his experience and encourage the novice. His website, The Magic Tricks Homepage is a great free resource for magic tutorials, articles, visual guides, eBooks and more. If you want to learn magic well, not just a huge number of tricks but solid performance skills, the site is well worth a visit. You can download magic video tutorials here which is a great way of learning and building a repertoire.

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Using a Phone Patch in Your Voice Over Home Recording Studio

 How will a Phone Patch enhance your voice over job opportunities?

The latest trend in voice overs is to have your own home studio. This allows you to work from home and to accept work from anyone in the world. Often the scripts are sent to you via email and you interpret the script, record it, and return the finished files to the client. However this process requires that you fully understand the requirements of your client so that you can direct your own performance. But what if the clients wants to listen in and direct you as you record? This adds another layer of complexity to your studio setup so you can supply this capability with your studio gear. An easy and inexpensive way of doing this is with a Phone Patch.

A Phone Patch allows two way communication with the client

A Phone Patch is a electronic box that allows you to connect your mixer or digital audio interface to standard telephone lines. When you talk into your microphone the mic signal is routed to the telephone as if you are speaking into a telephone receiver. And when the client speaks, their voice is routed into your headphones. Also, when properly set up, you can play back recorded tracks for the client and they can hear that as well. Overall the experience feels like you're in a studio with the client in the control room speaking over the "talkback" mic.

Allowing instant adjustment and correction of your performance gives you a much higher probability that the client will be satisfied with the end results. This reduces the need for retakes or pickups at a later date and makes the entire recording process more efficient and quicker.

You should add Phone Patch capability to your studio

Today's voice over market includes online casting. This gives you the opportunity to perform for clients all over the world. And you want these clients to feel as comfortable hiring you as the talent who lives down the street. Directing with a phone patch session will make them feel just like they're in the next room. They will experience your personality. They'll be able to judge your response to direction. You can solve pronunciation questions immediately. You can even chat about the weather or the Yankees chances this year. Remember building rapport with the client is an important part of voice over marketing. We all want to work with someone we like.

Analog and digital hybrids

The actual box that you buy to create a phone patch system is called a "hybrid." There are two types. The older version is analog and passive, meaning it doesn't require a power supply. The newer versions are digital and need power to operate. There are two benefits to the digital version. One is much greater separation of incoming signal from the outgoing signal. A regular phone needs to lower the incoming voice so it doesn't feedback into the outgoing signal. Callers don't want to hear their own voice coming back or worse a loud feedback whine. A digital hybrid can lower (attenuate) the signal by 50 dB. The second advantage is, since the unit is powered, you can supply gain to the signals. That means if you can't hear them or they can't hear you, you can turn the volume up. The analog hybrid does mix a bit of the two signals together but still provides 20dB of attenuation. And usually the phone signals are adequate so yo don't have to turn anything up. Also if you're using a mixer you can supply some gain with the mixer.

Hooking it all up

I can't go into specifics for each piece of hardware and recording software but you will need a mixing board or a separate audio interface to hook up the hybrid. Most of the audio interfaces have "virtual" mixing capabilities which you can access from your recording software. So here's the secret to hooking it up.

The hybrid has a phone connector--the typical "phone jack"-- on the back to plug the phone line into. (You can also plug a regular phone into an additional jack so you can use the phone line as a regular phone.)

The hybrid also has a "line in" connector to which you supply signals that you want to go down the telephone line to the client. And it has a "line out" connector which supplies your mixer with the telephone signal from the caller.

There are five different signals that you will have in a typical session:

1. Your Microphone in--plugged into the mixer providing your voice to the recording software and to the clients telephone
2. The Playback Tracks in--routed into the mixer so you can play back the recorded tracks and hear them in your headphones and have the client hear them on their phone.
3. The client's voice in--coming from the telephone line via the hybrid's "line out" into the mixer.
4.The signal out of the mixer to your headphones
5. The signal out of the mixer back via the hybrid's "line in" to the client's phone for them to hear.

To achieve this you need to create a "mix" of signals for your headphones and a "mix minus one" signal that goes out to the telephone as follows:

Mix of inputs to you headphones:

1. Your Microphone
2. The Playback
3. The Client's voice on the phone

Mix of inputs to the telephone via the hybrid.

1. Your Microphone
2. The Playback

Exactly how you do this is specific to your hardware and software but this gives you the outline of what you're trying to achieve. The important point to note is you DON'T want the clients voice going back out to the telephone (hence the "minus one".) This will create the dreaded feedback loop.

I've been doing mixing for years and this still makes me scratch my head. It's best to write it down and diagram it on a piece of paper. And save the paper so you don't have to decipher it again at a later date!

If you don't have an audio interface or mixer--other phone patch alternatives

Suppose you have a really simple recording system. Just your trusty USB mic and your laptop. Without the mixer or interface you cant use the telephone hybrid but there are other alternatives that can work almost as well. Remember the goal is for the client to hear you when you talk and for you to hear the client give direction. Here are some other ways to do this.

A wireless portable phone and a headset. I used this for years. The portable phone is connected to your landline (or VoIP phone such as a cable phone, Vonage, or even the remarkable MagicJack.) You then plug a headset into the receiver and clip it to your belt. Put the headset on and put your headphones over it. Voila! The client can hear you talk and you can hear them direct.

The same set-up with a cell phone. Simpler cell phones have a headset jack. Newer phones may need an adapter to use a headset but the principle is the same. A similar result can be achieved with a bluetooth hands-free device but I think the audio quality really degrades between the bluetooth and the cell phone.

You can use Skype. Skype is like an internet phone. It's free for Skype-to-Skype calls but there may be a charge for phone-to-Skype. With a little time spent in the "preferences" you can have Skype recognize your microphone as the input device and your headphones as the output.

These alternatives all provide the two-way communication you need for a successful voice over session. The only drawback is you can't directly PLAY BACK the track if the client would like to hear it. I used to worry about this but, believe it or not, I've never had a client ask for a playback!

You should have phone patch capability in your voice over studio

Phone patch capability enhances your voice over service. Being directed in a session can speed up the session, provide a more acceptable read, demonstrate you ability to take direction and reduce the need for picks and retakes at a later date. It will also be required for the more sophisticated--and lucrative--jobs. So use one of these methods to add this to your studio and kick your voice over service up to a higher level.

If you live in the Los Angeles area you should look into my live Voice Over Classes. For those who live in other ares I also offer Online Voice Over Classes which offer the same quality of instruction in a modular, online format

William Williams is a voice over talent, instructor and coach located in Burbank near Los Angeles California. With experience as a marketing director, commercial and animation producer and voice over talent he knows what's required for excellence on "both sides of the glass." For 25 years he has been the owner and operator of Aliso Creek Productions, a full service audio production company specializing in radio, TV, and industrial audio, and voice over instruction and coaching. William has produced or performed in hundreds of commercials, videos and animation projects.

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Using ISDN in Your Voice Over Home Recording Studio

Will ISDN enhance your voice over job opportunities?

The latest trend in voice overs is to have your own home studio. This allows you to work from home and to accept work from anyone in the world. Often the scripts are sent to you via email and you interpret the script, record it, and return the finished files to the client. However this process requires that you fully understand the requirements of your client so that you can direct your own performance. But what if the clients wants to listen in and direct you as you record? This adds another layer of complexity to your studio setup so you can supply this capability with your studio gear. This need can be met with an ISDN connection.

The grandaddy of remote monitoring (listening in, commenting and recording from a distant location) is the ISDN connection. ISDN stands for Integrated Services Digital Network and it provides a constant direct digital connection over telephone lines to a remote studio.

ISDN has two major advantages.

ISDN allows you to send high fidelity (20-20kHz) audio signals from your studio to the remote studio. This allows you to speak into your microphone while the remote studio receives your signal at high quality in their studio. The producer, director and engineer can hear your performance clearly on their monitor speakers as though you were in the other room, so they can hear the subtlety of your performance and catch any stumbles in your performance. More importantly, since the signal is high fidelity, it can be recorded on the remote studio's recording equipment and used immediately. Back in the day, this eliminated the need to send tapes recorded at your studio via overnight express in order to deliver your performance to the distant studio.

The director can also speak to you over a phone quality line to give you performance notes and you hear this direction in your headphones as if s/he were in the control room next door. You can speak back to the director through your mic.

So ISDN has two benefits: High fidelity sound quality for remote monitoring and recording. And real-time delivery through the ability to record this high fidelity sound in the remote location.

So why shouldn't all voice over talents run right out and get ISDN?

One issue is cost. ISDN can cost several hundred dollars to install and set up and there is also a monthly charge for the line of about $60.00. You also need an ISDN CODEC. This is a box that receives the analog signal from your mixing board and converts it to the digital signals that are sent over the ISDN line. This codec can cost around $5000.00. So unless you're doing enough high-end jobs that require ISDN you may never recoup your investment.

And remember, the receiving studio needs an ISDN line and codec as well. It is useless to supply ISDN service to your client if they don't have access to an ISDN studio on their end. Renting an ISDN studio can cost up to $250.00 an hour.

Also, as broadband internet becomes universal, the recording process is changing. You now record your jobs as digital files, not a 1/4 inch tape. So the second and more important benefit of ISDN--real-time remote delivery--has disappeared. You can now record your work in high fidelity on your computer and upload those files to a client's server in a matter of minutes.

ISDN allows two way communication with a remote voice director.

ISDN still does allow two way communication with a voice director in a remote studio. But this communication can also be achieved with the use of a PHONE PATCH, which is a much simpler and more universal means of communication with the client for simply receiving direction. However a phone patch transmits and receives telephone quality audio which is not high fidelity. You should pay close attention to your own recordings and performance to assure they are high quality and to catch mistakes that the client might not hear over the phone.

I have found that ISDN is requested mostly by "media" companies. Companies that produce movie trailers or TV promos, or companies that produce material for broadcast--live interviews, syndicated programs and so forth. Perhaps in the future, casting companies and voice over agents may require it but many of them haven't caught up with the new world of talent with home studios.

The moral of the ISDN story

So what's the moral of the story? Hold off on installing ISDN capability until a pressing need--and the corresponding ability to pay for it-- arises. For now, stick to a phone patch.

If you live in the Los Angeles area you should look into my live Voice Over Classes. For those who live in other ares I also offer Online Voice Over Classes which offer the same quality of instruction in a modular, online format

William Williams is a voice over talent, instructor and coach located in Burbank near Los Angeles California. With experience as a marketing director, commercial and animation producer and voice over talent he knows what's required for excellence on "both sides of the glass." For 25 years he has been the owner and operator of Aliso Creek Productions, a full service audio production company specializing in radio, TV, and industrial audio, and voice over instruction and coaching. William has produced or performed in hundreds of commercials, videos and animation projects.

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Using "Delete" and "Silence" Audacity Edit Commands for Voice Over Recording

Today's voice over talent is required to have their own home studio. And along with the equipment required, you need recording software to actually record sounds to your computer as digital files. One software program I recommend that works just fine for voice over recording is Audacity. In a job where you're rarely doing more than recording one track of audio it is more than adequate for auditions and jobs. Along with the basic skills of recording, playing back and exporting your audio, you find very quickly that you need some basic editing skills to clean up your performances and finalize your tracks before export. Here are two editing commands that can speed up your production and improve your final product.

The "Delete" and "Silence" editing commands

There are two editing commands in Audacity that you'll find very useful. They are "Delete" and "Silence". You'll find them under the "Edit" heading in the top toolbar. Here's how you use them and some useful applications.

You use these commands by first highlighting the section of your recording that you want to edit. You highlight a section by placing the cursor at the beginning of the required section and "clicking and dragging" to the end of the desired selection. (Click and hold down the click button while you drag the cursor along the soundwave to the end.) If you've done word processing you should be familiar with selecting text this way. By the way you can unselect by clicking anywhere on the waveform. To make sure that you've selected only the sound you want, you can press the play button or the spacebar. Audacity will play only the highlighted sound.

Selecting the editing commands

Now you're ready to select an edit. Let's look at what each command does. "Delete" does what it says--it eliminates the section of audio you have just highlighted and pulls the recording together at that point. Just as in word processing if you Delete a highlighted sentence it disappears and the text below is pulled up.

"Silence" works differently. When you select Silence, the audio that is highlighted is replaced by digital silence but the space where the audio had been remains the same.

In the old world of tape, Delete would be similar to cutting out the section of tape you don't want and pulling the two ends together and splicing them. Silence would be equivalent to erasing that section of tape but leaving the blank erased tape in place.

So to perform and edit you highlight the sound you want to edit, hit the space bar to hear that your selection is, in fact, what you intended, and then select Delete or Silence from the Edit menu. Very quickly you'll realize that this goes much faster if you learn the keyboard shortcuts for these commands. They are Ctrl-K (Command-K on Macs) for Delete and Ctrl-L (Command-L on Macs). (I use Kill and siLence as mnemonics.)

So what are the real-world applications for these commands?

First we'll look at Delete. Imagine you're recording a short script and you stumble on a sentence. You wait a couple seconds and repeat ("pick up") the sentence perfectly and continue to the end of the read. You play it back and hear the bad sentence followed by the good sentence. Here's how to fix it. Highlight the bad sentence from its exact beginning to the exact beginning of the good sentence. Hit the space bar to hear that your selection is accurate. Now select Edit >> Delete from the toolbar or push Ctrl-K (Command-K on Macs) and the bad sentence will vanish as the good sentence is pulled up to replace it.

OK, let's look at Silence. This is useful for eliminating breaths. If you look carefully at the waveform of your performance you see small ovals of sound after phrases or sentences. If you highlight one of these ovals and play it you'll hear that it's most likely a breath. There's always a tiny space around the breath oval because you breath out to talk and you breath in to take a breath. Then you breath out to continue talking. So locate a breath on the waveform--look for the oval at the end of a sentence--and highlight the breath. Once again always hit the spacebar to assure you've selected what you intended to select. Now select Edit >> Silence from the toolbar or push Ctrl-L (Command-L on Macs) and the breath will be replaced with silence but the spacing will remain. (Note that if you used Delete the two sentence would be pulled together which would sound very unnatural.)

Practice and perfect your editing to speed up your auditions and your jobs

These techniques are useful for cleaning up auditions and for supplying "finished tracks" if your client requires that in a job. Learning to do these edits takes some practice but it's like knitting: if you practice, it will become so natural you can do it without thinking. Give it a try and soon you'll be Deleting and Silencing like Joe Pesci in Good Fellas!

If you live in the Los Angeles area you should look into my live Voice Over Classes. For those who live in other ares I also have Online Voice Over Classes which offer the same quality of instruction in a modular, online format

William Williams is a voice over talent, instructor and coach located in Burbank near Los Angeles California. With experience as a marketing director, commercial and animation producer and voice over talent he knows what's required for excellence on "both sides of the glass." For 25 years he has been the owner and operator of Aliso Creek Productions, a full service audio production company specializing in radio, TV, and industrial audio, and voice over instruction and coaching. William has produced or performed in hundreds of commercials, videos and animation projects.

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Salsa Dance Instruction DVD - How To Never Fall Off Rhythm

Were you born with two left feet? Or are you a person that just can't seem to understand rhythm and dance on the right beat? Well have no fear because I am here to help you. And all you have to do is follow my simple instructions exactly how I say and you will never miss a beat again!

First of all lets start with why you may be falling off rhythm. Do you have any understanding of music? If so then great, If not this might be why you cant seem to stay on beat. So if your not familiar with music, then here's a quick summary about salsa music you always count in 8's. For example 1, 2, 3, 4, 5, 6, 7, and 8, that is what we call an 8 count.

But the tricky thing about salsa which you may not know is that you usually never ever dance on 4 or 8. So for example you would dance on count 1, 2, 3 and pause on count 4, and dance on count 5, 6, 7 and pause on count 8. This is a major principle of salsa dancing and if you don't understand it then this could really effect you dancing on the rhythm.

So lets say you have mastered the basic counting principle. Great. Now I have another trick for you to see if you really understand rhythm. First I want you to play a salsa song, any song. While you play this song close your eyes and listen to the music with your ears. What I want you to do is count out loud to the rhythm of the song. So as the song is playing you will count 1, 2, 3, 4, 5, 6, 7, 8 and again 1, 2, 3, 4, 5, 6, 7, 8, until the song has finished.

Next I want to repeat the same thing, so play a song, close your eyes, and now I want you to do the basic 3 step move with your eyes closed while you listen to the music. Now please make sure that there are no sharp object around that can hurt you, the basic 3 step move should take you anywhere, you should be dancing in one place.

When you dance you must feel the music and for some people their environment can distract them and thats' what makes people fall off rhythm. So again understand the song and the counts of the song. Then play the song and count the beats out loud. After wards repeat the same counting out loud and dance at the same time.

You can do it I know you can just follow my simple steps and you will be on your way to never missing a beat. If you want even more info go to learning2dancesalsa.com to see what is the best salsa dance instruction DVD for you!

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Salsa Lesson DVD - Mind Tricks To Perfect Your Confidence

Do you want to know all the hidden secrets that the professionals keep to themselves? Do you want to know how to perform and be as confident as the stars are? Well here it is I am going to tell you all of our deepest darkest secrets to make you a star. I will unleash tools you can use to help you perform just like the pro's do and all you have to do is just keep on reading.

First let me start off by saying that professionals are talented dancers, but their are many tricks that get them to look and dance the way they do. Have you ever wondered why professional dancers are so confident? Well I have and I found out a little secret. First of all, They don't practice their routines with their body every time. What? Yes the professionals are taught to not only practice their routines with their body's but also with their minds.

You see dance is not only physical, it is a mental art as well. When you dance you must make sure that you really know the dance your going to perform. So one way a pro memorizes their routine is by doing the dance over and over in their head. So lets say you want to try this. First you should play the music you are dancing to. Then you should sit down and go over every step in your head as if you were dancing. After write down where you got stuck,write down where you forgot a move, write down everything! By doing this you will know where you messed up in your dance and then you can fix it, which will get you to dance perfect every time.

It's so simple but it really works because the mind is such a powerful tool and if you use it right you can be on your way to dancing just like the pro's do.

Now on to the next hidden secret. This one should be used after you have mastered my first trick I wrote about. I hope your ready for this. Well here it goes you should always record yourself dancing before a performance. This is so important because you can really see what you look like and where you can improve on. No one is perfect so I can guarantee that you will find something that you can make better. Even if it is pointing a foot, or smiling more. Their is always something you can do to make your performance the best it can be.

These are just so of the many hidden secrets that I have that can really get you to dance just like the pro's do. If you want to find out more tricks that I know that will blow your mind just go to learning2dancesalsa.com and I'll even tell you about the best Salsa Lesson DVD that's out right now!

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The Dos and Don'ts of Dressing Up For Movie Premiers

Summer time is movie time, and this Summer has great promise filled with pirates, Potters, and superheroes! Any self-respecting movie-goer knows that if it's a major movie, you not only go to its midnight premier, but you go in costume for it as well. But in all the enthusiasm of dressing up, there are a few things to remember. Here are the dos and don'ts of wearing costumes to movies.

Do: Find your costume ahead of time. Like, at least a month ahead of time. Thirty days out is when businesses start looking for their costumes, especially if they plan on representing themselves at a popular theater for the midnight premier. So needless to say, because they come in so early (and usually have a little more dough), they tend to snatch up the best costumes while the rest of the community is only vaguely thinking about what they want to wear.

Do: Call up major theaters and ask if they'll be doing any costume promotions for the event, and if they are, ask if you can be part of it. Many theaters rent costumes to spruce up the festivities, but lack an actor to fill them. If you're willing to wander around dressed as the faculty of Hogwarts with a few of your friends, they just might give you free tickets to the show for doing so.

Don't: think high. Remember that these midnight premiers are crowded with hundreds of patrons selling out multiple theaters, and theater seats aren't exactly lounge chairs. You need to take the rest of the movie-goers into consideration and avoid tall hats and wigs, as well as anything wide or super cumbersome.

Don't: say to yourself, "Oh, it's okay, I'll wear those Marie Antoinette style panniers and just take them off right before the movie starts." Trust me, you won't. Same goes with aforementioned tall hats and wigs. Not only will you not want to lose your place in line to put whatever it is in your car, but you'll probably be having too much fun to keep track of time and before you know it the theater is seating and ohmygoodness you forgot to take off those blasted panniers that are so big they'll fill two seats to either side of you.

Do: Be creative. In example, when the seventh Harry Potter movie came out, at the midnight premier I attended there were about fifty Hermiones and two Bellatrixes and that was it. Where were the Prof.McGonagalls? The Madame Trelawneys, the Rita Skeeters, the Fleur De la Cours? All of whom had awesome costumes that would be fun to recreate, but alas, they remained un-thought of. If you want to be unique, just call up your local costume shop and they'll be happy to brainstorm character ideas, then help you figure out how to achieve it.

Don't: forget to shower beforehand. You'll probably have already been up since eight that morning, and you'll still be up at three the next morning when the movie ends, spending much of that time in a hot and sweaty costume. Do us all a favor and shower before you go, start the movie fresh.

Do: Remember to stay comfortable. You'll be in your costume a long time, and nothing will spoil an evening faster than being uncomfortable.

And one final thought from one who manages a costume rental department....

Do: If you rent a costume, remember that you're renting a costume. And wearing it to a theater. A theater which probably has mass amounts of greasy and sticky food that is begging to stain something, anything, and there are people who aren't paying attention to said food. It's perfectly reasonable to rent a costume for a movie theater, just please...be careful.

Visit http://maskcostumesutah.blogspot.com/ for more costume goodness!

Go to http://www.maskcostumes.com/ for all your costume needs.

Fan Mask Costumes on Facebook!

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The Importance of Ballroom Dance Class

Dancing is an expression of oneself. Anyone can speak its mind through the rendition of a particular dance. The power of your body movements, the beat of the music, and the total impact on how it is expressed is really strong that a person watching you dance can be greatly affected also. That is if you can explicitly and gracefully show it through your body movement. This is where the importance of ballroom dance class comes in.

To be able to perform the right movement, one must learn the curves of subtle physiological cues such as how to raise the arm, turning to the right, breaking apart and the coming back together of partners. The continuous flow of movement and the collaboration of each and every step you make must be harmoniously executed.

Remember that dancing is a physical language. It goes beyond the personal background, beliefs, and nationalities of each individual or partners. Learning how to do it is not just knowing the basic steps or even learning a more complex style. Dancing should come from your heart. One must learn how to love it and then profoundly expressing it through body movement.

We must understand the reason behind our dancing. Do we want to know just the basic steps or are we dancing because we are truly in love with it? To dance is to move, to be healed, to feel, and to express one's emotions. People dance to learn and be able to teach at the same time. Anyone can dance to any music, or even to silence and noise, or even to the beat of your heart. That is the wonder of dancing. We can dance according to our emotions and feelings. We can live in dreams through our dances. We can even do any step that pops up in our mind. There's no right and wrong.

However, combining both grace and steps requires a sound and effective schooling. If you are looking beyond just simple dancing, it is important to have someone teach you how to achieve all that. Grace is a natural talent but it can be improved through techniques and proper rendition of a particular dance step especially when it comes to ballroom dancing. Having someone to teach you, is a compelling and motivating factor to ignite your passion and most of all introduce you to greater opportunities.

Joining ballroom dance class is a positive and sure way of enhancing the talent within you. Plus the chance of getting involve in other dancing activities that may give you more exposure to greater opportunities than just being able to dance.

Earl Morgan is a reputable dancer. His passion for dancing lead him to write articles for those who seek exciting dance lessons like ballroom dance class and a lot more. If you want more than just to learn how to dance, Learn 2 dance 4 fun is the perfect place for you. Visit http://learn2dance4fun.com/default.aspx today to see more types of dances you can learn with and start showing your panache in dancing.

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You Were Not Put on This Earth to Fail

It all started a long long time ago when we were just beginning to get a glimpse of who we were and who we were about to become. It was one of those moments that made time stand still. I was there and I believe you were there as well. In fact I know I saw your smile across the sea of faces. Your eyes were huge with awe and anticipation. Surely you recall, it was the day the gifts were passed out.

I saw dancers receive their rhythm and the singers their velvet voice. The artists acquired their gift of sight to see that which was not even imagined yet! The writers accepted a deposit of rhyming words, adjectives, antonyms, and verbs! Oh what a day this was through out the universe!

People were being equipped with the blueprints of who they were and all that they were to be. They apprehended times, dates and destinies! There was celestial celebration for all who were in attendance. Each soul knew only they could carry out their mission with the unique finesse they possessed. There was no competition only completion. They knew the value of their gift and with great elation received it to be cherished and developed. No one ever imagined that their gift would be placed upon a shelf for that act in itself would bring great darkness to the earth and grief to the Gift Giver.

I can not tell you the exact date the day of darkness fell, for that day was not the same for all. It seemed there was an architect of this terrible time. I know I saw him slither in and out of the community. He actually seemed to know some of the souls already. He had covered them with his fraudulent fragrance of pity and they seemed to have a relationship with him that was one of submission. How this had transpired I could only guess, for it seemed to have been brewing for awhile.

One time I did see the weapon he held beneath his cloak of heaviness. He brandished it proudly whenever he came upon an unsuspecting soul. When he wielded this weapon the victim did not draw back from the armament but instead they took it into their hands and pulled it toward themselves as if they had been expecting this encounter all along! The ammunition they held with reverence as if they valued it more than the gift they had been given long ago. This weapon there of I speak was his calling card and inscribed upon it one word only: FEAR.

Once the unsuspecting soul had taken his card, he had access to them in the night time hours and whispered thoughts of inadequacy, doom and defeat. He eventually got them to take their gift and lay it on his altar of neglect. No longer would the once ambitious soul dance, sing, create, write or even recall that day they were commissioned to inspire the earth.

How had this visitor of darkness won so easily? By all appearances he had lured the souls to give up their gift and in doing so they had surrendered their destiny. They could not even retrieve from their memory the words the Gift Giver had delivered to each of them: "You were not put on this earth to fail"!

Has the future of the planet been compromised? Why have so many creative geniuses hidden themselves and tucked their work away in the attic? Why is their gift laying dormant when all of creation is waiting to see, hear and feel the message only they can impart the way they were designed to deliver?

The predawn hours of the day are beckoning you to write! The changes of the seasons are pleading for your art! The political unrest is demanding for an uprising of expression! Why do you sit in fear and not let your voice be heard? The visitor of darkness has tricked you. You have set aside your revolver of revolution!

Take up your gift! The dread will dissipate as you dance. The worry will weaken as you write! The pressure will pale as you perform! You were born for such a time as this. Come forth free of intimidation. The Gift Giver has not forgotten you. You have everything you need to succeed. The only way you can fail is if you give up.

Suzi Fox is a writer and percussionist who performs regularly onstage in the Los Angeles area and beyond with The Bruce Sanborn Band. She is also the Founder & Developer of Artist From The Attic; an organization that offers a venue for musicians, writers, actors, artists and others to post their work for FREE for the world to see! Suzi embodies her belief that all things are possible!

Go to http://www.artistfromtheattic.org/ to find out more about posting your work for FREE or to find an artist you may be searching for to book for your next event!

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Four Best Reasons Why You Should Buy Tickets Online

The internet is indeed a wonderful thing. It has greatly altered how business is done and all of it for the better. Because of the internet, you can now buy and sell your products from the comfort of your home. From books, shoes, shirts- everything you can think of can be transacted online.

Buying tickets is no exception. Gone are the days of standing in line for hours just to wait for your turn in a ticket outlet. All you will need nowadays is a computer and an internet connection when you want to buy tickets.

Let's say you've been looking for cheap concert tickets to a Lady Gaga or Justin Bieber concert. Or perhaps you're planning to surprise your husband with sports tickets to the NBA playoffs or the NFL. All you need to do is search the internet for online ticket websites, find the right ticket and once you do, you can actually purchase the ticket right there and then. With just a few clicks of your mouse and your credit card number, you're all set!

Can you believe how much time and energy you have just saved? Or how convenient it is? Yes it is amazing. But that's not all. Buying tickets online actually has many more advantages. Here are the top four:

1. Online Ticket websites are always open- That's right, you can now buy concert tickets or discount Broadway tickets anytime you want. Whatever time is convenient for you is okay because these websites are available twenty- four hours a day, seven days a week.

2. You can choose where exactly you want to be seated- Most ticket websites have an interactive seating chart which allows you to view the venue itself, show all the seats and their corresponding ticket prices and which seats are already taken. This means you can decide for yourself which is the best seat for you.

3. You can buy tickets anywhere in the world- That John Mellencamp concert at Hersheypark Stadium is just two days from now but you're still in Hong Kong on a business trip and you're worried there won't be any seat available for you. Never fear, online ticketing is here! Because buying tickets online is web-based, it won't matter wherever you are in the world as long as you have a computer and an internet connection.

4. Comparing ticket prices has never been this easy- Such an arduous task, comparing ticket prices used to take up a lot of your time and energy by going to one ticket outlet to the next. But all of that can be avoided right now. Just by surfing various online websites, you will now be able to find that discount concert ticket or discount Broadway ticket you've been looking for in just a couple of minutes. Best ticket prices in just a few minutes. Now that's convenient!

Going to events such as concerts, theater or sports is not only fun but essential to your well-being as well. It relieves the pressure caused by work and everyday life. With the help of online ticket websites, these relaxing pastimes are made much more accessible to you.

If you're planning to watch the best upcoming concert events, sports or theater, always look for the online ticket website who offers the best ticket prices!

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Salsa Dancing DVDs - 3 Tips To Find The Right DVD

I bet there are lots of questions you have before buying a Salsa Dancing DVD. Should I always question the company that I'm about to buy from? Will I understand how they teach? I can say from experience finding the right salsa dancing DVD is really hard. But if you follow my simple tips I know you'll be able to find one that's right for you!

Tip # 1 - Go to YouTube and see if there is a sample video of the Salsa Dancing DVD you are trying to buy. When you look at the Video, see if you can really understand the way they are teaching. Also look for how fast the teachers are teaching and if you are actually learning the steps or if you are just feeling overwhelmed.

Sometimes teacher's may even have an accent that you just cant understand and that's a big red flag. You should never buy something you cant understand even if you think you might get use to it. Always make sure the DVD is perfect from the beginning so you'll be able to learn as much as possible.

Tip# 2- If there is no sample video on YouTube then I would suggest going to Google and see the comments people have written about the DVD you want to buy. Don't just go onto one website and think you done. No, go to many website and get as much info as you can about the company and the DVD. Now keep in mind you shouldn't believe everything you read, so try and look around to get a feel of what people are saying and then come up with your own opinion.

Tip # 3 - Do actual research on the company thru their website to see if they are legit and see if they have the right experience to be teaching. On the site look for key sections such as biographies of the teachers; see how long they have been dancing for, see where they have taught and see how many styles of dance they know and are educated on.

While you are on the site, do as much research as you can. Try to find testimonials, and how long the company has been in business. Look for information about the teachers and there education and experience. Look for everything that makes you feel that they are the best people to buy from. But most importantly,make sure that you feel excited to want to learn from the DVD you want to buy, because that's the important part.

I can tell you form all the research I've done that there is a credited Salsa DVD with teachers that teach for all levels of dancers. If you visit learning2dancesalsa.com they will truly impress you with all of the Salsa Dancing DVDs they offer.

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Voice Over Agents

Getting a voice over agent is not like winning the lottery. It does not mean that you suddenly are special, famous, better than anyone else, rich, going to earn a living, going to get jobs or going to go heaven. Oddly enough, the same applies to having a voice over page, but they both help...a hell of a lot!

There are good agents and bad agents, there are honest agents who have built up large businesses through toil and turmoil and those that have stolen contacts whilst on a payroll and started up on their own, there are those that say they are agents and are not, those that say they are not and are, and of course those who use their fame, position or profile. All of them will help.

Some of them will welcome you having a voice over page elsewhere with their number and email on it, some of them will not. In fairness you haven't really got much choice. It's damn hard to get an agent, let alone a decent one, so you will have to do what they say, even if it is unlawfully obstructive or involves you changing your name to something daft.

The oldest agents are the best in our experience, they have seen it all, they were often the starting place for many of todays "offshoot agents" i.e. those that stole contacts then set up on their own. You can easily find out some of the older agents by checking on companies house and looking up how long they have been trading. The oldest agents tend to be best as they are the most experienced and invariably have the most influence with the companies they supply voices to; but the older and more established the voice over agent the longer the waiting list is.

We have conducted considerable research into voice over agents and there are some serious companies in operation. Hobson's for instance is one of the most highly regarded and most difficult to register with agents in the UK, at our last check, they too were the ones doing the most business.

In our research we have also found that you might be in for a rocky ride dealing with some of them. Some are obnoxious, and seem to be incredulous that you dare apply to be on their books. Some are warm and professional and have a rejection policy that is fair, kind and polite. If you ask around and look carefully for reactions you will get to know who is nice and who isn't but be prepared to be insulted. The aforementioned company is not one of those companies by the way.

Smart talent find a way to do both or as much as they can, in that they have an agent who covers large significant types of jobs and allow personal voice over pages feed smaller jobs to them or to generally feed work to their agent. It's not that agents don't bother with small monies, but that they have larger clients budgets and overheads.

Invariably though one thing is for sure and that is, agents will not handle smaller equity based fee jobs very often and your own personal page will not handle huge TVR repeat type jobs very often.

Having an agent is a great thing but, it has no guarantees; some agents have hundreds of voice over artists on their books not working. This is mainly due to the fact that there are so many agents nowadays. You might even find yourself working for years to get accepted by an agent but still finding out that all your hard work has amounted to nothing.

Agents make their money based upon commissions, and they have very high overheads. They have to have posh show off offices in Soho, pay salaries to the people "working the phones" and have to have lots of lunches with people. They work very hard to make their money and even harder to get a reputation from clients, this means you have to be realistic about how they operate. Are they going to use valuable time equity resources to promote you or the person that already brings them ?100,000 a year in commission? This is not to put you off, but to educate you into managing your expectations and of course your ego.

It really is not all that having one, but you can get great jobs from if you do.

Rhubarb are another example of a voice over agent who have been around a very long time, they are very smart and efficient. From our research Rhubarb and Hobson's are among the leaders alongside Rabbit, Yakkety Yak and Lip Service. Without disclosure it would be unfair to "chart" these companies in terms of their artist numbers or revenue, but a calculation between gross revenue and the number of artists might give you a vague idea on your percentage likely hood of work, but it would be very crude.

Sure there are lots of other agents but we omitted the ones that have been rude bitchy or cruel to our artists or us. Don't be disheartened though, however some are, they get you work and that is all that matters.

Voice over agents do change their talent, and the good ones do have listening sessions, this is the good news, the bad news is, if they have someone who they think sounds a bit like you, you won't get a look in. So step one is have something genuinely unique to offer.

Voice over agents also know what makes a good demo so get one and get it in to them, note your application should illustrate that you are aware you may be on pause until their next listening session. You could for instance word an email or note to say.

"I have listened to all your voices and still feel I have something unique to add. Would it be ok to request my demo illustrating this is added to the next time you do a listening session or a refresh?"

If you want to do a demo, a cheap option is to ask a producer to help you edit, record or cut a demo with you for a "freelance fee" alternatively you could contact a company who might do the whole thing for you.

It's also useful to remember that voice agents get about 50 demos a week but if you are unique you will still have a chance. Tenacity is the next piece of advice, being an annoying pest is not. There is a thin line. Treat agents with respect. At best you can hope for a rejection or a date when they may have a listening session. Pick your chase up times carefully and note that it's probably not wise to ring. Yes sales books and seminars will tell you to call, talk to people, sell yourself, push, turn up; but we think that is a tacky and sure fire way to land yourself in the pest bin. British people hate being sold to, especially those that think they are at the center of the universe in Soho or those that are losing money whilst listening to you beg. Keep it formal, business like and intelligent. Sending agents chocolates or yellow pretty bows on CD's won't help.

Make sure you are aware of the above, have something truly unique, and be prepared to enter the most competitive world in the Arts.

Author
Penny Laine
voice over agents

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Acting Colleges: 19 Acting Colleges to Consider

Going to one of the many acting colleges is something you are going to want to consider if you are very serious about getting in the entertainment field as an actor. There are many acting colleges you can consider and at times it can be very confusing to decide which one is the right fit for you. There are short-term, intensive colleges and schools you can attend and there is long-term 4 year universities you can choose to consider.

These types of acting colleges can be found all over the country. They can be found in every corner of the nation. In fact, there is one near you I bet. That's right. Whether it is a community college or a large university, there is most likely a performing arts class near you that you can sign up for. Here is a list of some of the more popular acting colleges you will find in the US:

FSU/Asolo Conservatory for Actor Training - This is one of the best graduate theater programs in the country. This is one of those acting colleges that you want to attend if you are very serious about working on stage.

The Academy for Classical Acting - This place is located in Washington DC and is considered on of the best Shakespeare schools in the nation.

The American Academy of Dramatic Arts - AMDA, as it is known, is located in the Big Apple and includes a satellite school in Los Angeles. There is a who's who of graduates from this prestigious acting school.

Beverly Hills Playhouse Acting School - This acting school is run by famed acting coach Milton Katleas and is considered on the best long-term programs in Los Angeles.

Boston Conservatory: Music, Dance, Theater - If you live in the New England area and you are looking to get into the musical theater game, this is one of the acting colleges you should consider.

Boston University, School of Theatre - Straight up, this place is top notch if you want to learn about theater, film, or TV in the New England area.

Carnegie Mellon School of Drama - Located in Pittsburgh, Carnegie Mellon is home to some outstanding bachelor's programs as well as a great summer time curriculum.

Chapman University: School of Film and Television - if you live in the Los Angeles area and you don' want to attend UCLA or USC, Chapman is an awesome alternative in terms of acting colleges.

EMAS: Los Angeles Acting School - The Elizabeth Mestnik Acting Studio is fast becoming one of the best places to study acting if you live in The Hollywood area.

Emerson College: Performing Arts - One more of the great acting colleges in the Boston area.

FSU: Film School - If you live in Florida you have to consider Florida State University. This is Burt Reynolds alma mater and he dumped a ton of money into this program. It is one of the best acting colleges in the south.

Illinois Theatre Center Drama School - The Illinois Theatre Center Drama School is located in Park Forest, Il and considered a great option if you just want to take a couple of classes. It is not a traditional acting college that offers a four-year program, but a great place to learn the craft.

The Juilliard School, Drama Division - This is it. It is he Holy Grail of art schools. Julliard and Yale are typically considered the top drama schools in the United States, if not the world.

Marymount Manhattan College: Theatre Arts - You can earn a BFA in Acting or a BA in Theatre Arts at this school and you will be living in the Big Apple. This is one of the great acting colleges to get started at.

Loyola Marymount University: School of Film and Television - Located in Playa Del Rey just south of Los Angeles, Loyola has the advantage of being in the Hollywood area and boasts many instructors working in the business.

Meisner Center Acting Training - Sanford Meisner is one of the most famous acting coahes of all time. This is one of his schools that he founded in Los Angeles.

California Institute of the Arts, School of Theater - This is another one of the good acting colleges that you will find in Los Angeles.

The New School for Drama - Have you ever watched the Actors Studio? This is the place. Learn where Tennessee Williams and Marlon Brando learned.

New York Film Academy - This place is located in Union Square in New York City. It offers intensive, short courses as well as longer term classes, typical of acting colleges.

So there you have it. The are plenty of acting colleges to choose from. It is now up to you to decide which one of the great acting colleges is right for you.

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The Bushfire Festival of Swaziland: Social Responsibility Standing Firm

Like an annual Woodstock in the bush, the Bushfire Festival in the Kingdom of Swaziland, South Africa, brings together a broad spectrum of artists and musicians for a three-day festival of creative celebration devoted to the support of socially responsible charities and foundations. Between 15,000 and 20,000 people gather to eat, celebrate, and watch the varied offerings of these international performers that vary in genre from local folk artists to pop and hip-hop stars to the Yale University Concert Band. Major recipients of the Bushfire proceeds include Young Heroes, an organization that provides support to orphaned children, and Gone Rural boMake, an organization devoted to assisting the rural women of Africa with their education, health, and social needs.

On top of this, the Bushfire Festival is aggressive about providing opportunities for young people and creative adults to develop their artistic skills. The 100% Seriously Swazi program gathers local talent from throughout Swaziland in a kind of American-Idol-style competition where winners get the chance to perform in the Bushfire Festival. The "Bushfire Schools Festival" also takes the creative energy of the larger festival out into the local schools, promoting artistic development in the broader community. Taken all together, the Bushfire Festival has clearly positioned itself as a major artistic event for the promotion of social responsibilities.

Just prior to the Bushfire Festival that took place in May of 2011, however, a large group of democracy activists from Swaziland began to question the socially responsible nature of the celebration. Their argument, as laid out by Richard Rooney, is that to hold this festival in the last authoritarian monarchy on the continent sends the wrong message. Shortly before Mr. Rooney's report, democracy activists had been attacked by Swazi police with rubber bullets and tear gas, suggesting that Swaziland's current dictator is not receptive to the rumblings of democracy. To hold the Bushfire Festival would tend to promote Swaziland's king as a socially responsible leader, when they felt he clearly was not.

To the Bushfire Festival's credit, as well as that of the democracy activists in Swaziland, this issue was resolved shortly before the festival took place in May. On May 13, 2011 Louise Redvers reported that the boycott had been called off as a result of talks between the two organizations. While continuing to emphasize the need for democratic reform in Swaziland, the democratic activists also became public supporters of the benefits the Bushfire Festival provides for the poor and underprivileged. Accomplishing this change is yet another support for the idea that the Bushfire Festival is a true celebration of creativity that supports genuine social responsibility.

In a world where social responsibility is desperately needed, but genuine altruism is a rarity, the Bushfire Festival stands out as a success. It is refreshing to know that there are people around the world willing to work for the benefit of those in need while supporting the artistic evolution of mankind.

Cecelia Owens loves travel and she does freelance writing for the top South African travel comparison website, where she also wrote the blog post "The Bush Fire Festival in Swaziland" which you can read here.

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