Archive for April, 2007

Used Drum Sets

Monday, April 30th, 2007

Used drum sets can be found but you have to be very careful when purchasing to make sure it will perform at its best. Drum heads are something that needs to be replaced often after so much use. If you are buying a used set, the drums may not have new heads. These will cost around $50 for the top head (the one that gets hit). If the bass drum head needs replacing, figure on spending another $20.

The hardware on the drum is important to check out as well. Make sure all of the connections are tight and not worn down. Make sure you can tune everything easily with drum keys. None of the bolts should be so stripped that you can’t twist them with the drum key.

Look at the hoops (the metal ring that holds down the drum head). These should be round and not bent. Remove the tension rods (screws that adjust drum head tension) from the hoop and rotate the hoop on the head while the head rests on the drum shell. This will let you know if something is not round. Tension rods should be straight and not stripped and mounts should be functioning properly.

A used drug set will run between $200 to $800 dollars. These prices are set in stone but are meant to give you some idea of what you might pay. There are local drum shops that you can check out or you can go online and search for “used drum sets.”

e-DrumSets.com Drum Sets provides detailed information on Drum Sets, Cheap Drum Sets, Electronic Drum Sets, Used Drum Sets and more. Drum Sets is affiliated with z-Drums.com Steel Drums.

How to Win at Poker - Tips for the Beginner

Monday, April 30th, 2007

Poker is one of the few games where a player is judged a winner based on how much money they have won, not by the number of hands that they have won. While Poker is very much a game of acquired skills and not luck, this doesn’t mean that a beginner can’t also be a winner. This is what makes poker such a popular card game.

As a beginning player, there are some tips that can be followed to increase your chances of winning at the table. For example, it is very important to know when and when not to bet. Being able to learn a few tricks of the game, watching how other players make their moves and above all, taking responsibility for your own actions as well as for your own play are important skills to learn. It is also a good idea for new poker players to keep a log, of sorts, of the games played and how they performed.

One of the most enjoyable parts of playing poker, as a beginner, is to learn the tricks of the game. Keep in mind that as a new player, you probably won’t learn anything that will fool a seasoned cardholder, but you can certainly use them against your buddies on Saturday night. It is important to note that over using these tricks and tips can quickly become a disadvantage to your game. Tricks are nice, but should be used only when they can help you win and not just because they are fun to perform during the game.

Probably the most important trick that you can ever learn when playing poker, is to know when to bet and when to hold on to your money. When a good set of cards are dealt to you, it’s exciting and you may be tempted to bet larger than what you should. It is always wise, after you make a small opening bet, to sit back and observe your fellow players, try to see what they have going on. If need be, fold, even on a good hand. If you don’t learn when to fold, you won’t win very often. It is especially important for a new player to learn when to stop upping the pot; just because you “think” you can win it. Your opponents will gladly take your money.

Observation of the other players is also an important part of winning at the game of poker. The most effective way to learn how to win at poker is to find someone who is great at the game and watch what they are doing. Watch the fact that the veterans don’t use their bag of tricks on every hand, how they bet and that it is not every time their turn comes around, they wait. Pay attention to the fact that when they feel that their hand is turning cold, they stop betting.

For the newer players, it is important to be accountable for how they are playing. It is too easy in this game to blame a loss on a string of bad luck. This way of thinking will get you into trouble faster than anything else. Be responsible, realize that poker is a skill game, that you control how you use or don’t use the cards you are given.

A great way to learn to be responsible for your play is by keeping a chart, or a log, of how you are playing your games. This doesn’t have to be anything fancy; you are the only one who will see it. However, the log should keep track of the players, the time of the game, the money involved and what you think your strengths or weakness were during that particular game. You are looking for a way to improve your poker skills for the next time you square off against these same opponents.

For poker-weblog.com/ online poker news and localpokerplay.com/ local poker games, please visit poker-weblog.com/ poker-weblog.com/

Renaissance

Monday, April 30th, 2007

The word “renaissance” means rebirth, this period was also called “Age of Discovery and the revival of Learning”. Renaissance means the moving of the European culture and re-discovering of the past Middle Ages.

The term “High Renaissance” applies to a short period of time at the end of 15th century – beginning of the 16th century. One of the main characteristics of this period was that masters used their artistic skills along with intellectual ones. The fact that the “High Renaissance” was so short is explained by impossibility of transferring the genius of the masters to their pupils.

In Italy the Renaissance appeared in the late 14th century. The developments of art and thought managed to transform the culture of Italy and define the course of Western civilization. This movement could not be called an anti-Christian, but instead of continuing focusing on gods and religion, the individuals started to cultivate personal excellence, recognition of person’s achievements and tried to explore their own personalities. The scholars paid much attention to classical learning, but they looked more deeply on the classical texts and valued their meaning. Their goal was to get the lessons about life, civic duties and self-expression from those texts and to study them critically, not just as pieces of never changing wisdom. At the times when the Renaissance appeared in Italy, the country was politically divided. There were wars among Italian states and from 1494 to 1559 – between France and Spain. Early 15th century symbolizes the rise of humanism in Florence. The goal of this civil humanism was to train aristocratic people for public affairs.

The Renaissance was based on distinguishing the human form and natural world. “Alberti and Vasari articulated this break by, respectively, establishing the principles of mathematical perspective and defining the Renaissance as a distinct age, a cultural rebirth after the period of medieval decay” (“Leonardo da Vinci,” 1994 Funk & Wagnall’s Corporation pp.2-5) The characteristic feature of the early Renaissance was, that all the sculptors, painters and architects paid most attention to the human figure and its proportions. Ghiberty and Masaccio used the principles of linear perspective; on the other hand, Donatello was closer to a classical tradition of free-standing sculpture. The painters – Fillipo Lippi, Botticelli, Chirlandaio – used a lot of various techniques such as sensual color, sculptural precision of line and Flemish – influenced realism. In Florentine architecture of this period with the help of art a great emphasis was given to a status of a person in the society, homes of wealthy people were decorated by artists. Private life became the same decorative as public life.

The artists presenting the so called High Renaissance, managed to collect all these innovations and to apply them to style of classical balance, simplicity and harmony. Leonardo da Vinci was the pioneer of new style in painting, he developed circular motion and pyramidal design and arranged figures harmonically. Michelangelo introduced some kind of new degree of emotional and physical tension to sculpture. Raphael managed to bring the pyramidal design to its highest peak in his Madonna-and-Child paintings. The revolutionary was the idea of using oil paints, brought by Venetian style. Music was not transformed a lot, Italian composers still used the sacred and secular music in medieval polyphonic styles.

Overall, the Renaissance changed the medieval thought and world view, the scholars and artists of this period presented the modern outlook. Very important was their idea of progress, i.d. going from bloom to decay and to rebirth.

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Playing the Classical Guitar - The Ways and Benefits of Learning

Monday, April 30th, 2007

Learning how to play the classical guitar is one of the most interesting and exciting activities you can ever do during your pastime. It is a rewarding experience, yet a very intimidating endeavor as playing the classical guitar is not just a matter of taking lessons and learning from, but really a long process at the same time.

Yes, learning how to play the classical guitar is a long process wherein amateurs need to exert effort and time just to perfect the craft. It is also a process that demands great attention and interest, two of the factors that trigger people to practice and practice. So when you hear someone saying that you can learn the art of playing guitar in just a matter of an hour by following some instructions, then don’t just easily believe. Fact is, you can’t just learn the craft by just sitting on one corner following some instructions and guides and out of an hour you are playing it like a pro. Practice makes perfect, as the popular adage say.

Ways to Learn the Classical Guitar Music

As mentioned earlier, learning the music of the classic guitar takes a whole lot of process. It is typical that you may be asked to attend some classroom sessions conducted to teach you the basics of the game. The proper posture and proper guitar handling will be taught here, as well as how to read the right notations. All of these basics are of great importance simply for the fact that people who don’t know how to handle the guitar properly and how to read notes will find the task confusing or puzzling. There are a lot of marks and notes that you will encounter along the way, after all.

For the beginners, it is a rule of thumb to try growing your fingernails in just a little length. This is needed especially if you’ll consider strumming, which tends to be painful for those who aren’t used to it. So as a way to protect your fingers from any damage, let your fingernails grow a little bit.

Benefits of Learning the Classical Guitar Music

Learning the music of classic guitar has a lot of benefits to give. In the first place, finding the right sheet music that could help you develop your talent is as easy as pie right now. You can find them both offline and over the internet with a lot of downloadable music sheets available out there. There are also some guitar magazines and guitar CDs that you can use while learning.

Aside from that, learning the craft of classical guitar music will allow you to entertain your friends and families anytime you want to. You can even explore the fields and join the orchestra if you jus want. There are even some restaurants, especially those that are run by Spanish owners, which hire classical guitar players for their own businesses. People will turn show how amazed or happy they are seeing you play your favorite piece. Isn’t it rewarding?

With all the possibilities you can do for yourself and others, learning how to play the classical guitar is truly a great endeavor to pursue. But for you to be able to succeed, just gather some interest and dedication, and be willing to practice until you perfect the classical guitar music.

For more information about guitar music, visit guitar-music-101.com guitar-music-101.com

Numerals With Nouns In Russian: Memorize Them Effectively

Sunday, April 29th, 2007

Students are always comparing languages they speak with the one they’re learning, even if teachers tell them not to. Well, why not? Finding a consistent pattern can be really useful. These patterns are not always given as rules in textbooks, but they help all the same.

For a Russian-speaker memorizing “numeral-plus-noun” stuff is a piece of cake: one dog - two (or more) dogS. But if you are an English-speaker studying Russian, you’ll have to memorize a bit more.

Here are some tips to help you build the “noun section” of your vocabulary faster and more effectively.

Tip 1 Did you notice that in Russian it’s NOT ENOUGH just to remember how to pronounce “two dogs″ (cats, birds, etc.) to be through with plural?
For example: 1 dog - одна собака; 2 dogs - две собаки; 3 dogs - три собаки; 4 dogs - четыре собаки; 5 dogs - пять собак; 6,7,8, 9…20 dogs - 6,7,8, 9…20 собак. Take almost any countable noun - with 2,3,4 there will be one ending in plural, and with 5 or more - another.

When memorizing a noun, you’d better remember two forms of its plural as well. How to? Just count the things you’re memorizing, say, up to 10 (if the noun is countable, of course). Not only will you remember its two plurals, you’ll memorize the word itself more effectively.

Tip 2 The same when numbers bigger than 20 end with 2, 3, and 4. If the number ends with 1, use singular form. For example: 21 dogs - &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1086;&amp#1076;&amp#1085;&amp#1072; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1072;; 22 dogs - &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1076;&amp#1074;&amp#1077; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080;; 23 dogs - &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1090;&amp#1088;&amp#1080; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080;; 24 dogs - &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1095;&amp#1077;&amp#1090;&amp#1099;&amp#1088;&amp#1077; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080;; 25 dogs - &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1087;&amp#1103;&amp#1090;&amp#1100; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;.

More examples:

51 - &amp#1087;&amp#1103;&amp#1090;&amp#1100;&amp#1076;&amp#1077;&amp#1089;&amp#1103;&amp#1090; &amp#1086;&amp#1076;&amp#1085;&amp#1072; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1072;; 123 dogs - &amp#1089;&amp#1090;&amp#1086; &amp#1076;&amp#1074;&amp#1072;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1090;&amp#1088;&amp#1080; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080;; 1,184 dogs - &amp#1090;&amp#1099;&amp#1089;&amp#1103;&amp#1095;&amp#1072; &amp#1089;&amp#1090;&amp#1086; &amp#1074;&amp#1086;&amp#1089;&amp#1077;&amp#1084;&amp#1100;&amp#1076;&amp#1077;&amp#1089;&amp#1103;&amp#1090; &amp#1095;&amp#1077;&amp#1090;&amp#1099;&amp#1088;&amp#1077; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080;; 4,357,962 dogs - &amp#1095;&amp#1077;&amp#1090;&amp#1099;&amp#1088;&amp#1077; &amp#1084;&amp#1080;&amp#1083;&amp#1083;&amp#1080;&amp#1086;&amp#1085;&amp#1072; &amp#1090;&amp#1088;&amp#1080;&amp#1089;&amp#1090;&amp#1072; &amp#1087;&amp#1103;&amp#1090;&amp#1100;&amp#1076;&amp#1077;&amp#1089;&amp#1103;&amp#1090; &amp#1089;&amp#1077;&amp#1084;&amp#1100; &amp#1090;&amp#1099;&amp#1089;&amp#1103;&amp#1095; &amp#1076;&amp#1077;&amp#1074;&amp#1103;&amp#1090;&amp#1100;&amp#1089;&amp#1086;&amp#1090; &amp#1096;&amp#1077;&amp#1089;&amp#1090;&amp#1100;&amp#1076;&amp#1077;&amp#1089;&amp#1103;&amp#1090; &amp#1076;&amp#1074;&amp#1077; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1080; (I guess it’s a bit too many :)

If you already learn cases, the rules are:

For 1 and numbers more than 20 which end with 1 - use nominative singular. E.g.&amp#1086;&amp#1076;&amp#1085;&amp#1072; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1072;, &amp#1089;&amp#1090;&amp#1086; &amp#1090;&amp#1088;&amp#1080;&amp#1076;&amp#1094;&amp#1072;&amp#1090;&amp#1100; &amp#1086;&amp#1076;&amp#1085;&amp#1072; &amp#1089;&amp#1086;&amp#1073;&amp#1072;&amp#1082;&amp#1072;…

For 2, 3, 4, use the genitive singular ending.
E.g.две собаки; три собаки; четыре собаки.

For numbers more than 20 which end with 2, 3, 4, also use genitive singular.
E.g. сорок три собаки; двести шестьдесят четыре собаки.

For all other numbers, use genitive plural.
Пять собак; десять собак; восемьдесят шесть собак…

Numerals have plurals, too - that’s why the rule is the same with words like thousand, million, billion (тысяча, миллион, миллиард). It’s absolutely the same what to count - dogs or thousands…

… Because these nouns are of the same gender and get endings in different cases according to the same pattern. Russian word “тысяча” (thousand) is feminine (so is “собака”, by the way), but “миллион” and “миллиард” (million and billion) are masculine.

Well, I meant GRAMMATICAL gender - masculine, feminine or neuter. Your teacher probably told you that unlike English, in Russian nouns have grammatical gender. In short, it means that “computer″ is “he”, “keyboard” is “she”, “application” is “it”, and nobody knows why. So,

Tip 3 Remember gender as well!

It will help you not to mix endings up when you′ll be using this word.

When nouns form plurals, they must be in Genitive case. Masculine, feminine and neuter words most likely will have different endings in Genitive and belong to different declension patterns (patterns of changing endings when put in different cases). Sometimes even nouns of the same gender can belong to different declension patterns. (If you haven’t yet started learning them, you probably will - pretty soon. For a beginner, whose native language is English, studying Russian system of declension can be pure horror. But don’t give up and you’ll make it:)

Tip 4 Remember the stress

Yet one more difficulty for a learner of Russian is STRESS. Not the stress you get when trying to memorize unfamiliar stuff like declensions. I mean stress in words. In such similar Russian words like &amp#1079;&amp#1086;&amp#1083;&amp#1086;&amp#1090;&amp#1086; (gold), &amp#1073;&amp#1086;&amp#1083;&amp#1086;&amp#1090;&amp#1086; (swamp), and &amp#1084;&amp#1086;&amp#1083;&amp#1086;&amp#1082;&amp#1086; (milk) different syllables are stressed (first, second and third ones respectively). So, you′ll never tell the stressed syllable just by looking at the word.

What’s more, some Russian words, when stressed on other syllable, can turn into another words. The most known example is “замок” - it means “a castle” if the first syllable is stressed, and “a lock″, if the second one. So, when you’re writing words down - any words, not just nouns - ALWAYS place an accent mark over the stressed syllable. Place accent marks over words in all texts read in class. It will help you read them correctly afterwards.

As you see, Russian isn’t easy to learn, but no language is - ask learners. Learning any language takes time and effort. Hope yours will pay soon. Good luck!

Alexandra Gamanenko is a senior translator and editor of the Literary Translation Department, which is a part of a Web design studio. It offers localization and translation of websites into Russian and Ukrainian, as well as lots of other useful services.

Learn more — visit the website clever-crayon.com clever-crayon.com

Home Recording Is Easier And Better Than Ever With New Technology!

Sunday, April 29th, 2007

Is it really that easy to make your own recordings? To make good recording that you could actually sell? The answers to those questions are “yes” and “yes!” But you’ll probably need to keep reading to understand why this is so (or just get my free audio course at the bottom of the page.)

Most modern home recordings are made with computers or workstations and both of these items have really simplified the whole process. They have truly changed the way a studio looks and operates. Instead of requiring ten, fifteen, twenty or more pieces of gear to get the job done, now you only need just a couple. The racks of equipment that would eat up the space of a large room now all exist in a virtual, software environment which quite conveniently fits inside your computer or workstation.

What’s even better is that they all synchronize and connect with each other virtually as well. Making the virtual connections usually only takes a few seconds and requires little knowledge or experience. It’s as easy a pushing a few buttons (or a few mouse clicks as it were).

In the early days of digital audio, the gear was still all hardware based and often required extensive knowledge of connectivity. A lot of the times it even required converting one type of digital audio to another. Almost all of this has been bypassed with modern home recording. And before digital audio all together, it was an absolute nightmare to get the gear all working properly and synchronized. The difficultly of operating a studio back then is where the term engineer came from. You actually had to be an engineer to do the job.

So once you have the gear, what you need most next is an understanding of the basics of sound recording and connections. A lot of people want to over complicate this issue, but it’s actually pretty simple. If you learn the most important principles of sound recording, then you’ll be able to apply them to most any situation with a high degree of success.

Learning the principles is the best way to understanding sound recording because it will allow you to be more creative for artistic sake and more creative when you need to record something unusual (like a new instrument you’ve never recorded before). As a studio owner myself, I rely on the principle to get me by because I’m constantly encountering new recording situations.

As far as connections go, like I said, it’s been massively simplified due to the fact that most of the connections are done in the virtual realm now. What you need to know about connections is easily understood in just a few minutes because it mostly has to do with a few digital connections you might need and a few analog connections dealing with mic cables, guitars cables and similar.

Learning to use your gear is only a matter of experimentation, reading the manuals or using some book or tutorial course to bring you up to speed. Since all the modern recording equipment has been designed to be as close to push-button easy as possible, it’s not difficult to figure out your gear and most of it is pretty intuitive. Generally things are designed to simulate real gear, such as mixing boards and processors. Most musicians have at least a little experience with this stuff so it’s usually immediately obvious how something works.

So what are you waiting for?

Learn more via my websites.

Brandon Robertson is “The Home Recording Guy.” Sponsor of The Independent Musician Source.

As a studio owner and veteran musician he’s an expert at making great sounding recordings in home environments and on a low budget. He’s teaching musicians all of the world how cheap and easy it is to record themselves and avoid wasting time and money at recording studios. His love of independent music has driven him to do whatever he can to support DIY and independent musicians everywhere.

He’s the author of two current books that every musician should read or listen to, including “The Ultimate Home Recording Guide For Anyone On Any Budget,” and “The 22 Proven Secrets For Saving Tons Of Money When Buying Music Equipment.”

The Books Are Available At: Guide.EasyRecordingHelp.com″ target=”_blank Guide.EasyRecordingHelp.com

He also has a Free mp3 Audio Course On Modern Recording available at Free.EasyRecordingHelp.com” target=”_blank Free.EasyRecordingHelp.com

Home site: IndependentMusicianSource.com” target=”_blank IndependentMusicianSource.com

Skydiving Training With Accelerated Free Fall

Sunday, April 29th, 2007

You can learn how to skydive in other ways but the most thrilling is to do it with the AAF (Accelerated Free Fall).

Accelerated Free Fall has first been used as a fast training method since 1982. It’s a fast learning process compared to the traditional static line training. With AFF you can get a true image of the modern skydiving.

The ground training of Accelerated Free Fall is more extensive than static line, and that’s a good thing since you will be doing a 50 second drop on your first jump. The jump will occur when the aircraft will be at about 10.000 - 12.000 feet, you will be jumping with two other jump masters that will assist you during your fall. They will maintain grip to you from the moment of the jump until you open your parachute. They will assist you to keep stable. You will get to pull the ripcord at about 4000 ft.

The Accelerated Free Fall is a program divided in 7 levels. The 1, 2, and 3 levels require two jump masters to jump with you. On these levels you get to learn about basic safety skills like altitude awareness, body position, stability during free fall and during the pull sequence. The most important skill is the successful ripcord pull. When level three is reached you get to free fall for your own for the first time.

The rest of the levels, 4, 5, 6 and 7 will require only one free fall jump master, meaning less money, and teach your skills like turning, forward movement and docking with other people. You will also learn about frontloops, baclloops and “superman” exit from the plane among many other.

With Accelerated Free Fall, you move on from level to level on each jump if the objectives have been completed. The required training is of about 45 minutes.

After level 7, the level is entering what is called “Level 8″. At this skill the student gets to practice and improve the skill until they reach 20 free falls, qualifying for the A skydiver license.

If you want to learn skydiving-guide.com skydiving tips and tricks, just visit this great skydiving-guide.com skydiving site here: skydiving-guide.com skydiving-guide.com .

Just a Moment - Love Poetry

Sunday, April 29th, 2007

Many times television and movie romance is on a grand scale. People fly off to Tahiti, Paris and Rome. Roses are sent in bulk and the chocolates never put on the pounds.

Sometimes – well, most of the time - it’s about the little things. Grand gestures are great, but romance is about those millions of special moments in time. Even the smallest ones.

This is true for romantic poetry, as well.

Love is big and complicated. If you try to cram everything you know and feel into one poem it will become scattered and unfocused at best, difficult or even impossible to follow, at worst. The worst thing – you’ll fail to make a connection with your reader.

Now you know why you shouldn’t – how do you keep from overburdening a poem?

Simply stick to a single element or theme.

EXAMPLES:

A moment in time: Describe a single moment in your relationship that really touched you. Anything from a kiss to a secret smile at a dinner party can be brought to life. Try using metaphor’s to show the love in your poem. Don’t tell your reader the love that is there – let them feel it for themselves. Let them connect with the moment.

A part of the body: The way the eyes can devour a person and the journey a finger can make across the shoulder blades and down the arm are two ways you can show the love you feel.

Elements in nature: A bird caressing the sky as it flies above and a butterfly kissing the lips of a flower both give loving images.

If you streamline your love poetry to a single section or moment it will take on more power and intensity for your reader – and perhaps for that special someone you wrote it for.

© 2006 Holly Bliss. All Rights Reserved. This document may be freely redistributed in its unedited form and on the condition that all copyright references are kept intact along with the hyperlinked URLs.

About the Author: Using her writing as paint on the canvas of her life, Holly Bliss is an eclectic writer, newsletter editor and an author on Writing.Com/ Writing.Com which is a site for Writing.Com/ Poetry.

Playing the Lottery? Why to Give It Up

Saturday, April 28th, 2007

Playing the lottery is a source of fun for a lot of people. In small increments, it can be ok. But many people play when they can’t afford it - in fact, the vast majority of those who play the lottery simply shouldn’t be doing it. Why? Think about it - you pay at minimum a couple of bucks. You get, at most, a few seconds of pleasure if you win. Most people play frequently - anywhere from a few times a week to a few times a month. It may not sound like much, but it adds up.

When shouldn’t you play the lottery? If you have any kind of debt problems at all, you need to give it up. Be realistic - you aren’t going to win. In the long run, nearly everyone loses. The odds of hitting that jackpot are just too slim, and even those who do win often pump it right back into the state’s coffers. Instead of blowing the money, you could have been gradually paying off your credit cards - a much better, and guaranteed, option.

What should you do instead? If you like the thrill of the chance of winning money and can’t give it up, look online a little. There are many free sites that will let you play an online lottery for nothing - you still have a chance of winning, but you don’t have to waste your money. The best part is, you can play as often as you want.

Teve Torbes is an expert owner of an

Free Creative Writing Examples # 12 Read Book “For Honor”

Saturday, April 28th, 2007

. . . “Come now, be a good young lad. You wouldn’t want us to have to hurt you now would you?” one of them taunted.

Laurel felt the urge to break into hysterical laughter, but squelched it. They’d not take her alive. What a time and way to put her rusty fencing skills to the test. She put her hand to the hilt of her sword, and one of the men scoffed, “Looky here, the boy’s got a fancy sword. Best put that away before you hurt yerself.”

Her newly drawn blade only wavered an instant at her side before she raised it. As she charged towards them she yelled “en garde” at the top of her lungs. Her sudden attack and the fact she went after them in the left-handed style caught them off guard for a moment, and they stepped back and then drew their swords and approached their prey, circling her.

“You know it seems rather unfair?” someone commented from the sidelines.

“You’re right, my young friend, it does hardly seem fair that four big strong men are attacking one young boy.”

“Perhaps we should even up the odds a bit,” his younger companion suggested.

“One moment,” said the older man as he turned to address the nearest of the youth’s assailants. “Sir, this young lad is hardly worth your time. Why don’t we all leave this place and have a nice drink on me?”

“Why don′t you bugger off and mind your own business?” the assailant replied and lunged at the youth, who deflected the blade with a graceful parry riposte.

“No need to be rude and vulgar now.” He shrugged his shoulders. “Do not say I did not warn you, sir,” he countered calmly, and he and his younger companion entered the fray, deflecting sword strokes from Laurel and allowing her precious moments to regroup her defenses and parry the next few slashes that came her way, nearly penetrating her guard.

Laurel twirled away from her assailant and then took a tiny step forward and, dipping the tip of her blade, nicked the man’s arm with the tip of her sword. Her own breath came in gasps grating harshly in her ears.

Well, this was what she got for being out of practice, she scolded herself as she jumped away from the slash to her side, but not quite quickly enough. For her attacker’s blade drew a very fine line of blood along her rib cage. Laurel stifled her gasp at the stinging pain and backed up a step or two, bumping into one of her rescuers who was driving his sword through the man’s gut for the third time and then withdrew it quickly, saying, “Go with God,” as the man ceased breathing.

Even as she backed into one of her rescuers she caught sight of another of her rescuers and nearly lost her concentration completely as she recognized D’Artagnan. “Huh, comment?” She gasped, jumping away from another of her opponent’s lunges.

D’Artagnan parried his own opponent’s slash and looked up to see Aramis maim another opponent by encouraging the assailant to rush him and at the last moment side-stepping to reveal the wall. The attacker had no time to alter his course or slow his forward momentum, so he rammed his head into the wall, knocking himself senseless. D’Artagnan smiled. Aramis the tactical genius. D’Artagnan focused his mind on fighting again and taunted his own opponent. “Sloppy, sloppy,” he criticized as he made a reckless lunge of his own and speared his enemy up through the ribs piercing his heart.

Half out of breath, D’Artagnan came to Aramis’ side and pointed his sword towards the two remaining fighters, Laurel and her attacker. “What do you say? Shall we help him out?”

Right at that moment the youngster in question feinted and lunged upward, and her sword tore through flesh and sinew from gut to neck with more force than she thought she had.

“Actually,” Aramis responded, “I think he’s got the situation well under control now.”

“Mon Dieu.” Laurel panted after sheathing her sword and leaning over to clutch her knees.

“Mon Dieu, indeed,” a voice interrupted her chaotic thoughts, calling her politely to account for her irreverance. “There is most certainly a God, and He seems to have looked favorably upon you today. However, I suggest that we do not linger here longer than necessary.” Seeing that the boy was bleeding, Aramis reached out to help support him, but he jerked away like he was being stung.

“No,” Laurel said, her dark blue eyes flashing. “I′m quite all right. It’s not very deep. I can walk without assistance.”

Startled, D’Artagnan took a closer look at the boy, unable to stop staring at his face. He could have sworn he knew that face and that voice. By all that was holy! It couldn’t be, but he had little doubt of it. It was the lady who had given his party shelter from the storm–the lady who called herself Christophe. “You will at least come with us and have that wound tended?” D’Artagnan addressed Laurel with mounting concern.

For a moment he thought the youth was going to refuse to join them for any reason, refuse to have anyone look at the slash. “How could I turn down such a skilled escort?” Laurel replied as she indicated she would accompany them. Matters could, after all, have been worse. If she weren′t doubly careful, those agents sent by her father’s enemies would again be upon her.

* * * * * * * * * * * * *

The mismatched trio entered the inn and mounted the stairs to D’Artagnan’s room. “I’ll go find a doctor,” D’Artagnan said, but before he could, Laurel stubbornly insisted, “No doctors. I don’t like them, and I don’t trust them. At any rate, it’s nothing. Just give me a little privacy, and I can take care of the wound myself.”

The young musketeer appeared ready to argue when Aramis broke in. “This is not really an appropriate place to debate the issue.” As usual, he was right. Already the trio that had stopped on the stairs was attracting the eyes of other patrons. D’Artagnan continued on the path to his room, and the three entered.

“Well, what do we have here?” Porthos inquired as his friends entered with the stranger in tow, a stranger who did not appear at all pleased to be there. Athos winced at the sound of Porthos′ voice as he glanced up to see what Porthos was asking about.

“We found this young lad being set upon by a rather unsavory group, so D’Artagnan and I decided to lend our assistance,” Aramis smoothly and succinctly explained.

“A rescue operation I see,” Porthos commented as he stood. “Always a musketeer’s duty to defend those less fortunate or able than himself. Well done.” . . .
Kat Jaske www.forhonor.com ©2006 All rights reserved.

Kat Jaske is an English and French teacher in Las Vegas. Her high school selected her award-winning, swashbuckling novel, “For Honor”, as the featured book for the 2006 Reading Incentive Program. This is an excellent example of creative fiction writing. You can order the book from web site forhonor.com forhonor.com The more click-throughs you make to any of the “read excerpts″ pages, the faster the author will make the next posting of the story.