Archive for June, 2008

NFL Sports Betting and Running Backs

Monday, June 30th, 2008

In NFL Sports Betting, the running back is one of the most important players to think about. As we see it, here are the top five running backs, in rank order, heading into the 2006 fantasy football season.

1. Shaun Alexander (Seattle) – Sure, you may hear some folks make a strong argument for Larry Johnson as the first pick, but the numbers don’t lie. 1958 combined yards from scrimmage. A League record 27 rushing touchdowns – and maybe most important, over 23 rushing attempts per game. At 28 years old, these numbers have been building to this point in his career, and we see no reason for him to slow down in 2006.

2. Larry Johnson (Kansas City) – After waiting patiently behind Priest Holmes for two seasons, LJ exploded onto the scene last season with 2,093 combined yards and 21 total touchdowns. At 26 years old, he may actually be better than Alexander, but the retirement of 11-time Pro Bowl tackle Willie Roaf, and the Chief’s recommitment to the passing game, at least makes us wonder if the numbers may fall off a bit.

3. Ladanian Tomlinson (San Diego) – The number one back in 2005 only falls slightly this year because of the superhuman stats put up by Alexander and Johnson last season. Is there anyone who doesn’t believe that Tomlinson gets 1,500 yards and 20 TDs just for showing up every week? You should note that he also threw 3 TDs last year.

4. Edgerrin James (Arizona) – New team. New turf. No Peyton Manning. A speedy receiving corpse that will keep defenses honest. If he remains healthy – and two years after his knee injury, there’s no reason to think he shouldn’t – James has the potential to put up numbers this season that he previously only dreamed of.

5. Tiki Barber (NY Giants) – Barber fans have vented their frustration about Barber being teamed with a power back (Ron Dayne) that gets more goal line carries, but Tiki has the potential to bust a long one on any play. Besides, 2,390 all-purpose yards is nothing to sneeze at. Oh yeah, did we mention that Dayne is no longer there? Barber belongs in the upper echelon of running backs in 2006.

So there you have it, the top 5 NFL running backs that anybody serious about sports betting must consider before making any wagers. These are the back that can make or break a game.

David James is one of the world’s foremost sports handicappers. Not only does James have an uncanny knack for knowing who to bet on, but he also is one of the best at providing in depth explanations and statistics showing exactly why each pick meets his criteria. Click on this link if you would like to learn how to be successful at davidjamessports.com/index.php Sports Betting

From Hannibal to Philanthropist - the Many Roles of Anthony Hopkins

Monday, June 30th, 2008

It’s but one glance at those ice blue eyes, cutting through you like a dagger. One stealthy turn of his now balding head, one smile like the crack of a bullwhip and you instantly know you are looking at none other than Anthony Hopkins.

He ranks among a generation of actors as steadfast and serious as their steely gazes. Men like Sean Connery and Jack Nicholson, actors who can deliver stellar performances with an unmatchable grace and air of professionalism. A man who is preceded only by the characters he has portrayed, decades of roles that have created an unshakeable career. Instantly recognizable in his Oscar winning role as one of the most maniacal, mentally perverse villains Hollywood has ever encountered, Hannibal Lecter, a role which he revisited two more times in the 2001 film, “Hannibal” and 2002’s “Red Dragon”. In 1984 Hopkins showed his remarkable flexibility to take on any role when he depicted an entirely different kind of criminal. None other than Adolf Hitler in the film “The Bunker”, a gripping look at Hitler’s last days on earth as the end of World War 2 loomed on the horizon (for which Hopkins received an Emmy nod).

Taking to controversial roles like a fish to water, Hopkins is easily identifiable as the man who portrayed Richard Bruno Hauptmann in “The Lindbergh Kidnapping Case″, and William Bligh in “The Bounty″. He is the face many filmgoers tie to the screen versions of John Quincy Adams, Othello and even US President Richard M. Nixon.

Off screen Hopkins has stepped up to the altar three times and is tied to a string of other women - like so many of Hollywood’s leading gents. With an almost implausible number of roles under his belt (one hundred plus and rising), stints into film direction and composition, as well as a forthcoming role as an executive producer for the 2005 film “Bobby”, that will look at the 1968 assassination of Senator Robert Kennedy. Like many in the spotlight of fame he is involved with various philanthropist causes, though unlike many who simply sign cheques, the causes Hopkins helps out often tie directly into his own life. Evident in the work that he does for numerous charities both in his childhood stomping grounds, the UK, and his current homeland of America (he became a naturalized American citizen in 2000). In Wales, where Anthony was born he has donated over one million pounds sterling to the Snowdonia National Park. As well Hopkins regularly contributes his time and well-honed skills to teach young actors the craft at the Ruskins School of Acting in Santa Monica, California.

Anthony Hopkins has made an unforgettable career made of harsh characters, British personalities, wise men and troubled souls. Yet beneath the gruff, and at times secluded manner, the undeniable wit and personifying charm that only a Welsh fellow can offer, Hopkins is a man who, like so many of the roles he has portrayed, has lead a life of personal struggle, a journey to overcome his demons and perhaps a desire to be known for more than just his astonishing acting skills.

Jessica Cander is a full time freelance writer who loves to stay on top of up-to-the-minute entertainment trends, including stars such as answers.com/topic/anthony-hopkins Anthony Hopkins. For the latest information, gossip and hot facts, Jessica recommends answers.com Answers.com.

From Bonzai To Moribana - The Extraordinary Artforms Of The Japanese!

Monday, June 30th, 2008

The Japanese are supposed to be the very best in the world when it comes to creating Bonsai, they are acclaimed as the creators of the finest Bonsai masterpieces which are sophisticated and inspiring. Not forgetting their unusual designs which can only be described as extraordinarily out of this world and has yet to be outdone by other creators.

Japanese create bonsai with a great passion while adhering strictly to the rules of nature. The trees are sturdily anchored to the ground and ascend regally in harmonious pots. A bonsai is formally displayed on a stand in a tokonoma display alcove and a display accessory will complement the bonsai, along with a hanging print to complete the presentation theme and artistic arrangement.

Bonsai trees can be found in many shapes, sizes and of course the trees themselves are almost unlimited. Orange trees are particularly nice when made into bonsai trees. Their dark green leaves and tiny white blossoms provide beautiful contrast, when they bear the little oranges however is when you really begin to marvel at this perfect miniaturization of one of the giants of the forests.

Bonsai is not the only flower arrangement that Japanese are famous for. The ikebana plays an integral part in their floral designs and art culture. While western style arrangements emphasize size and multitude of flowers, the Japanese emphasize the linearity of the arrangement in Ikebana, choosing to create harmony and rhythm in the perpendicularity of their arrangements. This art has gone on to include the vase, stems, leaves and branches in the arrangement as well as the flowers.

In addition to Ikebana there is the Rikka or standing flower style which embodies the magnificence of nature. There are also simpler styles of flower arrangement called nageire or cha-bana, which literally means ‘tea flowers’ as the arrangement is often seen during the tea ceremony. This is a very naturalistic style of arranging flowers as they are made to appear as they would in nature, to the best of the florists’ abilities. In the last hundred years the moribana style appeared, mostly due to the western influence on Japan. The moribana style translates as ‘pile of flowers’ and is exactly what it sounds like, this style can be adapted for both formal and informal occasions. So as you can see while Bonsai may be the most popularly known gardening tradition of the Japanese, it is not the last word in flower arranging in Japan.

For more interesting articles on flowers visit worldofflowers.info/ worldofflowers.info/ a website offering views, opinions and resources on matters such as finding unique worldofflowers.info/flower-arrangements.html silk flower arrangements, flowers and gifts and you can even discover some of the worldofflowers.info/online-florist.html best online florists.

Hyperfocal Focusing: What Is It And Why Should You Use It?

Monday, June 30th, 2008

When should you use hyperfocal focusing? Well, sometimes when shooting a landscape, you want everything sharp from the front to the back of the scene. Setting a small aperture such as f/16, f/22 or even f/32 can help, but if you really want to maximize depth of field, hyperfocal focusing is the technique you need to use.

To do this, you need a camera where you can switch to manual focusing and a lens inscribed with a depth of field scale (not all modern lenses have these markings, especially zoom lenses). If you’re not familiar with these kinds of lens markings, here’s a quick explanation:

Lens Markings Primer

A typical lens shows four sets of markings. At top (looking from behind the camera) is the distance scale (on the lens′ focus barrel) showing figures in feet and meters (this also shows the infinity position).

Below that are a set of lines beneath which the f-stops of the lens are marked. This is the depth of field scale. For each f-stop, there are two equidistant marks, one to the left and one to the right of the central mark on the scale.

The last set of figures shows the selected f-stop for the lens. These are on the lens aperture ring and, as you change the aperture, the selected f-stop under the central line on the depth of field scale will tell you what aperture you’ve selected.

To find out what part of a scene is in focus is simply a matter of reading the distance scale for the two marks for your selected f-stop on the depth of field scale. For example, let’s say you’ve focused on something that’s 3 feet away. If your lens is set at f/2.8, then reading the distance values at the two “2.8″ marks on the lens shows that everything just shy of 3 feet to about 3.5 feet will be in focus (a little guesstimation is required in reading the distances). This is fine for isolating your subject from everything else.

If you close the lens down to f/11, then reading the distances for the two “11″ marks shows that everything between just over 2 feet and 5 feet will be in focus.

If the lens is set to focus in infinity (the infinity mark is over the central mark on the depth of field scale), then you only need to read off the distance value for the f-stop mark to the left of the central depth of field scale as everything between it and infinity will be in focus. If you’d set your f-stop to f/5.6 on the 28mm lens, everything from just over 10 feet to infinity would be in focus. If you’d selected f/16, it would be everything from 5 feet to infinity.

Hyperfocal Focusing

Hyperfocal focusing is based on the fact that depth of field typically extends 2/3 behind the point focused on and 1/3 in front, but if you focus on infinity, the depth of field behind is completely wasted. You can make use of it if you refocus, putting the infinity mark (an “8″ on its side) on the focusing ring against the aperture set on the depth of field scale (this is known as the hyperfocal point). If, for example, you set a 28mm lens to f/11 and focus on infinity, everything from about 9 feet (2.5m) to infinity will be sharp. Align the infinity mark against the “11″ position to give hyperfocal focusing and the depth of field now extends from 4 feet (1.2m) to infinity, which is essential if you want foreground interest to be pin-sharp. If you set your lens to f/16 and rotate the focus barrel to place the infinity mark over the “16″ position, then reading the scales shows that everything between just under 3 feet to infinity will be sharp.

The Hyperfocal distance is the that point above the central mark on the depth of field scale when the infinity mark has been put over the required f-stop mark on the depth of field scale. In the case of the 28mm lens at f/11, that’s 9 feet / 2.5m. At f/16, the hyperfocal distance would be 5 feet. Remember that the hyperfocal distance will be different for lenses of different focal length and different f-stops.

There’s a table on the webpage mentioned at the end of this article that shows the hyperfocal distance for different lens and f-stop combinations. The figures have been calculated mathematically. If your lens has a distance scale but lacks a depth of field scale, you can use this table to set your lens to the hyperfocal distance required.

Don′t forget that the wider the angle of a lens, the shorter its focal length and the deeper its depth of field. So, as an example, an 18mm lens will have deeper (longer) depth of field than a 105mm. Also, the smaller the aperture you use the greater the depth of field i.e. for a lens of any given focal length, there’s more depth of field with it at f/16 than at f/4, for example.

Seeing the Difference

A subject like this benefits from a few pictures to illustrate the principles and show the results. Explanatory images showing the various lens markings and how to use them along with pictures to illustrate the results of using hyperfocal focusing can be found at: great-landscape-photography.com/hyperfocal.html″ target=”_blank great-landscape-photography.com/hyperfocal.html

Gary Nugent is a software engineer by profession and has been in the business for over 20 years. Photography has been a hobby for an even longer period of time and he’s now even more passionate about it since making the switch to using a digital SLR camera.

Gary is also passionate about astronomy and cats and publishes the Photon PDF astronomy ezine along with writing the acclaimed LunarPhase Pro and JupSat Pro astronomy software packages (available through his Night Sky Observer website).

Great Landscape Photography: great-landscape-photography.com″ target=”_blank great-landscape-photography.com
Night Sky Observer: nightskyobserver.com” target=”_blank nightskyobserver.com

Traditional Chinese Paintings

Sunday, June 29th, 2008

The origins of traditional Chinese painting reach far back into China’s distant history. Generally speaking, works dating from before the T’ang dynasty (618-907 A.D.) are mainly line drawings of people engaged in various activities; this was the “golden age” of human figure drawing. By the mid-T’ang dynasty, landscape and flower-and-bird paintings began their rise to prominence. Paintings of mountains, forests, fields, and gardens have the ability to transport one away from the vexations of the material world into a peaceful, carefree realm. Because of this, landscape paintings have always been highly regarded by China’s literati and officialdom. The flowers, grass. trees. stones, and birds and other animals depicted in the lively and energetic flower-and-bird paintings are also widely admired. Thus the landscape and flower-and-bird types of painting, together with the earlier human figure painting, comprise the three main categories of traditional Chinese painting.

The ruling and elite classes of the T’ang and Sung (960-1279 A.D.) dynasties were major supporters of Chinese painting. The creative aim behind artistic works produced in this period was more serious, and had political and educational significance; in style, the works tended to be elaborate and ornate. The Sung dynasty court established a fairly well systematized academy of painting. Sung Emperor Hui Tsung, a lover of fine art and painting, and an accomplished artist in his own right, granted special patronage to the painters in this academy, and sponsored the training of promising painters. The academy of painting reached the zenith of its activity in this period.

However, because of gradual, social, economic, and cultural changes, more and more men of letters began to take up painting, and literature came to exercise an ever-increasing influence on painting. By the time of the famous Sung poet Su Shih, the school of literati painting had already emerged. By the Mongol Yuan dynasty (1271-1368 A.D.), there was no longer a formal painting academy organization within the imperial palace, so the court style of painting declined. At this point, the literati school of painting entered the mainstream, and the leadership in Chinese painting circles fell into the hands of literati painters.
Literati typically prefer to paint according to their own fancy and without restriction, and advocate a fresh, free, understated, and elegant style. Subject matter they are fond of includes mountains and rocks, clouds and water, flowers and trees, the “four gentlemen” (plum blossoms, orchids, bamboo, and chrysanthemums), and so forth. Because natural objects such as these are less demanding subjects to paint than the human figure, the painter can better exploit the brush and ink’s potential for free expression.

Whether Chinese painting is “realistic” is the object of frequent debate. Some may feel that it is not realistic, but such an answer tells only part of the story. Realism in Chinese painting reached its climax in the painting of the T’ang and Sung dynasties. However, the kind of “realism” sought after in Chinese painting is not an objective reflection of the existence of an object as perceived through the sense of sight, but rather is an expression of a subjective kind of recognition or insight.
For example, no over effort is made to represent the shadows cast by a particular type of lighting at a certain place and time in the clothing on people depicted in the Sung dynasty painting Che K’an T’u, and for this reason the painting does not have a clear three-dimensional effect. After the painter set the lines down on the paper, he used watercolor wash techniques to achieve a chiaroscuro effect of light and dark, representing the forces of “yin” and “yang”, to express his grasp of the eternal quintessential nature of of his subject. A square planter painted according to the objective principles of perspective should in theory appear longer in front and be foreshortened in the back, reflecting the perceived decrease in relative size of more distant objects. But the front and back edges of a real planter are equal in length, and this knowledge of the physical world is incorporated into the image the painter of the Che K’an T’u created: the planter is represented as a flat surface with slides that are equal in length.

In another work, called the “Splash-ink Immortal″, by Sung dynasty artist Liang K’ai, the artist wanted to portray not just any man off the street, but an other-worldly recluse, and thus it would have been inappropriate to use an ordinary human being as a model. The highly unusual, even weird, forms in this painting, with their bold and unbridled brush strokes, provide just the right background to set off the characteristics of this very extraordinary individual. This painting is representative of the “freehand brushstroke″ school of traditional Chinese painting.
The fundamental component of Chinese painting is the line, as it is in Chinese calligraphy. Because of this shared feature, these two arts have had, beginning from a very early time, a close mutual relationship. By the time that literati painting had become popular in the Yuan dynasty, men of letters who painted put even more conscious effort into reaffirming the link to Chinese calligraphy, and actively led a trend to fuse calligraphy, and actively led a trend to fuse calligraphy and painting. And the close relationship between poetry and painting was formed under the strong influence of literature on painting. Scholar-statesmen and literati led the melding of poetry and painting, and this eventually spread to the academy of painting. The Sung Empror Hui Tsung is known to have used poetry to test painters on their ability to express with ink and paper the enchanted world created in written verse.
While traditional Chinese painting still occupies an important place in the life of modern Chinese, many painters now desire to express their experience of new times. By combining new modes of expression with traditional Chinese painting techniques, they are opening up a vast, new world of artistic expression.

Please visit chinatownconnection.com/” target=”_new www.chinatownconnection.com to view Traditional Chinese Art.

Please, Don’t Blame The Photographer

Sunday, June 29th, 2008

If things can go wrong, they will. And they will go wrong in the most distressing of circumstances.

A local press photographer was covering a school shoot. The schoolchildren were putting on a stage play. All the parents were there together with a few school dignitaries and the inevitable grandmothers, aunts and friendly neighbours.

The star of the show was an 8 year old girl. She performed magnificently and received due credit from the gathered audience. As this was the last night, it seemed prudent for the local press to run her picture as a commemoration of her success.

Enter the photographer at the end of the show. It would be nice, or so he thought, to have the starlet standing stage front in a suitable pose. Up steps starlet.

However, stage front is covered with false snow (as part of the show) and the beautiful starlet slips on the snow, bounces on her bottom and ends up in the orchestra pit.

No serious damage – a few cuts and scratches – but enough to make her burst into floods of tears and run to her mother. Bruised egos, bewildered audience and gasps of incredulity.

Consequently, the photographer is left standing without a picture and with a good proportion of the audience staring across at him. After all, if he hadn’t asked her to pose there, at that time, none of this would have happened.

But, don’t blame the photographer – however guilty he looks.

Eric Hartwell runs the photography resource site theshutter.co.uk theshutter.co.uk and the associated discussion forums as well as the regular weblog at thephotographysite.blogspot.com thephotographysite.blogspot.com

The Plan to Re-vitalize Kibera - Nairobi Kenya’s Biggest Slum Considered

Sunday, June 29th, 2008

The only way to insure that The Kibera Slum is completely taken care of is to bulldoze it down and then rebuild it with plumbing. To do this will mean it must be done is sections and those sections will need to be further broken down into sectors.

At the sector level pre-surveys will be needed to identify those areas where people have built private compounds and the new structures should be re-built in the same configuration. These people who have invested in the slum will be recommended for town-city leadership positions once the area is re-vitalized since they have shown they can unite the folks.

Kenya’s Minister for Roads, Public Works & Housing, Raila Odinga said that during the last “Kenya Slum Upgrading Project” that he was adamant against “Forced Evictions” during the upgrades, but asked for volunteer temporary evacuations during the work. This is a nice way to keep peace and keep riots from occurring, yet if the people are there during the upgrades then the upgrades themselves cannot be meaningful or substantial enough to solve any real problems.

Those who are temporarily displaced will be surveyed and the learn-as-you-go strategy will be employed here, with a goal of speed to completion. They can point to the picture of the type of home or surroundings they wish. A popular vote using this method will prevail and everyone will be notified. This will alleviate unnecessary rioting. Riots have been deadly in Kibera in the past. Recently the rents were raised and all hell broke lose. Fires, rioting and deaths occurred.

Similar civil unrest has been experiences in other places in the world such as; Karachi, Istanbul, China and Mexico City. Before the bulldozing the trash must be picked up. There is already one very organized Youth Organization doing this, The Kibera Youth Help Group using the slogan “Trash is Cash” and this model can be expanded with their assistance. kibera.net/” target=”_blank www.Kibera.net

This humanitarian disaster must be fixed. I certainly hope this article is of interest and that is has propelled thought. The goal is simple; to help you in your quest to be the best in 2007. I thank you for reading my many articles on diverse subjects, which interest you.

“Lance Winslow″ - If you have innovative thoughts and unique perspectives, come think with Lance; WorldThinkTank.net/ WorldThinkTank.net/. Lance is a guest writer for ourspokanemagazine.com/ Our Spokane Magazine in Spokane, Washington

Just Say No To Sex; Dr. Coburn Shows You How!

Sunday, June 29th, 2008

(Extended spoof, presented In 10 installments of 4 pages each. This is the sixth installment previous ones are presented on this site or below each new installment at NewsLaugh, in case you miss one or more.)

“Good. You won’t be sorry. She knows the material very nearly as well as I do.” With that, he handed Dan the issue of Playboy, and said, “Review the material while I get her.”

“Yes, doctor,” Dan replied, and accepted his assignment.

He looked over the centerfold, while Dr. Coburn went to get his guest instructor.

“I like this course!” Dan exclaimed to himself.

Then, glancing around to make sure he was all alone, he took out his cell phone and made a call. In hushed tones, he said, “Hey, Eddie, baby, guess what?” And then he intentionally mispronounced the doctor’s name. “Today, ‘Cockburn’ is gonna have Melanie give me a private lesson …. I kid you not …. Come on, double or nothing. Fifty bucks says I make it with her …. Deal!… Well, maybe not today, but you can kiss your fifty smackers good-bye.” Just then Melanie tapped on the door. “Gotta go now,” he said, and concluded the conversation. He resumed looking over the magazine.

When Melanie entered, he said, “Hi, there.”

She noticed his intent involvement with the illusory ink and sarcastically inferred the frequent masculine result. “Studying hard?”

“Very hard,” he replied, and then went past the inference to the dutiful nature of his activity. “Your dad gave me the assignment. Then he put the magazine aside, commenting, “Ah, the consolations of ‘mere ink.’”

“Oh, this is such a joke!” she exclaimed.

“I don’t know what you mean.”

“Yeah, right. Who are you kidding, Dan? You could care less about how to say no to sex.”

“You still think that, after I’ve taken lessons for two whole weeks?”

“What else? The truth is, you’re only here because you’re like all the rest of the guys. You only want –“

“– What?”

“Mexico.”

“Oh, you mean Texaco?”

She gritted her teeth. “Tyrannosaurus Rex.”

“Melanie, it can’t hurt just to say it. I think you mean sex?”

“You would come right out with it. Of course, that’s what I mean.”

“Sorry, babes. Your dad said you’re gonna give me a lesson?”

“You should be so lucky.”

“Melanie, you know you always listen to what he says. So let’s get going.”

“This is so ridiculous!” she lamented. Then she relented. “All right, as long as you stay right where you are.”

“On the couch?”

“Yes.”

“Are you going to sit beside me?”

“No way. Don’t you even remember that much?” she asked, and quoted, “‘Closeness must be avoided.’”

“You’re right. That axiom just slipped my mind for a moment.”

“Well, then, don’t let it happen again, all right?”

“You have my word.”

“OK, are you ready?”

“Ready,” he said, and shifted his body a bit.

“I’m telling you, Dan, you stand up just once, and the lesson ends. Got it?”

“Got it.”

“All right. First, I need to see how far you’ve progressed. So we’ll review the materials. Let’s start with axiom one,” she said, and could not help asking, “Do you even know that much?”

“Sure, I do,” he replied, and recited, “’Sex leads to pregnancy. Pregnancy leads to overpopulation. Therefore, sex must be avoided.’ Well, what do you think?”

“As if you believe it. What’s axiom two?”

“Hey, no problem, Mel. ‘Sex can lead to STDs. STDs can lead to death. Therefore, sex must be avoided.”

“And how much sex have you avoided lately?”

“As much as possible.”

“What does that mean? I want a number. How about during the last week? Come on, how many girls have you made love with in the last seven days?”

“If you want to know the truth, I haven’t touched a woman since I started to study with your dad,” he said as convincingly as he could manage. “What’s wrong, don’t you believe me?”

“What’s the wild rumor going around campus about you and two oversexed cheerleaders?”

“I don’t know how that got started.”

“Is it true or not?”

“Of course, it’s not true. Do you think I would do something like that, especially with what I’ve learned in the last week?”

“I asked my dad if you told him about them.”

“You did? What did he say?”

“He said, ’Don’t be ridiculous.’ But I’m not sure what he meant. Sometimes, he has a hard time talking about certain things.” Then she cast a skeptical eye on him. “You must think my dad’s a real jerk.”

“How can you possibly say that, after I’ve come here day after day to learn his method.”

“And what do you think of me?”

“I think you’re wonderful. A little reserved, but a wonderful woman.”

“’A little reserved?’” she replied. “I know exactly what that really means. It’s code for what all the guys think: Melanie’s a jerk because she won’t do what other people like to do and do and do. Well, screw it. I don’t care. How’s that?”

“Whatever you say, Melanie. You know as well as I do that you’re sort of the official campus virgin. And guess what. I think it’s great that you’re like that.”

“Oh, sure, you do. Well, it’s not as easy as you think.”

“It isn’t?”

“No – with guys like you always hitting on me,” she said, and then softened her tone a bit. “After all, I’m only human.” Then, regretting her brief lapse into sentiment, she renewed her resolve. “Which makes me even prouder of my reluctance.”

“Reluctance? Does that mean you may actually be willing at some point?”

“That’s none of your business. What matters is that I don’t feel like a jerk at all. I feel proud of who I am. And, if you believe a single thing my father has taught you, you′d know why.”

“I think I do, but tell me in your own words.”

“Sure,” she said, and then went on as if reciting from her father’s teachings. “I’m proud because I know I am the natural remedy for overpopulation and the resultant ecological depredation, the heartbreak of abortion, the scourge of AIDS and other sexually transmitted diseases, as well as a moderating influence on the human race’s historic obsession with, with–“

“– Come on, Mel, you can do it. What do you think of when I say Mexico, Texaco, and Tyrannosaurus Rex?”

She continued to be trammeled with guilt, so he enumerated the letters of the word. “S-E-X. What does that spell?”

“Sex,” she managed to utter.

“Very good,” he told her. “Let’s go on. Now, why do people like sex?”

“Because they’re terribly misguided.”

“No, because it gives them pleasure.”

“Pl-, pl-, pleasure!”

“Excellent, Melanie! I see there’s hope.”

“That’s enough,” she said. “I have to leave.”

“But you’re supposed to give me a lesson,” he reminded her.

“Then behave yourself, OK? I’m who I am, and I will always be this way. Got it?”

“Yep. And I admire you for what you are.”

“You are such a liar.”

“You′re wrong. In fact, my intention is to be as great an example of your dad’s method as you are.”

“I’ll believe it when I see it.”

“How about this?” he told her. “I′ve been telling the rest of the guys on the football team about what I’m learning, and pretty soon the whole team is going to study with your dad.”

She sat down beside him. “You’re kidding?”

“No, I’m not. You just don’t know how devoted I am to this new way of thinking about sex. Imagine how much publicity that will create for your dad’s method. I can see the headline in the school paper now.” He held forth his hands to illustrate the magnitude of the type. “Entire Football Team Swears Off Sex.”

“I can’t imagine something that would be more helpful,” she said, and then modified her frequent childlike tone so that now it intimated a vastly different need. “Do you find me attractive?”

“You?” he said, a bit flustered by what appeared to be her sudden availability. He decided the best thing he could do was to restrain himself. “Well, Melanie, to tell you the truth, I used to find you very attractive – so attractive I had dreams about you. But not anymore.”

She moved a bit closer to him. “You had dreams about me?”

“You have no idea. I couldn’t help myself. Later in the course, will I learn how to avoid wet dreams?”

“They were that hot?”

“Yeah. What can I say, I’m a normal guy.”

“That depends on what you call normal. All the girls think you’re a real hunk.”

“What do you think?”

She backed away from the emotional precipice that she sensed she might have approached. “I think you’re very handsome.”

“You do?”

“Un-huh. But then all the girls do.”

“Oh, come on.”

“It’s true,” she said, “and you know it.” Then she managed to relocate her legendary resistance. “But I know all too well what handsome men can lead to.”

“Hey, I know that axiom, too. It leads to ‘feminine arousal.’” Then he dared to venture a parallel. “And what do beautiful women lead to?”

Melanie swallowed hard. “’Masculine arousal.’”

“Yeah,” he almost panted, and turned to her. “I confess, Melanie. I’m still attracted to you.”

“I knew it!”

“Does that upset you?”

“No,” she replied, “but it does remind me that I must be especially careful when you’re around.”

“Ditto, when I’m around you.”

“I think you should leave,” she said, and stood up.

“No, please, Melanie. I know a better answer.”

“What? That you never come back?”

“Don’t even say such a thing. I mean, I just need more education.”

“Oh, sure, as if that will make a difference.”

“It will, I promise. Come on, Melanie. Teach me. I’m all yours.”

“What’s the point?”

“I can learn. I’ll prove it. Let’s try something really advanced.”

“What do you mean?” she asked, and sat down again.

“Try to get me excited.”

“Why would I do that?”

“Just so I can prove you can’t do it. Come on, I promise you, my resistance is up.”

“It’s what?”

“Skip it. I’m here to learn,” he said, and held up the copy of Playboy. “Take me beyond mere ink to the real thing.”

“You’re getting carried away.”

“Then give me the next rule. I yearn for advanced study.” He looked directly into her eyes, and it must be said that at that moment the entire edifice of the Coburn method seemed to teeter.

“The next rule?” she replied, breathing the words back at him.

“Please, I yearn to learn! Give it to me.”

“Seventy.”

“What about sixty-nine?”

“There is none. We skip from sixty-eight to seventy.”

“Why, tell me why?”

“The unfortunate associations that that number evokes.”

“OK, I’ll take seventy. Quick! I need all the axioms I can get.”

“Yes, Dan,” she whispered. “’Kissing leads to arousal.’”

“More, tell me more! I need it when I’m near you.”

“You do?”

“Need it badly. Need it so much I want to earn a graduate degree in your father’s method. A Ph. D.!”

“You do?” she breathed warmly. “How badly do you want to earn it?”

“So badly that – “ At that moment, he lost whatever cool he had managed to retain, threw his arms around her, and gave her an enormous kiss.

Melanie allowed herself the luxury of enjoying it for a few moments, but then her extensive tutelage asserted itself. “We should stop,” she said. “We’re losing it.”

“No, no, don’t say that. We’re gaining each other.”

“Please, Dan. Control yourself,” she told him.

He sensed her need to take a breather and let her push him away. “Sorry, Mel. But you can’t give me a test like that this early. I’m still a sexual undergraduate. And I’m wild for you.”

“You are?”

“Maybe I’ll never get past it. When it comes to you, I could fail the entire course.”

She stood up and recomposed herself. “You better leave.”

“You mean that?”

“Please,” she said, with a trace of desperate need.

“I’ll tell you what. If you only give me a little more time, I know I can learn not to be attracted to you. I want to learn. And, if you give up on me, think how much sex I’ll be in danger of having. I’m helpless without you.”

“I’ll tell you what. If you promise to control yourself, I’ll give you one more chance.”

“Good. I’m ready.”

“Now, you really have to concentrate on everything I say. No more fooling around.”

“You have my word.”

“I think we should review axiom twenty-nine.”

“Is that the one about sitting close together?”

“Yes. ‘Sitting close together leads to touching. Touching leads…’”

At this point, he joined in and the finished the axiom with her: “’… to kissing. Therefore, sitting close together must be avoided.’”

“That was very good,” she said.

Just then, Dr. Coburn returned. He tapped on the den door, and called, “Class in progress?”

“Yes, Daddy,” Melanie replied.

“Keep up the good work,” he told her. “I want to review the material I picked up at the bookstore.”

“OK,” she said, and continued to drill Dan on the axioms, while he did his best to be a devoted student.

End of Installment Six

Tom Attea, humorist and creator of NewsLaugh.com, has had six shows produced Off-Broadway and has written comedy for TV. Critics have called his writing “”delightfully funny” and “witty” with “good, genuine laughs.”

Don’t Look Under the Bed

Saturday, June 28th, 2008

My office reached the point of pigsty a few months back. I should keep it neat but
I’m a failure in the tidiness department, and always have been.

I theorize this is because my mother was a cleaning fanatic when we were kids. My
psyche had to rebel somehow.

It was only after my husband’s dog walked into my office this morning and barfed a
Downy Dryer Sheet onto a stack of (fortunately) unimportant papers, that I
conceded the need to do some spring cleaning.

Housecleaning gives me a rash. I would much rather go to the dentist.

So what if my stack of clean clothes stays at the foot of the bed until they are all
used up. I could put them in the dresser but it would be a pointless exercise in
futility.

I’d just have to take them back out in a day or two.

I used to be a closeted slob, never admitting to anyone just what a muddy piglet I
was. I would only clean if I knew company was coming. Otherwise it was ‘let the
chips fall where they may’ (sometimes literally, but that’s another story).

In my single days I lived in a little cottage in the middle of 15 acres of forest. At
times it was tidy. Other times it looked like someone had picked up the building and
given it a good shake.

On one of those ’shaken not stirred′ days I was awoken at 4:45 a.m. by the sound
of two El Dorado County Sheriff’s Deputies banging on my front door with their
flashlights. The actions that led to their presence on my door step are unclear. I
either slept walked across my house, dialed 911, and then walked back to bed — or
there was a glitch in the phone line.

Either way, a 911 call originated from my phone number resulting in two Deputies
on my porch.

After being rousted from a very sound sleep and listening to the Deputies explain
why they were there, they asked to come in to check things out. Explaining I hadn’t
called, I attempted to convince them everything was fine. But doing their jobs to
ensure the safety of good citizens like myself, they said they needed to inspect the
premises.

Right.

As they walked around the tiny cottage, gingerly stepping over stacks of paper, piles
of clothes - both clean and dirty, newspapers, books, magazines, and cats, they
kept asking if I was safe.

“Oh, I get it,” I yawned, “you think someone threw all this stuff around roughing me
up while looking for jewels.”

They stared at me.

“No. I’m the only one here. I’m just a slob.”

I explained my theory that if anyone broke into my house, they would have to put
my stuff back into the drawers to find anything. It would actually be a blessing in
disguise.

They didn’t laugh - but I knew I was giving them something to talk.

Maureen Valdes Marsh is an author and former newspaper reporter. She
currently writes a semi-punctual weekly column on her website called, “Musings
of Vintage Grace.” She is the author of the upcoming book for Collectors Press,
’70s Fashion Fiascos - a polyester romp through ’70s fashions”, set for release
Fall ‘06. You can read more of Maureen’s writing on her website, Vintage Grace
by visiting
vintagegrace.com vintagegrace.com

188 Stage Hero’s Journey (Monomyth) - Allies, Enemies

Saturday, June 28th, 2008

FORWARD

The 188 stage Hero’s Journey (Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the hundreds of Hollywood movies we have deconstructed (see URL below) are based on this 188 stage template.

Understanding this template is a priority for story or screenwriters. This is the template you must master if you are to succeed in the craft.

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO’S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

…..further details at www.clickok.co.uk

ABRIDGED TIPS AND EXAMPLES:

*****Allies and Enemies*****

It is in the Middle Cave where Help, Hindrances, Enemies and Obstacles become clarified.

The Hero will meet new allies here. These form the core of any subplot. In Dances with Wolves (1990), John meets Two Socks and he has Cisco. n A Fistful of Dynamite (1971), Juan meets Dr. Villega. In Lord of the Rings (2001), this is where Frodo, Sam et al meet Aragorn.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at clickok.co.uk/ clickok.co.uk/

The Managing Creativity and Innovation MBA dissertation, DIY creativity Audit, Powerpoint presentation and Good Idea generator software can be found at managing-creativity.com/ managing-creativity.com/

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Kal Bishop, MBA

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