Thursday, August 23, 2007
Monday, August 13, 2007
Patton (DVD) Review
Patton (DVD) Review
by: Britt Gillette
Nominated for ten Academy Awards, and winner of seven including Best Picture, Patton is one of the most inspirational and interesting biographies ever produced on the big screen. Cast in the title role, George C. Scott won the Oscar for Best Actor in a Leading Role, but refused to accept the award because he didn't consider himself in competition with other actors. With brilliant direction, cinematography, visual effects, and an original musical score (by Jerry Goldsmith) - themselves all nominated for Academy Awards - Patton stacks up as one of the best films of all time from any genre…
Patton follows the life of George S. Patton (George C. Scott), famous Allied tank commander from World War II. Beginning with his exploits in North Africa, Patton follows the career of this bombastic general through the D-Day invasion (in which he would act as a decoy), the Battle of the Bulge, and the liberation of Germany. Throughout the process, viewers are privy to the ongoing behind-the-scenes actions of a man famous for his temper and infamous among his peers for his insubordination.
Along the way, Patton must learn to deal with his contemporaries, men such as General Dwight D. Eisenhower, General Omar Bradley (Karl Malden), and Field Marshal Bernard Montgomery (Michael Bates). Despite his display of military genius in the field of battle (garnering the fear of his German enemies), Patton is relieved from his post as Occupation Commander of Germany because of the many faults he exhibits. A military historian who believed he was destined for greatness throughout the ages, Patton loved war. In fact, once the war ended, he died within a few months when he was killed in a car accident…
George C. Scott turns in a memorable performance as the large-than-life Patton. With an overpowering personality and a domineering will, George Patton led his men to victory in one of the most pivotal wars for freedom the world has ever witnessed. Politically-incorrect by every standard of today's measure, the real Patton wouldn't last a minute in today's military. Ironic, because that same military would acknowledge him as one of the greatest generals of its hallowed past! Nevertheless, Patton's legacy endures through our memories and through this film, and the lessons of his life continue to inspire people to this day (people who hopefully use a bit more tact and subtlety in asserting their desires)…
Overall, Patton is a blockbuster film even by today's standards. Despite vast improvements in the realm of filmmaking, Patton (released in 1970) remains unrivaled in its portrayal of one of America's greatest heroes. The battle scenes are especially realistic, and decades before Saving Private Ryan, they vividly illustrated the serious horrors of war. One of the greatest films of the 20th Century, written about one of the greatest figures of the 20th Century, Patton is a definite must-see film for any serious aficionado of movies.
by: Britt Gillette
Nominated for ten Academy Awards, and winner of seven including Best Picture, Patton is one of the most inspirational and interesting biographies ever produced on the big screen. Cast in the title role, George C. Scott won the Oscar for Best Actor in a Leading Role, but refused to accept the award because he didn't consider himself in competition with other actors. With brilliant direction, cinematography, visual effects, and an original musical score (by Jerry Goldsmith) - themselves all nominated for Academy Awards - Patton stacks up as one of the best films of all time from any genre…
Patton follows the life of George S. Patton (George C. Scott), famous Allied tank commander from World War II. Beginning with his exploits in North Africa, Patton follows the career of this bombastic general through the D-Day invasion (in which he would act as a decoy), the Battle of the Bulge, and the liberation of Germany. Throughout the process, viewers are privy to the ongoing behind-the-scenes actions of a man famous for his temper and infamous among his peers for his insubordination.
Along the way, Patton must learn to deal with his contemporaries, men such as General Dwight D. Eisenhower, General Omar Bradley (Karl Malden), and Field Marshal Bernard Montgomery (Michael Bates). Despite his display of military genius in the field of battle (garnering the fear of his German enemies), Patton is relieved from his post as Occupation Commander of Germany because of the many faults he exhibits. A military historian who believed he was destined for greatness throughout the ages, Patton loved war. In fact, once the war ended, he died within a few months when he was killed in a car accident…
George C. Scott turns in a memorable performance as the large-than-life Patton. With an overpowering personality and a domineering will, George Patton led his men to victory in one of the most pivotal wars for freedom the world has ever witnessed. Politically-incorrect by every standard of today's measure, the real Patton wouldn't last a minute in today's military. Ironic, because that same military would acknowledge him as one of the greatest generals of its hallowed past! Nevertheless, Patton's legacy endures through our memories and through this film, and the lessons of his life continue to inspire people to this day (people who hopefully use a bit more tact and subtlety in asserting their desires)…
Overall, Patton is a blockbuster film even by today's standards. Despite vast improvements in the realm of filmmaking, Patton (released in 1970) remains unrivaled in its portrayal of one of America's greatest heroes. The battle scenes are especially realistic, and decades before Saving Private Ryan, they vividly illustrated the serious horrors of war. One of the greatest films of the 20th Century, written about one of the greatest figures of the 20th Century, Patton is a definite must-see film for any serious aficionado of movies.
National Lampoon's Animal House (DVD) Review
National Lampoon's Animal House (DVD) Review
by: Britt Gillette
Arriving on the scene in 1978, Animal House is the blockbuster frat house comedy that rewrote all the rules and created a generation of filmmakers hoping to replicate its comic genius. Original Saturday Night Live cast member John Belushi turned in a breakout film performance that made him a comedy rock star, propelling him to further fame with the release of Blues Brothers (1980). Tim Matheson also has his breakout role in the cult classic which features appearances by actors Mark Metcalf ("the Maestro" from Seinfeld), Donald Sutherland, and Kevin Bacon.
The film is set at fictional Faber College in the 1960s. Two incoming freshmen roommates, Larry Kroger (Tom Hulce) and Kent Dorfman (Stephen Furst), visit the various fraternities on campus in an effort to find a good group with which to socialize. But the two get more than they bargain for when the meet the guys of Delta House - a ragtag bunch of beer-swilling, womanizing, party animals. The group is the complete opposite of another campus fraternity, Omega House, headed by the snide, condescending preppies Greg Marmalard (James Daughton), Doug Neidermeyer (Mark Metcalf), and Chip Diller (Kevin Bacon). Favorites of Dean Wormer, the Omega House continually taunts Delta House and conspires with Dean Wormer to have the members of Delta expelled and their fraternity banned.
Leading the charge for Delta House is John "Bluto" Blutarsky (John Belushi), ladies man Eric "Otter" Stratton (Tim Matheson), and Donald "Boon" Schoenstein (Peter Riegert). Pledging Delta House, Larry and Kent are given the nicknames, Pinto and Flounder. Brought into the fold, they witness the true diversity of characters they are now brothers with. Otter seduces Dean Wormer's wife, and Bluto spits egg on Greg Marmalard while Boon and his girlfriend work through their problems.
Things go well for the men of Delta House until Dean Wormer calls them into his office and places them on "Double Secret Probation". With Omega and Wormer aligned against them, Delta House is kicked off campus and its members expelled. But the great men of Delta refuse to go down without a fight. With the Homecoming parade set to begin, they unleash a fury of revenge on Wormer and company.
At the conclusion of the film, we learn of the whereabouts of all the various characters. The timeless humor of this film makes it no wonder that it has ascended to cult classic status. An original and witty comedy wielding a trailblazing influence on teen/college comedies, Animal House has earned its place in the hallowed halls of American cinematic classics.
by: Britt Gillette
Arriving on the scene in 1978, Animal House is the blockbuster frat house comedy that rewrote all the rules and created a generation of filmmakers hoping to replicate its comic genius. Original Saturday Night Live cast member John Belushi turned in a breakout film performance that made him a comedy rock star, propelling him to further fame with the release of Blues Brothers (1980). Tim Matheson also has his breakout role in the cult classic which features appearances by actors Mark Metcalf ("the Maestro" from Seinfeld), Donald Sutherland, and Kevin Bacon.
The film is set at fictional Faber College in the 1960s. Two incoming freshmen roommates, Larry Kroger (Tom Hulce) and Kent Dorfman (Stephen Furst), visit the various fraternities on campus in an effort to find a good group with which to socialize. But the two get more than they bargain for when the meet the guys of Delta House - a ragtag bunch of beer-swilling, womanizing, party animals. The group is the complete opposite of another campus fraternity, Omega House, headed by the snide, condescending preppies Greg Marmalard (James Daughton), Doug Neidermeyer (Mark Metcalf), and Chip Diller (Kevin Bacon). Favorites of Dean Wormer, the Omega House continually taunts Delta House and conspires with Dean Wormer to have the members of Delta expelled and their fraternity banned.
Leading the charge for Delta House is John "Bluto" Blutarsky (John Belushi), ladies man Eric "Otter" Stratton (Tim Matheson), and Donald "Boon" Schoenstein (Peter Riegert). Pledging Delta House, Larry and Kent are given the nicknames, Pinto and Flounder. Brought into the fold, they witness the true diversity of characters they are now brothers with. Otter seduces Dean Wormer's wife, and Bluto spits egg on Greg Marmalard while Boon and his girlfriend work through their problems.
Things go well for the men of Delta House until Dean Wormer calls them into his office and places them on "Double Secret Probation". With Omega and Wormer aligned against them, Delta House is kicked off campus and its members expelled. But the great men of Delta refuse to go down without a fight. With the Homecoming parade set to begin, they unleash a fury of revenge on Wormer and company.
At the conclusion of the film, we learn of the whereabouts of all the various characters. The timeless humor of this film makes it no wonder that it has ascended to cult classic status. An original and witty comedy wielding a trailblazing influence on teen/college comedies, Animal House has earned its place in the hallowed halls of American cinematic classics.
History of the Synthesizer - A Brief Look Back
History of the Synthesizer - A Brief Look Back
by: Don Lair
The synthesizer was a long time in the making. The history of the synthesizer is one that goes back long before electricity – many of early composers conceived of the concept, but could never put it into practice. In fact, it would take the invention of the silicon chip to make synthesizers possible.
The first synthesizers were very crude in their abilities. They date back well over 50 years. They were wired manually to create a given sound. They consisted of an oscillator, or tone generators, in one of three basic waveforms. These were sawtooth, square, or sine waves. This signal was then passed through several other modules to alter the initial tone. These first synthesizers were not triggered by a keyboard like they are today and they were abstract in their uses.
It didn’t take long for many rock musicians in the 60’s and 70’s to realize the benefits of these instruments. Many companies were formed in these days. For example, Moog, Arp, and Oberheim were some of the manufacturers that would produce the first synthesizers. Most of these first models were only able to produce one note at a time. In 1978, the first polyphonic units were created. They were still typically analog in their design and had a very distinct sound.
Dates To Know:
1940’s and 1950’s: A variety of different automated electronic musical controllers were built.
1950: RCA produces an experimental device that synthesizes voice and music.
1958: Daphne Oram from BBC Radiophoic Workshop produces the Oramics technique.
1960’s: Real time synthesizers were designed but were mainly used in studios. They were simply too large.
1964: The Moog Synthesizer was the first to be displayed at Audio Engineering Society Convention. Four years later, it was a hot product.
1967: The album Pisces, Aquarius, Capricorn, & Jones, Ltd became the first album to hit number one with a synthesizer used on it. It was from The Monkees’.
1970: The first synthesizer with a built in keyboard was designed by Moog.
Synthesizers enjoyed many innovations over the course of the following few years. They would become self contained and then movable, allowing them to be used throughout the home and recording studios. The synthesizer has continued to evolve and is widely used today.
by: Don Lair
The synthesizer was a long time in the making. The history of the synthesizer is one that goes back long before electricity – many of early composers conceived of the concept, but could never put it into practice. In fact, it would take the invention of the silicon chip to make synthesizers possible.
The first synthesizers were very crude in their abilities. They date back well over 50 years. They were wired manually to create a given sound. They consisted of an oscillator, or tone generators, in one of three basic waveforms. These were sawtooth, square, or sine waves. This signal was then passed through several other modules to alter the initial tone. These first synthesizers were not triggered by a keyboard like they are today and they were abstract in their uses.
It didn’t take long for many rock musicians in the 60’s and 70’s to realize the benefits of these instruments. Many companies were formed in these days. For example, Moog, Arp, and Oberheim were some of the manufacturers that would produce the first synthesizers. Most of these first models were only able to produce one note at a time. In 1978, the first polyphonic units were created. They were still typically analog in their design and had a very distinct sound.
Dates To Know:
1940’s and 1950’s: A variety of different automated electronic musical controllers were built.
1950: RCA produces an experimental device that synthesizes voice and music.
1958: Daphne Oram from BBC Radiophoic Workshop produces the Oramics technique.
1960’s: Real time synthesizers were designed but were mainly used in studios. They were simply too large.
1964: The Moog Synthesizer was the first to be displayed at Audio Engineering Society Convention. Four years later, it was a hot product.
1967: The album Pisces, Aquarius, Capricorn, & Jones, Ltd became the first album to hit number one with a synthesizer used on it. It was from The Monkees’.
1970: The first synthesizer with a built in keyboard was designed by Moog.
Synthesizers enjoyed many innovations over the course of the following few years. They would become self contained and then movable, allowing them to be used throughout the home and recording studios. The synthesizer has continued to evolve and is widely used today.
Agent or Manager?
Agent or Manager?
by: Sacreeta Veneficus
How To Get An Agent Or Manager
What is the difference between a manager, and an agent?
Glad you asked. It’s quite simple really.
A manager offers a service to you that entails zoning in on your strengths and weaknesses. They can direct you to the type of acting classes you need, according to your current skill level. They can help you rehearse, support you in your goal setting and point you in the right direction, especially when you are so overwhelmed you aren’t sure where to start.
An agent finds and books you auditions. They hunt down casting calls, make bookings, negotiate the contracts, and basically do the leg work for your career. They normally charge 10% of what you are paid, and at the end of the day, that’s fair. If you have both a manager and an agent, it’s OK for them to know about each other. Having them develop a relationship centered on your career actually strengthens your chances at success.
One neat trick in obtaining a good manager or agent is to send out invitations to one of your productions. In standup comedy or theater, you’d be surprised how well that works. It’s also good to have agents hear about you through referrals. If you are in a production, or have done some good work for a casting director, networking with those contacts might be another great way to go.
An agent-client relationship is mutual. They require something from you, in the form of marketable talent, and you require something from them: marketing your talent. Having an agent speak your language, meaning that you both have the same goals for your career, is prudent. Just try to keep it in perspective: you are the hirer, who enlisted them to fulfill the duties necessary to handle your career, and they work hard, and get paid when you do.
Getting an interview with an agent or talent manager doesn’t necessarily mean they will take your career in their capable hands. You have a window of opportunity to convince them that if they find you work, you won’t let them down. Be punctual and polite, keep any "artist attitude" in check, have an 8x10 head shot, and don’t forget to have your resume, with the list of credits, if any, in hand ready to be discussed.
Before walking in there, have a mental note of what it is you are looking for in an agent, and in your career. Have realistic expectations. If you have no experience, don’t walk in their office feeling disappointed they haven’t told you they will make you a star. That is something a dishonest agent would tell you, and you need honesty. Always remember that if you are starting out, expect to be treated as a rookie. It's not disrespect, it’s honesty. And hiring someone honest is far better than someone who will leave your portfolio filed under D, for dust collector.
Don’t forget to consider if you are ready for union or non-union work. It’s important to be clear on that aspect. Newcomers who try to work into the union too soon often have a difficult time, as they can no longer have the luxury of taking on non-union jobs to build up credits. Union workers get jobs based on credits mostly, and taking the plunge is a great idea after you have become established.
Gaining agent or manager representation is something not to be rushed into. Taking on the first agent who comes along could be as risky as buying the first second-hand car you were offered. While an agent isn't a used car, the hunt is very similar. You want to kick the tires, see how many miles are on it, what its performance is like. Agents are pretty much the same. It PAYS to check them out before you make any deals with them. Here are a few links where you can find an agent and check their credentials.
LINKS
AGENTS:
http://www.Agentassociation.com/
http://www.sag.org/sagWebApp/index.jsp
MANAGERS
http://www.talentManagers.org/
http://www.ncopm.com/
Don’t be afraid to compromise with an agent. They are in the business to help you, as helping you at the end of the day helps them. If they suggest you get a better headshot or take some acting classes that's fine, as long as they aren’t dictating which photographer/school you must attend. If they try to specify, be careful. They could be scamming you. A good agent could suggest a few reputable schools, or YOU could suggest to them that the Kamitic Acting System is one they should be suggesting.
Take their advice seriously. If they want you to take a job you feel is beneath you, and your wonderful talent, try to see it from their point of view. If you are new, they have actors more qualified than you, and there’s a reason they are more qualified. Keep doing the work offered, and soon you will be one the more qualified actors with plenty of credits to your name.
Before, during and after obtaining an agent, do one thing: work. Take all the work you can get! It doesn’t matter if it’s a student film, theater, commercials, videos, non-union (if you are not union yourself), or anything else. Attend acting classes, hone your special skills, like dancing, singing and projecting, and grow your image by nurturing your resume.
Don’t constantly bother your agent! Don’t call them several times a day to check in to see if anything new has popped up. They aren’t going to have time to find you work if you keep them busy telling you that they are trying to get you off the phone to find you work.
Next, be sure to have a set time when you can meet with your agent by phone or in person. Keep them updated with the NEW things you have been adding to your resume, as you work and take classes. They will be impressed by how hard you work, and how dedicated you are, and will be excited enough to keep up the good work on your behalf.
Lastly, a reminder that in this business, not everything or everyone is as they seem. There are scammers not only online, but in offices and on movie sets. Always remember to be alert. If you are in an office that has its walls filled with photos of famous people, and it is in a run-down building that ought to be condemned, chances are it’s too good to be true, and it’s time to keep looking. If they ask you for upfront fees, thank them so much for their kindness, leave, and throw their business card in the nearest trash can. If they guarantee they can make you a star, toss that card, too.
And lastly, and I cannot say this enough, always check them out. Look on the links provided above, do runs on their names, go on actors' blogs and ask if anyone has worked with them. Check out their credentials. You do not want to sign a contract with them, to make you sit on your hands for 2 years or more, when they don’t intend to move your career.
Peace and Love,
Sacreeta
by: Sacreeta Veneficus
How To Get An Agent Or Manager
What is the difference between a manager, and an agent?
Glad you asked. It’s quite simple really.
A manager offers a service to you that entails zoning in on your strengths and weaknesses. They can direct you to the type of acting classes you need, according to your current skill level. They can help you rehearse, support you in your goal setting and point you in the right direction, especially when you are so overwhelmed you aren’t sure where to start.
An agent finds and books you auditions. They hunt down casting calls, make bookings, negotiate the contracts, and basically do the leg work for your career. They normally charge 10% of what you are paid, and at the end of the day, that’s fair. If you have both a manager and an agent, it’s OK for them to know about each other. Having them develop a relationship centered on your career actually strengthens your chances at success.
One neat trick in obtaining a good manager or agent is to send out invitations to one of your productions. In standup comedy or theater, you’d be surprised how well that works. It’s also good to have agents hear about you through referrals. If you are in a production, or have done some good work for a casting director, networking with those contacts might be another great way to go.
An agent-client relationship is mutual. They require something from you, in the form of marketable talent, and you require something from them: marketing your talent. Having an agent speak your language, meaning that you both have the same goals for your career, is prudent. Just try to keep it in perspective: you are the hirer, who enlisted them to fulfill the duties necessary to handle your career, and they work hard, and get paid when you do.
Getting an interview with an agent or talent manager doesn’t necessarily mean they will take your career in their capable hands. You have a window of opportunity to convince them that if they find you work, you won’t let them down. Be punctual and polite, keep any "artist attitude" in check, have an 8x10 head shot, and don’t forget to have your resume, with the list of credits, if any, in hand ready to be discussed.
Before walking in there, have a mental note of what it is you are looking for in an agent, and in your career. Have realistic expectations. If you have no experience, don’t walk in their office feeling disappointed they haven’t told you they will make you a star. That is something a dishonest agent would tell you, and you need honesty. Always remember that if you are starting out, expect to be treated as a rookie. It's not disrespect, it’s honesty. And hiring someone honest is far better than someone who will leave your portfolio filed under D, for dust collector.
Don’t forget to consider if you are ready for union or non-union work. It’s important to be clear on that aspect. Newcomers who try to work into the union too soon often have a difficult time, as they can no longer have the luxury of taking on non-union jobs to build up credits. Union workers get jobs based on credits mostly, and taking the plunge is a great idea after you have become established.
Gaining agent or manager representation is something not to be rushed into. Taking on the first agent who comes along could be as risky as buying the first second-hand car you were offered. While an agent isn't a used car, the hunt is very similar. You want to kick the tires, see how many miles are on it, what its performance is like. Agents are pretty much the same. It PAYS to check them out before you make any deals with them. Here are a few links where you can find an agent and check their credentials.
LINKS
AGENTS:
http://www.Agentassociation.com/
http://www.sag.org/sagWebApp/index.jsp
MANAGERS
http://www.talentManagers.org/
http://www.ncopm.com/
Don’t be afraid to compromise with an agent. They are in the business to help you, as helping you at the end of the day helps them. If they suggest you get a better headshot or take some acting classes that's fine, as long as they aren’t dictating which photographer/school you must attend. If they try to specify, be careful. They could be scamming you. A good agent could suggest a few reputable schools, or YOU could suggest to them that the Kamitic Acting System is one they should be suggesting.
Take their advice seriously. If they want you to take a job you feel is beneath you, and your wonderful talent, try to see it from their point of view. If you are new, they have actors more qualified than you, and there’s a reason they are more qualified. Keep doing the work offered, and soon you will be one the more qualified actors with plenty of credits to your name.
Before, during and after obtaining an agent, do one thing: work. Take all the work you can get! It doesn’t matter if it’s a student film, theater, commercials, videos, non-union (if you are not union yourself), or anything else. Attend acting classes, hone your special skills, like dancing, singing and projecting, and grow your image by nurturing your resume.
Don’t constantly bother your agent! Don’t call them several times a day to check in to see if anything new has popped up. They aren’t going to have time to find you work if you keep them busy telling you that they are trying to get you off the phone to find you work.
Next, be sure to have a set time when you can meet with your agent by phone or in person. Keep them updated with the NEW things you have been adding to your resume, as you work and take classes. They will be impressed by how hard you work, and how dedicated you are, and will be excited enough to keep up the good work on your behalf.
Lastly, a reminder that in this business, not everything or everyone is as they seem. There are scammers not only online, but in offices and on movie sets. Always remember to be alert. If you are in an office that has its walls filled with photos of famous people, and it is in a run-down building that ought to be condemned, chances are it’s too good to be true, and it’s time to keep looking. If they ask you for upfront fees, thank them so much for their kindness, leave, and throw their business card in the nearest trash can. If they guarantee they can make you a star, toss that card, too.
And lastly, and I cannot say this enough, always check them out. Look on the links provided above, do runs on their names, go on actors' blogs and ask if anyone has worked with them. Check out their credentials. You do not want to sign a contract with them, to make you sit on your hands for 2 years or more, when they don’t intend to move your career.
Peace and Love,
Sacreeta
Movie Downloads Online - What's The Best Way?
Movie Downloads Online - What's The Best Way?
by: Jonathan Teabing
Today, more and more people understand that having a subscription at a video store is simply does not meet their needs. Instead, they turn to online movie downloads to provide them with films they wish to watch.
This happens for several reasons, where the top reasons are dramatically reduced costs, larger title selection and time saving.
Now, there are basically two online downloading models for movies:
One website supplies content to members. Typically, these websites charge a per-movie fee of several dollars (2$--4$ usually). However, some also charge a monthly fee of about 10$.
A website provides membership to a network of users, where each member has several movies on his or hers computer. You can download movies from every person on the network. These sites typically charge a one-time fee of about 35-50$ for registration, and you are never billed again.
The model that gives the best value to the end-user is irrevocably the member-network model. I will therefore elaborate on this model:
After registering, the website provides you with a software to access the network.
The network consists of millions of users just like yourself. Each member of the network has at least several movie files on his computer. Every member can download movies from any other member. This way you have up to millions of users sharing their movies with you. Because of the vast number of members in a network, the quantity of movies can be in the range of dozens of millions.
A good website will provide you with manuals on software installation and operation, as well as high-availability technical support (some sites provide a 24/7 support system).
Most of the movie networks are more than just movie networks - they contain files of virtually any type - music, software, etc. Some sites will charge you extra for access to music directories.
How long does it take to download an entire film?
Most of the time, download will be completed in a matter of hours. The time may vary, as it depends on two factors:
Your download speed. If you have a broadband connection, you'll be able to download much faster than a member with a dial-up modem.
The number of users that have the movie you're downloading, and their upload speed.
In order to bring the download time to a minimum, files are usually split into several relatively small parts, and you can download each part from a different member, so you are far less limited by a specific member's upload speed. Each network has its own algorithms for managing this split-into-files, so the time of download might still be considerably different between every two networks.
So how do you choose the download network that's right for you?
You need to compare:
The cost of the program. make sure that the prices you compare are for the same time period! Often a website would offer a one-year membership as well as a lifetime membership.
The number of users and movies on the network.
Additional features supplied - music, software downloads, games, etc. Music playing software, movie playing software and CD & DVD burning software are also common features.
And finally, one note on cautious shopping: Too many times, innocent customers fall into the clutches of scams to steal credit card numbers and other personal information. For a short review that will help you avoid the most common mistakes (and learn a little about movie download sites in particular), you are welcome to visit this site.
by: Jonathan Teabing
Today, more and more people understand that having a subscription at a video store is simply does not meet their needs. Instead, they turn to online movie downloads to provide them with films they wish to watch.
This happens for several reasons, where the top reasons are dramatically reduced costs, larger title selection and time saving.
Now, there are basically two online downloading models for movies:
One website supplies content to members. Typically, these websites charge a per-movie fee of several dollars (2$--4$ usually). However, some also charge a monthly fee of about 10$.
A website provides membership to a network of users, where each member has several movies on his or hers computer. You can download movies from every person on the network. These sites typically charge a one-time fee of about 35-50$ for registration, and you are never billed again.
The model that gives the best value to the end-user is irrevocably the member-network model. I will therefore elaborate on this model:
After registering, the website provides you with a software to access the network.
The network consists of millions of users just like yourself. Each member of the network has at least several movie files on his computer. Every member can download movies from any other member. This way you have up to millions of users sharing their movies with you. Because of the vast number of members in a network, the quantity of movies can be in the range of dozens of millions.
A good website will provide you with manuals on software installation and operation, as well as high-availability technical support (some sites provide a 24/7 support system).
Most of the movie networks are more than just movie networks - they contain files of virtually any type - music, software, etc. Some sites will charge you extra for access to music directories.
How long does it take to download an entire film?
Most of the time, download will be completed in a matter of hours. The time may vary, as it depends on two factors:
Your download speed. If you have a broadband connection, you'll be able to download much faster than a member with a dial-up modem.
The number of users that have the movie you're downloading, and their upload speed.
In order to bring the download time to a minimum, files are usually split into several relatively small parts, and you can download each part from a different member, so you are far less limited by a specific member's upload speed. Each network has its own algorithms for managing this split-into-files, so the time of download might still be considerably different between every two networks.
So how do you choose the download network that's right for you?
You need to compare:
The cost of the program. make sure that the prices you compare are for the same time period! Often a website would offer a one-year membership as well as a lifetime membership.
The number of users and movies on the network.
Additional features supplied - music, software downloads, games, etc. Music playing software, movie playing software and CD & DVD burning software are also common features.
And finally, one note on cautious shopping: Too many times, innocent customers fall into the clutches of scams to steal credit card numbers and other personal information. For a short review that will help you avoid the most common mistakes (and learn a little about movie download sites in particular), you are welcome to visit this site.
How To Be Successful At Practicing The Guitar
How To Be Successful At Practicing The Guitar
by: Mike Hayes
Practice: to work on something repeatedly for the purpose of improvement.
That says a lot. It tells you what to do (work), how (repeatedly), and why (to improve).
Once you understand what "practice" is, you can proceed to learn how to use this new tool to your best advantage.
1. TUNE UP: It's important to play music at correct concert pitch.
2. WARM UP: Play through an easy piece, slowly. The idea here is to loosen up your muscles. Don't play anything that is hard or fast.
3. DIRECTION: Before you go any further, settle your mind upon what it is you wish to achieve today. At this point it's important to remember two things.
a. You are practicing to improve. this means getting results.
b. You learn the guitar, or grow into music, in the same way you grow into an adult - over a period of time. You may experience fast progress, or experience a slow gradual growth. There may even be times when you don't seem to progress at all.
However, if your practice program is directed towards results (whether they come fast or slow), you'll see them soon enough - providing you keep on working systematically at your study program. Don't be overly concerned about mistakes - if you keep looking for mistakes, you'll succeed in finding mistakes - and very little else.
4. TODAY'S PROBLEMS - YOUR CURRENT LESON: Here you confront new material that must be learnt. As you progress, this part of your practice schedule will change. That is to say, as you complete one assignment you will move on to the next. (Keep working with the thought in mind that you are practicing to improve).
5. REPEAT: In learnng the guitar there are three things you're doing.
a. Acquiring and storing information in your memory.
b. Developing muscles.
c. Developing muscular and mental co-ordination.
Usually you will be working on all three at the same time, although from time to time you will encounter information that uses only the first process.
You will make the best progress by repeating any new idea's over and over until it is properly internalized.
6. MAKE NOTES: Get out a piece of paper and write down your questions, problems, discoveries, things that seem to keep going wrong, things that seem to need extra work etc. If you make notes about the problem areas, you'll find answers to your questions, solve your problems, remember your discoveries, and save a lot of time.
8. WORK SLOW TO FAST: When learning is new, go slowly. As you improve. you will naturally play the assignment faster. Don't think about playing anything fast until you have properly worked it out.
9. RELAX: Stay as relaxed as you can. Steps five, seven and eight are especially helpful in doing this. You should also understand that when the material is new, you will naturally be more intense - you may even find your muscles tightening up. As you come to know the material you should be able to relax more, but you must think about it. Feel the muscles - try to make them relax. Remember too, that you can tense up just from an excess of concentration - so that's a good reason for taking regular breaks.
10. WORK ON THE PARTS: If you're having a problem with something, take it apart. With every few exceptions, you play the guitar with two hands. They both work together to produce one result. This means that the combination of the two moving together could be causing the problem. Work on developing right and left hand synchronization.
11. Review: At the end of your practice session, go over your lesson and give some extra attention where it's needed. This could also include past assignments that still need additional attention. Use a review as a way to wrap up you day's practice.
by: Mike Hayes
Practice: to work on something repeatedly for the purpose of improvement.
That says a lot. It tells you what to do (work), how (repeatedly), and why (to improve).
Once you understand what "practice" is, you can proceed to learn how to use this new tool to your best advantage.
1. TUNE UP: It's important to play music at correct concert pitch.
2. WARM UP: Play through an easy piece, slowly. The idea here is to loosen up your muscles. Don't play anything that is hard or fast.
3. DIRECTION: Before you go any further, settle your mind upon what it is you wish to achieve today. At this point it's important to remember two things.
a. You are practicing to improve. this means getting results.
b. You learn the guitar, or grow into music, in the same way you grow into an adult - over a period of time. You may experience fast progress, or experience a slow gradual growth. There may even be times when you don't seem to progress at all.
However, if your practice program is directed towards results (whether they come fast or slow), you'll see them soon enough - providing you keep on working systematically at your study program. Don't be overly concerned about mistakes - if you keep looking for mistakes, you'll succeed in finding mistakes - and very little else.
4. TODAY'S PROBLEMS - YOUR CURRENT LESON: Here you confront new material that must be learnt. As you progress, this part of your practice schedule will change. That is to say, as you complete one assignment you will move on to the next. (Keep working with the thought in mind that you are practicing to improve).
5. REPEAT: In learnng the guitar there are three things you're doing.
a. Acquiring and storing information in your memory.
b. Developing muscles.
c. Developing muscular and mental co-ordination.
Usually you will be working on all three at the same time, although from time to time you will encounter information that uses only the first process.
You will make the best progress by repeating any new idea's over and over until it is properly internalized.
6. MAKE NOTES: Get out a piece of paper and write down your questions, problems, discoveries, things that seem to keep going wrong, things that seem to need extra work etc. If you make notes about the problem areas, you'll find answers to your questions, solve your problems, remember your discoveries, and save a lot of time.
8. WORK SLOW TO FAST: When learning is new, go slowly. As you improve. you will naturally play the assignment faster. Don't think about playing anything fast until you have properly worked it out.
9. RELAX: Stay as relaxed as you can. Steps five, seven and eight are especially helpful in doing this. You should also understand that when the material is new, you will naturally be more intense - you may even find your muscles tightening up. As you come to know the material you should be able to relax more, but you must think about it. Feel the muscles - try to make them relax. Remember too, that you can tense up just from an excess of concentration - so that's a good reason for taking regular breaks.
10. WORK ON THE PARTS: If you're having a problem with something, take it apart. With every few exceptions, you play the guitar with two hands. They both work together to produce one result. This means that the combination of the two moving together could be causing the problem. Work on developing right and left hand synchronization.
11. Review: At the end of your practice session, go over your lesson and give some extra attention where it's needed. This could also include past assignments that still need additional attention. Use a review as a way to wrap up you day's practice.
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