Anthony Frisell, world-renowned teacher of voice for singers wishing to pursue careers in the field of international opera, has updated and reissued his three voice manuals: The Tenor Voice, The Soprano Voice and The Baritone Voice. They are intense, in depth and completely responsive to those individuals who wish beginning and advanced training for a serious career. My review is geared toward The Soprano Voice, however, the basic concepts are the same for all three voices.

For far too many individuals who surround themselves with music and perhaps even learn to imitate some of today’s stars, they begin to consider a singing career. While reality shows abound implying that there is an easy path to success, this is just not true. The professional singer must be trained, practice and learn to protect their new voice!

To find the path to success, Frisell first explains the “Mental Image Approach.” That is, “all vocal exercises must be indirectly applied, through mental concepts.” (p. 7) The beginner then realizes what is expected to attain professional status. It was not at all surprising to me that even though I’ve been singing in various groups most of my life that I had never learned to sing correctly. Learning and maintaining vocal standards is a lifetime study in a professional environment and by a master!

There are fixed rules that form the correct mental image. Grand opera began in Italy and the first rule requires that all vowel sounds, in order to ensure singer communication to her audience, must ensure purity of vowels. Specifically, “each of the five Classic Italian vowels, u (oo) i (ee), e (eh), o (oh), and a (ah), as pronounced by native Italians, must be mastered in their purest form throughout the entire voice range.” (p. 8)

The next fixed rule applies to Control for without control our voices are unreliable. The book covers breath-force dynamics, range, flexibility and shading of tones-all results of control.

There is also a requirement that professional singers must become familiar with the rudiments of music and the ability to play a musical instrument, preferably the piano. Additionally, it is necessary to learn several foreign languages.

For many of us, we do not understand how and why we can reach some notes sometimes, but not at others. This is simply explained by the requirement to identify the vocal registers for the individual. Frisell notes that “to master the art of refined singing one must know the function of the two vocal registers and fully develop them, so they function together as a single unit of quality and strength.” (p. 11) This is not easily done. However, Frisell effectively takes each of the issues in this process, identifies and explains them, and then proceeds to illustrate how the single unit is developed.

Using a keyboard illustration, the breaks for females are identified. The lower register are those that come from the “chest voice” while the upper range is the “head voice.” A ruling principle is provided because there is constant antagonism between these registers. “The conflicting muscular responses that occur, between the two vocal registers, when attempting to produce pure, superior vocal tone, represent the natural responses to the energy of the motor force (breath tension) being applied to the muscles of both registers.” (p. 16).

For an individual to advance from routine singing to a professional, there are years of muscular control development through exercises, practice, and by listening and studying those professionals already proficient in opera. This manual takes you through the mechanics of this study and provides an outstanding array of exercises, detailed illustrations of where the sound should be located, how the tongue and throat are affected, etc.

Frisell has provided “a personal guide to acquiring a superior singing technique.” Indeed, the only thing lacking is that Frisell is not there, helping the individual in this effort. This is a must-read for serious students of voice. As a final contribution, Frisell has included a copy of a recent article entitled, “Is There an “American School” of classic voice training? If so-has it failed American singers?”

By the way, the author gives master classes and is located in New York City. In my opinion, only very serious students need apply! This man will either accept you as a potential great singer…or you will come to know the answer to the question he poses in the above article.

“Maybe if I have this client blink his eyes at an increased speed, while exposing him to his past, and add some cognitive behavioral therapy while sitting next to a waterfall, he may be able to function more effectively in his life!” Yes this is rather exaggerated, however it demonstrates the idea that as professionals in the field of therapy, we often seek complex theories, techniques, and strategies to more effectively treat our consumers. A large amount of our precious time is spent seeking new theories and techniques to treat clients; evidence for this statement is shown by the thousands of theories and techniques that have been created to treat clients seeking therapy.

The fact that theories are being created and the field is growing is absolutely magnificent; however we may be searching for something that has always been right under our nose. Clinicians often enjoy analyzing and making things more intricate that they actually are; when in reality what works is rather simple. This basic and uncomplicated ingredient for successful therapy is what will be explored in this article. This ingredient is termed the therapeutic relationship. Some readers may agree and some may disagree, however the challenge is to be open minded and remember the consequences of “contempt prior to investigation”.

Any successful therapy is grounded in a continuous strong, genuine therapeutic relationship or more simply put by Rogers, the “Helping Relationship”. Without being skilled in this relationship, no techniques are likely to be effective. You are free to learn, study, research and labor over CBT, DBT, EMDR, RET, and ECT as well as attending infinite trainings on these and many other techniques, although without mastering the art and science of building a therapeutic relationship with your client, therapy will not be effective. You can even choose to spend thousands of dollars on a PhD, PsyD, Ed.D, and other advanced degrees, which are not being put down, however if you deny the vital importance of the helping relationship you will again be unsuccessful. Rogers brilliantly articulated this point when he said, “Intellectual training and the acquiring of information has, I believe many valuable results–but, becoming a therapist is not one of those results (1957).”

This author will attempt to articulate what the therapeutic relationship involves; questions clinicians can ask themselves concerning the therapeutic relationship, as well as some empirical literature that supports the importance of the therapeutic relationship. Please note that therapeutic relationship, therapeutic alliance, and helping relationship will be used interchangeably throughout this article.

Characteristic of the Therapeutic Relationship

The therapeutic relationship has several characteristics; however the most vital will be presented in this article. The characteristics may appear to be simple and basic knowledge, although the constant practice and integration of these characteristic need to be the focus of every client that enters therapy. The therapeutic relationship forms the foundation for treatment as well as large part of successful outcome. Without the helping relationship being the number one priority in the treatment process, clinicians are doing a great disservice to clients as well as to the field of therapy as a whole.

The following discussion will be based on the incredible work of Carl Rogers concerning the helping relationship. There is no other psychologist to turn to when discussing this subject, than Dr. Rogers himself. His extensive work gave us a foundation for successful therapy, no matter what theory or theories a clinician practices. Without Dr. Rogers outstanding work, successful therapy would not be possible.

Rogers defines a helping relationship as , ” a relationship in which one of the participants intends that there should come about , in one or both parties, more appreciation of, more expression of, more functional use of the latent inner resources of the individual ( 1961).” There are three characteristics that will be presented that Rogers states are essential and sufficient for therapeutic change as well as being vital aspects of the therapeutic relationship (1957). In addition to these three characteristics, this author has added two final characteristic that appear to be effective in a helping relationship.

1. Therapist’s genuineness within the helping relationship. Rogers discussed the vital importance of the clinician to “freely and deeply” be himself. The clinician needs to be a “real” human being. Not an all knowing, all powerful, rigid, and controlling figure. A real human being with real thoughts, real feelings, and real problems (1957). All facades should be left out of the therapeutic environment. The clinician must be aware and have insight into him or herself. It is important to seek out help from colleagues and appropriate supervision to develop this awareness and insight. This specific characteristic fosters trust in the helping relationship. One of the easiest ways to develop conflict in the relationship is to have a “better than” attitude when working with a particular client.

2. Unconditional positive regard. This aspect of the relationship involves experiencing a warm acceptance of each aspect of the clients experience as being a part of the client. There are no conditions put on accepting the client as who they are. The clinician needs to care for the client as who they are as a unique individual. One thing often seen in therapy is the treatment of the diagnosis or a specific problem. Clinicians need to treat the individual not a diagnostic label. It is imperative to accept the client for who they are and where they are at in their life. Remember diagnoses are not real entities, however individual human beings are.

3. Empathy. This is a basic therapeutic aspect that has been taught to clinicians over and over again, however it is vital to be able to practice and understand this concept. An accurate empathetic understanding of the client’s awareness of his own experience is crucial to the helping relationship. It is essential to have the ability to enter the clients “private world” and understand their thoughts and feelings without judging these (Rogers, 1957).

4. Shared agreement on goals in therapy. Galileo once stated, “You cannot teach a man anything, you can just help him to find it within himself.” In therapy clinicians must develop goals that the client would like to work on rather than dictate or impose goals on the client. When clinicians have their own agenda and do not cooperate with the client, this can cause resistance and a separation in the helping relationship (Roes, 2002). The fact is that a client that is forced or mandated to work on something he has no interest in changing, may be compliant for the present time; however these changes will not be internalized. Just think of yourself in your personal life. If you are forced or coerced to work on something you have no interest in, how much passion or energy will you put into it and how much respect will you have for the person doing the coercing. You may complete the goal; however you will not remember or internalize much involved in the process.

5. Integrate humor in the relationship. In this authors own clinical experience throughout the years, one thing that has helped to establish a strong therapeutic relationship with clients is the integration of humor in the therapy process. It appears to teach clients to laugh at themselves without taking life and themselves too serious. It also allows them to see the therapist as a down to earth human being with a sense of humor. Humor is an excellent coping skill and is extremely healthy to the mind, body, and spirit. Try laughing with your clients. It will have a profound effect on the relationship as well as in your own personal life.

Before delving into the empirical literature concerning this topic, it is important to present some questions that Rogers recommends (1961) asking yourself as a clinician concerning the development of a helping relationship. These questions should be explored often and reflected upon as a normal routine in your clinical practice. They will help the clinician grow and continue to work at developing the expertise needed to create a strong therapeutic relationship and in turn the successful practice of therapy.

1. Can I be in some way which will be perceived by the client as trustworthy, dependable, or consistent in some deep sense?

2. Can I be real? This involves being aware of thoughts and feelings and being honest with yourself concerning these thoughts and feelings. Can I be who I am? Clinicians must accept themselves before they can be real and accepted by clients.

3. Can I let myself experience positive attitudes toward my client – for example warmth, caring, respect) without fearing these? Often times clinicians distance themselves and write it off as a “professional” attitude; however this creates an impersonal relationship. Can I remember that I am treating a human being, just like myself?

4. Can I give the client the freedom to be who they are?

5. Can I be separate from the client and not foster a dependent relationship?

6. Can I step into the client’s private world so deeply that I lose all desire to evaluate or judge it?

7. Can I receive this client as he is? Can I accept him or her completely and communicate this acceptance?

8. Can I possess a non-judgmental attitude when dealing with this client?

9. Can I meet this individual as a person who is becoming, or will I be bound by his past or my past?

Empirical Literature

There are obviously too many empirical studies in this area to discuss in this or any brief article, however this author would like to present a summary of the studies throughout the years and what has been concluded.

Horvath and Symonds (1991) conducted a Meta analysis of 24 studies which maintained high design standards, experienced therapists, and clinically valid settings. They found an effect size of .26 and concluded that the working alliance was a relatively robust variable linking therapy process to outcomes. The relationship and outcomes did not appear to be a function of type of therapy practiced or length of treatment.

Another review conducted by Lambert and Barley (2001), from Brigham Young University summarized over one hundred studies concerning the therapeutic relationship and psychotherapy outcome. They focused on four areas that influenced client outcome; these were extra therapeutic factors, expectancy effects, specific therapy techniques, and common factors/therapeutic relationship factors. Within these 100 studies they averaged the size of contribution that each predictor made to outcome. They found that 40% of the variance was due to outside factors, 15% to expectancy effects, 15% to specific therapy techniques, and 30% of variance was predicted by the therapeutic relationship/common factors. Lambert and Barley (2001) concluded that, “Improvement in psychotherapy may best be accomplished by learning to improve ones ability to relate to clients and tailoring that relationship to individual clients.”

One more important addition to these studies is a review of over 2000 process-outcomes studies conducted by Orlinsky, Grave, and Parks (1994), which identified several therapist variables and behaviors that consistently demonstrated to have a positive impact on treatment outcome. These variables included therapist credibility, skill, empathic understanding, affirmation of the client, as well as the ability to engage the client and focus on the client’s issues and emotions.

Finally, this author would like to mention an interesting statement made by Schore (1996). Schore suggests “that experiences in the therapeutic relationship are encoded as implicit memory, often effecting change with the synaptic connections of that memory system with regard to bonding and attachment. Attention to this relationship with some clients will help transform negative implicit memories of relationships by creating a new encoding of a positive experience of attachment.” This suggestion is a topic for a whole other article, however what this suggests is that the therapeutic relationship may create or recreate the ability for clients to bond or develop attachments in future relationships. To this author, this is profound and thought provoking. Much more discussion and research is needed in this area, however briefly mentioning it sheds some light on another important reason that the therapeutic relationship is vital to therapy.

Throughout this article the therapeutic relationship has been discussed in detail, questions to explore as a clinician have been articulated, and empirical support for the importance of the therapeutic relationship have been summarized. You may question the validity of this article or research, however please take an honest look at this area of the therapy process and begin to practice and develop strong therapeutic relationships. You will see the difference in the therapy process as well as client outcome. This author experiences the gift of the therapeutic relationship each and every day I work with clients. In fact, a client recently told me that I was “the first therapist he has seen since 9-11 that he trusted and acted like a real person. He continued on to say, “that’s why I have the hope that I can get better and actually trust another human being.” That’s quite a reward of the therapeutic relationship and process. What a gift!

Ask yourself, how you would like to be treated if you were a client? Always remember we are all part of the human race and each human being is unique and important, thus they should be treated that way in therapy. Our purpose as clinicians is to help other human beings enjoy this journey of life and if this field isn’t the most important field on earth I don’t know what is. We help determine and create the future of human beings. To conclude, Constaquay, Goldfried, Wiser, Raue, and Hayes (1996) stated, ” It is imperative that clinicians remember that decades of research consistently demonstrates that relationship factors correlate more highly with client outcome than do specialized treatment techniques.”


Constaquay, L. G., Goldfried, M. R., Wiser, S., Raue, P.J., Hayes, A.M. (1996). Predicting the effect of Cognitive therapy for depression: A study of unique and common factors. Journal of Consulting and Clinical Psychology, 65, 497-504.

Horvath, A.O. & Symonds, B., D. (1991). Relation between a working alliance and outcome in psychotherapy: A Meta Analysis. Journal of Counseling Psychology, 38, 2, 139-149.

Lambert, M., J. & Barley, D., E. (2001). Research Summary on the therapeutic relationship and psychotherapy outcome. Psychotherapy, 38, 4, 357-361.

Orlinski, D. E., Grave, K., & Parks, B. K. (1994). Process and outcome in psychotherapy. In A. E. Bergin & S. L. Garfield (Eds.), Handbook of psychotherapy(pp. 257-310). New York: Wiley.

Roes, N. A. (2002). Solutions for the treatment resistant addicted client, Haworth Press.

Rogers, C. R. (1957). The Necessary and Sufficient Conditions of Therapeutic Personality Change. Journal of Consulting Psychology, 21, 95-103.

Rogers, C. R. (1961). On Becoming a Person, Houghton Mifflin company, New York.

Schore, A. (1996). The experience dependent maturation of a regulatory system in the orbital prefrontal cortex and the origin of developmental psychopathology. Development and Psychopathology, 8, 59-87.

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:

Your jaw movement, or lack of movement, has a significant and important effect on your voice. TMJ (temporomandibular joint disorder) is not just a jaw issue…it’s a vocal problem.

  • First of all, the stiff jaw which accompanies TMJ will keep the soft palate from lifting. Try gritting your teeth while simultaneously attempting to lift the soft palate in a yawn-like sensation. Quite difficult, isn’t it?
  • A stiff jaw will inhibit the full opening of vowels, causing a tight throat instead of an open one to constrict singing.
  • Lack of mobility in the jaw will also cause a singer or speaker to form words and syllables too far back in the mouth, muffling communication and tightening the throat. This is because a tight jaw will cause the base of the tongue to contract, bunch up and pull up on the top of the larynx during articulation.
  • A jaw with TMJ can cause a singer to stop truly listening and being able to aim at pitch, especially if there is a ringing in the ears (tinnitus) to conflict with the tones a singer wants to accurately hit. To deal with this, you obviously need to address TMJ solutions, but it’s also important to get back to some pitch practice with a trusted coach.

When I was a staff-singer at a jingle company in Memphis, I once had a terrible bout with TMJ. It was so bad I had to open my mouth before they turned the mic on so my jaw wouldn’t cause a clicking sound! In my case, it was caused mostly by a new tooth filling -too high- which caused me to grind my teeth to try and close my bite. It was cured by 1. the dentist filing the filling down for a better fit, 2. using a mouth guard to stop my night-time grinding and 3. a short-term course of prescription muscle relaxer to relax my jaw. Whew!

Not all causes of TMJ are known. With singers it’s often a case of “which came first, the chicken or the egg?” Tight jaw contributes to tight throat. Tight throat will cause a tight jaw which is trying (tensing) desperately to articulate. When the cause is investigated, it is my experience that much can be done to alleviate the symptoms of TMJ and allow the voice to find freedom again.

For more practical vocal information like this, proven best for studio and stage, see…

Last evening, I was watching, for the tenth time, the award winning musical, “Singing in the Rain,” which starred the late Gene Kelly and Donald O’Connor, and the eighty-year old Debbie Reynolds. The 1952 motion picture was nominated for 2 Oscars, won the 1953 Golden Globe, and 3 other major awards. I actually think it should have won several 1953 Oscars for its immaculate, if not perfect, dancing choreography, comedy, and drama. I mean, compared to the talent and precision demonstrated over a decade later by Julie Andrews and Christopher Plummer, in the 1965 musical “The Sound of Music,” which I think was considerably less than that demonstrated by Kelly, Reynolds, and O’Connor, “Singing in the Rain” should have won at least 2 Oscars. The two motion picture musicals were, of course, different in style, length, and the talent of the actors; but one can’t fail to notice the most significant difference between the two productions. It was the completely flawless combined effect of dancing, singing, and comedic and dramatic acting, which was accomplished by the dancers, actors, and studio staff, of “Singing in the Rain,” while there were quite a few “unmentioned” choreographic errors in “The Sound of Music.” The motion picture professionals, who created “Singing in the Rain,” worked together tirelessly to make an unequaled musical production. Furthermore, one can count on the fingers of one hand the number of American musicals produced since 1952 with the same natural flawless dancing, singing, and acting from the starring casts. So, the question lingers and demands an answer as to why “Singing in the Rain” hasn’t been remade in a modern setting, with different actors, like so many other remakes of the classic movies?

You can use all of the fancy 21st Century computer gadgetry and advanced sound equipment that money can buy to attempt to synthetically reproduce the genuine dancing, singing, and acting of Gene Kelly, Debbie Reynolds, and Donald O’Connor; but one unassailable fact remains ultimately true. It would be an expensive, but ultimately failed, attempt in artificial movie-making. It’s impossible to persuasively simulate natural human talent with computers. Further, it’s very improbable that three versatile entertainers, like Gene Kelly, Debbie Reynolds, and Donald O’Connor, would be found among all the accomplished dancers and singers in the current 21st Century world, to duplicate what those three unique people did. And that’s a crying shame. Those three stars could act, sing, and dance in a marvelous combining fashion, something that no current stage, or motion picture, star can remotely do today. Take Robin Williams for instance. He’s a wonderful actor and comedian, but he can’t dance or sing like Gene Kelly or Donald O’Connor. Matt Damon, Tim Robbins, Tom Hanks, Ben Affleck, Brad Pitt, George Clooney, Meg Ryan, Russell Crowe, Richard Gere, and Julia Roberts, and many other late-20th Century Oscar winners, are all genuinely great actors, and have made their millions. But none of them can come close to combining acting, singing, and dancing in the way the “Singing in the Rain” cast did so perfectly. Some film producers think that these foregoing top-rated actors and actresses could persuade theatre and television audiences that they actually possess such talent, which they don’t really possess, through the use of computer enhancements. I don’t think so. The use of such technical fakery would be very evident.

There’s also another reason why I think a genuine remake of “Singing in the Rain” has not been produced. People today just don’t like to work as hard as the actors and actresses did in the 1930s, 40s, and 50s in order to produce natural artistic excellence. They are now eagerly willing to settle for less to get their paychecks. For example, in September of 1990, when residing in Carlsbad, California, I was, one late evening, discussing singing talent with the sound manager for Madonna, who was returning to LA from a concert at the San Diego Convention Center. He had stopped for some refreshments at the Carlsbad 7-Eleven, where I was the night store manager. The fellow appeared to be completely sober as he, very candidly, talked about Madonna and her talent. “It’s all in the sound equipment,” he said. “Madonna doesn’t have lot of singing talent, but she has a great sound manager and the best equipment.” Then he laughed and added. “With the right computer sound equipment, any normal person’s singing voice can be made to sound professional. That’s how Sissy Spacek sounded like Loretta Lynn in “Coal Miner’s Daughter.” The reason I remember his words verbatim, is because I wrote them down immediately after he left the store. Moreover, the dramatic plot in “Singing in the Rain” was all about what happened when an actress without singing talent was made to look, and sound, like she had that ability, at the expense of a naturally talented singer. I think that the moral of the movie was, simply, that actresses and actors without certain talents should not be made to falsely appear to audiences to have such talents. Perhaps, however, the movie industry in Tinsel Town was unfortunately moving in that less-desirable direction when the 1953 Oscars were awarded. Perhaps that’s why a perfect musical was not given its due that year.

I was born in 1951, and first saw “Singing in the Rain” in 1969. That was partly because my parents weren’t, at all, movie-goers; and, also, partly because of my own working priorities during my teenage years. I read my first commentary about the musical shortly after I saw it, and recall how the cast had practiced continually, day and night, to achieve choreographic perfection, to point of blistered and bleeding feet. Eighteen years after the musical premiered, I had presumed that the hard work associated with American achievement in the dancing, singing, and acting required for award-winning musicals was an indelible standard. You know, in association with the old American adage, “what’s hard we do immediately; what’s impossible just takes a little longer.” Well, I don’t want to believe that there aren’t any more multi-talented actors and actresses out there, who can superbly sing, dance, and act like Gene Kelly, Debbie Reynolds, and Donald O’Connor. What’s more, I don’t want to believe that great dancers, singers, and actors can only appear today as products of institutions like Julliard, or as certified prodigies. Gene Kelly, Debbie Reynolds, and Donald O’Connor were not prodigies. They were normal human beings who became great by continually working hard to improve and perfect their artistic talents. And they so perfectly did that in “Singing in the Rain.”

Are you trying to lose weight and considering the South Beach Diet? The first thing you might want to do is look for south beach diet weight loss reviews. The reality is that there are a seemingly endless number of products being sold online on the subject of losing weight. So, it can be a daunting task when attempting to choose the best plan. That’s why reading reviews can be so helpful! It’s been said that the shortest path to success is achieved by finding a blueprint written by someone who has done what you want to do. So, if you know a product has positive reviews, it’s more likely that it offers a solid blueprint!

The reality seems to be that a lot of people have lost weight and become healthier overall by following the South Beach Diet plan. It was developed in the early 2000’s and was initially devised as a heart disease prevention diet. However, so many people were also losing weight that it ultimately began to be sold to that market. It’s unique in that it combines a meal delivery service with a specific weight loss plan. Continue reading “How Reading Reviews Can Help You Lose Weight on the South Beach Diet”

Imagine you and your family are sitting down at a restaurant. You order the establishment’s signature entrée and are treated to 1/3 pound of grade-B beef which has been fried and covered with watery ketchup, bitter mustard, and bits of what may generously be called “onions.” Surely this would be unacceptable at a quality restaurant. Continue on this imaginary evening, and think about taking your family to see a show at the local theater. You are sitting in your seats enjoying the performance, but every seven minutes the curtain falls and a very enthusiastic man shouts from the stage how much better your life would be if only you would go out and buy this-or-that product. No one in their right mind would sit through that, yet we seem perfectly willing to accept low-end food, poorly-made goods, and underhanded selling tactics as long as we are able to buy said merchandise quickly, cheaply and conveniently. Since their inception, fast food, advertisements, and “big box” retail have had several deleterious effects on American health and culture.

Fast food, while often expedient, is unhealthy. It is common knowledge now that most (if not all) of the food served via drive-through window contains frighteningly high levels of sodium, carbohydrates and cholesterol. In his Tufts University article “Who’s Losing the Burger Battle?” Irwin Rosenberg lists the caloric content in several fast food chains’ premium sandwiches. Hardee’s Six-Dollar Burger contains 890 calories, Burger King’s Steakhouse XT Burger weighs in with 970, and Denny’s Western Burger sits atop the greasy mountain with a staggering 1160 calories. Just to clarify, these measurements do not account for French fries, beverages or extra condiments. Awareness of the health risks associated with fast food is certainly more widespread than it used to be, but according to David Hogan’s article “Fast Food,” books and articles about the high-fat, low-quality products used by fast food establishments have been printed since the 1930s (Hogan, 565). In addition to providing a nightmarish dietary staple, fast food restaurants can also widen the gap between us consumers and the source of our food. The food itself is rarely memorable or special to us. It appears before us fully formed, an instantly-available placeholder for what we should be eating. In “Feeding Our Future,” Michael Ableman suggests that more people ought to eat “whole food-food that tastes better because it’s grown in living soil and harvested locally, food that makes clear the relationship between human health and the health of the Earth” (Ableman, 563). It seems that the only redeeming value to be found in fast food is its eponymous speed. I recently visited a particular sandwich shop and was mightily impressed when I was able to order, pay, and receive my food in literally less than three minutes. Of course, the brevity and ease of my experience did little to assuage the gastrointestinal distress I later suffered because of the oil and fat inherent in convenient comestibles. Fast food, however, is not the only example of the health and cultural sacrifices we make for the sake of convenience.

Big box retail stores have negative impacts on the individual and the community. From the moment you walk through the sliding glass doors and step onto the linoleum or concrete tiles of your local Walmart (or Target, or K-Mart, as the case may be) you may start to instantly disconnect from the world around you. Personally, I often feel like I’m in a strange sort of bubble when I shop at mass retail outlets. The other shoppers are just ghosts pushing squeaky-wheeled phantom carts down the aisles into the fluorescently-lit void. Going into the store late at night creates even more of an isolated feeling. In their article “Walmart: Everyday Low Prices,” Peter Singer and Jim Mason cite a recent report that claims Walmart employs 1.6 million people (Singer & Mason, 588), yet with the advent of self-checkout and the sheer size of most of their stores, it is possible to literally spend hours shopping and not encounter another person. This creates what I consider to be an inhospitable shopping environment not only because of the eerie lonely feeling it can produce, but also because with no employees around, receiving customer service is impossible. Judging by their ubiquitous signs, banners and slogans, Walmart seems to take much pride in being an American company offering American goods but on closer inspection, their patriotism seems questionable at best. According to Singer and Mason, in 1993 Walmart sold clothes which they claimed were manufactured in the USA but, as was revealed later, were made by child workers in Bangladesh (Singer & Mason, 590). Walmart continues to maintain their low prices by selling goods that are mostly of international origin. Singer and Mason state that in 2005, Walmart spent $18 billion on Chinese products (Singer & Mason, 590). Can there be any doubt that Walmart is partially responsible for America’s dependence on foreign wares? In their PBS article “Is Walmart Good for America?” Hendrick Smith and Rick Young state that nearly 80 percent of Walmart’s 6000 suppliers are located in China. Furthermore, the advertising for these and other goods and services can cause harm to consumers.

Advertising can hurt potential buyers in ways that may not be obvious. Subliminal messages, which have been a mainstay of television advertising for decades, can affect peoples’ thoughts and moods about a product, which seems to me like an infringement on free will. It was once thought that subliminal advertisements were just an urban myth, but according to a Discovery News article called “Subliminal Messages Work, at Least Sometimes”, evidence now exists that our decisions can be influenced by suggestions we receive unconsciously. One of the best examples that I have seen of this advertising tactic is a Chevrolet commercial from 1959. It features a happy couple singing about the wondrous new automobile arriving in showrooms throughout the nation and, if you pause the video at exactly the right frame, it is possible to glimpse images of the car with a very attractive couple inside. A more modern example of subliminal advertising is during a commercial for KFC’s Snacker sandwich. The ad shows a very enticing picture of the sandwich while an announcer talks about what a great value it is. By looking very closely during the last second or two of the ad you can clearly see a dollar bill in the sandwich’s lettuce. Of course, advertising can also influence people to buy more expensive items without using subliminal messages. Simply by using pleasant, appealing images and slogans, advertisements can promote the idea that a certain brand is superior to its competitors even if no such superiority exists. This emphasis on product labels is far from new. In “The Marlboro Man,” James Twitchell quotes 1940s advertising guru David Ogilvy as saying that if consumers were given a drink of Old Crow and told it was Jack Daniels, they would enjoy it more than if they knew it was Old Crow (Twitchell, 472). For a more modern perspective, consider Craig Nicholson’s article “Great Expectations,” from the February, 2008 issue of Nature Reviews Neuroscience which recounts a study involving “Volunteers [who] were given various wines to sample, two of which were presented twice with wildly different price tags. The volunteers reported greater enjoyment […] when they believed them to be expensive…” (Nicholson, 163). It seems that, as much as our society has progressed in the last 50 years, we are still tasting images. Why is this a problem? Because when we emphasize status symbols like brand names, I believe we are prone to make very poor decisions about how to spend our money. Advertising also seems to be a contributing factor in our ever-shortening attention span. As viewers get used to having information presented in smaller and smaller bits, advertising must try and keep pace. In his New York Times Article “Advertising,” Stuart Elliot says that when television was a brand-new medium advertisements were usually around one minute in length, but by 1971 the average length was only 30 seconds and in 2005, Cadillac unveiled the first 5-second commercial (Elliot, New York Times 04/2005). It seems like this trend is likely to continue.

It is ironic that as our society becomes more complex, we strive harder for simplicity. We want everything in life to be as quick and as easy as possible but if all gratification becomes instant, I fear that we will forget the satisfaction that comes from working (or at least waiting) for what we desire. We will lose appreciation for the effort put into creating the goods that we use every day. In the short time they have existed, advertising, mass retail and fast food have already had such a negative impact on our health and culture. Imagine the impact they will have in decades to come.

Since great singing seems such an impossible skill to reach out for, a lot of people who do purchase a career in singing often look for secrets no one knows about. Special habits or products for the voice. Things to do or not to do that turns you into that one unique singer. You might be disappointed as the tips below are very basic and apply to anyone who wants to sing and anyone who can speak CAN pursue a career in singing.

Whether anyone WILL have a career is a whole different story. There is a lot more to it than just opening your mouth and sing. But that’s basically the main thing you need to do to sing. Open your mouth and sing. A lot of people think too much about how to sing and how to be a great singer. Just follow the steps below and you’ll be nicely on your way.

1.Work the body.

Even though all instruments require a healthy body to perform, no instrument depends so much on a healthy body as the voice. When you have an illness while playing guitar or piano or another instrument the instrument will sound the way it usually sounds while singing is almost impossible to do. Even if you can still sing you won’t be able to perform at your best and your voice definitely sounds different.

There for it’s not only necessary to keep your body healthy but in order to improve singing  to your highest possible skill level you need to optimize your body.

What does it mean to optimize your body? It means to train the parts that are used excessively as you sing. These parts are the same as the ones we use when speaking. Your vocal cords, your lungs and abdominal muscles. Train your vocal cords, train your lungs and train your abdominal muscles. You have to be a bit of an athlete in fact. Rather than focusing on your legs you will focus on your voice but just as an athlete you  will have to develop your lungs and muscles.

     A.The vocal cords.

Every muscle in the body that is used often needs training to become flexible. Muscles need to be  active every day in order to perform well. Muscles that are not active lose volume and grow very weak up to not being able to use them. A person who had a broken leg and had to rest for 6 weeks slowly has to build up using it again from taking slow steps to running. Since the vocal cords are also muscles you will have to use them every day. This will automatically make your voice a lot more flexible. We already use our voice everyday to speak but since singing uses a lot more frequencies we don’t use when we speak we need to sing almost daily to get comfortable in our full range.

     B.The breathing system this means the lungs and the abdominal muscles.

Exercising is good for your lungs. You need your lungs to sing thus exercising is great for your voice. Do it several times per week. Even better is to sing out while you exercise but that isn’t always possible. Many sports train the lungs. Running is the most obvious but swimming is even better as it  trains the lungs and abdominal muscles at the same time. Singing while you workout is great if you like belting and want to increase your range.  An article about belting will be published in the future.

2.Stay away from cigarette smoke at all times.

It reduces your range and increases the production of mucus. You will be clearing your throat continuously. Coughing is the best way to clear your throat properly. 

3.Drink no or little alcohol and avoid drinking alcohol at all before singing.

A lot of singers worry about what they should or should not drink. You always see them with a bottle of water in the hand at auditions. That’s because just about every site that gives vocal advice says drink gallons of water. You can never drink enough. I don’t believe those people are singers.

I sing for hours without drinking anything. My throat doesn’t dry out and I never feel uncomfortable. If you feel like you HAVE to drink constantly you might be doing something wrong. Of course you need to drink a lot everyday to keep a healthy body. It’s not so that you have to drink all the time meaning every 3 seconds. Some bottled waters even dry out the throat or give you a very uncomfortable feeling in the throat.   I only drink bits of water when I practise the top of my voice. The notes beyond the C3.

Warm drinks are very good. Cook some water and add lemon and honey to it. Avoid cold drinks with ice right before a show. This depends a little on the overall condition of your body. I’m very sensitive to cold, cold air, a nasty breeze and ice can even  make me cough in wintertime.

A lot of people say you should not drink milk because it increases the forming of mucus. I drink milk everyday and the mucus from drinking milk is nothing compared to what I get from pollution and inhaling cigarette smoke.

I reduced drinking alcohol to almost nothing. It numbs your voice and over time you will get pitch problems. Never drinking does make you more sensitive to alcohol. Now that I hardly ever drink, if I do drink a couple margaritas I can’t sing at all. My voice has absolutely no volume or range left.

4.Eat healthy at all times.

Seems common sense but a whole lot of people are constantly on some special diet. As a singer you’re probably aware of your looks and don’t want to be overweight. Whatever diet you choose make sure you eat regularly. Your voice needs consistent power and all the vocal exercises will not give as much results without regular meals. A poor diet gives a poor sound and a less powerful voice.

Don’t eat heavy meals right before a performance. You will feel tired using your breathing system and instead of digesting the food it might even come back up. Avoid too much spicy food and never eat it right before bedtime. You might want to check your sensitivity to garlic. It produces a gas in the lungs after digestion. My lungs also produce excessive mucus in the days after eating garlic so I avoid eating it at all.

Eat apples. What? Yes! Every day! Apples can perform miracles to your voice. If it happens that you have to sing in a smoky or very dusty  environment your voice  wears out rapidly. Eating an apple-over drinking water- will instantly boost your voice.

5.Take enough sleep.

You might feel strong but your body wears out more than you think and regular lack of sleep decreases your vocal potential.  Too little sleep is also just a matter of time before you get sick.

6.What to do when you have a problem.

You should always feel comfortable before, on and after singing. A sound or feeling you usually don’t have are signs that something is not right. Continuing can seriously damage your voice.  If you think you can’t speak don’t replace it with whispering! See a doctor to see there is no physical problem.

7.Be a good person!

No one can get you a beautiful voice. The color of your voice is the image of your soul.

I know what you’re thinking. You’re thinking this is going to be another one of those predictable, vanilla articles about foods you should and shouldn’t eat before singing. Boooring!

The conventional advice that we singers often hear about diet goes something like this:


  • Drink Water (room temperature)
  • Eat Fruit
  • Eat Vegetables

Do NOT Consume:

  • Caffeine
  • Dairy
  • Hot Beverages
  • Cold beverages
  • Alcohol
  • Salt
  • High Fat Foods
  • Spicy Foods
  • Citrus

You know what you really ought not to consume? The generic kool aid above! Instead, let’s look at some actionable strategies, which are rooted in a lifetime of dietary experimentation, that’s taken me from a Standard American Diet (SAD), to vegetarianism, to veganism, to fruitarianism, to the slow carb diet a la Tim Ferriss, to what I follow now (modified paleo). In addition to years of OCD self-tracking, blood testing and subjecting myself to various supplementation regimens, I’m also drawing on my experience as a competitive athlete (submission grappling), and since singing is a sport in its own right, I hope these parallels ring true for you.

Let’s start with first principles

A singer is, above all, a human being. Agreed? Human beings are a species of animal, which has evolved over hundreds of thousands of years to consume a very specific type of diet. This isn’t even actually a “diet”, that’s a word invented to sell books and ab machines. This is simply our natural way of eating and it has profound implications for our health and quality of life.

Have you seen what happens when you feed a cat (or a dog for that matter) a vegetarian diet? It gets sick, weak, and lethargic. It loses its desire to mate(!) and dies prematurely. This is called a “failure to thrive”. If a human animal is fed the wrong things, what do you suppose happens to it?

About 10,000 years ago, humans began farming and went from a nomadic tribal lifestyle, to a relatively stationary, city-based lifestyle. Consequently, we transitioned from our ancestral diet of mostly animal foods to a high-carb diet of grains and other farmed foods. Because we were able to grow our food almost year-round, we could stay in one location and reduce the need to hunt wild game and gather nuts, berries, tubers and roughage.

Unfortunately, our bodies were not (and still aren’t) adapted to eating grains (they’re toxic), high levels of fruits (also toxic), and many raw vegetables. Like the example of the vegetarian cat, we’ve been consuming the wrong things for roughly ten millennia and have been getting sicker and sicker as a result. Pile on top of that the modern laundry list of synthetic chemicals we’re routinely exposed to, stressful work schedules, and sedentary, indoor-based living and you have a MAJOR failure to thrive.

You see, most diet and lifestyle advice you hear for singers is generic and incomplete at best, totally wrong at worst. A singer’s actual vocal instrument is certainly important but any professional singer can tell you that it’s only half the story. Being an effective singer and musician requires mental and physical endurance that has nothing to do with your voice per se. “Don’t smoke, don’t drink yourself stupid and don’t party your ass off 5 days a week” is fairly common sense advice that you’ll learn on your own. But the advice below is of a more counter-intuitive nature, and not only will you not hear it very often, but you’ll be told the exact opposite!

So here’s the deal: Singers need a steady supply of even-keeled energy, enthusiasm, mental acuity, memory, plasticity of thinking and nerves of steel when it comes time to go on stage.

So, then, how should you eat if you’re a singer? The answer is, the same way you would eat if you weren’t one! The idea of a profession-specific diet is actually quite ridiculous. Yes, certain tweaks and allowances have to be made based on activity levels and genetics, but fundamentally the healthiest diet is the one that most closely approximates your ancestral way of eating. This way of eating is popularly known as a “paleolithic” or “paleo” diet and here’s what it can do for you:

  • Increased energy
  • Longer life
  • Higher sex drive
  • Improved mental acuity
  • Improved physical performance
  • Weight normalization
  • Improved appearance

Sounds too good to be true, right? Well, going back to the vegetarian cat example. If the gato is being fed a 50/50 mixture of vegetables and meat, it’s only going to be somewhat sick as a result. If you feed it nothing but meat, which is what its body is designed to operate most optimally with, kitty shall experience all of the same benefits that I listed above and return to good health (all other things being equal). Likewise, if YOU begin removing foods from your diet that work against your genetics and replace them with the high-quality foods that your body was meant to operate on, you too will experience a very noticeable shift in your overall health. This, you might imagine, has tremendous ramifications for your art.

Here’s an overview of the protocol:

DO Consume:

  • Water
  • Grass fed, pastured, organic meats
  • Pastured organic eggs
  • Cold water, wild caught fish (Salmon, cod, sardines, mackerel)
  • Grass fed butter, ghee, coconut oil
  • Nuts (no peanuts – they’re legumes)
  • Vegetables
  • Small quantities of low-sugar fruits (berries and citrus are good choices)

Do NOT Consume:

  • Any grain based foods including bread, pastas, rice, quinoa, etc.
  • High sugar fruit such as mangoes, pineapples and bananas
  • Dairy
  • Legumes (beans of any kind)
  • Alcohol (I don’t take this rule too seriously – you’ve got to live a little!)

Basically, if you mostly stay away from sugars and starches (which are just sugars anyway), and eat plenty of high quality animal products, you’re going to notice a huge improvement in your well-being and outward appearance relatively quickly. If you’re a big bread and pasta eater, cutting carbs out is going to be difficult, so do it gradually. Once you’ve weened off the carbs, you’ll notice that your energy levels and mood will be quite steady throughout the day, because you’re no longer subjecting your body to the insulin rollercoaster that carbohydrates put in motion. If you try to become a paleo perfectionist, you’re probably setting yourself up for some serious binge eating. A great idea to that Tim Ferriss introduced in his awesome book “4 Hour Body”, which can help you circumvent binging, is the concept of a “cheat day” once a week, during which you eat whatever the hell you want! That way it’s already planned and not some big monkey on your back that comes to wreck your diet whimsically.

One singer-specific piece of advice you hear a lot is to avoid eating a lot of fat. Well, that’s a lot of bull. A high fat diet is incredibly healthful. Fats are the primary energy source the body is meant to use (NOT sugars!!!) So cook some eggs in butter and a few strips of bacon for breakfast. While your jam and toast eating colleague is passing out from the sugar crash, you’ll still be going like some sort of singing Energize bunny.

Unfortunately, because our soils are largely depleted of nutrients, our animals are fed nutrient-poor feeds, and for a number of other reasons, we simply can NOT get all of the nutrition we need solely from food, even if it’s the RIGHT food. Thus, it’s necessary to supplement and hack a little. Here are 4 important additions to the diet outlined above that will take your mind and body – and thus, your singing! – to the next level:

Fish Oil

Fish oil is high in omega 3 fatty acids, which curb cellular inflammation and keeps you young and healthy. Much of the food we consume now is very high in omega 6 fats, and this has skewed the natural ratio of omega 3s to omega 6s with which our bodies are built to function optimally. Fish oil is relatively cheap, painless to take and has profound health benefits. Don’t be afraid to take several grams of fish oil a day. It won’t hurt you – just make sure you find a brand that tests for contaminants by third parties. Unlike, say, exercise, this one’s a gimme.

Vitamin D

We are meant to spend copious amounts of time in the sun (naked). Instead, we spend an unhealthy amount of time indoors (clothed). Since our body produces vitamin D in response to sunlight exposure, this explains why the majority of our population is severely vitamin D deficient. Even in perennially sunny South Florida, the majority of the population is deficient! I can’t overemphasize how powerful this group of compounds is (vitamin D is the name of the family of compounds called secosteroids). They influence everything from hormone levels to alertness to immunity.

Getting tested for vitamin D deficiency is cheap and easy, or just get blood drawn if you’re insured). Definitely test your levels prior to supplementing. Shoot for about 55ng/mL (nanograms per milliliter) of blood. If you’ve determined that you need to supplement, make sure that you take D3 (cholecalciferol) and not D2 (ergocalciferol). You’ll be fine taking up to 5000 IU a day. Adjust commensurate with sun exposure and retest levels every few months until optimal.


We are a severely sleep-deprived species. Yet sleep is a fundamental component of great health and proper functioning. You already know this on an intuitive level, but the pressure from society to “fit everything in” is so strong, that we often eschew sleep as a waste of time. Nothing could be further from the truth. Your singing voice goes straight to hell when you haven’t had enough sleep, as does your concentration, memory and general “springiness”. More sleep, and better quality sleep means you get more mileage out of your waking hours. It’s a counter-intuitive concept (not really – we’ve just been culturally programmed to silence our powerful intuition). Forcing yourself awake is short-sighted; you’re going on borrowed time. Nature will have her way with you eventually, and you’ll find the reduced quality of your output doesn’t justify the extra hours you stuffed in.


You knew this one was coming! But don’t worry, you need not exercise nearly as much as you may think. You can trigger the powerful hormonal cascade responses that improve your health and well being with rather minimalistic exercise routines. I suggest a kettlebell workout twice a week, or a “Peak 8” regimen. It’s important that you do some kind of weight training, even if you’re a woman. Running on a treadmill for 2 hours is a joke; you could get better results in terms of both appearance and health from 1 kettlebell session per week. The benefits? EVERYTHING.

Remember: you’re a human first and a singer second, so eat the healthiest diet possible and you’ll be the best singer possible – simple! Stick with this idea of “first principles” and you’ll also have the tools to untangle even the most complicated of knots as you progress along your journey in music…

The first time I saw the 2016 RS7, I knew that it was a car that I wanted to find out more about. Audi has always been a leader in the car industry, and for good reason. It is because they manufacture vehicles like the RS7. I liked everything about it from the shape and tires to the interior details that make this just a really great car. One of my favorite things about this car is the interior. The first time I sat in one and saw all the details and features, I just knew I had to have it.

Sitting in the driver’s seat, I was able to see a rather large display that had all the information that a driver wants at his or her fingertips. Continue reading “The Ideal Family Car for Us”

I have been trying different ways to fix my back, but of course I am scared of some of the more popular ways that you remedy a bad back. I would go to a chiropractor, but of course that is a really scary thing after you learn how it is that they achieve results. There is a great potential for disaster. If you go to a doctor all they really offer is a bottle of pills which have tremendous ill effects. I have decided to try a physical therapy type of massage in South Surrey. That seems like the only real safe option that I can try, although I suppose that they could also go over the top in some types of massage. Continue reading “Trying to Get My Back Sorted out”

I wanted to find a place where I could store some furniture until I decided what I wanted done with it. It belonged to my grandmother, who had moved into a nursing home a couple of weeks ago. I was clearing out her house because we knew she would not be moving back there. I am the only one in the area, so the task was left to my wife and myself. I did a search for self storage Ajax to see which places were affordable. After I looked at the different options available, I knew that there was really only one answer.

Green Storage is not that far from my grandmother’s house, and they have just recently renovated their facility. Continue reading “Storing Furniture is Easy in Ajax”

I spend my days sharpening industrial tools such as drill bits. They are made out of tungsten, and it is quite a valuable metal. It is also very heavy, so a little of it weighs a lot. I save every bit of the tungsten dust and shavings from the mill tools I sharpen. Over time it is like getting free money. I sell it at scrap metal dealers. With the metal being worth about five bucks a pound, that is $500 for a 100 pounds of it. It does not take me a long time to get up to that weight. Continue reading “Some Scrap Metals Are Worth a Fortune”

In this post I am heading to converse about “owning the stage’, and it signifies just what it implies: the wonderful singer is also a wonderful performer, and the stage is her particular playground.for as lengthy as she is doing on it. Except you have a gaggle of rather dancers encompassing you, it’s just you, your voice, your body and the stage.

So how do you “personal” that stage?

Well, very first of all, you will need to make a decision in which your stage is. Your stage improvements for different tunes, For occasion, if you are singing a sluggish, unfortunate ballad, you may well want to make your stage an spot that would not exceed what you will need to stand in front of the mic. Or you may well want choose the mic out of the stand and go all around just a minimal…say a 5 foot sq. spot.

This sounds effortless, but it’s truly the most tricky of “phases” to work with. It is a large amount easier to go all around a larger spot than to be confined in a modest place. Facial expressions and modest gestures grow to be extremely integral to the general performance. To remain connected to a microphone all through a tune, although holding the audience’s desire and focus is extremely tricky. This will take practice.

If you program to supply some tunes this way, you’d be smart to movie oneself at dwelling so you can critique and uncover techniques to get the tune throughout without a lot spot movement. Get relatives and close friends to aid with your critique.

Don’t fool oneself by believing that just standing at the mic and employing your wonderful singing talents is heading to capture them and make them believers. The more compact your “stage” is, the a lot more you have to access within for impressive, yet refined, inner thoughts to converse. View the execs. Discover their stage moves.

Naturally, your alternate “stage” is the overall stage. All of the spot accessible to you although you accomplish. Working with this larger spot helps make it easier to occur throughout as a seasoned performer, but has its personal established of probable complications.

• Divide the place into 5 individual areas: heart stage, down-right (down toward the viewers, but to your right), down-still left, and down-heart. Use all of these areas by relocating as a result of them for the duration of several components of the tune. When you go to a new spot, remain there a although. Don’t leave way too shortly. Enable the verses, bridge and choruses go you to different areas.

• Down-heart is the strongest place on stage, and need to be regarded as for your most important choruses and electricity ending.

• Heart stage is the neutral zone, and can be utilised for any part of the tune. Just do not anchor oneself there for way too lengthy.

• Down-right is also extremely potent. Go there from your starting up put and you is not going to go wrong.

• Don’t forget down-still left. Those people around there will definitely enjoy your finding close to them.

I advocate you practice your tunes, deciding in progress in which and when you are heading to go. Seasoned performers have been executing this so lengthy that it results in being all-natural, but the finest of them still have a game program in advance of heading on stage.

Also you could use any of the five areas for a “standing at the mic without relocating all around” place.

At last, do not shuffle all around at the time you’ve claimed your place. Plant your ft, and only go them for the reason that you make a decision to…not for the reason that you’re unaware that you are executing it.

This data is for taking part in superior region tunes.

I have been instructing region guitar lessons for many decades now and just one of the most requested queries is,” how do you participate in powering a singer?”

If you are the direct guitar player you only want to set your operates and fill-ins where by there are spaces concerning the lyrics. You can participate in chords though the singer is singing, but not loud more than enough to deal with the singer up.

Now the following problem is “what do I participate in in those spaces?” Quite important problem. 1 way is, use your creativity and develop some notes that develop the feeling’ of the mood of the music. You might try bending the strings for outcomes. A different way is, participate in minimal operates that develop the mood. (Like Grady Martin did on El Paso). Most people do not know how to do this. They just participate in notes all the time though the singer is singing. This is erroneous!!!!

You under no circumstances deal with up a singer or for that issue other instruments. Normally each individual player appreciates when he is intended to participate in. You swap off on verses or the bridge of a music. This is where by practice will come in. You get the job done out the details with the other players. Like guitar acquire the initially verse, steel acquire the 2nd, fiddle acquire the bridge. You can make this for each individual music in the set or change it up. At times the steel will seem much better on the bridge.

Most important do not deal with the singer up if you want to continue to keep a occupation.

Can you imagine owning a jam session with four direct players all trying to participate in at the similar time? That is not tunes, that just generating sounds. It just does not get the job done.

Listen to the region recordings and pay out notice to the fill-ins.

Whilst the guitar is taking part in you do not listen to the steel. Whilst the steel is taking part in you do not listen to the direct guitar.

I hope this data can help in your taking part in.

Woody Bridges

There are very few things that scare me in this world. I have been hang gliding and loved every minute of it. I have climbed mountains, I have went deep sea diving, and I love jumping out of planes. I guess I am an adrenaline junkie of sorts, and I love every minute I am doing things like that. However, put me up against the IRS, and you will see actual fear in my eyes. That is why I needed to find a lawyer who would me with tax debt relief in Los Angeles, because I did not like the threats that I was facing otherwise.

I got into this trouble through no fault of my own, unless you count trusting a lifelong friend my own fault. I went into business with someone I thought I could count on. He deceived me though. Continue reading “I Had to Negotiate with the IRS”

Devi Sri Prasad, a well regarded new music director in South Indian Movie Sector is born on 2nd August 1982 in Vedurupaka, a tiny village in East Godavari District, Andhra Pradesh and afterwards moved to Chennai together with his father & famed author Satyanand.

Devi began his job as a musician with his debut album “Dance Social gathering”. Later on M.S.Raju has presented him a opportunity to compose new music for his film “DEVI” in 1999 which was a big good results. But, he got into lime gentle with his up coming movie “Anandam” which was a huge hit at that time. From then, he hardly ever appeared back again.

Devi Sri Prasad also write lyrics for the music he was composing this sort of as “Vecha Vechaga in Vamsi, Premante Emitante in Anandam, Chaila Chaila in Shankar Dada MBBS” and so on…

He was a pretty big fan of “Maestro” Ilayaraja and a disciple of the renowned mandolinist, U.Srinivas who was also his Expert. He had a brother named “Sagar” who was also a singer. He sung a ton of music in telugu, tamil, kannada etc…

Devi Sri Prasad Biography

Total Title: Devi Sri Prasad
Day of Birth: 2nd August 1982
Put of Birth: Vedurupaka, East Godavari District
Father: Satyanand [Well-known author]
Sister: Padmini Priya Sagar
Brother: Vidya Sagar [Singer]

Education and learning

Devi Finished his Schooling in Sir M. Venkata Subba Rao Boys Superior Faculty, T. Nagar, Chennai. He analyzed up to BBA and learnt Mandolin under the direction of U. Srinivas, famed mandolin participant for 10 years. He was not so interested in Research.

Awards He Gained

* 2004: Filmfare Most effective MusicDirector in Telugu (“Varsham”)
* 2004: Santosham Most effective Music Director Award (“Varsham”)
* 2005: Filmfare Most effective MusicDirector in Telugu (“Nuvvostanante Nenoddantana”)
* 2005: Santosham Most effective Music Director Award (“Nuvvostanante Nenoddantana”)
* 2006: Filmfare Most effective MusicDirector in Telugu (“Bommarillu”)
* 2006: Santosham Most effective Music Director Award (“Jalsa”)

Devi Sri Prasad Filmography


Sye Ata
Namo Venkatesa
Aarya 2
Shankar Dada Zindabad
Oka Oorilo
Naa Alludu
Nuvvostanante Nenoddantana
Shankar Dada MBBS
Thotti Gang
Navvutu Batakalira


Kutty [Remake of Aarya]
Kanthasamy [Remade in telugu as Mallanna]
A little something A little something

There are a ton of fans to Devi Sri Prasad which include me who like his new music. Yet another expertise of Devi is his Dancing and Acting Abilities which created him to turn out to be an actor. M.S.Raju, the famed producer is starring Devi Sri Prasad in his future film. Devi is acting as well as composing new music for the film. Hats Off to Devi and Wishing Very good Luck in his acting job.

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The most essential ability that a singer can learn these times is how to use a microphone because the microphone is the primary device that each and every modern day singer has to use on a common foundation.

The very first lesson in singing for newbies has to be how to use a microphone. Nonetheless lots of singers, together with a great deal of specialists, really don’t seem to be to have taken singing for newbies because they really don’t seem to be to know how to use a microphone.

Poor use of a microphone can make a stunning voice audio shrill and annoying. This happens because the singer is probably keeping the microphone as well close to his or her lips. So one particular of the very first classes in singing for newbies is definitely really don’t keep the microphone as well close to your lips. This is particularly when they are making use of significant notes in their songs.

One particular big oversight produced by newbies is to test and imitate the microphone use of expert vocalists particularly the types you see on Tv set. Newcomers should try to remember that a great deal of these individuals are lip sinking to a track that they may well have recorded earlier in studio which indicates that the microphone they’re making use of may well be almost nothing but a prop. One more singing for newbies lesson to be taken into thoughts is the truth that a expert singer, who is showing on Tv set, probably has many years of experience so they know specifically how to use the microphone.

Some singers also make the oversight of preserving the microphone as well close to their mouth when they are singing low notes. Lots of microphones just is not going to decide on up low notes except your lips are close to them. This indicates that you have to learn how much to preserve the microphone from your mouth.

Probably the most important singing for newbies oversight is not testing the microphone and audio process ahead of you use it. If achievable, do a audio take a look at ahead of you start off singing or go and sing a couple notes into the microphone and with the audio process to see how properly it will work. Singing a couple low and significant notes into the microphone will display you exactly where you need to have to keep the microphone. It’ll also display you if the audio process is operating and how properly it really is operating. A uncomplicated audio take a look at ahead of a functionality can assistance you steer clear of a great deal of grief and shame throughout the display.

One more good singing for newbies tip is to get some instruction in microphone use. The microphone is the most essential device that you will use as a singer. So, it is a good thought to get anyone, who is aware how to use the microphone, to display you how to use it. Ask a expert singer to give you a couple classes in the use of the microphone. Have them display you how they use the microphone and what methods they use to sing more than it.

Understanding how to handle your breathing can assistance you unwind when you sing and assistance you use the microphone. There are lots of breathing classes and relaxation procedures out there that can assistance you do this and they should be aspect of singing for beginning.

Yoga is an outstanding location to learn relaxation procedures and breathing handle. Choose some yoga classes and inquire the yoga teacher to assistance you with your breathing when you start off singing for newbies.