Happy Vampires

Known as Recording Engineers, Sound Engineers or Audio Engineers… this is your desired title, and the “who’s you” of professions. Your on your way to becoming partly responsible for possibly some of the most explosive music in existence! Actually, you could be partly responsible for some of the most interesting commercials and/or movies also. (depending on what directions and opportunities you pursue)

So how does it work? Well before any recording is done, the producer, artists and YOU will discuss the “desired sound″ of the recordings. This may be done to some extent before the project is started or may be specific to certain tracks after the project has begun.

Here’s what you’ll most likely be in for. (this is just an example of many) It’s 6:00… PM! You arrive at the studio and start setting up the equipment and instruments needed for the upcoming… 12 HOUR session! You’re 1 to 2 hours earlier then everyone else. It’s your job to have the studio ready for recording before the music artists and producer arrives.

Finally, the recording party arrives and recording begins. The engineer is responsible for working the track board, computers and other technologies to achieve the “desired sound” earlier discussed by the recording party. That’s basically what goes on during sessions.

In addition the engineer is responsible for mastering the recordings usually after the session is over. This is often overseen by the producer. Basically the engineer will “balance” the recordings to sound consistent to listening. To elaborate… often when recording, the artists may not sound exactly as you would hear when listening to a finished album. Sometimes the vocals may be a little louder then the music or visa versa. It’s the engineer’s job to smooth the recordings out. An engineer may also add certain sound effects to a project to reach the “desired sound”, sometimes an echo here or synthesized vocals there, etc. It’s the engineer’s job to polish the recordings to what ever extent. Finally, the engineer will break down the equipment and instruments when the session is over.

So how do you find yourself in the studio recording some of the biggest names in showbiz?

Nowadays it starts with schooling. You will need vast knowledge of computers and recording equipment. From there expect to be an intern or assistant engineer. Through time and experience you will be trusted to engineer on you own and obtain some of the most valuable connections in entertainment. Have Fun!

Now getting back to your computer, right now your cursor is blinking at the end of the words: careers in music recording engineer…

Hit Enter!

Dave Weston is a music industry entrepreneur, song writer and music artist affiliate. He is also the author of the Insider Music Careers Guide. You can learn more about music industry careers at music-career-guide.com music-career-guide.com

Characters and Index:

Main Characters

The Doctor: –Dr. Bash
The Nurse: –Rosario
The Roommate: –Oliver Reams
The Fiancé: –Eva Fremont
The Patient/Husband: –Lee Walters

Minor Characters

*The Mother [Eva’s parent]: –Holly
*The Father [Eva’s parent]: –Bruce

*Elsie [Lee Walters Mother]

Miscellaneous Characters

Glen and Harry [Friends of the family at the trailer park]

The Gate Keeper at the Trailer Park

The bartender

The gay man at the bar

Music: Composition and Lyric’s by D. L. Siluk [see annex at end of book]

Music: “It Was Always You” With Feeling

“The Dancer” Brite 4

“Death [departure] Easy Waltz

“The End of Day’s” Talk

“As Love Goes By”

Chapters/or Acts:

Act I In the Hospital
Act II In the Trailer Park
Act III Back at the Hospital
Act IV At the Apartment [three poetic-musical lyrics read]
Act V Before the Bar/Outside the Apartment
Act VI The Jam Bar/the Tragedy

The Annex: The Poetic-Music/Lyrics [composition in Annex]

Additional Poetry: “2nd Ave”

Annex:

Songs in lyrics:

Five songs of sheet music [available]

Notes: Fragments of Life
[About the story]

A Note on the construction: The first Act was written 3/2003, the second and third Act’s were written 4/2003; Act five written in 5/2003. The play has been written in a way to be read, similar to a screen play one might say. The first week of July, 2003, the play was re-edited, and lightly modified, preparation for publication. Reviewed for publication on internet 2/2006.

The Fruit Cake

Act I

In the Hospital
[l993]

This is the “hospital” room of Lee Walters. The room [and, by observation the ward] is big, and let me add noisy –. I can’t say much for the hospital apparatus. Some of the equipment looks like tubes hanging everywhere, not sure where they go and could careless. A copy of the book, “Never-where,” is lying on the table-desk next to his bed. Lee is waiting to go home after surviving a stroke and heart attack; he had some complications with his surgery, but all seems well now; the doctor has explained to him he actually had a second heart attack, the first being two weeks prior to his second, and he didn’t know it, a minor one he assured him, compared to this most recent one, the major one that is, in which he got to the hospital in time.

He has been in the hospital for three weeks now, with bypass surgery, and had a stroke on the operating table, but again I emphasize, he made it through all these trials. You got it: –he’s getting bored, –now, for recovery, it has its own little miracles planted throughout the week. We shall get to that in a moment. He wants the doctors to release him this morning. But just a minute, against the doctor’s better judgment, that is.

Now you see when the curtain goes up, Lee Walters trying to get comfortable in his bed, stumbling with the pillows behind his back and head a bit. And Miss Fremont [let’s just refer to her as “Eva” make life easy] –standing in the doorway, shaking her head [thinking, what a dumb clucks, Lee is; we’ll get to Lee also in a moment] “Some kind of bug in your bed, Lee?” She says. He leans back hard against the back of the bed, boredom on his face, a sound coming out of his mouth, more akin to a hiss, I don’t’ think he appreciated the remark, but then he is getting acclimatized to them, or he should be by now. This situation doesn’t seem to amuse anyone, that is, her comments, and his getting situated; he sinks back lower into his bed—

No response

Eva. Lee!

Still no response

Lee, relax please, it isn’t good for you to use so much effort [remarks Eva again]

Yet, there still remains silence from Lee

Ok –-(annoyed)—it’s your show, I could care less [says Eva].

Lee is a thirty-five years old male. He is a Mail-Carrier that makes $35,000 dollars a year. He has no whiskers but he keeps rubbing his face as if he has a nervous impulsive reaction. He is a hyper person by nature. His mouth is open a bit, ready to say something, or can’t seem to breathe properly through his nose [one or the other]. In either case, it doesn’t help his already annoyed state of being in the hospital for so long—twenty-one days. He has finally gotten comfortable and lifts his head up to eye level with his fiancé [a light pause], focusing his attention on her face now. She seems a bit dumbfounded now that she has his attention: –lost for words one might say.

Lee. Eva! Do you have something worthwhile to say?

No response

Eva!

Still no response

Eva!

Eva [with a tired attitude]. Monkey see, monkey do, isn’t that how it is in our world?

Lee [shaking his head, indignant]. So you say [he sucks in a breath of air] did you come here to point out my faults, or what?

Eva. You can figure that out for yourself smart guy, for yourself.

Lee. I sure can [smugly]!

Eva. I was trying to find out how you were feeling and I got your old snotty remarks as usual; you’re snotty, snotty—shit.

Lee. Gee, I thought you were worried if I had a bug in my ass, I mean bed. Real concerned about my well-being, how about you admitting you are part of my boredom, I’m so used to your smart remarks.

Eva. For once you’re half right, I forgot about the ‘bug’ remark. Ok, you win, now let us begin—begin, again, you know, from scratch, ok?

Lee. Oh boy, what does that mean? what am I in store for, another round of trying to fix my pillow so I don’t get annoyed with you again?

The patient in the other bed is getting an ear full

Eva [somberly]. I can’t help it if we annoy one another. We are so used to making fun of everything—we’ve forget how to be serious. But I was crying when I heard you had a stroke on the operating table, along with your heart surgery, I really was, ask your brother. You know you were out for three days; –your left side was paralyzed—out [a slight pause]; out like having…I don’t want to talk about it. You also were having fits for twelve-hours; man o man, you are so lucky…!

Lee. Yes, I know you were crying, I remember something of that. Dr. Bash, Bush or Bean Head, I don’t know his name [a pause, he tries to get his breath], ok, Dr. Bash came last night and said I was doing great—inasmuch as I came out of this alive. But he added, and I hate to repeat it, but I will, for a while there, I was a “Fruit Cake,” for a while meaning, a few days that is. Can you imagine someone calling you a ‘…fruit cake?’ after you had a stroke?

Eva [looking straight ahead, thinking]. Well [pause], now that you say it, you were kind of one, I mean, you really were kind of a ‘fruit cake’ [Lee looking annoyed at Eva]. Can’t do much about that, can we now—but I suppose it would bother me somewhat, I think. On one hand you were a fruit cake, or out of it, you were having those fits you know, or what do you call those things, you know, makes the body jumppp…all over the place, whatever they were, it wasn’t good. We all thought you would not recover, they [the doctors] were going to put you into a coma state because you had 12-hours of these tantrums your brother was here, and—and he had a hard time with it as did your mother, she was here everyday, I mean everyday, I think she would have died if you would have; –I’ve seen a few tears in your brothers eyes, but you fooled everyone, and recovered in three days. Everyone says you’re the miracle of the ward. And so maybe you were a fruit cake, for awhile, but on the other hand, you are not anymore.

Lee [his crabbiness showing]. See, you never take my side, even when I’m sick. Well [pause a moment to think], …what if I get another stroke, and remain a forever, fruit cake, are you going to take care of this fruit cake, or throw it in the garbage can? maybe even leave the fruit cake dry up to nothingness!

Eva. That really hurts me that you ask such a question, or is it a statement [?]

Lee. Well?

Eva. You heard me!

Lee is not certain what to say, and taking his time he lowers his eyes. He is beginning to realize he had asked the wrong question, and possibly the right one. And he figured the answered would be, ‘Yes, I’ll leave you.’ Both Eva and Lee are silent; she shakes her head ‘yes.’ Rosario the nurse comes in. She looks around, then shuts the curtain around him, and leaves Eva by herself standing in the doorway.

Eva. Can I be of assistance, Ms Nurse? [Lee shakes his head no to indicated to the nurse he does not want her there.]

Nurse Rosario. No thank you Miss Fremont, I just have to do a few things. [She is taking his pulse and listening to his heart. He eyes her shape up. She has a nice well-formed figure, and her skin looks a bright-olive, she is all of twenty-nine years old. She is about five feet two inches tall, and she speaks slow, but confident.]

See Dennis′ web site: dennissiluk.tripod.com dennissiluk.tripod.com

Jon Jost, independent film-maker. The early films

9. Stagefright

‘Stagefright′ (1981) is very different from the other early Jost films. The reason for the difference is two-fold: firstly it was originally made (in shorter form) for German TV, and Jost has adapted his methods to suit the medium, and secondly the subject under examination, the theatre, is examined in close-up, rather than, as in the pervious two films, through its effect on society at large.

The film looks different because it is all shot in a studio with actors performing against a black background. The emphasis, therefore, in on expression through the human figure, which both suits the TV medium and reproduces the methods of the theatre. In fact, since we are made constantly aware that we are watching actors performing, and since the camera does not move, watching the film is almost as much like being at the theatre as like being at the cinema.

The film has no plot, and like ‘l, 2, 3, Four′ and other early shorts, the sub-text is in essay form. The argument has four stages: an introduction, an exposition, a climax, and a conclusion. The introduction is a short history of human communication, and, like everything else in Jost’s films, it can be read on more than one level. Firstly we are made aware that the subject being illustrated is communication as part of the evolution of mankind. Secondly we are aware that the story is being illustrated by actors, and that developments in communication have also taken place in the theatre. And thirdly we are aware that what we are watching is a film, another area in which developments in communication have taken place.

The film opens with a dance representing birth. It can be seen as the birth of mankind, and, in the way the dancer communicates through the use of her body, as the birth of human communication, and of theatre. The following sequences illustrate, visually and aurally, the refinement of this process towards communication through language. First we see the human face, which communicates states of mind through its expressions, then we close in on the mouth, and the extraordinary range of sounds it is capable of making. Then comes the addition of vocal sounds, and finally, as the image cuts back to reveal the full-length naked figure, we hear the first word of the film: ‘Human′.

The next sequence follows the development of language, first with a figure clad in a toga reading Latin from a book, illustrating the birth of Western civilisation, the written word, and costume, and then, as letters proliferate wildly on the screen, the arrival of printing. The latter scene is the first with no human figure in it, showing that language has now taken on a life of its own; and the power of this new medium of communication is shown in the next scene: we see a close-up of a text, and, as it is read aloud, drops of blood-red ink fall on the pages, eventually obscuring the words.

So far, other than “Human″, not a word of English has been spoken we have been looking at forms of communication in relation to their source and raison d’être - the human being - without being distracted by meanings.

The next scene, in which a cabaret hostess welcomes us to the show, marks the beginning of the exposition. We have followed the evolution of language into an important arena of communication: the theatre; in other words, as we sit there watching the performance, into our immediate situation.

The film then takes us through a medley of theatrical entertainment, while at the same time entertaining us with a medley of trick photography. The emphasis in these scenes, in both form and content, is on trickery, illusion, and falseness, showing how, in the world of show business, actors are used to create characters and images which effectively prevent any real person-to-person communication from taking place.

In a scene commenting on cabaret we watch conjuring tricks, while the camera is performing its own conjuring tricks by showing two characters, one shot from a low angle, and one shot from a high angle, simultaneously.

In a scene commenting, perhaps, on psychological drama, we see a young actress, in full-face and profile simultaneously, standing dumbly and nervously as two men, perhaps the director and producer, smother her with advice and instructions. The actress has no voice of her own, she is being manipulated by others, and the only thing which is genuine about the whole scene is the thing they are trying to eliminate; her stagefright.

In a scene commenting on the theatrical performances of statesmen three actors don masks of politicians and act out the kind of hand-shaking routines we see in TV and newspaper pictures. This scene makes two points: it exposes the public image-making of statesmen as a branch of show business, and it shows actors having to act out roles imposed on them by people with political power.

Every now and then during these scenes an actor doing an absurdly exaggerated James Cagney impression walks across the screen saying: “No wonder there are so many casualties.” And every now and then a hand holding a camera reaches down from the top of the screen and takes a photograph of us, the audience in whose name the whole bag of tricks is being performed.

The film’s climax is a sequence in which the cheapest trick in show business, the custard pie in the face, is rendered grotesque and terrifying by being shown in extreme slow motion. We see every detail as the pie flies through the air, hits the actor in the face, and begins to fall away. This is a very long take and its effect is deeply disturbing.

The action which is normally supposed to make us laugh is now seen as a vicious and humiliating assault on an actor whose suffering is all-too apparent. He looks as if he is being injured, and, indeed, psychologically he is. As with the scenes of the exposition we are being asked to question the relationship between actors and ourselves. Who are actors? What is being done to them, and, through them, to us? Why are we sitting watching? And who is controlling it all?

Then suddenly the film cuts to the famous newsreel footage of a Vietnamese peasant being shot through the head. We see more of it than is usually shown on TV: the man falls to the ground and blood fountains from the wound. At the same time there is a scream on the sound-track, and the film jumps out of alignment, as if it is about to break. The effect creates a powerful shock, a shock which should make us think and force us into an awareness of the film’s message.

The meanings are many. The sudden intrusion of a chunk of reality throws into perspective the artificiality of the rest of the film, and, by implication, of all forms of show business. While people, including ourselves, flock to theatres and cinemas to be entertained and distracted by artifice, wholesale slaughter is going on every day in the real world outside.

The fact that the film appears to break, or come adrift from the screen, both adds to the visual shock, and suggests that the medium of film cannot accommodate reality. It also disrupts our attachment to the screen, reminding us that this is no mere cinematic event.

Finally, a parallel is being drawn between the actor being ’shot’ with the custard pie, and the peasant being shot with a bullet; a parallel which suggests that both men are being manipulated and made to suffer by forces beyond their control

‘Stagefright′ ends with an explicit statement of its message, or at least, part of its message. This is presumably because, being originally made for TV, Jost saw an opportunity for his film to reach a wide audience, large numbers of whom would probably not make head or tail of it.

The message is delivered by the actor doing the exaggerated Cagney impression: a device which reinforces the message by its conspicuousness as a means of holding our attention. The actor, who has already been established in a choric role with his repeated line: “No wonder there are so many casualties″, comes close to the camera, as if taking us into his confidence, and says (approximately):

“You see, to communicate you’ve got to entertain. The great playwrights, like the Greeks, and Shakespeare knew that, but today intellectuals seem afraid of it, as if to entertain was to cheapen, and this leaves the way open for cheap entertainment, I mean entertainment with cheap intentions.

“Those with access to an audience have a tremendous responsibility, which is often abused.

“Everyone wants to be somebody, and in this wonderful world of the theatre they get a chance, but as often as not they betray it to someone else.

“They say theatre holds a mirror up to society, but as often as not it’s a vanity mirror.

“The bard said, ‘All the world’s a stage’, and maybe it is, but what they don’t tell you is that all of life is stage-managed. You got your TV, radio, theatre, films, and pop music; it’s all divertimenti kids, all divertimenti.”

Then the actor, obviously thinking the shot is finished, relaxes, drops characterisation, and takes his hat off. Then Jost walks in front of the camera and speaks to the sound man: “Did you get it?” “Is the camera still rolling?” says the confused-looking sound man. “Are you still filming?”

Then, one by one, Jost turns out the studio lamps and the film ends in darkness. This ending, of course, breaks the cinematic illusion, reminding us that everything we have seen on the screen has also been stage-managed, by Jost himself.

* All quotes, from the films and the interview, are approximations taken from notes made immediately after seeing the films.

Read the full version of this essay at: literature-study-online.com/essays/jon-jost.html

Ian Mackean runs the sites

White Trash With Money is the latest release from Country Music Superstar Toby Keith, and is another winner by this talented musician.

On this CD Keith, who has a knack for capturing familiar slices of life in song, scores another jewel with an appealing blend of rock and country. Showcasing what has become his trademark style, vocal imagery and strong melodies.

Over the years I’ve always enjoyed the way Keith delivers each song he sings with so much passion, regardless if the song is light hearted like the hilarious “Runnin Block”, or the more passionate “Crash Here Tonight″.

Of course, he also includes some of his familiar beer drinking honkytonk tracks like “Get Drunk and Be Somebody”.

Overall I feel the songs on this CD provide Keith the opportunity to showcase his talents as singer and songwriter.

I highly recommend White Trash With Money as it falls under the category of having a little something for everybody.

While this entire CD collection is outstanding the truly standout tunes are Get Drunk And Be Somebody [track 1], Crash Here Tonight [track 4], and Note To Self [track 7]. My Bonus Pick is track 5, Grain Of Salt. Very nice!

Toby Keith originally released White Trash With Money on April 11, 2006 on the Big Machine Record label.

Complete Track List

1. Get Drunk And Be Somebody
2. Little Too Late, A
3. Can’t Buy You Money
4. Crash Here Tonight
5. Grain Of Salt
6. I Ain’t Already There
7. Note To Self
8. Too Far This Time
9. Ain’t No Right Way
10. Brand New Bow
11. Hell No
12. Runnin′ Block

Clyde Lee Dennis, a.k.a. SmoothLee is a life long music fanatic on a mission to “Soothe Souls Worldwide through positive messages and peaceful, soothing music”. A mission he accomplishes on a daily basis through his company smoothlee.com
SmoothLee Incorporated which operates the smoothjazz247.com Smooth Jazz Online Radio Network

For the most part, I think that spells can be a valuable way to “act” out your anger, resentment, bitterness or jealousy. The very act of doing a spell can make a person who feels powerless or victimized, feel at least briefly, for at time that they are somehow in control of the situation again. I have found the following “freezer” spells to be quite satisfying to do, if you find yourself somehow dumped, oppressed or just plain wishing for some kind of psychological torture to stop. I am not completely sure if these spells or not, but when someone does me wrong, the first thing that pops into mind is the frosty insides of my refrigerator.

I love these spells because they fall under the category of corny spells, trailer trash wiccanary and because they originate from such an emotional, passionate and old style of witchcraft. Yet at the same time they are very modern because they make use of the fridge. Technically too, they fall under the category of black magic because they are revenge spells, and represent the desire to control another person.

Being somewhat of a collector and connoisseur of corny spells, trailer trash wiccanary and any ritual that allows you to “act out your feelings″ without necessarily hurting anyone, I thought I’d share them with you because they are a few of my favourites. Some of them have been sourced from Lexa Rosean, author of the Supermarket Sorceress who is a master of Kitchen Witchery. Still I think the important thing about a freezer spell is to start with the basics and then make it your own. I know one natural witch, (a famous Canadian singer in fact) who knows nothing about freezer spells, yet every time she gets mad at someone, she writes their name on a little piece of paper, twists it up and throws it in the freezer to “make it stop!” I discovered this one day when I was groping through her freezer for some ice cream and a flutter of little pieces of paper fell out to the floor. When I asked her about it, she told me her intuition had told her to put the people “on ice.”

The essence of a freezer spell is about time. The idea is to stop something in its tracks. Freezer spells also fall into the category of binding spells, as often their purpose is to paralyse an offender. They are used for protection, but mainly for REVENGE! Here are a few of my favourites.

THE BASIC ICE CUBE TRAY SPELL: This is all-purpose and what I like about it is that you can use magical ingredients to sweeten or sour the mix before you chuck it in the freezer. Basically, you take twelve small pieces of paper and write down the names twelve people or situations who have not been very nice to you or who have irked you or done you wrong. Think of twelve people who have been hostile to you, or who have a bad attitude towards you or who have behaved as obstacles to what you want in your life or career. Now stick these twelve pieces of paper in the ice cube tray compartments and add a little sugar, or honey to sweeten up their attitude towards you.

You could also add a few other things as well if you wanted - a little dill or parsley powder for improved communication, orange water for joy or rose water to increase loving vibrations. Then you fill the rest of the tray with water and stick in the freezer. I like this spell because it is relatively innocent and is persuading others to think of you kindly and not to harm you. A more vengeful version of this spell would be to add substances like vinegar (to sour their experiences) cigarette ashes (to cause depression) or horseradish (to cause arguments.)

If your resentment is directed towards a particular individual, perhaps a male who has dumped you for some one else you might consider doing this IMPOTENCE spell. While shopping for the cucumber at your local vegetable store, try and find one that resembles your ex-partner’s actual member when it is erect. At the very least this will get you giggling. Then carve his name and his birth-date into the flesh of the cucumber and throw it into the freezer. It will start to go soft and wither after a few weeks, and while this happens, imagine him and the sweet young thing that he betrayed you having conversations like “I swear this has never happened to me before.” “It’s ok. I understand.”

The ultimate freezer spell however, in terms of sheer nastiness, is this BREAK THEM UP freezer spell in which you write the offending couple’s names on a piece of paper (if you don’t know the name of the person coming between you write “unknown rival”) You put the pieces of paper in a Tupperware container along with a piece of rotten fish, fill it with water and freeze it. Fish are symbols of fertility and happiness, so the ultimate purpose of this ritual is to have the two lovers become turned off from each other. One person, who tried this spell, told me she laughed her head off, when her boyfriend came back to her and complained that his new lover had terrible B.O. I haven’t tried this one myself, but she says it worked. Lexa Rosean also boasts success with this one.

I can’t guarantee these spells work, but if you are too chicken to enact some real revenge (like turn the person into the I.R.S.) these little rituals at least satisfy a desire for “petty revenge”.

Samantha Steven’s articles have been published in many high-standing newspapers and she has published several books. If you wish to buy Samantha’s books about metaphysics click here
insomniacpress.com/author.php?id=110 insomniacpress.com/author.php?id=110
You can meet Samantha Stevens at psychicrealm.com psychicrealm.com where she works as a professional psychic. You can also read more of her articles at newagenotebook.com newagenotebook.com

If you want to have the fun of a casino without leaving home, online casinos can be just as exciting and as hopefully profitable as brick and mortar casinos. Whether your new to internet gambling, just need a refresher, or are looking to maximize your profits, our short guide can help you get started!

The first thing to learn about is that there are three different types of casinos on the net; web-based, download-based, and live-based online casinos.

Web-based games are played through your browser. You might need Macromedia Flash, Macromedia Shockwave, or Java installed for the games to work. With this type, no software is loaded to you computer and you can usually start playing immediately. This is great to play one of the many free games some casinos offer.

At download-based, you download software which connects to the casino, and play games through the software. Often the software can be downloaded in the back round while you enter your player information.

Live-based allows you to interact with real casinos in real time. You can see, hear, and interact with live dealers and players. This works best with a high-speed internet connection.

Internet casinos offer the same games you can find at land casinos, including but not limited to; baccarat, blackjack, craps, roulette, slot machines, and video poker. Some only focus on one or two games, and some offer other games. Whichever you want to play, search around to find the best for your needs.

No matter which kind you prefer, many have a welcome bonus. That means they will match a percentage of your first deposit, giving you free money to gamble with. However, they usually have a minimum amount you must bid before cashing out. Some welcome bonuses can not be cashed out at all; these are called sticky bonuses. Be sure to carefully check all the terms and conditions about welcome bonuses before choosing where you play.

Gambling is not without risk, though. As with anything on the internet, there may be scam sites. You can avoid scams and find the best sites by reading reviews and recommendations written by other people.

Remember, before you visit any sites like these, check your local laws. Make sure that gambling and online gambling are allowed in your area. Even in different areas that allow online gambling, the rules may differ, so be sure to check the laws and rules thoroughly. Also, read all the terms, conditions, and rules of an online casino before signing up. Thanks for reading this guide!

Casino Path is a comprehensive online casino guide. We strive to provide consumers with up to date honest information and evaluations of the online gambling industry. You can learn more at
casino-path.com www.Casino-Path.com

Chapter Eleven

Dying Bear [Nodoneayh]

Siren the Great was surprised at her control of the whole matter, as she witnessed the bear dying, madly gasping for breath. It rolled about in terrific speed, and agility, its muscles budging out, he was now on its back, the howls had stopped, and Siren knew this was the last moments for the bear, its life would be extinguished soon. At the same time, the villagers the little people all surrounded the back area of Siren; still too fearful the bear might dislodge the fangs, and then what? Siren heard the little people shouting, “Die, die, die…!” on and on, they looked like little demon now to her—with fierce little faces. For the first time in this jaunt, or stream of events she had second thoughts about the bear and the balance of power in this section of the underworld. She also knew the bear had cubs, several of them she had spotted them off and on as she investigated the interior of the tunnels, perhaps there were other bears inside the tunnels. She then did something that was not only surprising for the little people, but shocking: to her they were both strange creatures in a world she knew little about. She grabbed a knife out of the hands of Tolomeo, and cut open the midsection to the bear’s throat, and dislodged the fangs she had thrown into its mouth. The little people were horrified at what they saw, yet too fearful to attack the bear, and too much in shock to question Siren’s motives.

Said Siren in a language the bear understood, “Should I here of you returning to kill or eat the little folks, I will come back and chain you to the cave, and let them slowly eat you alive!”

After saying that, with no further ado, Siren left the village, and its excitement. She figured she’d find her way out somehow, her senses were working well, and if the little people saw her, then it should not be too difficult to retrace her old tracks back to the main hole, and climb the muddy walls to the forest of the Rats, and back to the Grasslands where the Vipers lived (and she did just that).

Chapter Twelve

Bestial Rage

Out of the labyrinthine grottos came Siren, now within the front of the large tunnel, where previously the snakes had once roped themselves to one another to help her down the abyss hole, she had climbed up its towering sides, inch by inch, and now was standing on its rim looking at her old friend Tangor, whom out of instinct, or telepathy, came to her rescue, although not needed at this point.

“Bestial rage is going on in this forest, and near your mound, and castle,” he explained to Siren, adding, “what happened here to get them so enraged?”

“I am really a woman warrior of another world, every time I come here, I do believe, the beasts take leave and with heated hearts and eyes find reasons to war with one another, kill and are killed, this is a land of perpetual combat. Perhaps out of boredom.”

Tangor smiled, almost laughed, hearing this from such a warrior as Siren, who almost lived for the battle.

“Coming out your mouth that sounds serious.” He said cunningly, as not to offend her, so she’d not be so hard on the beasts, and try to create another peace. He knew she loved the planet, and all its inhabitants, she was called Queen of all the Lands, not to include the Shadowlands or the Underworld of course, but all the other lands—and so there was regard for her.

“This is really disloyalty, we made a pack, the rats and vipers would seek peace, not forever of course, but for an extended period of time, must I have to remain here unto my dying days to keep them from eating one another?”

“It is a strange cruel world,” commented Tangor, who had come to see Siren, but now things had changed, and in his mind was not really needed, yet, hoping she’d go with him in his spacecraft, on another voyage after settling this dispute (they once were lovers from years before).

Siren only shrugged her shoulders, as she looked about, as if not hearing Tangor: looked here and there, bodies of rats and vipers all over, dead from previous battles in the past several days.

It was a long hike back, and as they hiked, they talked some, and then Siren shifted her mindset, so it seemed to Tangor, and she started talking as if to herself, but it wasn’t it was to her mother. This was not the first time she had done that, have silent or aloud conversations with her dead mother whom was in the back of her mind, some residue that she implanted years before. After a light conversation, her lips kept moving, but no sound now came out, it did in the beginning, but she noticed Tangor listening, “They will both treat you with marked respect, so force the two kings to a peace, so you can leave in peace, otherwise you will be haunted by the fact you did not bring one about. And such thoughts in a warrior are not good, rather haunting at times, distracting” Thought Siren: how true those words were.

Chapter Thirteen

Ranhar the Dupe

As they marched to the mound, she caught sight of two large twenty-foot vipers guarding her property, the gateway was blocked; involuntarily they both hissed at her, not being perhaps familiar with her, or trying to impress one another, and still possibly trying to impress the several rats that were on the edge of the forest looking at them. Whatever the case, Siren was not impressed with these two young reptiles and the hissing, with laughter they were doing, it was more of a power play, or to show who was all-powerful, so she concluded. Their large white fangs sharp as any knives Siren knew were gleaming at here.

(In the forest these several rates mingled and chatted among themselves, they knew well, this was Queen Siren, and made no attempt to do a thing, perhaps waiting for Siren to kill them both, and save them the trouble. In any case, they feared Siren, and were most intrigued the young vipers were acting so brave: perhaps they didn’t know who she was, they could have come back after the war, the seven-day war, and again, perhaps they were gone for a spell, and didn’t know. Usually her castle was guarded so this was not unusual, but she was obvious, who else could it be but Queen Siren, as she told them she was, but they paid no head, and pretended to not know who she was, or acknowledge the name.)

Again, Siren spoke to her mother, looked at Tangor, who had a weapon in his belt, a revolver or sorts. But she motioned to Tangor to stand down, unless both were attacking her; and should she die here, she’d have a second chance to live, on another planet, but should Tangor become the prey, or the second victim, he’d not be able to regenerate his body parts onto another planet. (She had perhaps at this time, used up half her resurrections, of which Moirommalit’s have about 100.)) The problem being: they never know where they will end up.))

She stood gazing at the vipers, in a defensive posture, she wanted them to attack, thus, she’d have the advantage, the counterstrike, but it would have to take place in the clap of an eye. Said Tangor “I can shoot them, but it seems, a might too easy for you?”

Siren had a sixth sense, her mother had given it to her I do believe. With her mother it was more like telepathy when they both spoke, with these silent vipers projecting to one another their thoughts, she could understand them though, it went something like this: I will jump her (the large one conveyed to the other, the large one was called Ranhar), and when I do, you be by my side, and make sure the other one does not get involved.

While she was reading these thought conversations, she took the two sharp fangs she had used against the great bear out of the side of her string like belt, and positioned them in her hands, then the ground shook, with the thrust of the leaping viper called Ranhar, and as it leaped, it knocked Siren smashing onto her back, but at the some time, the fangs went into the vipers eyes, blinding him completely, next, the second viper started to leap, and Tangor shot him dead. Siren constantly kicked the snake hard in its head determined to escape its winding around her body, and fate would not be on the Vipers side; the four hundred pound snake was now blindly trying to feel, touch Siren, but could not find her. It was a humiliating defeat for the viper, and the rats chuckled like squirrels, but were stunned to see Tangor did not have to fight, he just pulled out something, and pointed it, and something came out of something, and killed a viper. This was most unusual, yet this person, respected Siren, thus, it was to their advantage to do the same, and they quickly went to the King Rat, to explain what they had witnessed.

Chapter Fourteen

The Sleeping Worms

The planet had seen a total upheaval in the past month, with insects, and flood within the forest, and aggressive ness between the rats and vipers Siren had her work cut out for her, and then after fight with the guarding Vipers, to her gates, it easy exhausting, and she was hoping her and Tangor could rest in her castle on the mound, the one she had built so many pears ago, if that was possible. They did spend one cozy night in the castle, and on the second night things happened again. Tangor was quite watchful both nights, and her heard an uproar outside the castle gates, he was alarmed, echoes that were saying “The Sleeping Worms!” Whatever that meant.

(Seven feet or so, below the upper roots, the thick roots of the giant trees of the forest, and those leading around Siren’s castle, and down into the Grasslands of the Vipers, there were what was known on the planet as sleeping worms, and they were no longer sleeping for the most part. They were known to sleep for a hundred years or so, and thus in the process many died, they never woke up; they only woke up during atrophy. And there were billions upon billions of them. They sucked their nutrients from the roots of the tree; should the tree die, they’d die. Hence, the rats and the worms and the Vipers were gathering outside of Siren’s gates; masses of all three species were awoke, and eating everything eatable in site.)

Tangor, hastening back to Siren to inform her, of the crowd, and the pile of meaningless worms that were gathering outside the gets, when he approached Siren, he looked horrified, not quite understanding the circumstances.

“I think we have to come up with a plan to exterminate these worms, worms I say, that is the problem we are having outside the gates, millions of worms,” he said to Siren “before they eat everything, and every body.

Said Siren, calmly “Here the worms are not that deadly, and are quite evolved, yet they scare the rats and vipers, simply because they eat so much, then they go back to where they come from. They grow several sizes larger than what they are by the time they return of course, but should you stop them, then we do have a problem, its called suffocating when you are sleeping, they will cover you up like a blanket, and suck you dry for nourishment.

Chapter Fifteen

Fate

Said Siren to the crowd gathered outside her gates, “Life within the crust of your planet is older than that of which is on its surface, and some have to take that into consideration if we all want to survive.” Her sixth sense was pickup up that they were listening to what she was saying and understanding, the reptiles and rodents, even the worms. “We should understand that neither of the species on this planet have an advantage over the other, if one wars with the other, both get wiped out, in this case perhaps three species will be wiped out: you can’t stop a species from eating if it is hungry, it would be a frightful battle trying, for it is survival they are seeking. We all see one another with different eyes, but most understand that—we need to eat or extermination is possible, as in a war with one another, so I say to the rats and vipers, let the worms eat all the foliage they can, there will be enough for all the rest of us thereafter.”

—Siren was hoping the animals could reason this out, if not mentally, at least instinctively, that there was no dominate species per se on the planet that was not subject to extinction, and that the planet was molded to balance out the way it was, that is, separately, but in times like this, cooperatively, or all vanish together, totally. She did get this across.

It was hard for the vipers to stand down, they were in essence, the brutes of the planet in this section, but they seen Siren’s lips in motion, and understood her seriousness.

Having said that, both Siren and Tangor went back to their room, Tangor could not sleep, and therefore, started to outline the history of the planet SSARG, according to Siren (for the most part).

The creatures of the land, took what Siren said to heart, and accepted her plan as the only feasible one available, plus, they of course considered their horrible fate, had they not.

See Dennis′ web site: dennissiluk.tripod.com dennissiluk.tripod.com

In recent years, no book has caused as much discussion and controversy as Dan Brown’s The Da Vinci Code, which has held a place on the New York Time’s Bestseller List since its release by Doubleday in March 2003. From the day the first copy slid off the shelf, it has sold in excess of 40 million copies and caused unrest within the Roman Catholic Church, due to its controversial portrayal of the Catholic organization, Opus Dei, and several other issues that shake the beliefs of Catholics worldwide.

Now that The Da Vinci Code movie has been released, many are questioning its intent and others are hands-down refusing to see it. Handfuls of concerned individuals are even picketing against the film at theaters throughout the United States, stressing that it portrays the Catholic Church in a bad light. Other Catholics believe it opens an important dialogue as to the role of women in the Catholic Church, an issue long on the minds of modern Catholic women.

For others, however, The Da Vinci Code is merely a compelling novel that was difficult to put down once they picked it up and started reading. The story is edge-of-your-seat thrilling and the characters are enticing, making it one of the most widely-read novels of the 21st century. If you’re one of the millions who’ve read the book, you know that the story begins with the murder of the curator of Paris’ famous Louvre museum. Enter the main character, American symbologist Robert Langdon (portrayed in the movie by Tom Hanks), in France for a book signing, who is abruptly summoned to help solve the crime. Joined by French cryptologist Sophie Neveu (Audrey Tautou), granddaughter of the murder victim, Langdon soon finds himself embroiled in a mystery that involves a centuries-old secret society, The Priory of Scion, and Opus Dei, the clandestine Roman Catholic organization that endeavors to seize the Priory’s secret…a secret that could change the face of modern Christianity.

Sounds like a good plot, doesn’t it? Obviously, millions agree, and now that the movie has been released by Columbia Pictures, with Ron Howard as its director, millions more will flock to the cinema to experience the story.

But who should see this movie? The powers-that-be who are in charge of assigning a rating to each movie released to the American public have pasted a PG-13 label on The Da Vinci Code, officially deeming it appropriate for children over the age of 13, stipulating that parents should be “strongly cautioned as some material may be inappropriate for children under the age of 13.”

The Da Vinci Code’s PG-13 rating will likely leave many concerned parents questioning the legitimacy of the ratings system. In a movie full of gore, blood, shootings, stabbings, graphic self-flagellation, nudity, and other questionable behaviors, an R-rating would have certainly been more appropriate.

Young teens, whose parents have kept them from reading the novel, will probably be anxious to view the movie and, given its rating, could argue the fact that others see it as appropriate for someone in their age range. That means parents must decide whether their impressionable child is ready to view such graphic scenes as the religiously pious (and naked) murderer, Silas, whipping himself with a cat-o-nine-tails and other torture devices (scenes that would be better implied than acted out) or the slaying of a sister of the Catholic Church.

Many scenes were simply disturbing, even to adults who read the book and were prepared for what they would see in the movie. To expose young teens to this behavior would be both unnecessary and inadvisable. Publications and websites dedicated to promoting quality family fare at the theater, like the online Discovery Journey, say “no” to exposing your young teen to this sort of cinematic behavior. Most believe that The Da Vinci Code is better suited for youth over age 17 who are better able to process the violence and other adult content for what it is…a ficticuous story that appeals to those who enjoy good mystery mixed with compelling historical and religious fact and legend.

Susan Sitton is the founder of discoveryjourney.com Discovery Journey, providing parents of teens and children resources such as detailed discoveryjourney.com/childrenbookreviews.htm children’s book reviews and

They just don’t have quality programming on the television like they did when I was a kid. Take Lawrence Welk for instance. On the surface this melodic treasure appeared to carry a simple message, that is:

“And now friends, keep a song in your heart and have a wunnerful, wunnerful week. (loosely translated from a bad German accent, heard by an 8-year old in Alabama and written on this page 40 years later for the sake of this article, egads I hope I got it right).

What a nice message, and I did try to have a wunnerful, wunnerful, week. I still do. However, it wasn’t until way later, like now, that I realized there were other secret messages woven deep into the fabric of the Lawrence Welk show. (I like secret messages, they′re cool).

Just the other day I had that worn down feeling and then it hit me (like a ton of bricks)… “I HAVE IRON POOR BLOOD.” As any self-respecting Lawrence Welk viewer knows, the only cure for iron poor blood is none other than; GERITOL.

Remember those old commercials featuring an older guy with tons of energy bragging about his wife and all her accomplishments. “My Wife.. I think I’ll keep her.” Which, by the way was also Mary Chapin Carpenter’s inspiration for her hit song “He Thinks He’ll Keep Her.” (but, I digress)

I remember thinking, man, that Geritol stuff must be pretty good, you get energy when you’re old and you have a great marriage to boot. That’s a product I’ll use when I’m old.

Sounds like great advertising, right? Well, not so great because I haven′t yet used Geritol, but I do think about it. (And, thanks to Lawrence Welk this gives me something else to think about, pretty cool.)

Forget Geritol for a moment (but remember it in 40 years when you need it) and lets get back to very cool secret messages on the show.

Remember the Champagne Lady? What could this mean? I figure poor Norma Zimmer must have a snoot before every show, hence the name. But, let’s say for a moment her moniker had nothing to do with drinking (yeah, right). What else could it mean? Maybe she was really bubbly, or maybe if you put a raisin in her it would bounce up and down like it does in a glass of champagne (did you know that? Try it this New Year’s Eve). I’ve heard Norma Zimmer sing and as much as I like her, I wouldn’t consider her bubbly. So I just figured if you drank champagne you′ll get a really good singing voice. (That’s it, I cracked the code) It hasn’t worked yet, I still can’t sing, but I do drink a lot of Champagne.

Now, cast your mind back to the really, really shiny dance floor in front of the band members. There was a really cool “LW” written in script right in the middle. And, in case you missed it, the “LW” was written on every band member’s music stand. But, strangely, no one ever spoke of it. We were just supposed to notice it and apparently not speak of it (That’s kind of like subliminal messages, right?). I guess to the untrained eye the LW could mean “Lawrence Welk”, but no, that’s way too easy (and just throws us off from looking deeper, deeper into the real meaning).

What could it mean?

Lose Weight? No, or some diet pill would have sponsored the show.

Look Wunnerful? Definitely not! I saw those costumes—NOT WUNNERFUL.

Likes Wine? Yes! That must be it, and it all makes sense now. You know, Champagne Lady, Likes Wine. That’s it! (Way to solve the Lawrence Welk Code, Batman).

All of this is just to prove that you don’t have to look at life on the surface, look for the hidden meanings, that’s where the true answers are (and maybe to enjoy Champagne a little more)..

Now, I think I’ll take(ah) Sominex(ah) and Sleep(ah), Sleep(ah), Sleep(ah).

Good Night!

David Zack Holmes is a writer telling his tales the best way he knows how. To read other features see: davidzackholmes.com davidzackholmes.com

Whether as a means of divination or as a popular form of entertainment, each type of gambling has its own distinct and interesting history. The oldest form of gambling can be traced back to ancient humanity when dice was played using the bones and teeth of animals.

Playing cards were found in the eleventh century, and many believe them to be from the Chinese who also invented paper. It was the Europeans, however, who brought cards to the civilized world. The French made the designs which had the spades, hearts, clubs and diamonds, but it was not until four centuries later that the English would pick up card playing. From this time, the Americans started producing their own cards, adding quite a few of their own adjustments: double headed court cards, indexes, making round corners and the infamous Joker. Blackjack, the most popular game in casinos today, found its way to the United States during the time of the Gold Rush in the American West.

It was also through the Old West that the original game of Red Dog Poker became popular. Soon after the French revolution in the 19th century, card games were discovered in the Old West. The game Red Dog, just like other popular games, goes by many names including yablon, referring to the early version of the game out in the west. The game is also called in-between, Ace Deuce and between the sheets because the nature of the game. Red Dog is built around the concept of spread or the “distance“between two cards, the amount of cards that lay between them.

However, at that time it was found too easy to cheat, and soon after, the game disappeared. Meanwhile, without government regulation, gambling was flourishing until the United States realized that uncontrolled gambling industry was leading to corruption and encouraged organized crime. Although the State of Nevada listed gambling as a crime in 1910, the situation worsened with some members of the government forming the core gangsters. Finally, gambling became legal in Las Vegas in 1931. Red Dog Poker game resurfaced with many changes, and is now known as Casino Red Dog.

Red Dog is an easy game to play, and can be learned by anyone. Unlike Blackjack, which relies heavily on the player’s skills versus other players, it can be a relaxing way to pass the time. Many new casinos today do not offer Red Dog. However, today’s online playing and betting has grown exponentially, and Red Dog Poker can be played within the comforts of your own home.

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