Music Downloads

Michael P. Connelly
192

Commitment is an independent filmmaker’s most valuable resource. Without a lot of money to grease the wheels of production, a low budget film producer must rely on creativity and determination to get their films made. If a person wants to get their film made badly enough, there is not much in this world that can stop it from happening.
Making a film on your own with your own money is a very daunting task. It can also be very rewarding. When you decide to take on the awesome responsibility of writing, directing, and producing your own independent film, you better know what you are getting into beforehand. Once you set the ball in motion, there is no going back. You either succeed and your film makes to the film festival circuit (which is a major accomplishment in and of itself), or you crash and burn halfway through the film production process and your film vision never sees the light of day.
The next time you watch a movie I suggest that you pay particular attention to the credits at the end of the film. Take a look at how many names scroll across the screen and this will give you an idea of how much work goes into the making of a motion picture. Then take away all of the names on the screen and picture your name in front of every credit for every job and this will give you an idea of much work YOU will have to do to make your own movie.
When I first graduated from film school I hit the ground running. I landed a decent job as the Director and Animator on an independent film that had Pat Boone’s name attached to it. I was to hired to film clay animation stories about The Bible. I worked on that job for about four months and was paid fairly well for my efforts. I decided that the best thing I could do with the money I saved was to make another film. I would take the knowledge and money I gained and use it for my own benefit. I decided to make my own movie with the idea in mind that I would enter it in on the film festival circuit and hopefully win some awards. If that happened it would almost certainly be a boost for my fledgling film career.
I wrote a script for a short film that involved a combination of clay animation and live action, and I was ready to make a film. My plan was to use all of my knowledge and talent and do almost all the work. For the parts that I could not do myself I would hire friends and business associates at a substantially discounted rate. These people agreed to work for cheap in return for a little creative control, a credit for their demo reel, and possibly exposure if the film does well at any major film festivals. I only had to hire them for the filming of the live action scenes and for some of the post production work (like sound design, mixing, foley sound effects, etc…). The animation I would do entirely on my own.
I contacted a couple of friends of mine that managed camera and sound equipment rental houses. They set me up with a 16mm camera package and a DAT (digital audio tape) package to rent at discounted prices. I rented these packages on a weekend (to get the extra 2 days for free) and I started filming the live action part of my film right away.
I worked extremely hard that first weekend. I basically filmed most of the time with only about two to three hours of sleep each day. When I was not filming/acting/directing, I was setting up lights, moving furniture, making meals for everyone, setting up props, distributing and apply makeup, rehearsing with actors, fixing costumes, and performing script rewrites on the set, to name only a few things. By the time Monday morning rolled around, I was mentally and physically exhausted, but I still had to bring back the camera and sound equipment packages by 10:00 am or I would be charged for another day of rental. You do not have that luxury to just sleep in and not worry about it when you are making an independent film on a shoestring budget. There is no rest for the weary when you are making your own movie. Time is money, and you do not have a lot of either one of these resources.
I returned the camera and sound equipment packages just in time on Monday morning. Then I went straight to the film lab and dropped off my film. I then made an appointment for the following week (the soonest date I could get) to see my dailies (developed film), and counted the days until the day of my appointment arrived.
I arrived at the film lab a half hour early for my appointment to see my dailies. As I sat in the lobby waiting for my big moment, I began to get very nervous. Unnerving thoughts began to fill my head. What if one of the rolls of film somehow got damaged in the lab? Maybe the machine that develops the film broke when my film was running through it and all of my film rolls are scratched? What if the cameraman I hired was not as good as his demo reel implied and all my rolls are under or over exposed? What if the guy who took my film at the front desk of the film lab is a disgruntled filmmaker who only took that job so he can ruin other people’s film when they hand it over to him? What if there was a mishap in the film vault involving fire sprinklers and all my rolls of film got ruined? Of course, all of these are irrational thoughts, but nonetheless they are the kind of thoughts that go through the mind of an independent filmmaker as they are quietly waiting in the lobby of a film lab facility prior to their appointment to see the fruits of their efforts.
As it turned out, everything was fine. My dailies looked great and that only inspired me to keep the ball rolling with my film project. I put every ounce of effort that my body and soul possessed into that project, and it paid off. That film (Mike And The Magic Lamp) won several awards at several film contests that year (1998) including a Silver Award at the Houston Worldfest in the same category that had seen past winners with such names as Steven Spielberg, Oliver Stone, and Quentin Tarantino. It was a perfect springboard for my film career. I have made several films since then and all of them have led to bigger and better projects. My latest film is a ninety minute science fiction love story. I already have a couple of distribution offers for this film, and I have yet to enter it in a single film festival. I should be able to make a very decent profit if it does well on the film festival circuit, and I owe it all to my iron resolve to make my film career dream a reality. Where my budget was lacking, my determination picked up the slack.
Copyright 2006. Michael P. Connelly
http://www.makealowbudgetmovie.com Z

Daniel N Brown
314

There are many ways to increase the quality of your drumming and they can all be summarized into these 3 vital steps…
1. Develop Confidence
Many wanna-be musicians will choose the drums because they are shy and want to remain in the background (that’s where I was when I started drumming back in 1976).
The truth is your body may be in the background, but your musical presence will definitely be noticed!
If you are going to be the drummer in a band, then you will be the anchor of the band. The other musicians will be relying on you to provide strong beats that will keep everything together. Everything you do behind your drum set will not only be heard, but felt, simply because you will be the all-important time keeper.
This notion of wanting to be a drummer so you can hide behind a drum set is ridiculous. You’re gonna hide from no one! That’s why it is imperitive to develop confidence in your drumming, and the first way to do that is to forget about the notion that you are hidden. Your mind set should be to establish your place in the band. Know who you are and why you’re there. The rest will then fall into place.
2. Love Your Instrument
If any musician really wants to master their instrument they must absolutely love it. What do I mean “love it?” The best way to understand this is to relate loving your drums to loving a person.
Many people think “love” is a feeling, but it’s not a feeling. For example; I love my wife, but I don’t always like her (I suppose she can probably say the same thing about me).
Love is an action word. It means to adore, care for, learn about, edify, be loyal to, be devoted to, be committed to, support, protect, and promote. When you do these things the feeling of love automatically comes.
So, how can you tell if you really love your drums? You can tell if you love your drums by the priority you put on them. They must have some priority in your life , otherwise your drums are just a little hobby that you will only be mediocre at.
3. Remain Humble
If a drummer really wants to increase his or her level of playing it is critical to remain open minded.
The mind is like a parachute, it only functions when it is open. That’s why it is so important to remain humble. Arrogant drummers never grow beyond their current level of drumming because they don’t think there is any more they can learn. How foolish! There is always more to learn… and any advanced drummer can learn from an intermediate, or even a beginner!
As you continue to learn you will then be able to teach. When you begin teaching, you will be amazed at the additional things you will learn (if you are currently teaching you will understand).
It’s critical to continue to learn and grow if you want to increase your level of drumming, and remaining humble is the only avenue through which you can do this. As with anything else, you must absolutely be confident in what you’re doing and knowledge can make you confident.
Please don’t mistake confidence with arrogance. Confidence is what makes a good drummer a great drummer. Arrogance is what makes a good drummer a lonely drummer! I don’t know about you, but I certainly don’t want to play music with some cocky jerk who thinks he or she is better than everyone else.
Conclusion
When you develop confidence in your purpose as a drummer, learn to love your drums by giving them some priority in your life, altogether with remaining humble, your level of drumming will increase considerably.
Copyright 2006 Daniel N Brown

Dennis Walsh
216

Once you’ve been around the block a few times and tasted what success sounds and feels like, you’ll want to record your own CD. People are drawn to make recordings for many different reasons. Sometimes it’s to advance (or start) a career. Sometimes it’s to give life to new songs or share the music with a wider audience. On a personal level, it can be a memorable creative experience.
Choosing what to record is not the same as selecting music to perform on stage. Your stage how is as much a matter of style and taste as it is image and direction. Concerts are about entertainment and exposing your music. It’s about rapport and applause, giving and taking; building an audience you hope will one day become a following. Concerts promote your music.
Recording is different. A CD is a musical painting. Without the visual benefit of live performance, it comes to matters of hearing and listening. Technology makes it possible to record and market your music at an affordable cost especially if you decide to self-produce your recordings. That can work, up to a point. The production process and studio you select must live up to your expectations and those of your fans.
I’ve had more than a few recording experiences. My first encounter was with a jazz-blues-rock group called Celebration. We couldn’t afford to record but we were writing original material and our fans were asking us to record. In desperation I suppose - better to do something than nothing - we set up a two track recording system in an old church. The acoustics were incredible and the atmosphere was terrific. Looking back, we looking for and expecting a miracle. We were finished in a few hours. Delivering the master tape to an independent record pressing factory, a month later, we sold out the first 500 copies overnight. The sound was awful but somehow we managed to capture the spirit and intent of the band. There wasn’t a single complaint. Still, for obvious reasons, we didn’t make any more copies.
It’s a commonly held belief that all you need is a computer with a sound card and a ‘multimedia microphone’ to record at home. In a sense that’s true. A home studio can be as simple as a cassette deck and an inexpensive microphone set up in the corner of your basement. Roland, Korg and Yamaha offer all-in-one combination digital mixer/hard disk recorder/effects units that are as close to a true ’studio-in-a-box’ as you can get. You may not be entirely satisfied with the results any more than we were with Celebrations first effort..
Moving up in the world, a few years later we recorded at the old Masters Workshop studio on a four track. The sound was a little better. The difference was that I had few expectations. The recording was a demo to be played for a Capitol records A & R man. The quality didn’t have to be there or so I thought. Regrettably, I was wrong. He failed to be impressed by what he considered to be an unprofessional effort. The session was over in thirty seconds; a missed opportunity to impress someone who could have done wonders in launching my career.
There were other experiences and good lessons learned. Don’t expect too much from a home recording. If you want a professional CD good enough to get radio air play or to sell in stores, you’re probably better off making a professional studio recording. The only problem with that is studio time is expensive, unless you have money to burn, you’re going to have to live with the final recording for a long time. It’s a tough decision to make; certainly food for thought.
On a bad day you can’t see the stars. Clouds cover the sun. The air is tough to breathe. Everything seems to go wrong. Nothing feels right. You’ll need all the help you can get. You’ve got nothing to lose. You’ll be ready to try anything. The hottest new Britney Spears recording will sell off the shelf in no time flat. You won’t find it that easy. Music industry dumpsters are filled to overflowing with music that failed to sell. You’ll take what you can get; even a recording contract if it might give you the chance of getting anywhere.
On a good day, the birds sing. The flowers bloom. Everything seems right. It’s a joy to be alive. Nothing can harm you. You’re strong and bold and beautiful. You believe in yourself and know without a doubt that you can’t lose. You’ll do your best to go it alone.
Mass merchandising is a fools game. Sometimes it seems that the only ones who make any money are retailers. Even they make very little in spite of high volume of cash and merchandise changing hands. There are no shortcuts. You’ll need to sell your CD one at a time. If you’re like me, you live in a real world with real problems and real opportunities; a world that doesn’t care. Whether you succeed or fail is of no consequence to anyone but you. Today is the first day of the rest of your life. Only you can decide what kind of day you’re going to have.
As your market grows geographically, covering more and more territory, you’ll find more than a few independent music and book stores will sell your CD. It will get a little easier all the time. Who knows, maybe some day a major label will discover you and make a offer you can’t refuse to record the music you’ve been playing all along.
Dennis Walsh

Steve Morgan
92

One guitarist who plays country, rock and roll, and even the blues, finds that the Fender 62 reissue Telecaster is a great instrument for all three. He uses the pickups of the bridge when playing country music, for blues the neck pickup. His Fender 62 reissue Telecaster was designed in 1983.
This same guitarist has been playing for around thirty years. He bought his Fender 62 reissue Telecaster in the UK. It is a unique color of cherry gray and lighter than a Les Paul. He started out using his Fender 62 reissue, using it with a Roland processor and two twins operating in stereo.
It’s difficult to change the strings quickly, is the only thing negative this veteran guitarist had to say about his 62 Fender. The reason is because the tuners are factory vintage. This reviewer gave the 62 reissue Telecaster a ten out of ten for reliability and durability. For repair or support he has never had to call customer service.
Another guitarist who has been playing his 62 reissue Telecaster for 20 years says the reliability is great. He has never had a problem with it, and continues to keep playing it.

Rita R. Powers
290

It’s not official but Madonna may be bringing her phenomenally
successful CD, Confessions on a Dance Floor, live to a venue near
you. To date, Confessions has sold nearly 1.29 million copies in the
United States alone. It continues to top sales charts in the UK, and
Madonna was recently recognized as the female artist with the most
number one hits in the UK. It seems almost certain that Madonna’s
fan base will soon be pleading for her to finalize preparations for a
Confessions tour. How do we know Madonna may be preparing
for a tour? While not coming out and making it official, she has
made some statements that hint at the possibility.

In a recent interview, Madonna spoke about some performances
she has booked for the near future. She will be performing at the
Coachella Valley Music and Arts Festival in Indio, California, on
April 30, 2006. She said, “I am especially excited about playing
Coachella before I start my own tour.” In some interviews
Madonna even talked about her vision for her next tour, some ideas
she has for its visual presentation on the stage and what the
Confessions on a Dance Floor show will represent for her.

Madonna’s plans for her tour aren’t specifically connected to
Confessions, but when she says things such as, “I want them (the
audience) to feel like they’re inside a disco ball,” it’s hard to imagine
that her vision doesn’t involve Confessions. Other statements like, “I
want a sound system in surround and the dancers personalities to
come out” indicates that a tour for Confessions is highly likely. So
what is all this excitement about?

Confessions, the fourteenth album/CD created by Madonna, is a
mix of anything you want it to be. It’s about power and
empowerment and love and its costs. In this re-invention of
Madonna herself and the disco-era, she has come back with
possibly the best work she has ever done. There are blogs and
message boards full of comments on Confessions. “I never even
liked this woman and I have to say, this is real good stuff,” one
person noted. Other comments include, “Only Madonna could bring
back disco and dance with the popularity it had in the 1970’s.”

It has been suggested that not only will she tour but that she will
focus, as she has in the past, on dance. Wherever Madonna goes
many others follow. She wants people to “get out of their seats” in
response to the music. She wants them to “have a good time
straight through and non-stop.” Considering that one song on the
CD is a hit single and she co-wrote and co-produced Confessions
with Stuart Price, (Madonna’s musical director on her 2002
Drowned World Tour and last summer’s Reinvention Tour) one
may assume that Confessions on a Dance Floor will be a visually
extraordinary concert.

Madonna, of course, didn’t do this all by herself. The genius forces
of musicality that worked with her on Confessions will no doubt
help her make the tour just as successful as the CD. Assistance
from artisans such as Bloosdhy and Avant (Grammy winners), the
producer of Madonna’s last two albums– Mirwais Ahmadzai, and
co-writer Henrik Jonback will bring the live version of Confessions
to the stage.

Madonna’s part in producing this album comes from her fascination
with post modernism and technology. In talking about the making of
Confessions on a Dance Floor she said, “I’m trying to find the
soulfulness in technology and playing with that. I would prefer to not
have back-up singers. I would rather take my own voice and layer
it and change it and put effects on it so it sounds like a lot of
different tones and timbres.”

Madonna fans know that this artist loves her craft. She is excited
about her music and passionate about bringing it to the stage. If you
haven’t heard the entire CD yet, you are in for a treat. This is the
kind of CD that requires you either find a place to relax and just
listen or occupy a space where you can start moving. There is no
typical break between the songs. This music will make even those
that don’t dance get up and move their feet. The Mistress of Visual
Artistry herself is the only one who can bring Confessions on a
Dance Floor to life on stage. Throughout the world of music, it is
rumored that this tour could start as soon as August or September
2006. Start getting in line for tickets!

Rene Knops
214

If you are a piano player and or looking for piano study tips to improve your piano playing read these tips here
below. Are you playing the piano? It´s a great and rich instrument but before you can really

start playing the great masters or that great jazz tune lots of practicing needs to be done… For this article I want to mention 5 ways to improve your piano playing.

1. Find a Qualified Piano Teacher

Don´t fall into this trapp from other people saying you
don´t need a piano teacher. I highly recommend you grab your local paper or phone and find a qualified piano teacher. Why? Most importantly, you will learn much faster and eventually play much better then if you have to do this all by yourself.

2. Practice Regularly

Never practice when you are tired you cannot focus and
concentrate well enough to make good progress.

Practice Regularly Piano playing requires good coordination
and music reading skills. To get best results with your
piano playing practice daily for at least 20-30 minutes a
day.

3. Set Realistic Goals

When studying your song, set realistic goals. Find a song
that is right, and fits your musical knowledge and skills.
For example if you are studying a Czerny etude make a goal
to learn a new page every day or even a few measures
depending on your level and skills.

4. Improve Your Sight Reading

If you have no trouble reading music notes you learn a new
song much faster. Keep working on your sight reading skills
by making it a routine to start your daily practice with
playing a few bars of a totally new piano piece.

5. Read Music literature of the Composer

When you are playing a Mozart sonate and you don´t know
anything about his life its more difficult to play with a
good “character”. Learn all about your favorite composer and try to find a good approach to play his/her songs.

Rene Knops makes it easy for musicians to find music lessons, sheet music and music resources. Visit this link for details:
http://www.best-sheet-music-sites.com

Steven Rosen
18

Discusses his Gibson SG and other Gear.
SR: Maybe more than any other guitarist ever, you’re inextricably linked to the Gibson SG? What was the evolution that brought you to this particular instrument? AY I started playing on banjos and re-strung them up with six strings. [But] an acoustic guitar, an old bang up little ten-dollar job, that was probably the first thing I started playing on. Me brother Malcolm got a Hofner off of one of me other brothers and he got a Gretsch and passed the Hofner on to me after much squabbling. It was semi-acoustic and had all been packed with cotton. But I never used to really take it as a serious thing; I just used to fool around with it. When I was about 14 was when I really started playing it seriously. I got an amplifier for about sixty bucks that used to distort all the time. It was a Phi-Sonic. After that I got out and got a Gibson SG that I played until it got wood rot because so much sweat and water got into it. The whole neck warped. I bought it second-hand, it was about a ‘67. It had a real thin neck, really slim, like a Custom neck. It was dark brown. After about a year, you lose about half the power in the pickups so you either get them re-wired or put new ones in. Just ordinary Gibsons.
SR: Did these early instruments still have that tremolo arm attached?
AY: They did but I took it off. I used to fool around with them but you begin sounding like Hank Marvin.
SR: And why did you remain loyal to the Gibson SG for the remainder of your career?
AY: It was light [weight-wise]. I’d tried the other ones, Fenders, but you’ve really got to do a number on ‘em. They’re great for feel but the wiring just doesn’t got the balls. And I don’t like putting those DiMarzios and everything because everyone sounds the same. All the other sort of Gibsons I tried like the Les Paul was too heavy. Hip displacement.
When I first started playing with the SG there was nothing to think about. I don’t know how this came about but I think I had a lot thinner neck. Someone once said to me they [Gibson] make two sized necks, one was 1 ½ and one was 1 ¼ and this was like 1 ¼, thin all the way up. Even now I still look all over and I still haven’t found one; I’ve been to a hundred guitar shops and I found the same guitar [model] but with different necks.
SR: Did you ever experiment with the Gibson SGs when they were called Les Pauls [Eric Clapton's graphically appointed Cream-era guitar is probably the most famous representative of this model]?
AY: Yeah, I had a really old one I bought, a 1962. But it had a very fat neck; it was good to play but it felt heavier than all the other ones. That’s why I stopped using it. And when you’re running around a lot, it weighs you down.
SR: So from High Voltage on it’s always been the SG. Have you ever tried using more modern types of instruments?
AY: Yeah, I tried a Hamer but I wouldn’t buy an expensive guitar – especially in my case. It’s always getting beaten around. With the SG, you can do plenty of tricks with them.
SR: And you’ve been faithful to Marshall amplifiers as well?
AY: Ever since I’ve been in this band I’ve been using Marshalls. I’ve tried Ampeg and they weren’t too good for the sound I wanted.
On stage I have four stacks going, all hooked up with splitter boxes. 100-watt stacks … it’s good for your eardrums. I use a real lot of volume, I turn that up; I turn the treble and bass on about half and middle, the same. I don’t use any presence. If I don’t think it’s putting out enough top, I will kick up the presence.
With Marshalls, if you’re using a fair bit of volume, if you whack the treble and bass at half, that’s where they’re working. We get them from the factory, that’s what we do. We go down there and try them out and fool around with amps and tell them what we want and they doctor them up. At the moment, they’re all back to the old style of Marshalls, they’re very clean. They don’t have these master or preamp settings.
SR: You have entered the modern age of electronics in your use of a wireless system.
AY: Yeah, I use the Schaffer-Vega. I’ve been using that since ‘77. On the receiver you’ve got like a monitor switch you can boost the signal and in the transmitter you’ve got the same sort of thing. You can really give a guitar hell with ‘em. I have used the remote in the studio and it worked really good. I don’t believe I’ve ever had a wah-wah or a fuzz box. It’s just the guitar and the amp and if I need anything, if someone says they want a different approach to the sound, then I’ll get it with the gui

Plaily Muzic
119

Internet has come to change everything that once relations used to be lied on. Since Internet had invaded homes, the daily life has never been the same again. Internet changed the family’s habits, the culture and the way someone sees the world. Music is just a part of this change.
Regarding to music, this issue is even more complicated. People now can prepare their own CDs by downloading music from the Internet. And this has become another problematic thing that has contributed to increase the piracy.
The music download problem lies on two issues:
- If people can have access to the most varied types of music, they can have a better idea of a particular artist’s material, they can find out singers they had never heard of and get their CDs even this. These actions may be a little bit illegal and sometimes reduce the profits of the big music companies, but, however, it increases the range where a singer is known. When this happens, both singer and his/her music records win a special recognition, which may lead to the hire of them for shows and (guess what?) profits.
- But if it is true that music download can be beneficial for an artist, sometimes it can also be harmful, speaking about profits of course. And this loss of money in general happens to already famous artists. People download their songs from the Internet because they already know that singer and because they like him/her.
The big music industry complex has a tough battle to face. Profits or recognition!? Profits and recognition depends on each other: you only have profits when you achieve recognition, but your recognition can be measured by your profits. How to solve the problem?
Well, even if this matter seems to be far from a solution, some measures are being taken by the companies. Some laws have been created and other demands are being done. Even if it is hard to supervise all the websites on the Internet that offer music download, some people have been being charged of piracy and arrested.
Janis Ian on her article states that the music download increases the profit of the music industries, instead of what these industries allege. According to Janis, when people downloads a music form he Internet and get to know that song, they buy the CD because they already liked it and have no way to regret buying that CD. She also states that this happens because most of people cannot pay for a CD just to “give it a try”.
Music download is a reality – no matter what.
www.music-download.leisure-tip.infoZZ

Brent Wilson
135

Hip hop magazines are the best way to know the latest on what is happening with your favorite hip hop bands. Want to look great donning your favorite hip hop bling bling? You have to know what the latest fads are in hip hop clothing. Stay connected to the hip hop world by getting in a few great hip hop magazines each month. With so many great choices in these magazines available to you, why wouldn’t you have any? Can you call yourself a true hip hop fan without knowing what is happening in the hip hop world?
Okay, so what’s out there? Magazines like Vibe and The Source offer the hip hop fan an inside look at what is happening in hip hop today. Interviews with the hottest stars are always there. Articles on the latest happenings keep you informed. Even talk politics with the hip hop artists.
Other hip hop magazines like URB and Rap Sheet offer the best of the hip hop culture. Yes, they give great interviews and articles but they also tell you what to wear, how to be, and what to stand up for when it comes to hip hop. Culture and in depth coverage of the hip hop you want is what they offer. Who is talking about whom? Who is on their next album? What is happening to your favorite artists? And, go one step beyond and find out why it is the way it is. These hip hop magazines offer a great look into the world of hip hop.
Of course, you can get into the world of hip hop with these awesome magazines coming right to your door or buy them. You can also get connected on the web with them as well. Find more information and interviews on the web. Take it to the next step and check out the latest in hip hop clothing and hip hop jewelry on the web as well. These hip hop magazines on the web are even better because they are up to date!

John Farr
61

Next to family and clean water, movies are my focus and my passion. In my writing and speaking engagements, I serve as a sort of quality filter for movie lovers, sifting intelligent, rewarding titles from the enormous volume of DVD titles in the marketplace.
For our friends at Waterkeeper, I’m doing a series of articles highlighting films that celebrate the beauty of our natural world, and, directly or indirectly, illustrate the pressing need to protect it. I’ll close the series with a piece on movies which pay tribute to the spirit of social, economic and environmental activism.
This first installment identifies some landmark documentaries which any lover of the outdoors should own. All recommendations are readily available on DVD.
We begin with the pioneering work of documentarian Robert Flaherty. In 1922, he released “Nanook Of The North”, chronicling how one Eskimo family cheerfully subsists in the most frozen, remote part of Alaska. Close to a century later, this remains an astonishing achievement, revealing man’s ingenious, unwavering capacity to adapt and survive, even under nature’s most inhospitable conditions.
Eight years later, Flaherty partnered with legendary silent director F.W. Murnau (Nosferatu) to make “Tabu”, a semi-documentary shot on location in Tahiti. The film features actual Tahitian natives in a simple tale about the tragic consequences of forbidden love. Even with no spoken dialogue, the gorgeous black and white photography captures the beauty of the players and the lush, exotic locale, imbuing the film with a magic aura that defies datedness.
Flaherty’s next film, “Man Of Aran” evokes the raw power and majesty of the sea. Set on the harsh, inclement Aran islands off the coast of Ireland, this film builds on the impact of the director’s “Nanook”, portraying the struggle of native people who subsist on the wild, unpredictable sea around them. In this struggle, the sea is not enemy but provider, yet temperamental and unpredictable enough to warrant skill, hardiness, and reverence in any approach. Both man and nature emerge triumphant.
In the talking picture realm, but with precious little talking needed, is Flaherty’s “Louisiana Story(1948), perhaps the director’s crowning achievement. A boy living with his family in the Louisiana bayous communes with his wild and mysterious surroundings while looking on with fascination at the work of oil drillers nearby. Flaherty’s brilliant camera work lends a subtle artfulness to the theme of civilization encroaching on nature. (Ironically, this film was underwritten by Standard Oil!)
Honoring our natural world also involves paying tribute to the explorers who opened up new vistas for us. In 1925, Rear Admiral Richard Byrd made history by being first to fly a plane over the North Pole, then in 1929 trumped himself by performing the same feat over the South Pole. This latter event might have been the stuff of history books had Byrd not brought two Paramount newsreel photographers on this heroic journey. “With Byrd At The South Pole” records the expedition for posterity, and even 75 years later, it’s a fascinating visual testament to human persistence and the awesome variety of our world.
I close with two more recent films which profile how the more physically fit and agile among us commune with elemental forces. Bruce Brown’s “The Endless Summer” (1964) captures the sheer adrenalized joy of the surfing experience just as this pursuit was becoming a national craze. Surfing is depicted as a state of mind as much as a sport, and the footage of thrill-seeking athletes riding immense, aquamarine walls of salt water provides potent vicarious thrills.
Finally, there’s “The Man Who Skied Down Everest” (1975), a riveting movie that plays like a thriller. We join champion skier Yuichiro Miura and his team as they ascend the world’s highest peak (in itself an arduous, perilous undertaking), then attempt to descend on skis, a virtual suicide mission. It’s difficult to prevent your heart leaping into your throat as you watch some of this footage and realize it’s no film stunt, but the real t

Calab Coleman
14

Intro
Well guys, I’ve decided to write a short article on how to make music with your computer. When I started out, I couldn’t find anything to help me. I didn’t know what to buy, or where to start. Hopefully this short article will help you in your quest to making music a fun and productive hobby or future profession.
Loops and SONY ACID Software
When I first started to create music I used SONIC FOUNDRY’S ACID MUSIC 3.0. It’s a piece of software that enables you to create music with loops. Loops are small pieces of music, like a drum line or synth line. These loops are only a few seconds long, but, obviously, they loop. This means that you can draw the loop in for 30 seconds, 60 seconds, whatever length you’d like with no distortion or other strange noises when the loop starts over at the beginning. There are many websites and companies that create loops for production use. A lot of them are Royalty Free; this means that you can use them in commercial (for-profit) songs. Each of the companies that create these loops has their own license, which you’ll want to read if you’re going to release an album. The license is usually just a set of rules or terms that say what you can and can’t do with a loop. Most the time you can use these Royalty Free loops in commercial recordings, but you can’t, for example, resell the loops by themselves. You have to abide by the license.
As far as I know SONIC FOUNDRY was bought out by SONY, so if you’re looking for this software….
- Do a search for ACID PRO, or visit the link at the bottom of the article
- There are different versions of the software; one of the versions is absolutely FREE
The Reason to create
The piece of software I’d like to talk about in this section is PROPELLERHEADS REASON. This piece of software is much different than ACID. REASON is focused less on loops, and more on programming. When I say programming, I mean using individual sounds, for example, a kick drum, snare, or piano sound. You then use the awesome devices to create patterns. REASON includes a powerful list of devices. Some of the more important are the ReDrum Drum Machine, Synthesizers, and all new in 2.5, the mastering devices. I’m not going to get into this too much, because there’s just too much to tell in this article. If you’re interested in using REASON, I recommend that you get the tutorial CD-ROM from M-AUDIO. It will give you a good idea of how to get started with REASON, and if you think that it will be good for you.
Putting it all together
The great thing about the two pieces of software that I talked about in the previous two paragraphs is this:
- You can use ACID for all your loops
- You can use ACID to record vocals and/or guitars if you have the equipment
- You can use ACID to render your final recording to mp3, wav, aiff, and more
- You can use REASON to program patterns for drums, synths, etc.
(Keep in mind that these two programs can do way more than what’s displayed above)
The coolest part of this whole thing is that you can connect these two programs. Using a technology named “REWIRE”, created by PROPELLERHEADS you can have both of these applications synchronized. Add a loop in ACID, make a pattern in REASON, and have them play back together. When you’re done, you can render in ACID to have the synchronized music as one file, or track.
Wait! I have no sound
Okay, so now you have the software to start creating some awesome music. So the thing you’re missing is sound, speakers, headphones, etc. I use an external sound card by M-AUDIO, called OMISTUDIO USB. This thing connects to my pc with the USB port. It has two headphone connections and two instrument/mic connections with preamp power. It also contains several speaker connections, as well as other connections for mixers, etc.
There are several different types of these external sound machines. Most of them are either USB or FireWire. Most have headphone, speaker, and mic connections and come with the necessary drivers for your computer.
It’s all over
I hope that this short article gave you some ideas to start making music. I plan on writing more articles as time permits. See ya soon!
Links
ACID PRO and other SONY Software - http://www.sony.com/mediasoftware
PROPELLERHEADS REASON - http://www.propellerheads.se
M-AUDIO Products - http://www.m-audio.comZZ

Brent Wilson
134

Hip hop jewelry is awesome. There are many various types out there. What you own says a lot about you. If you want people to know who you are, then you need to get the bling bling going for you. The good news is that there are a number of fabulous pieces that you can own without having to spend a whole lot of money on them.
Hip hop jewelry is something everyone needs to have. Are you looking for chains or money clips? Personalized dog tags as well as belt buckles are out there as well. Spinning watches and belt buckles are popular as are pendants from the best hip hop bands. Okay, so you get the picture that there are a number of pieces that you can own. Variety is huge when it comes to hip hop jewelry.
If you haven’t noticed, hip hop jewelry, or bling bling as it is called, is something that not only teens are wearing but many of the hottest stars and athletes are wearing as well. You can see from looking at just about any magazine or catching them on television that people love having and showing off this jewelry. And, why wouldn’t they? It’s good looking and it represents hip hop at its best. In other words, if you don’t have it, you are out of the loop.
Due to the number of people that demand the best hip hop jewelry out there, there are some excellent places to purchase it right on the web. In fact, you can learn about hip hop as well as don your bling bling. It doesn’t stop at jewelry either. Clothing, magazines and web sites are geared towards it. You can even program your phone to include some hip hop ringtones! The bottom line is to get the hip hop jewelry and to show off your love for this fabulous music genre.

Wesley Berry
256

American Idol runner-up Clay Aiken, born November 30, 1978, may not have taken home the winning title, but his popularity has blossomed almost as much as that of his birth-month flower, the wildly popular chrysanthemum.
The chrysanthemum, also called the mum, is a flower frequently seen in fall arrangements and flowerbeds. It is a long lasting flower of the daisy family and is available in a variety of forms, including daisy-like, decorative, pompons, or buttons. Its name is derived from the Greek prefix chrys-, which means golden, and the Greek -anthemon, which means flower. Although the chrysanthemum originally appeared only in a golden or yellow color, today it is available in shades of pink, purple, red, yellow, orange, and white, as well as yellow.
It is an ancient flower first cultivated in China during the 15th century B.C. as evident in ancient Chinese poetry and pottery. It was grown not just for its beauty, but also for the many uses of the entire plant. Uses included:
* As an herb thought to contain the power of life.
* As a headache remedy, for which its roots were boiled.
* As an addition to salads (young sprouts and petals).
* As a tea boiled from its leaves.
It is still used in China today to make chrysanthemum tea, a sweet drink that is often used to speed a person’s recovery from influenza. It is also eaten in a stir-fry of chrysanthemum greens, garlic, and chili peppers.
The chrysanthemum later appeared in Japan during the 8th century A.D. where it quickly grew in popularity to the point where the emperor adopted it as his official crest and seal. Today in Japan, the Order of the Chrysanthemum is the highest Order of Chivalry that can be bestowed and the chrysanthemum has its own day called the Festival of Happiness.
The chrysanthemum was introduced to the United States during colonial times. Today it is often used in fall flower arrangements and corsages for Homecoming dances and football games. Here the chrysanthemum holds the reigning title as the top most commercially produced flower and the number one most grown potted plant.
While the U.S. uses the chrysanthemum as a flower for happy occasions, in parts of Europe and in Japan, it is a symbol of death used almost exclusively for funerals and on graves.
If he’s lucky, Clay Aiken’s popularity of one of American Idol’s best-loved losers will continue to rise through the years just as the chrysanthemum has widened its appeal to world-wide fame.

Ronald K. Armstrong
5

Getting a job in the film industry can be very challenging. It is not like other industries, which are based upon how well your resume is written or how well you interview. Industry jobs are very lucrative and highly sought after. This is in part because they can be very rewarding experiences presenting the opportunity for travel, glamour and fame. Although not advertised, most of these positions are secured through social networks, referrals and word of mouth. So being a social butterfly can be to your advantage.
Most people in the industry are looking to employ dependable, honest and hard working folks. It is not an industry that is conducive to working with newcomers. When money is at stake and people’s reputation on the line, no one wants to try the new gal or guy. In addition, it can be an industry where the turnover rate is very high. Start out first with preparing a good resume one which focuses on your particular expertise. List previous productions you’ve worked on before. If you are just starting out try working on some student projects or intern positions to build your resume. You can get some great resume and interview tips at: www.careerstrategies.blogspot.com
Next, here are some killer techniques that will help you get your first gig and beyond.
Develop a social network. These are usually friends and family members working in the industry or know of someone who is working. Keep in contact with them through email and phone calls. If there is a new project or open position they are likely to spread the word. A great way to make these contacts are at industry functions. Go to these events and collect as many email addresses as possible. The next day start emailing the people that you’ve met but DO NOT openly ask if they know of any gigs. Your goal is to develop a rapport so that they trust you. With that trust firmly established they will open up to you regarding important news and events. In recent years the Internet has really exploded with job opportunities. Do a Goggle search for film organizations and chat rooms. Sign up for as many as possible and make it a point to stay in touch with them on an ongoing basis.
Another technique is to get a list of films about to go into production. The Ross Report and the Hollywood Reporter both carry complete lists. Create interesting looking post cards that highlight your expertise and field. Send the postcards out to the production manager and also to the production company on a monthly basis. The idea here is to keep your name in the spot light. As I said earlier the Internet is a really great place to find work. One of the best sites to visit is the Mayor’s Office in your city. When films come to your area they have to file for a permit. The Mayor’s Office then keeps records which they post on their site of available film jobs. Keep in mind not to put too much weight on the job itself rather look at it as a networking opportunity. You may need to take a job that pays nothing in order to make the necessary contacts. If you play your cards right one job can lead to another and so forth. Just make friends with as many people as possible but don’t be intrusion. There are also job boards that specialize in film work. One great thing about them is that they allow you to set up a “job agent”. These virtual agents work by emailing you alerts whenever a new position is posted. You can sign up for one at www.rkacinemasociety.com or www.freecastingcalls.blogspot.com.
Organizations can be an instrumental tool in your job search efforts. Not only will they invite you to important industry networking events but they can be the key to getting into an internship, mentorship and training program. I would also advise signing up with temp agencies as well. Now there are literally hundreds of agencies out there that specialize in everything from accounting to graphic arts positions. Find an agency that places for entertainment jobs and register with them. The trick here is to call the agency everyday asking if they have work for you. Don’t wait for them to call you rather make yourself available to them. My last bit of advice would be to take the proactive approach. Create a great website and start emailing your URL out. This is part of your marketing campaign. Write interesting blurbs about yourself and the productions you’ve worked on. This will create a buzz about you and your service.
Now here’s the killer technique that is sure to help you land job after job. On your website create a job board and offer to post open job positions for free. When people start sending you breakdowns you’ll be in for sure. If you do this right you will be the first to get information on new jobs in your area. But to really make this last technique work be sure to share the information with your network. If you scratch their back they’ll be sure to scratch yours by passing along any good gigs to you. Follow these tips and you’ll be getting the steady work you’ve always wanted!

Z

Sally Smart
9

A good friend of mine attended the CMA awards in New York last year and very kindly brought back a bunch of CDs which he thought may sit well in the ’shelves’ of our Americana online music store.
Finally managed to get around to listening to the collection of fairly well known, and some not so well known names during some long drives this last weekend.
The prospects looked good – an open road, no deadlines to meet and looking forward to unearthing some hidden gems and the buzz that you get when you get to put a new name in the racks and wait for the reactions to your ‘find’.
So, track one of the first CD and … nothing - not literally you understand, there wasn’t anything wrong with the CD player - but nothing … no emotion, no tingle down the spine, not even an instrument to speak of, just that anonymous ensemble of strings, keyboards and mid-eighties sustain guitar that identifies much of the country-pop sound.
Tried a couple more tracks, shrugged shoulders and mentally filed under ‘Faith soundalike’.
Next up, a similar tale. Listened through a couple of tracks and mentally filed under ‘Martina’.
And so it went on, and by the end of the first hour or so I found I had a set of three ‘Faiths’ two each of ‘Martina’ and ‘Trisha’, a dubious early nineties ‘Shania’ and even a ‘Sara’ !
My heart lifted once as a fiddle and dobro laden ‘Alison’ chimed in with a promising start, but track two and beyond saw a return to the ubiquitous swirling strings and the inevitable guitar solos, with the acoustic instruments confined to their place at the back of the mix.
Now you won’t find me criticising Faith, Martina, Trisha, Shania, or any of the trailblazing ‘New Country’ stars. They have brought many, many new fans to Country Music and their legacy is instilled in today’s Americana women singers – my gripe is only with lack of originality in the new generation of artists.
Why, ten or twelve years on, are labels content to produce bland, formula-driven music, a pale imitation of what has gone before, made even more asinine by the instrumentation and effects layered over the songs like so much cake icing?
Okay, this is beginning to turn into a rant, and let’s be honest, it is always very easy to criticize.
Instead let’s note that none of the artists in my clutch of CDs got filed under ‘Lee Ann soundalike’. Ms. Womack is beyond reproach in the humble opinion of this writer in managing to retain the accessibility and innocence of the first wave of New Country, and combine it with true Country Music values without having to resort to token gestures of throwing traditional instruments into the mix just to dress it up and try to appeal to the traditionalists.
None of my collection of wannabees even attempted to try to reach the standard set by ‘There’s More Where That Came From’. Interesting, but that surely speaks volumes.
While we’re showering praise, honourable mentions please to Miranda Lambert and Julie Roberts for being new artists that do actually bring something fresh and worthwhile to the table, and let’s hope Gretchen Wilson manages to stick to her principles. Oh, and let’s take the chance to celebrate Kelly Willis for still being Kelly Willis - standing her ground, and still making exceptional music in that wonderfully creative Texan environment.
Shame about my friend and his kind gesture, I hope if he’s reading this he isn’t offended, but Americana Music has to mean something, it has to feel as though it was produced because the artist just had to make the record or (s)he would burst.
I’m looking for Something to file under ‘H’ for Heart’n'SoZZZZ

BL Fisher
91

The universe and all of history is your classroom
It takes a very strong and dedicated person to pursue a career in acting. After all, you are doing it because you love it. You couldn’t imagine doing anything else. And of course, not many people will understand this. Some people cannot understand why anyone would want to do something with such an unpredictable future. But you know it is you future, it must be.
No one can quiet explain that feeling that you get when you perform. One of the most exciting things about acting is that you can be or do anything that you want. All the worries and sorrows disappear. The stage is a very relaxing place. It’s your home. You learn, grow, and develop there, as an actor and as a person.
The members of the audience come to be entertained and/or educated. They are living out their fantasies through your character. Therefore, your portrayal of the character must real and truthful.
In order to act, you must be an observer of life. You must watch people closely: how they talk, the gestures they make, and so forth. You must observe and then be able to duplicate what you see. This is real. This is true life. You also must experience all that you can. This gives you more knowledge and a broad area to work with for understanding your character.
Try new things, experience life. Don’t be the spectator, that’s not your job. The definition of to act is to do. As Miss Stella Adler said, “You cannot afford to confine you studies to the classroom. The universe and all of history is your classroom.”
In show business, the first impression can sometimes be the last impression. Producers, directors and casting directors are busy people. The deciding factor in giving an unknown (or even an experienced actor whose opportunities have been limited) a chance to read for a part is often based on first impressions.
It’s up to you to know how to handle yourself during an interview: how to be at ease, and how to be well poised. How to sell yourself; how not to oversell yourself.
To become the actor that you want to be takes loosing your ego and trusting in your teachers experience to help develop you into the professional that you know you can be.
Acting isn’t about you; it is all about the character.
Z

Brent Wilson
142

One of the most sought after ways of making a statement about how you are is by using hip hop ringtones. With so many people looking for something unique, something that says that they love hip hop, many cell phone companies have found a unique niche. Offering a variety of hip hop ringtones, these companies have made millions and on top of that, they have pleased millions of hip hop listeners by allowing them to use their favorite hip hop artists on their personal phones. Hip hop ringtones, if you don’t have them, well, your behind!
Hip hop is mainly thought to be a music genre of the young American. But, it extends farther than that. The one thing that all hip hop lovers have in common is their need to express themselves. And, because they can relate so well to the music that is hip hop, they want it with them whenever they can have it. And, they want to let the world know that they love hip hop. What better way is there to do this than with hip hop ringtones.
The good news is that there are many cell phone providers out there offering a wide range of hip hop ringtones for people to get and use. The latest and hottest rappers are featured, many times, as promotional giveaways, so to speak. Or, if you don’t see your favorite hip hop ringtone, make sure to ask, as they often will still be able to get it for you. And, it is not just the newest stars of hip hop that have this opportunity, but even the older and loved artists as well.
Okay, so how do you go about getting hip hop ringtones? Depending on who you want on that ringtone, you can usually find them right through your cell phone company. Artists like Snoop Dog and 50 Cent are commonly used ringtones but others such as older artists are out there as well. If you don’t find the hip hop ringtones that you want available through your provider, check out the web for the latest and greatest in them!

Nicole Sandler
127

For as long as I can remember, I’ve loved the music of Jackson Browne. I think the first album of his that I bought was 1974’s “Late for the Sky” and it still remains one of my all-time favorites. … If I had to put together a list of my 10 favorite all-time artists, Jackson Browne would definitely hold one of the spots. He’s been on that list since music started playing a major role in my life. I think 1974’s “Late for the Sky” was one of the first albums I went out and bought with my own money. And now, if you ask my 6 year old daughter her favorite, Jackson Browne would be one of the first names she’d mention as well.
I was probably 13 years old when my love affair with Jackson Browne began. I’ve seen him in concert probably more than any other artist (with Bruce Springsteen running a close second…), and even had the pleasure of seeing them perform together when Bruce joined Jackson onstage at a show at NY’s Madison Square Garden, sometime around 1984.
It was Bruce who inducted Jackson Browne into the Rock & Roll Hall of fame last year… after over 30 years of making music— ranging from some of the most emotionally moving to politically provocative ever made.
It was my love of music that propelled me into radio, and Jackson Browne was among a handful of artists that I’d always dreamed of interviewing.
I got to meet him a number of times before he joined me on the air one morning… The first was after a benefit concert at Santa Barbara’s Arlington Theater, when my date said to him, “You made her cry!” To his quizzical look I explained that “Late for the Sky” always makes me cry… and then sheepishly walked away. In fact, his rendition that night did move me to tears. I’ve always said that a truly great song can elicit a physical response, whether it be goose bumps or tears. Jackson Browne’s music does that for me.
A couple of years later, I hosted a national broadcast of the “Columbia Records Radio Hour” with Jackson Browne performing live in front of a very lucky audience, at which time he told me that he was a fan of the radio station and listened often. You can imagine how that made my day!
Finally, on September 13, 1996, Jackson Browne joined me on the air at KSCA in Los Angeles. We had a little room in which artists came and performed… it was actually a hallway between our main air studio and the production room. We affectionately dubbed it the KSCA Music Hall. Perhaps his performance that morning inspired his recent solo acoustic tour, which spawned his wonderful new album, “Jackson Browne, Solo Acoustic Vol.1″… though since this interview happened 9 years ago, I’d say that’s unlikely…
But one of my radio dreams was fulfilled that morning and now, 9 years later, through the magic of podcasting, I’m able to re-live it and share it with Jackson Browne fans worldw

David Bradley
129

A model situation
David Bradley
You may have noticed a recent spate of shiny ads in the Sunday supplements and glossy “style” magazines for sleek roller ball writing implements and exclusive walnut fountain pens and the like. It seems, intriguingly, that despite the billions upon billions of text messages, emails, and (these days) the occasional fax transmission there remains a deep-seated desire to “write”. What people write, I will not speculate but a love letter in Indian ink is presumably not so indelible nor open to litigation as a spurious email sent spinning across a wireless network from a Bolivian cybercafe to a Barcelona coffee shop.
This odd thought coupled with a missive from Michael Engel of Dainippon Ink & Chemicals, Japan, regarding molecular models got me thinking about an analogous situation that exists in chemistry. There are now countless chemical web sites that carry many disparate chemical structures displayable in glorious and rotating 3D. A lot of extra information can be held within a virtual molecule allowing clickable atoms and bonds to spawn spectra and other wonders.
But, where the pen may no longer be mightier than the sword, is the same true of those molecular modelling kits that fascinated us as student chemists? Is there a place in modern chemistry for a box of coloured balls and plastic sticks? A straw poll revealed that there is indeed. Perhaps it is the almost “back to basics” feel of real molecular models that allow users to gain something that is lost in the flat world of computer monitor.
Phil Ray working towards his Master’s in physical chemistry in the US explained that he uses the likes of RasMol but “will always use my plastic ball and stick kit because, although RasMol can make 3D structures, you can learn more by making the structure yourself.” Perhaps that suggests that getting a feel for the chemistry is easier with something tangible. “When I’m doing either stereochemistry or reaction site problems the plastic kit is indispensable,” Ray adds.
These model kits are very much still available and Robert Mouk who worked for years in industry and now teaches college chemistry agrees with Ray, “There is nothing like actually holding something in your hand to get a feel for it, he says. Crystallographer Armel Le Bail of Le Mans University France meanwhile believes that for eLearning, or distance learning, virtual models become the only choice, “But, for face to face learning,” he says, “nothing can replace real models.” The direct effect on learning can be powerful too, the “hands on” approach means students, and others, can gain a better understanding holding and manipulating a model rather than simply nodding in agreement at a monitor. “Visualization in 3D space can depend on the student; some see what they are supposed to see, and other students don’t have the aptitude for this,” adds Le Bail.
Engel explains the need for solid models as people being tired of the speed of technological development, “People want something they can rely on - a model is nothing abstract, a (non-virtual 3D) reality, using plastic models does not force one to think at high-speed, and there is no new software to learn,” he explains. The real models can, however, improve appreciation of the software alternatives, “The perception we have of a virtual model rotating on a PC screen possibly depends on our past understanding of real 3D models,” suggests Le Bail. Indeed, model kits can greatly help with understanding simple reactions, making bond breaking and making processes more intuitive.
Manchester University chemist Andrew Lund makes several important points about ball and stick models, “You can take B+S models into an exam, they don’t “crash”, and you can really feel the molecular strain in a plastic model,” he says, “Moreover, I still use them pretty regularly, more often than my Silicon Graphics Indy anyway.” He adds that the ease with which bonds can be rotated so that one can get a different view of a conformer is “quick and simple” with a ball and stick model. Stephan Logan of Indigo Instruments echoes the sentiment, “Although you can show stereo pairs on a computer screen, it may not be as easy to rotate them independently or move them forward and back,” he says, “Being able to look at one and then the other while doing this can make it easier to appreciate subtle differences.”
Logan highlights an interesting spin on molecular models, “There is no doubt that computers are a great asset and offer certain advantages that physical models cannot but the same argument can be made in reverse,” he says. Logan believes many students graduate from courses without understanding the nature of a molecule like DNA, for instance. “It was only by building it piece by piece that the elegance and beauty of the structure became apparent.” Building the model was, of course, half the story in the discovery of its structure in the 1950s, today, software will link atoms with the correct bond lengths and angles with virtually no user intervention. “In building the double helix you get to see the formation of the major and minor grooves…no computer program shows this,” adds Logan.
Having something more tangible than a virtual molecule allows us to recruit different senses. Build a model of diamond with Indigo Instrument’s Wobbly bonds and it gives way very little when you try to squash it. The graphite model on the other hand can be twisted. Both effects teach a valuable lesson about the nature of both these forms of carbon. Perhaps the biggest advantage for science educators of molecular model kits is that they are affordable. Try justifying in a school budget a Pentium desktop machine complete with the latest chemical modelling software for every student, much simpler to buy them the model kits to make their own and let them hand them round. That’s something that’s not easily possible with a model displayed on desktop PC, after all.
This article was prepared with award-winning science writer David Bradley. David is a freelance writer with almost fifteen years writing and editing experience. You can contact him through his sciencebase website with comments on this article of if you’d like to commission news, views, or interviews from him in almost any field of science. You might also like to check out the latest issue of his Reactive Reports chemical news webzine

Gavin Scott
56

Part 1 - Types of music
Ceremony
There are a myriad of ideas for music during the ceremony, from string quartet to bagpipes! Singers -from solo to a choir, organist, trumpet, brass ensemble and harpist are just some of the many other options.
Reception Drinks and / or Wedding Breakfast
For background or ‘dinner’ music between one and three musicians is ideal, unless you are expecting more than about 100 guests, when you might want a slightly larger band. Vocalists can be somewhat distracting for purely background music, particularly during a meal, as it can seem like more of a performance, and guests may feel rude talking while they are singing.
Musicians particularly suitable for background music are:
Jazz trio or duo, (or quartet for larger events);
Solo jazz guitarist;
Solo classical guitarist;
Solo Spanish guitarist;
Jazz or classical pianist;
Harpist;
String quartet (an exception to the 1-3 musicians rule).
Dancing
For a wedding it is important to remember that there are likely to be a very wide mixture of guests, with a correspondingly wide mixture of tastes. It is therefore prudent to consider whether your choice of a profane rap band is really what your Granny is going to dance to. A quality covers band should be able to cater to a wide audience, encouraging your guests to dance without beating them over the head with pumping bass drum when they are still digesting the sumptuous wedding breakfast.