Our small town has an annual Christmas dinner celebration. We believe in community, and we always close out a year of fun activities with this. We do charge for people to come because these things cost money to put on, but we never turn anyone away who just cannot donate to the cause. We always have a huge feast, Christmas entertainment, and gifts for every single person in attendance. This year, I was in charge of putting together the entertainment. We use the same company each year because they are simply the best.

The reason we have someone in charge of this each year is because the company offers so many different options for holiday entertainment that it has to be limited to just a few things. I was happy that I was in charge of it this year because this is actually one of the more fun things to put together. Continue reading “Entertainment for Our Community Christmas Party”

It always seems as if our schedules are becoming more and more cumbersome, where it is difficult to figure out how to work in the tasks that we used to be able to get done after work and on the weekends in our free time. But as work schedules get longer and more demanding, these tasks can start to pile up and become afterthoughts. Keeping you car in tip top shape is one such task, which is why many have begun to take advantage of mobile auto detailing in Orlando. Instead of having to take an hour out of your free time to wash your car or go and wait in a long line in person, you can get the service to come to you location and it requires none of your time.

As the cost of cars has increased over the years, it has become more and more important for people to keep their expensive cars looking good. Continue reading “The Simplest Way to Get Your Car Detailed in Orlando”

We’re utilized to discovering gold in jewellery stores, in memorial showcases or in the bank. We certainly do not expect to discover it from the kitchen. However, because it’s regarded as quite beneficial to the body, helping to it heal from many ailments and rejuvenating it, why don’t you utilize it in our own food? Gold is very malleable and ductile. It may be defeated in very thin sheets that may be trimmed in the desired contour.

As we all know gold is a valuable metal. This makes it more expensive and reachable only for specific people and in various quantities. The newest trends in food and drink demand the usage of scents or dust . The typical innocence of the alloy employed in these recipes is about 23 karat.

Fine particles of stone are used today in a vast selection of beverages. Ingesting them isn’t harmful and each one the luxury restaurants and nightclubs be certain their bartenders are conversant with these thoughts.

The majority of the instances golden is used to beautify hills. Among the greatest combinations is that the one between chocolate and gold. It’s possible to locate it when purchasing a beautiful chocolate cake out of one of the very best confectioneries in massive cities. Utilizing gold in their own food isn’t merely a means to keep yourself updated with the most recent haute cuisine demands, but also a means to draw clients by providing something uncommon and very unique. Among the qualities of gold is the fact that it doesn’t have any taste. Nevertheless it appears great as decoration of cakes. Whenever your desert is introduced to you at a crystal goblet, then it features all sorts of chocolate cream and whipped cream and it has some gold leafs in addition to it that you can simply be happy with this particular restaurant’s support.

There are a lot of ways that in which you may discover edible gold at the current days. It’s ordinarily superbly packaged whether it’s gold dust, gold scents or stone spray. That’s exactly why it may be an proper gift for those that enjoy real worth and that dare to try new recipes. It’s a really innovative kind of purchasing goldand it’s a fairly modest cost on account of the little quantity of gold at the package. But it could include a little luxury whenever you’re preparing a significant meal.

To discover more about edible gold leaves check this link: For edible gold leaf for sale check our Amazon site:

It is not enough to have a great website if your income is based off of commerce sales. A great website is needed to keep the customers there once they find it, but that is the key. They must find it first. If someone does an online search with keywords specific to your business and they do not find your website on the first page of results, then you have a serious search engine optimization problem. That is what happened to me, and the first thing I did was a search for SEO in Toronto.

I needed to find a company that does search engine optimization for websites like mine. I went through the first dozen or so of search result pages, and I still did not come across my own website. I was growing weary of looking through them because I was finding websites that were not similar at all to mine. Continue reading “I Wanted on the First Page of Search Engine Results”

It’s not hard to put in a little bit of fizz to your bath time using a home made bath bomb. If you don’t understand what a toilet bomb is, then you’ve been missing, but that’s a scenario that could soon be repaired. Just keep reading.

A bathroom bomb is a candy scented Combination of citric acidand baking soda and other
Ingredients which start to fizz if you drop them in to your bathtub and since the toilet bomb fizzes; the odor is discharged and fills the toilet with a soothing aroma that lasts for 2 hours. In reality, you might be enticed to remain in the bathroom for hours, however, do not take action, it’s no great smelling good if you seem just like a prune.

To produce your own bath bombs, you may need 1/3 component (cup g, pound — but you need to quantify it) uric acid, also 2/3 component baking soda and the magical ingredient — a few witch hazel in a spray bottle.

To start with combine the baking soda along with the citric acid completely together.

You’ll need to work quickly here since the mix will begin to fizz whenever the spray strikes it.

Next you have to press on your drama doh-like mix into your preferred molds (ice block containers work well). Make sure you press the mixture nicely to the molds and make them sit until tender.

If your dinosaurs start fizzing out in their molds, then continue to push them. All that fizzing suggests you have to have been a bit too excited with the witch hazel and also obtained your mixture too moist. Do not worry you’ll know another time.

Incidentally, the tougher you package your mix into the mould, the tougher the bath bombs will probably be and tougher bombs have a tendency to survive longer.

Now learned how to make your homemade bath bombs and visit our site for more guides and recipes: When making bath bombs the most important thing you will need is a nice and easy to use bath bomb mold, you may visit our Amazon site and find our latest product:

In effect I am sort of the muscle for a drug rehab clinic that does methadone treatment in Florida. In fact this area was home to this place that really had a huge hand in starting a real drug epidemic in this area. They were advertising themselves as a pain clinic, but in essence they were just giving away pain pills to anyone who walked in and asked for them. Of course the DEA closed that down after a time, but the damage was done and the end result was that we got a lot of drug addicts who eventually turned to heroin. The rehab part is not always voluntary either, so you have a lot of people who came here under a court order or others who went into this place to try to get a reduced sentence. So not all of the people we have are in any way committed to the process. Continue reading “I Just Started My Latest Job”

We all have one: an album that touched us so deeply that it plays in the background of our most profound memories, and yet somehow no one else you know has heard of it. For me, that album is the 1995 self-titled release from Canadian singer-songwriter Rebecca Timmons. A friend of a friend of my mom's was in her band or something, and as a result, I had the good fortune of having a copy of it in the house where I grew up. The production quality is some of the best I have ever heard, and it features the talent of many wonderful session musicians, not to mention lovely Rebecca herself. Let me say a few words about a few songs on this scintillating, yet sadly obscure album.

"Angels" starts off very simply, with Rebecca's beautiful, unconventional voice accompanied sparsely by piano. As the song goes on, it comes to its full, lush, orchestral potential, while remaining poignant and bittersweet. It also kicks off the album well by setting a precedent for unusual themes. Specifically, "Angels" deals with people who die young and how they are lucky, "because they don't have to live in the shadows of the things they leave behind."

Rebecca betrays her rock and roll influence in "Up the Walls of the World". It is powerful and inspiring while remaining shrouded in enigma and metaphor. "Forever after, they'll hear the laughter, the ones who rose up the walls of the world", the chorus goes. For me, it conjures an image of an army of free thinkers besieging and pouring into the walled garden of paradise.

"Stand On Your Own" is one of my favorite songs of all time. I used to scribble the lyrics in the margins of my diary when I was in the throes of that deadly torture they call adolescent girlhood. In the lyrics, Rebecca Timmons has falling stars streaming across the sky, imparting wisdom to a lost soul standing on the ground.

"Coming of the Dream" is another one that touches me so deeply, even now, that I can barely talk about it. It's an ecstatic, tears-of-joy-streaming-down-your-face, saving-your-life kind of song that is choking me up even as I type these words.

My mother would sometimes put this album on in the background when we were entertaining. When Track 14, "Sleep", came on, everyone in the room would fall silent, and the hairs on the backs of our neck would stand up. One of us would be obliged to get up and change the CD. It's an eery, skin-crawling lullaby about witch trials.

The last song, "Calling", is basically a six-minute opera. I could have written a paper about it in university. It's enormously creative and very difficult to describe, though I am inclined to compare it to Bohemian Rhapsody, if Bohemian Rhapsody dealt with the nature of the universe and the dawn of a new age of enlightenment.

If you take a moment to peek at the track list here …

… you will see that the album has 17 tracks, but only 13 of them are songs. The other four are intro tracks, only a few seconds long, which use sound effects to introduce the songs that follow. This is one of those creative techniques that, sadly, is no longer pragmatic for recording artists and labels who aim to make their releases compatible with the digital age. Albums are seldom played from beginning to end anymore, but instead are fragmented, their components scattered to the four winds of the iPod shuffle. While there are many things about the digital age that I love and embrace, I must admit that the decline of "the album" as an art form makes me sad. I have been complimented by some of my fans for shelling out the extra few hundred dollars to the printers to have all my song lyrics printed out in their entirety in my CD booklets. This, too, is becoming an archaic practice when consumers can easily look up your lyrics online. I'm just old school, I guess. But I'll get off my soapbox now.

The music of Rebecca Timmons is unspeakably beautiful. Her poetry is profound, her voice expressive, and her style unique. You must not miss it. It's a little heard to find, but you can still buy it online if you hunt for it.

Diana in Savannah

Savannah. The setting of Midnight in the Garden of Good and Evil. The events that unravelled around the fascinating characters in ‘The Book’ happened 30 years ago. But Savannah still revels in larger than life people.

In the heart of the Victorian District is the Gingerbread House, home to the marvellous musician Diana Rogers. Lavender’s Blue arrived over one sultry Sunday afternoon to meet Diana in her kitchen. Exquisitely clad in oyster pink – hat, long gloves and real shell earrings to boot – she firstly entertained us with her witticisms, homemade sugared scones and a glass or two of bubbly.

Her house is a collectors’ paradise. Tables overflowing with vintage finds glisten in the scorching sunlight. Diana’s originally from Oklahoma. “All they do there is watch TV and go to church!” she howls with laughter.

Rural life wasn’t for her. A classically trained pianist and singer, her wonderfully intoxicating voice, not to mention her superlative keyboard skills, ensured that she was an instant Blues hit in New Orleans. Soon she outgrew even the jazz capital and it was off to the Big Apple.

In New York Diana deftly launched herself on the music scene. She played and sang at all the top hotels and clubs: the Waldorf Astoria, Harry’s Bar, One Fifth Avenue, Windows on the World…

Hot in demand, Diana enjoyed a long engagement at Nino’s in New York throughout the Nineties. She performed at the Madison Arms in East Hampton during the summer months. Diana was flown over to London and Cornwall to perform at private parties. She released an album of hits at the end of the Nineties featuring ‘I Know Him So Well’, ‘La Vie en Rose’ and her own composition ‘Middle Class Princess’.

In 2003 she decided it was time for a new phase of her life to begin so it was off to the Deep South. She bought a restored timber Victorian home on the pink azalea-lined East Gaston Street in Savannah.

“I still return to New York every couple of months,” she confesses. “Last time I was there I spent $2,000 on a hat. But it’s a real nice hat. My wardrobe takes up the whole top floor of the house.”

Diana has fully established herself as a firm fixture on Savannah’s music circuit. She’s performed in more than a dozen venues and can currently be heard in the basement piano bar of The Olde Pink House. In fact that’s where Lavender’s Blue first came across her. Descending the stairs from the classy restaurant above, we heard ‘Moon River’ in dulcet tones floating across the heavy evening air. Fast forward 48 hours and we are in her house.

“Come on through to the parlour,” Diana waves. Keeping her gloves on – natch – she embarks on a one woman cabaret show, jauntily weaving her way through the music of Cole Porter and George Gershwin before celebrating the present day with Andrew Lloyd Weber and John Kander.

Diana reveals, “Imelda Marcos’ daughter lives next door. And Jerry Spence, the hairdresser mentioned in The Book is a frequent visitor. ‘Honey, you can find me on page 47!’ he tells everyone he meets!”

Another neighbour, Patricia, arrives. “She was big in Washington!” Diana confides in a stage whisper. Diana plays a medley of Johnny Mercer songs. Outside, a clap of thunder resounds across the gunpowder grey sky. Rain beats down heavily on the veranda. But it doesn’t dampen the decadent party spirit indoors.

Leopold, a grand tortoiseshell cat appears at the parlour door. “She guards the house!” exclaims Diana. The cat got her name before her gender was determined at the vets. “My workman Mr Tiles is built like Tarzan! He was upstairs doing work when I was away and he rang me sayin’, ‘I can’t get down the stairs! Your cat won’t let me past!’ Anyway, he had to jump out the bedroom window and slide down the porch roof!”

As we say our goodbyes late afternoon, Diana’s phone rings. More guests arrive. The party is just getting started. A competitive cacophony of church bells and thunder erupts but it goes unnoticed, drowned out by the echo of laughter, clinking of glasses and Diana upping the tempo with ‘All That Jazz’.

As a singer, you want control over your voice and to treat it with care. A “hard glottal attack” is a very abusive way of treating your vocal cords, that can cause damage. Here’s how you can find out if you have it and the good news — how you can change it.

What is a “hard glottal attack?”

Without going into a lot of medical definitions, basically it is the slamming together of the vocals, just before you speak or sing. It can also happen when you clear your throat or cough. It’s extremely rough on the vocal cords, and most people who have this habit, in their normal vocal practice, end up with a raspy voice by the time they are forty or fifty years old. However, you can change it at any time, providing no damage has been done. You can have a clear voice again, if you are willing to put in the time and effort.

How do you know if you have it?

When you get together with friends and talk more than usual, do you find yourself hoarse? Do people remark that you have a particularly loud voice? What ethnic background are you? Some nationalities are known for speaking in the throat, and that often seems to go together with a “hard glottal attack.”

I had a problem with my throat, my background is German, and they are throat talkers. Once my poor throat got aggravated, it couldn’t regain a nice balance, because my normal use was so abusive. I didn’t have a clue. But when it got in the way of my singing, I found myself in the office of a specialist who dealt with singers. Lucky for me, no damage was done. But my poor throat was raw. So it was speech therapy for me.

One way that you can determine if you have a “hard glottal attack” in normal speech is to record yourself. My speech therapist recommended this to me. At the time, I was teaching groups of children to play electric guitars. I was hollering over top of all that noise. I recorded my class, and was horrified by the way I used my voice, cleared my throat and coughed. It was all so very, very rough You could just hear how rough it was. I had no idea of what I was doing to my voice.

Record yourself on a telephone call, and find out what you do. Check out when you say “Hi, How are you?” Is there a small explosion on the “Hi” and the “How?” If so that is “hard glottal attack.” If you are beating up your voice, that is something you want to change.

Put an airy “H” in front of vowels

This is a very good exercise to soften the attack. It must be done slowly with a lot of concentration. Think of a breathy, sexy actress, like Marilyn Monroe and practice speaking like that.

Put a silent “H” in front of vowels

Next is to imagine saying an “H” but make it silent. What you are doing is sending a little air through the vocal cords before producing a sound, thereby eliminating the hard attack.

If you’ve been doing it a long time, you must be patient. It is possible to change it, I know. But you must persevere.

Practice single words

After vowels, move on to individual words. Record yourself some more, find out when and where you use the “hard glottal attack” and work those words.

Add small words, small phrases

Begin adding “the” and “to” or even a couple words, until you get to longer and longer phrases. It is a good idea to record yourself all through the process.

Try sentences

After phrases, move on to sentences. It helps to repeat the same sentences, again and again. Choose affirmations or inspirational reading. You’ll reap more benefits, than just the voice therapy.

Volunteer to read aloud

A good thing to do is to read aloud. Once you have attained some success, it is an excellent way to practice. You could even volunteer, go read to some shut ins, and practice your voice therapy at the same time.

Some other things to try

Try putting “m” at the beginning of vowels. It brings the voice forward into a hum, before you produce the vowel, and makes it impossible to explode in a hard attack.

To make a noise that goes into the nose, as a question. “Hmm” is a good way to bring the voice forward. My therapist had me doing that, before every vowel, to bring my voice forward.

If you are abusing your voice in this manner, and have not done any damage, you can change it, if you really want to. As a singer, it was something I wanted. You may want to seek the help of a speech therapist, who has many, more tips to help you.

This book is about innovation and entrepreneurship. Israel has been successful because of the pain the nation has endeared. They have thrived because their survival depends upon it. This book is a story that symbols tenacity, insatiable questioning of authority, and determined informality, with a unique attitude towards failure, teamwork, mission, risk and cross-disciplinary creativity.

Why is this important to me?

Have you ever used PayPal or a computer with an Intel processor in it? If yes, then those innovations came from Israel. Regardless of your political view, it is undeniable that the business innovation coming out of this small country is second to none around the world. The proof is in the amount of Venture capital that pours into the country. In 2007/2008, Israel received more venture funds per capita then all the other nations combined. Two main drivers of this innovation are:

1. Survival – Look at any map and you will see that Israel is surrounded by nations that want it destroyed. The citizens have learned to live and thrive in this environment through ingenuity and shear guts. Every male is required to go into the military so they are battlefield tested entrepreneurs.

2. Questioning of Authority – this quality was surprising. If you have every watched Seinfeld or Curb Your Enthusiasm then you know what a pain in the ass the question of authority can cause. It can be downright annoying but the level of clarity created is proof of what gets accomplished. It is common in Israeli military for every soldier to question authority. This is in stark contrast to American Military. I am not saying one is better than the other but the level of questioning / arguing creates great solutions.

Start-up Nation is a great book and there are tons of excellent examples in it. For the sake of time, I will profile three innovations that came out of Israel.

1. Fraud Sciences – Shvat Shaked and his small team came up with a cool technology to identify computer fraud. The venture capital firm setup a meeting with PayPal now owned by eBay. The PayPal VP basically did not want to have the meeting because he figured his team was way ahead of any startup in terms of fraud detection and protection. Long story short, Shvat and his team had one simple idea. The world is divided by good people and bad people and these people leave digital footprints. The PayPal team did not believe it so theyave them test data to run against. They figured it would take Fraud Sciences 60 days to plow through it. Two days later, Shvat sent them an email with the results and their results were 17% better and took 95% less time then what PayPal could deliver. When they asked Shvat how he learned this skill, his response was that he had to hunt down terrorists in the military. eBay bought the company for $ 125 Million. They were at least 5 years ahead of PayPal.

2. Intel – Do you remember the chip race wars? All computers were measured by clock speed from megahertz to gigahertz. This caused one huge problem – HEAT. Basically the way computer chips used to work for speed was similar to your car transmission being stuck in first gear and you wanting to go full speed. The Israeli R & D group for Intel came up with a simple concept. Why not design chips like transmissions. The faster you go step them up from 1st to 5th gear. This change required the whole company to change its marketing message and direction. According to the Intel leadership, this innovation saved the company.

3. Mash ups – The multi-tasking nature and the combination of disparate technologies breaks true innovation. In my own business, we combined Voice, Email, Chat and all communication types to be the first on the market to offer one platform for all communication archiving. This is a simple example of a mash up because other vendors just do one communication type. The innovations seen throughout the book are great examples of combining expertise from different areas to come up with a better mouse trap.

Battlefield Entrepreneurs – According to Eric Schmidt CEO of Google, "The Israeli tank commander who has taken advantage of one of the Syrian wars is the best engineering executive in the world. is based on twenty years of experience – working with them and observing them.

Start-Up Nation is a must read for anyone interested in true innovation. The ideas in the book can help any entrepreneur grow their business. The balance between pain and incentives is seen through Israel's history. Success for them is the only option.

I hope you have found this summary summary useful. The key to any new idea is to work it into your daily routine until it becomes habit. Habits form in as little as 21 days. One thing you can take away from this book is the concept of the mash up. Mash ups are very strong. Are you familiar with Ray Charles or Kid Rock? Their music is all based on mash ups. Ray Charles combined R & B with Gospel which was revolutionary and controversial at the time. Use the mash up concept in your business to innovate.

Ever since I got into a car accident last year, I’ve been having a pain in my hips. A car rammed into the back of me while I was at a stop light, and the pain has been there ever since. The pain comes and goes at random times. I’ve gone to the doctor to see what they could do about it, and after having x-rays and examinations, they couldn’t really figure it out. Sleeping with my painful hips has been hell, and it only got better after I found a bed on Sleep Matters that took the pressure off my hips.

The new bed that I have is made with a special foam that forms around the shape of the body. Continue reading “Comfort for These Old Hips”

I wanted to get a new coffee maker. I had always bought the ones that they sell at the big stores that every town has. And, each time it lasts me maybe a year if that before I have to buy a new one. I finally realized that if I was going to break that cycle, then I had to get educated on which coffee makers were the better ones. I did a search online, and I ended up at a website called Cuppabean. I thought the name was clever because I do enjoy a cup of beans every day!

I looked at the website sections, and I really liked how they made it easy to find what you wanted. I just wanted to find a great coffee maker that was not going to break down within the first hundred or so uses. I looked over the coffee makers that they said were the best of this year, and I was impressed with what I saw. I had heard of Bunn coffee makers before, but I had thought they were just for commercial use. Continue reading “Coffee is Ready in Just Three Minutes”

This is a list of some of the world's music genre and their definitions.

African Folk – Music held to be typical of a nation or ethnic group, known to all segments of its society, and preserved usually by oral tradition.

Afro jazz – Refers to jazz music which has been heavily influenced by African music. The music took elements of marabi, swing and American jazz and synthesized this into a unique fusion. The first band to really achieves this synthesis was the South African band Jazz Maniacs.

Afro-beat – Is a combination of Yoruba music, jazz, Highlife, and funk rhythms, fused with African percussion and vocal styles, popularized in Africa in the 1970s.

Afro-Pop – Afropop or Afro Pop is a term sometimes used to refer to contemporary African pop music. The term does not refer to a specific style or sound, but is used as a general term to describe African popular music.

Apala – Originally derived from the Yoruba people of Nigeria. It is a percussion-based style that developed in the late 1930s, when it was used to wake worshipers after fast during the Islamic holy month of Ramadan.

Assiko – is a popular dance from the South of Cameroon. The band is usually based on a singer accompanied with a guitar, and a percussionnist playing the pulsating rhythm of Assiko with metal knives and forks on an empty bottle.

Batuque – is a music and dance genre from Cape Verde.

Bend Skin – is a kind of urban Cameroonian popular music. Kouchoum Mbada is the most well-known group associated with the genre.

Benga – Is a musical genre of Kenyan popular music. It evolved between the late 1940s and late 1960s, in Kenya's capital city of Nairobi.

Biguine – is a style of music that originated in Martinique in the 19th century. By combining the traditional bele music with the polka, the black musicians of Martinique created the biguine, which combines three distinct styles, the biguine de salon, the biguine de bal and the biguines de rue.

Bikutsi – is a musical genre from Cameroon. It developed from the traditional styles of the Beti, or Ewondo, people, who live around the city of Yaounde.

Bongo Flava – it has a mix of rap, hip hop, and R & B for starters but these labels do not do it justice. It's rap, hip hop and R & B Tanzanian style: a big melting pot of tastes, history, culture and identity.

Cadence – is a particular series of intervals or chords that ends a phrase, section, or piece of music.

Calypso – is a style of Afro-Caribbean music which originated in Trinidad at about the start of the 20th century. The roots of the genre lay in the arrival of African slaves, who, not being allowed to speak with each other, communicated through song.

Chaabi – is a popular music of Morocco, very similar to the Algerian Rai.

Chimurenga – is a Zimbabwean popular music genre coined by and popularized by Thomas Mapfumo. Chimurenga is a Shona language word for struggle.

Chouval Bwa – features percussion, bamboo flute, accordion, and wax-paper / comb-type kazoo. The music originated among rural Martinicans.

Christian Rap – is a form of rap which uses Christian themes to express the songwriter's faith.

Coladeira – is a form of music in Cape Verde. Its element ascends to funacola which is a mixture of funanáa and coladera. Famous coladera musicians includes Antoninho Travadinha.

Contemporary Christian – is a genre of popular music which is lyrically focused on matters concerned with the Christian faith.

Country – is a blend of popular musical forms originally found in the Southern United States and the Appalachian Mountains. It has roots in traditional folk music, Celtic music, blues, gospel music, hokum, and old-time music and evolved rapidly in the 1920s.

Dance Hall – is a type of Jamaican popular music which developed in the late 1970s, with exponents such as Yellowman and Shabba Ranks. It is also known as bashment. The style is characterized by a deejay singing and toasting (or rapping) over raw and danceable music riddims.

Disco – is a genre of dance-oriented pop music that was popularized in dance clubs in the mid-1970s.

Folk – in the most basic sense of the term, is music by and for the common people.

Freestyle – is a form of electronic music that is heavily influenced by Latin American culture.

Fuji – is a popular Nigerian musical genre. It arose from the improvisation Ajisari / were music tradition, which is a kind of Muslim music performed to wake believers before dawn during the Ramadan fast season.

Funana – is a mixed Portuguese and African music and dance from Santiago, Cape Verde. It is said that the lower part of the body movement is African, and the upper part Portuguese.

Funk – is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R & B into a rhythmic, danceable new form of music.

Gangsta rap – is a subgenre of hip-hop music which developed during the late 1980s. 'Gangsta' is a variation on the spelling of 'gangster'. After the popularity of Dr. Dre's The Chronic in 1992, gangsta rap became the most commercially lucrative subgenre of hip-hop.

Genge – is a genre of hip hop music that had its beginnings in Nairobi, Kenya. The name was coined and popularized by Kenyan rapper Nonini who started off at Calif Records. It is a style that incorporates hip hop, dancehall and traditional African music styles. It is commonly sung in Sheng (slung), Swahili or local dialects.

Gnawa – is a mixture of African, Berber, and Arabic religious songs and rhythms. It combines music and acrobatic dancing. The music is both a prayer and a celebration of life.

Gospel – is a musical genre characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a religious nature, particularly Christian.

Highlife – is a musical genre that originated in Ghana and spread to Sierra Leone and Nigeria in the 1920s and other West African countries.

Hip-Hop – is a style of popular music, typically consisting of a rhythmic, rhyming vocal style called rapping (also known as emceeing) over backing beats and scratching performed on a turntable by a DJ.

House – is a style of electronic dance music that was developed by dance club DJs in Chicago in the early to mid-1980s. House music is strongly influenced by elements of the late 1970s soul- and funk-infused dance music style of disco.

Indie – is a term used to describe genres, scenes, subcultures, styles and other cultural attributes in music, characterized by their independence from major commercial record labels and their autonomous, do-it-yourself approach to recording and publishing.

Instrumental – An instrumental is, in contrast to a song, a musical composition or recording without lyrics or any other sort of vocal music; all of the music is produced by musical instruments.

Isicathamiya – is an a cappella singing style that originated from the South African Zulus.

Jazz – is an original American musical art form which originated around the beginning of the 20th century in African American communities in the Southern United States out of a confluence of African and European music traditions.

Jit – is a style of popular Zimbabwean dance music. It features a swift rhythm played on drums and accompanied by a guitar.

Juju – is a style of Nigerian popular music, derived from traditional Yoruba percussion. It evolved in the 1920s in urban clubs across the countries. The first jjjú records were by Tunde King and Ojoge Daniel from the 1920s.

Kizomba – is one of the most popular genres of dance and music from Angola. Sung generally in Portuguese, it is a genre of music with a romantic flow mixed with African rhythm.

Kwaito – is a music genre that emerged in Johannesburg, South Africa in the early 1990s. It is based on house music beats, but typically at a slower tempo and containing melodic and percussive African samples which are looped, deep basslines and often vocals, generally male, shouted or chanted rather than sung or rapped.

Kwela – is a happy, often pennywhistle based, street music from southern Africa with jazzy underpinnings. It evolved from the marabi sound androught South African music to international prominence in the 1950s.

Lingala – Soukous (also known as Soukous or Congo, and formerly as African rumba) is a musical genre that originated in the two neighboring countries of Belgian Congo and French Congo during the 1930s and early 1940s

Makossa – is a type of music which is most popular in urban areas in Cameroon. It is similar to soukous, except it includes strong bass rhythm and a prominent horn section. It originated from a type of Dual dance called kossa, with significant effects from jazz, ambasse bey, Latin music, highlife and rumba.

Malouf – a kind of music imported to Tunisia from Andalusia after the Spanish appeal in the 15th century.

Mapouka – also known under the name of Macouka, is a traditional dance from the south-east of the Ivory Coast in the area of ​​Dabou, sometimes carried out during religious ceremonies.

Maringa – is a West African musical genre. It evolved among the Kru people of Sierra Leone and Liberia, who used Portuguese guitars bought by sailors, combining local melodies and rhythms with Trinidad calypso.

Marrabenta – is a form of Mozambican dance music. It was developed in Maputo, the capital city of Mozambique, formerly Laurenco Marques.

Mazurka – is a Polish folk dance in triple meter with a lively tempo, containing a heavy accent on the third or second beat. It is always found to have either a triplet, trill, dotted eighth note pair, or ordinary eighth note pair before two quarter notes.

Mbalax – is the national popular dance music of Senegal. It is a fusion of popular dance musics from the West such as jazz, soul, Latin, and rock blended with sabar, the traditional drumming and dance music of Senegal.

Mbaqanga – is a style of South African music with rural Zulu roots that continues to influence musicians worldwide today. The style was originated in the early 1960s.

Mbube – is a form of South African vocal music, made famous by the South African group Ladysmith Black Mambazo. The word mbube means "lion" in Zulu

Merengue – is a type of lively, joyful music and dance that comes from the Dominican Republic

Morna – is a genre of Cape Verdean music, related to Portuguese fado, Brazilian modinha, Argentinian tango, and Angolan lament.

Museve – is a popular Zimbabwe music genre. Artists include Simon Chimbetu and Alick Macheso

Oldies – term commonly used to describe a radio format that usually concentrates on Top 40 music from the '50s,' 60s and '70s. Oldies are typically from R & B, pop and rock music genres.

Pop – is an impressive and imprecise category of modern music not defined by artistic considerations but by its potential audience or prospective market.

Quadrille – is a historic dance performed by four couples in a square formation, a precursor to traditional square dancing. It is also a style of music.

R & B – is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.

Rai – is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical formats, which dates back to the 1930s and has been primarily evolved by women in the culture.

Ragga – is a sub-genre of dancehall music or reggae, in which the instrumentation primarily consistes of electronic music; sampling often serves a predominant role in raggamuffin music as well.

Rap – is the rhythmic singing delivery of rhymes and wordplay, one of the elements of hip hop music and culture.

Rara – is a form of festival music used for street processes, typically during Easter Week.

Reggae – is a music genre first developed in Jamaica in the late 1960s. A particular music style that originated following on the development of ska and rocksteady. Reggae is based on a rhythm style characterized by regular chops on the off-beat, known as the skank.

Reggaeton – is a form of urban music which became popular with Latin American youth during the early 1990s. Originating in Panama, Reggaeton blends Jamaican music influences of reggae and dancehall with those of Latin America, such as bomba, plena, merengue, and bachata as well as that of hip hop and Electronica.

Rock – is a form of popular music with a prominent vocal melody accompanied by guitar, drums, and bass. Many styles of rock music also use keyboard instruments such as organ, piano, synthesizers.

Rumba – is a family of music rhythms and dance styles that originated in Africa and were introduced to Cuba and the New World by African slaves.

Salegy – is a popular type of Afropop styles exported from Madagascar. This Sub-Saharan African folk music dance originated with the Malagasy language of Madagascar, Southern Africa.

Salsa – is a diverse and predominately Spanish Caribbean genre that is popular across Latin America and among Latinos abroad.

Samba – is one of the most popular forms of music in Brazil. It is broadly viewed as Brazil's national musical style.

Sega – is an evolved combination of traditional Music of Seychelles, Mauritian and Réunionnais music with European dance music like polka and quadrilles.

Seggae – is a music genre invented in the mid 1980s by the Mauritian Rasta singer, Joseph Reginald Topize who was sometimes known as Kaya, after a song title by Bob Marley. Seggae is a fusion of sega from the island country, Mauritius, and reggae.

Semba – is a traditional type of music from the Southern-African country of Angola. Semba is the predecessor to a variety of music styles originated from Africa, of which three of the most famous are Samba (from Brazil), Kizomba (Angolan style of music derived directly from Zouk music) and Kuduro (or Kuduru, energetic, fast- paced Angolan Techno music, so to speak).

Shona Music – is the music of the Shona people of Zimbabwe. There are several different types of traditional Shona music including mbira, singing, hosho and drumming. Very often, this music will be accompanied by dancing, and participation by the audience.

Ska – is a music genre that originated in Jamaica in the late 1950s and was a precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues.

Slow Jam – is typically a song with an R & B-affected melody. Slow jams are commonly R & B ballads or just downtempo songs. The term is most commonly reserved for soft-sounding songs with heavy emotional or romantic lyrical content.

Soca – is a form of dance music that originated in Trinidad from calypso. It combines the melodic lilting sound of calypso with insistent (usually electronic in recent music) percussion.

Soukous – is a musical genre that originated in the two neighboring countries of Belgian Congo and French Congo during the 1930s and early 1940s, and which has gained popularity through Africa.

Soul – is a music genre that combines rhythm and blues and gospel music, originating in the United States.

Taarab – is a music genre popular in Tanzania. It is influenced by music from the cultures with a historical presence in East Africa, including music from East Asia, Sub-Saharan Africa, North Africa, the Middle East and Europe. Taarab rose to prominence in 1928 with the rise of the genre's first star, Siti binti Saad.

Tango – is a style of music that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played by a sextet, known as the orquesta típica, which includes two violins, piano, doublebass, and two bandoneons.

Waka – is a popular Islamic-oriented Yoruba musical genre. It was pioneered and made popular by Alhaja Batile Alake from Ijebu, who took the genre into the mainstream Nigerian music by playing it at concerts and parties; also, she was the first waka singer to record an album.

Wassoulou – is a genre of West African popular music, named after the region of Wassoulou. It is performed mostly by women, using lyrics that address women's issues relating to childbearing, fertility and polygamy.

Ziglibithy – is a style of Ivorian popular music that developed in the 1970s. It was the first major genre of music from the Ivory Coast. The first major pioneer of the style was Ernesto Djedje.

Zouglou – is a dance oriented style of music from the Côte d'Ivoire (Ivory Coast) that first evolved in the 1990s. It started with students (les parents du Campus) from the University of Abidjan.

Zouk – is a style of rhythmic music originating from the French islands of Guadeloupe and Martinique. It has its roots in kompa music from Haiti, cadence music from Dominica, as popularized by Grammacks and Exile One.

Kindergarten children naturally love to sing! It is one of the many ways they learn. Music and singing should be a part of any good quality Pre School or Kindergarten program. Children instinctively like to hum, sing, make up songs, make sounds and experiment with rhyme and language and there before we should use this to an advantage and bring learning to children through song. Singing is often one of the ways we bond with our children from a very early age-from the soothing lullaby to nursery rhymes or fun educational songs as they get older.

What are the benefits of singing at Kindergarten?

  • Singing assists in the development of musical skills such as rhythm and beat
  • Singing also makes learning fun and is a feel-good activity!
  • Physical skills are enhanced when combining actions with song
  • Singing is a wonderful way to encourage cultural awareness-learning songs in other languages ​​or learning about others
  • Language skills acquired through singing such as rhyme assist in reading development
  • Singing is also a great breathing exercise and action songs and singing games can be a terrific aerobic exercise. Singing has health benefits too! It releases endorphins and makes one feel happy and positive
  • Quieter children also find singing a wonderful emotional release mechanism and it is a great form of self expression.
  • Singing encourages memory skills
  • Not only language based skills are enhanced but mathematical and scientific skills also.
  • Singing is a spontaneous activity and can happen anywhere, anytime without the need for equipment or resources. Songs can be made up to make the words relevant to the topic or personal to a particular child
  • Singing can boost self esteem and confidence in children. It is a way of sharing their learning with their families in a fun and positive way.
  • Singing also aids in developing listening skills and speech sounds
  • The repetitiveness of language used in songs helps children's learning at this age and they are more likely to retain this information
  • singing together creates a feeling of connectedness, community and sharing

Singing is a wonderful activity that presents many benefits to the Kindergarten or Pre School aged child. Early childhood teachers have long known that singing is one of the most effective ways for children to learn. A program rich in music and singing experiences will almost certainly be a place where children are enjoying their learning in a fun and relevant way.

Are you looking for a female song from a Musical that will help you connect directly to an audience? What you need is a “House number”!

A House song bridges the gap between the audience and the singer, when the character comes out of the story on stage and speaks directly to the viewers, know that he (and the drama) is being watched.

In Musical theater there are not many real House songs, but there are a number of songs you can alter to make your performance cross that invisible fourth wall between you and the audience.

In this article I suggest 60 songs for women from the Musical Theater repertoire that could be sung as a House song. I have placed them in three categories: the true House song, the audience number and the soliloquy.

In the first category, the true House song, the musical is written deliberately for the character to step out of the drama and speak to the viewers. My first thoughts are Spamalot (the Diva’s Lament), and City of Angels (You Can Always Count On Me). When You’re Good To Mama from Chicago springs to mind immediately. Other true House songs include Big Spender from Sweet Charity (originally a chorus number but can be sung by one person), I’m Still Here from Follies, Broadway Baby from Follies, I Just Wanna Dance from Jerry Springer, Jonny One Note from Babes in Arms, and Nobody Does It Like Me – the Cy Coleman song from the musical SeeSaw. And Miss Byrd from Closer Than Ever shares her secret across the fourth wall.

Many of the songs from the Victorian Music Hall era work as house numbers including Waiting At the Church, If It Wasn’t For the ‘Ouses In Between, and even ballads such as The Boy I Love Is Up In The Gallery. Then there are the songs written in a Musical style such as Girl in 14G, and The Alto’s Lament.

In the second category, the character sings to an audience in her world as part of the plot. Good and Evil from Jekyll and Hyde is a great example as Lucy sings to the drinkers in the pub where she works. Then there’s Don’t Cry For Me Argentina (Evita), I Speak Six Languages from The 25th Annual Putnam County Spelling Bee, Beat Out Dat Rhythm from Carmen Jones, Man Wanted from Copacabana, and Blow Gabriel Blow from Anything Goes. The Saga Of Jenny from Lady in the Dark is sung in a courtroom, and you might just get away with Life of the Party from Wild Party.

The unifocus song is the third type of House number – it’s usually a soliloquy in which the character is asking questions. One of the most well-known songs is I Cain’t Say No from Oklahoma. Then there’s I’m Shy from Once Upon A Mattress, Everybody Says Don’t, and There Won’t Be Trumpets, from Anyone Can Whistle, and I’m A Stranger Here Myself from One Touch of Venus. Check out Holding To The Ground from Falsettos, My Brother Lived In San Francisco from Elegies for Angels Punks and Raging Queens, I Hate Men from Kiss Me Kate, and My Strongest Suit from Aida. In a slightly more old-fashioned vein, there’s I Think I May Want To Remember Today from Starting Here, Starting Now, Tale of the Oyster (Fifty Million Frenchmen), and The Physician (Nymph Errant).

You can use a strong story song like Waiting For The Music To Begin (Witches of Eastwick) if you use it to tell the audience your story. Another perfect example comes from A Chorus Line, where Diana Morales sings Nothing to Zach who is seated in the (real) audience throughout the show. So it’s simple to make it a House song and speak directly to your audience. Other songs include Gimme Gimme from Thoroughly Modern Millie, I Know Things Now from Into the Woods, Defying Gravity from Wicked, and Always The Bridesmaid from I Love You, You’re Perfect, Now Change.

Back to Sondheim again for The Ladies Who Lunch from Company, The Story of Lucy and Jessie (from certain productions of Follies), and Can That Boy Foxtrot (a duet that can be sung as a solo) from Marry Me A Little, or cut from Follies, depending on who you read.

Then there’s Everybody’s Girl from Steel Pier, Old Fashioned Love Story from Wild Party, When You Got It, Flaunt It from The Producers, and How Did I End Up Here from Romance Romance. You might consider One Hundred Easy Ways from Wonderful Town, or My New Philosophy from You’re A Good Man Charlie Brown, and experiment with a song like Cockeyed Optimist from South Pacific.

Another great source of House songs is the revue musical. Closer Than Ever by Maltby and Shire is a good example for songs like Back On Base, or The Bear, The Tiger, The Hamster and The Mole. Or you could consider Songs for a New World by Jason Robert Brown for I’m Not Afraid Of Anything. You can also do what the musicals are doing currently and raid the pop/disco/rock scene for suitable songs – Holding Out For A Hero started as a Bonnie Tyler song but is now in both Footloose and Shrek II

It is unusual for a slower song to work as a house number, but here are a few suggestions: Maybe I Like It This Way from Wild Party, That’s Him from One Touch Of Venus, Why Him from Carmelina, Bill (from Oh Lady! Lady! and versions of Showboat) and of course, Funny Girl from Funny Girl.

Remember that the point of a House song is to speak directly to the viewers, so make sure you look your audience in the eye while you perform.


I'd like to talk about something I call "the Diva Syndrome". The Diva Syndrome is basically a need to define everything in its finest terms whether it describes it or not. What do I mean by that? The term "diva" actually means "a female singer of outstanding talent". In Italian, it basically means "a goddess".

By that definition, I would consider the following female singers "divas": Barbara Streisand, Ella Fitzgerald, Aretha Franklin, Diana Ross, Celine Dion, Whitney Houston, Etta James, Loretta Lynn, Dolly Parton, Cher, and most likely, Madonna. Now there are more more that belong on that list but I am trying to show the caliber of singers that occupy that lofty design. They represent the best of the best. Nikki Minaj a diva? No. Miley Cyrus? No … ever! Maybe Pink … someday. Probably Mariah Carey … soon. And so on.

The point to be made is that we have begon to throw around words that represent the highest standards of performance or ideals and applied them to less than exemplary people. That is not to say that some people do not deserve to be recognized for their value but to apply terms like "diva" or "hero" to just anyone, diminishes the value of the term. It's like last place trophies. If everyone gets a trophy for participating, what's the value for a first place trophy. Far less, I dare say.

Today, in pathetic attempts to appear patriotic or socially responsive, people (and in particular news media) throw the word "hero" around as true true heroism is commonplace and I assure you it is not. True heroism entails a willingness to sacrifice one's own life to save others. To be a hero is to present moral excellence in the face of corruption and deceit without regard to one's own comfort and security. Yet, today the world is full of pseudo-heroes. Claimed by those who benefit in doing so or have their own cause elevated because they identify themselves with those they have claimed as such.

Today we proclaim members of our military as "heroes". Let me be clear about one thing, I respect and support the men and women of the armed forces but I can not support the blanket use of the term "hero" without lowering the esteem I have for those who have sacrificed their lives to save others. Members of the armed forces are paid a wage to do a job and they do it well, without a doubt. But at the end of the day it is still a job and my concept of hero does not include those who show up for work. The same holds true of police, firemen, and paramedics. It certainly does not include medical personnel who are very well paid to save lives. That's their job and we expect them to do it. It is the case, then a fry cook at a fast food joint is just as much a hero as a soldier because he too shows up and does his job. There is no difference. A soldier can be killed? So can a fry cook, but if that lowly fry cook thwarts a robbery attempt and in the process is shot, possibly killed. Then, he has become a hero.

To be a hero should not be confused with duty. Duty is your obligation to do your job or to live up to your responsibilities. To do your duty is expected. You are not rewarded for it except that you may earn a wage or achieve some acclaim for being forthright. A soldier is paid to do a job. Doing that job is their duty. If it means being put in harm's way, then it is their duty to do so. To be a hero means to go beyond duty. To do that which most others would not dare do.

I had the privilege of meeting a Congressional Medal of Honor recipient at a social function a few years ago. This individual, a medical helicopter pilot, was responsible for saving the lives of nearly a dozen soldiers in a gunfight in Vietnam. Without regard to his own safety, he retrieved wounded soldiers from a clearing while taking hundreds of rounds of bullets in his helicopter. When other helicopters would not risk going back into the area to get more trapped soldiers, he continued to go back. He retrieved all of them. His helicopter was shot up so bad it could not make another trip. He took six.50 cal. bullets to his legs, arms and chest while flying. He did not have to do any of this. In fact, he was ordered to return to base but he refused to leave those soldiers trapped. This is a case of extreme heroism. To call all soldiers heroes diminishes the term that is reserved for such men as that helicopter pilot.

Duty is an obligation to fulfill a responsibility or oath. Heroism is to go "above and beyond the call of duty". The list of great heroes in history is long and impressive. Great leaders, politicians, activists, and inventors of all types can claim the title. But more than the big names in history, it is the unsung heroes of everyday life that deserve our admiration the most. The common person who raises to the occasion not out of duty but out of love and compassion for their fellow man.

The best example I can think of is Rachael Beckwith who wanted to raise $ 300 dollars by her ninth birthday to help bring clean water to people in poor countries. Tragically she was killed in a car accident in 2011, $ 80.00 short of her goal just after turning 9 years old. Her cause and her death inspired countless others to join the effort to raise money to provide clean drinking water to poor regions throughout the world. Today, through her efforts the organization charity: water has raised hundreds of thousands of dollars and bought clean drinking water to villages such as that of the Bayaka tribe in the Central African Republic.

Upon learning that people did not have clean water to drink, the 9-year-old girl said, "I do not want a birthday party, I do not want gifts, I just want people to have clean water". That is the voice of a true hero. A little girl who touched the lives of those she did not even know.

What you are about to read is a new theory about the cause, and prevention, of thyroid disease. We believe a simple lifestyle issue that characterizes modern life is leading to thyroid dysfunction. It’s something you can test for yourself, on yourself. And the concept itself will change the way science thinks about thyroid function.

If correct, this theory has the potential of significantly reducing the need for thyroid medication, and may help prevent thyroid disease, potentially causing significant loss of revenue for the multi-billion dollar thyroid treatment industry. This information is therefore being shared directly with the public without peer review, since the peer reviewers are part of that treatment industry.

The issue has to do with a commonly known feature of the thyroid, something which everyone knows about the thyroid, but has failed to recognize as a significant feature. It has to do with the location of the organ.

The thyroid is located directly beneath and partly around the thyroid cartilage, or the Adam’s apple, in the throat. Tilt your head back and feel for the most prominent cartilage sticking out. That’s the Adam’s apple. Underneath it is your thyroid gland, shaped like a butterfly.

While the thyroid is on the outside of the Adam’s apple, on the inside is the larynx, or voice box. You can tell this by placing your hand on your thyroid and humming. Try this. Hum by saying, “MMMMMMMMM”. Then say it louder and louder, until you are yelling. You will feel your thyroid vibrating. The louder you hum, the more it vibrates.

What happens to the thyroid when it vibrates? The thyroid is filled with a gel-like material that is the storage form of thyroid hormone. The gel releases hormone when the thyroid is massaged, which is why massage therapists avoid throat massages for hyperthyroid patients. There have also been medical studies that show certain types of occupational vibrations cause injury to the thyroid. The thyroid is clearly affected by vibration.

It is logical, then, to conclude that the vibration of the thyroid by using your voice also stimulates the release of thyroid hormone. This is a natural mechanism the body has for thyroid stimulation. This would also explain why Nature has designed the thyroid to be surrounding the voice box. In its wisdom, Nature developed a way that our activity level can influence our thyroid function.

That makes sense when you consider the function of thyroid hormone. This hormone is responsible for overall metabolic rate. Too much thyroid hormone, and you essentially burn up. Too low, and you can’t get your fire started. So when your life is full of excitement and stimulation, and you talk, sing, or yell a great deal, your thyroid gets stimulated to release more hormone, stoking your fires and keeping your energy up. When you have times of being restful and quiet, your voice gets a rest and your fire gets turned down.

The throat is essentially functioning as an activity indicator, since activity is usually associated with using one’s voice. We are social animals, and our activities usually involve other people with whom we communicate by using our voice. And this is true for other social animals, as well. Groups of social animals keep in constant vocal contact with one another, whether it is geese honking, chickens clucking, dogs barking, or humans chatting. In all mammals and most vertibrates, the thyroid gland is associated with vocal structures.

Which raises a question regarding mute humans. If the thyroid is stimulated by vocalizing, and if the person is mute, then you would expect that person to have an understimulated thyroid. Indeed, that is the case. One of the common problems mute children face as they grow up is their thyroid gland does not function properly, and they soon are put on lifetime thyroid medication.

But what if these mute children had their throats vibrated for them, perhaps by some voice simulator? Or what if they had their thyroids massaged? Surely, something could be done to replace the lost stimulation caused by mutism. Unfortunately, the link between vocalization and thyroid function is not considered, so these therapeutic alternatives to drugs are not tried.

Of course, mutism is the extreme case of underutilization of the voice. What about the millions of speaking people, mostly women, who are being told they have low thyroid and need lifetime medication and doctor visits? Could some of these people be underutilizing their voices, too? Are people these days not speaking as much as they used to?

When you think about the reality of modern life, that could certainly be the case. For example, people used to talk to each other in person or over the telephone. Now, they email instead of using the phone. We can communicate with people all over the world, but that communication is electronic, not vocal. Then there were the evenings, not long ago, when people used to sit together and read books aloud, tell stories, and sing songs. People made their own entertainment, and this usually involved using their voices. Now, people silently listen to iPods, watch videos, or surf the Internet. We now consume entertainment, instead of making our own.

We also have less exposure to other people in our daily lives. Many jobs today involve little contact with other people, except over the computer. And more people are working at home, further reducing interpersonal contact. More people are living alone, too, due to record divorce rates and a general trend towards single living. For many people, there’s just nobody to talk to.

These people may be suffering from their silence by having an understiomulated thyroid. They may benefit from singing, huming, massaging their throats, or even letting a purring cat caress their throats. They need throat stimulation to keep their fires burning.

On the other hand, there are those who overuse their voices, and overstimulate their thyroids. Hyperthyroidism is associated with stress, and many people who have stress in their lives yell. Yelling really vibrates the thyroid, and could cause vibrational injury. This could cause too much hormone to be released, resulting in temporary hyperthyroidism until the vibrational injury can heal. In fact, most cases of high thyroid get better by themselves, assuming the doctor hasn’t already destroyed the thyroid with radioactive iodine or surgery. We have already recorded several case histories of people who developed hyperthyroidism after experiencing months of stress that included intense fits of yelling.

So that’s the great discovery. The thyroid vibrates when you use your voice, and this stimulates the thyroid to secrete hormone. It is another axis for thyroid hormone control, along with the well recognized feedback mechanism from the brain’s hypothalmus and pituitary. It is something that is obvious, and yet has gone unrecognized by medicine. Perhaps telling a patient to talk or sing more is not something that fits well into the medical pharmacopeia.

Of course, this theory still needs more research. Despite its sensibility and the supporting evidence briefly mentioned above, there need to be biochemical studies. But these studies will have to be funded, and drug companies, and the government agencies they influence, will probably not be interested in funding them (and if they are, beware of the results!) Fortunately, you do not have to wait for the medical industry to considers these comments, (and the potential impact of this information on drug revenues and professional fees.) You can start singing right now, unless, of course, you have high thyroid, in which case you may want to whisper for a while.

And tell your friends, especially those who are depressed, quiet, and told they have low thyroid. This is something they can shout about.

From budget basic to modern marvels, the hunt for the most indispensable of sewing tools.

Sewing is so different from what it used to be, and so are the machines on the market today. With so many different sewing machines, shopping for one can be daunting.

The following list of machines are worth a test drive, dividing them by the sewing skill level, the kind of sewing they are suited to for, and the pros and cons of each category. Use it as a starting point in you search, then head to your local dealer to try them out in person. The only way you’ll know which machine is the one for you.

STARTER SEWING MACHINES; They are no-frills, sewing-only machines. Most will include automatic buttonhole features and a basic selection of utility stitches. Some are electronic rather than computerized, with dials or buttons for machine settings rather than touch screens. These machines are basically for the beginning sewers, kids and anyone who plans to do only basic garment construction, mending, or home decorating and craft projects.

PROS; easy to use, affordable and capable of turning out quality clothing and decorating projects.

CONS; decorative stitches are limited or non-existent. Tension may not be set automatically. Buttonholes may require manual manipulations.

SUGGESTED MACHINES ARE; Singer Feather weight 11; Brother NX-200; Elna’s Debut 2110 or 2130; Euro-Pro’s Intelli-Sew; Bernetta from Bernina; Husqvarna Viking’s Scandenavia 100

MID TO HIGH-END SEWING MACHINES; These machines are performance oriented machines geared to garment and home decorating sewing. They handle a wide variety of projects and fabrics with ease. Some are electronic, but some are computerized. They feature a wide variety of utility stitches, automatic tension settings, self-threading and multiple automatic buttonhole settings. Some have built-in decorative stitches for embellishment. These machines are for serious sewers focused on dressmaking, tailoring and home decorating projects.

PROS; touch screens or electric settings take care of tension setting and indicate the correct stitch length and presser foot. Multiple automatic buttonhole settings and styles, precision sewing speed control, better handling of fabrics and hundreds of built-in utility and decorative stitches. Instruction manuals are stored in the machines memory and can be accessed from the LCD screen.

CONS; pricier than basic models. The wide variety of features and options may intimidate those not comfortable with computerized functions. These can be rectified with practice and lessons from the dealer.

RECOMMENDED MODELS; Singers Quantum 9940; Brother’s NX-600 Janome’s Memory craft 6500; Elna Quilters Dream Ultra 6003 QT

COMBINATION SEWING/EMBROIDERY MACHINES; these high-tech machines offer the best of both worlds. You can stitch up garments, home decor, and accessorize to your hearts content. They have a switch presser feet and snap on the embroidery attachment to decorate y our designs with professional embroidery. The designs are built into the machines memory, supplied on flash cards or similar devices. Some models you can download designs directly from the internet to the machine by way of a USB port.

PROS;Offer almost unlimited creative embellishment potential.

CONS; These machines are expensive, but as the technologies advance manufacturers are introducing lower-priced models that offer many of the same functions as higher-end machines.

RECOMMENDED MODELS; Singer Quantum Futura; Brother’s Innov-is 4000D; Janome’s Memory Craft 10001; Bernina’s Artista 200E; Artista 185 Quilters Embroidery Edition

EMBROIDERY-ONLY MACHINES; These machines are dedicated to machine embroidery. These machines are for mostly for someone starting a custom embroidery business, crafters interested in embellishing read-made items.

PROS; Since embroidery is their sole function, these machines turn out designs more efficiently. Higher speeds than combination sewing embroidery machines.

CONS; You can’t sew on these machines.

RECOMMENDED MODELS; Brother’s PR-600; Babylock’s Embroidery Professional; Bernina’s Deco330.

Now you are ready to head out to your local dealer and try out some of the machines before you buy.

My mom and friends were talking about how much weight I had lost. I lost sixty pounds so far and only have about thirty pounds left to lose. I do have a lot of extra skin and while I am really upset I did not go to the gym and work out, I am glad that I lost that much weight. I may not have the perfect body but at least I can say I worked hard to actually go and make my life a lot healthier. Things were going well and I found Coolsculpting in Sacramento and I was really interested in hearing how that could actually help me get tighter and help me lose my fat. I would like to consider it but I have no idea how much money it cost so I did not want to go and do anything about it before reading about it and talking to the doctor because I was so interested.

I heard from my sister in law that for about three thousand dollars you have a part of your stomach frozen and it is supposed to look smaller. I don’t understand why she actually bothered to have it done because she went and she worked on her stomach when she has really fat legs and she does not look normal. She looks bloated and that is not the most healthy thing at all. I think she needs to go to a health spa and spend three thousand dollars to have someone look at her blood work and ask her what she eats and get her to start thinking more about living and less about just going through the motions of life. It seems like that is such a lonely way to be when you live all alone and things don’t look good.

It always seems as if our schedules are becoming more and more cumbersome, where it is difficult to figure out how to work in the tasks that we used to be able to get done after work and on the weekends in our free time. But as work schedules get longer and more demanding, these tasks can start to pile up and become afterthoughts. Keeping you car in tip top shape is one such task, which is why many have begun to take advantage of mobile auto detailing in Orlando. Instead of having to take an hour out of your free time to wash your car or go and wait in a long line in person, you can get the service to come to you location and it requires none of your time.

As the cost of cars has increased over the years, it has become more and more important for people to keep their expensive cars looking good. Continue reading “The Simplest Way to Get Your Car Detailed in Orlando”

Here’s the truth about singing lessons: they’re bullshit! Unless you get the right ones. If you’ve ever played sports or learned any complicated coordinated motor type skill, you may appreciate how much it sucks to try and UNLEARN an incorrect habit that you picked up from a shitty coach, lack of knowledge, whatever. But the point is, you’ve TAUGHT that action to your body and it’s going to RESIST you as you try to reprogram yourself. Welcome to Suckville, population you.

There’s a lot that a very excellent teacher can do to help you improve your singing, while a poor teacher can seriously screw up your voice both in terms of learning bad habits and actual, physical damage can occur to your vocal anatomy if you practice poor habits.

However, I’m going to make a bold statement: learning to sing can’t be taught. Not fundamentally. YES, your teacher can point out things you’re doing wrong, YES your teacher can suggest a corrective course of action but everything they tell you is also fundamentally inaccurate. Why? Because singing is invisible. Meaning, it’s primarily a kinesthetic skill.

“Kinesthetic” refers to your perception of your own body and its motions, both internal and external. In the same way that a musician develops his ability to listen to musical details that the lay person won’t notice, so does a singer constantly strive to develop a “body map” or an internal, self-consistentrepresentation of their own physiology. This includes learning how to control muscle contractility, how to coordinated extremely fine muscle groups in the larynx, how to breathe correctly (a study in and of itself) and a million other things that nobody else can see (not fully, anyway) but that YOU can learn to fully FEEL. It’s weird because we don’t normally think of this as one of our sense. We say “touch” is a sense but really touch is just a small part of the greater whole of body awareness.

So, when a teacher gives you some kind of advice, you have to try it out, see how your body interprets and implements that suggestion, TRANSLATE it to the language of your body so that it’s internally consistent and be willing to constantly revise it as your body provides feedback to you. Your teacher can’t see this. Even a biofeedback machine can’t see this, but you have this incredibly sophisticated biofeedback device that tells you exactly what’s up in your body, so learn to operate it – it’ll take your your singing to a whole different plane.

The best place to look for a vocal coach is at your local college or university music program. The reason for this is because many professional singers are on staff at a university to help supplement their income and give them some sort of job stability. Your chances of finding a really decent vocal coach here, as opposed to on some flyer, are high.

When you go to meet your potential new vocal coach, you should ask them a lot of questions about their credentials, experience and even ask them to sing for you. I can’t tell you how many singing teachers I see who, when you ask them to sing something, they sound like crap. Out of tune, poor vocal tone, bad diction, you name it. If you encounter this kind of teacher, stay the hell away because they don’t know what they’re doing. Trust your instinct. If they don’t sound damn impressive, they simply can’t help you. If they react in a defensive or evasive way to your request that they sing, tell them straight up: I’m not taking lessons with anybody until I’ve heard them sing. Don’t say it in an asshole way, but be direct; it’s your time and money and remember the saying “garbage in, garbage out.”

I want to leave you with a thought that my grappling coach likes to remind us of: you can watch videos, come to class, learn from a master, blah blah blah, but ultimately, the responsibility to get good falls on you. Only you can make it happen. Get a partner, drill a move a hundred times, then do it a 100 more on the other side. Your coach or teacher could be world-class, which of course is better than studying with some bum who doesn’t know shit, but I put my money on the guy studying with a bum and owning the speed of his progress versus the dude dropping $250 an hour with a decade-long Met singer where the student doesn’t take any action to get the results.

When you realize – not intellectually, but on a deep level that you literally feel in your stomach – that it’s solely on you to make it happen in everything you do in life (getting good at singing being no exception of course), that’s the day you’ll be free. Because as long as you’re counting on others to achieve your successes for you, you’re going to be angry, disappointed and unsuccessful.

People who have frustrations with their voice have very few options in improving their confidence and overall tonal quality of their voice. While there are many singing tips and techniques that are available online, they are usually not enough to address individual needs. Finding vocal coaches is easy, but finding one that will work with your voice and teach tricks that will benefit how you sing can be a long and expensive guessing game. Believe it or not there are singing lessons online that can really work for you.

Professional Celebrity Singing Coach Roger Burnley has put together one of the most unique and comprehensive singing packages, where singers will learn how to sing high notes, and perform practical vocal warm ups, all while preventing voice strain. In addition there is support for those who truly want to step up their singing.

Burnley has a proven track record of helping some of the biggest names in the industry reach stellar heights through applying his insights and methods. Some of these names include Macy Gray, Brandy, Ray J and list goes on. This is not a one size fits all approach, rather a collection of a broad range of techniques and tips that have one thing in common: They work for almost everyone. Regardless of age or experience, even if you’ve been singing all your life, Roger has found that many singers face the same common problems that can easily be addressed by his methods. This program promises to increase your range and improve your overall singing. Roger is confident that you will see results and he is willing to stand by his words.

What the program will teach you

Throughout the DVD learning set, Roger will teach all the important aspects of developing a stronger, better sounding tone of voice. It will include his own singing tips and techniques, and vocal exercises that he’s taught to various singers in the past. He goes into detail explaining how to use your vocal apparatus properly. The videos show his very approach about how to visualize what you’re doing and which part of your body you should focus on. The idea that he imparts is that you are NEVER too late, too old, or lacking in talent. There is a method for every single problem that you may run into while singing.

This program contains 4 modules for singers at EVERY level.

Here are some singing lesson highlights where you will learn:

  • The EASIEST way to double your vocal range. Learn to add at least 8 extra notes on top of your range.
  • Discover every bad habit and correct them using 3 vocal correction techniques.
  • How to avoid straining your voice.
  • An Insider secret technique behind Michael Jackson, Mariah Carey, and Christina Aguilera (just to name a few).
  • Two very different ways you can sing high notes. No confusing stuff that most teachers teach.
  • Two great vocal warm ups that pros use every day.

Members Site

One thing that sets Roger’s home-based program apart from others is the addition of real singers. It includes an exclusive members site where you can get ongoing training. This is an amazingly powerful tool for learning straight from the mouths of real amateurs. Being able to look at how people apply these methods first hand will help to demonstrate how you can easily and quickly pick up these new singing tips and techniques. The site contains further instructions on the vocal exercises, informative educational videos and a blog where members are able to post questions for Roger’s response. This is the first singing instructional program to offer this feature. Additionally, members have the ability to upload audio or video recordings of their singing for Roger’s comments and individual direction.

Final words

The major weakness in Roger’s program has is that it is a home based product. Not being able to talk one on one with a coach or other singers can seem unsettling for many students who are familiar with traditional methods. Getting immediate feed and motivation can be a big part of one’s success. But, with member’s site and the addition of a one on one call from Roger, it should help address that issue.

While promises of 100% success are unrealistic and exaggerated, this program will get you as close to that threshold as possible, for a fraction of the cost of real and in-person coaching. Whether you have the desire sign a record deal, perform on stage or just improve your skills for personal satisfaction, you can easily find great valuable lessons from this singing course that will get you closer to your goals. In a short amount of time you will undoubtedly see some results and notice that your voice has improve tremendously.

There are two sets of muscles which control your vocal registers. These muscles are called the thyroarytenoids (TA) and the cricothyroids (CT). To sing contemporary (popular) styles of music, the strength in these muscle sets need to be especially balanced and coordinated. When one set is much stronger than the other, vocal issues such as these occur:

  • Limited vocal range.
  • Frustrating pitch problems.
  • Lack of control of vocal “licks” or embellishments.
  • Limited options of vocal tone colors.
  • Lack of ability to blend the voice.
  • Vocal register breaks.
  • Vocal strain.

The CT muscles “work” the head voice, or upper vocal register, lengthening the vocal cords by tilting the thyroid cartilage. The TA muscles “work” the chest voice, or lower vocal register, shortening and thickening the vocal cords, of which they are the core.

People who strain in chest voice need a stronger head voice (controlled by the CT muscles), People who have trouble reaching lower notes (common with classically trained singers trying for a contemporary sound) need to strengthen the TA muscles. For a singer, more important than knowing the names of these muscles is learning to identify the sensations…how the voice should feel and operate… when these muscles are balanced.

When there is an imbalance, vocal training can strengthening the weak set to match that of the strong set. How? The way you strengthen any muscle is to use it — and use it correctly. Here are some tips:

* If you tend to strain at the upper end of your chest voice (also known as pushing chest voice):

Practice singing in your head voice. Do exercises that take you up far higher than you’d normally go when singing songs, but be sure you’re not leaning or pushing to do so. Just go as high as you are able to without strain. Keep doing this on a regular basis and you will strengthen the muscles that control your upper register. Your head voice will begin to influence your chest voice and you will be able to sing notes that were previously difficult or almost impossible for you to reach without straining.

* If you have been classically trained and find it hard to keep from bringing your head voice too low when doing contemporary (non-classical) or musical theater songs:

Practice singing in your chest voice. Feel for vibration in your mouth and chest; avoid a “hootie”, “covered” or  hollow sound. Set up your chest voice the same way you should your head voice… stretch tall and do not bend forward or hunch over. Sing songs and do exercises that take you up into middle voice, but keep it “talking” voice; don’t “go over” to head voice. Important… while using this voice, DON’T PUSH. In fact, it is helpful to imagine a glass plane in front of your mouth when you sing… try not to leave a breath mark on it. Make sure you are in chest voice. If you’re not sure which register you are singing in, find a good voice teacher who can help you learn to identify the corresponding sensations of being in head or chest voice.

When you attain a balanced strength in the TA and CT muscles, you will seem to have ONE integrated vocal register, because your chest and head voices can easily blend into what is commonly called “mixed voice”. The most accomplished, masterful voices are also the most blended.

For highly effective vocal muscle balancing exercises called “blending steps” as well as more great vocal instruction, look for the 6-CD package at the website below:

When you have a headache your singing voice has a headache. When your toe hurts it’s very hard to sing well. When you have an argument with someone and it bothers you later your singing voice will be negatively affected.

Notice I said “singing voice”, not just performance. I’m talking about a physical reaction in the vocal cords to problems you are experiencing.

Consider this: the guitar player is not the guitar, the drummer is not the drum set, the piano player is not the piano…but…THE SINGER IS THE VOCAL INSTRUMENT. You are not only the “player” of your vocal cords, your vocal cords are an inseparable part of you. Also, since the voice runs on internal energy, and your energy is sapped by physical and psychological problems, and breath is stolen by stress, anxiety and high emotion, it stands to reason that your singing will be affected. Notice how you become out of breath in high stress situations.

One of the big problems for female singers is the “period”. When you are enduring that process your physical and mental functions go haywire. But you don’t need me to point this out. However, you may not have recognized that the same swelling, discomfort and mental unbalance that affects the rest of your body and psychology affects your vocal cords and performance.

So, how do we overcome these problems when we sing? We can’t. But being armed with the understanding that our singing voice is being negatively affected will reduce the added stress of not understanding why our singing isn’t up to par.

Know your song so well that you can pull off a good (to the audience) performance regardless of those problems only you are aware of. Be prepared to sing some of the more difficult note lower or softer. The trick is to fool the audience into thinking that everything is fine. Become a master at disguising your problems and mistakes.


Keep yourself in good physical and mental shape.

Singers and their voices are all rolled up in one package. They can’t be separated like the guitar player from their guitar. Here are some powerful suggestions to help you through those times when you (and your voice) are not feeling so well.