Archive for February, 2008

Building Range for the Beginning Trumpet Player

Friday, February 29th, 2008

I teach many students each week, and all of them are interested in one thing: playing high notes on the trumpet.

I’m not sure where this fascination that higher is better came from (well, I guess we could Maynard Ferguson for this), but it is typically the area that most students, old and young, want to improve on.

Unfortunately, students are often pressured to play high. A first part trumpet player in high school is expected to play up to an above the staff C; sometimes, up to D. Because the student does not want to disappoint the director or look foolish in front of the rest of the band (the trumpet is a very loud instrument, and mistakes are projected just as much as correct notes), he or she will do anything to create these high notes. Often, an incorrect method is used. Most common is using too much pressure.

Some pressure is required to play the trumpet. However, too much pressure can create problems, such as loose teeth and fatigue. As a victim of too much pressure, I know firsthand the dangers that can occur. After 15 years of playing with a large amount of pressure, my two front teeth came loose with a cracking sound one day as I was playing. Five trips to the dentist and $5,000.00 later, I began researching methods on playing with less pressure.

Many factors must be accounted for before attempting a range building exercise. An often over-looked factor is how the student holds the trumpet. The student should be aware that the trumpet should be gently supported by the left hand the right hand is only used to press the valves. The student should avoid putting a “death grip” on the trumpet with the left hand, and should avoid using the pinky ring on the right hand.

After this has been established, a correct embouchure should then be formed. Much controversy has always been present on the perfect embouchure. However, one that usually works well is a smile-pucker combination. The student is asked to smile, and then slowly pucker the lips while still smiling. The result is an embouchure with firm corners and a center that is loose enough to vibrate (after all, to play a trumpet one must vibrate the lips).

Finally, I will reveal the secret to correctly developing range in students: AIR. This often used, generic solution actually does work. It’s common for many teachers, when all else fails, to blame the problem on air support. In this case, it is air, but it is also a combination of other techniques.

To begin, the student must become used to taking a deep breath. To observe what the student thinks a deep breath is, ask him or her to take one. More than likely, he or she would breathe in loud and fast, and his or her chest would visibly swell up. THIS IS INCORRECT! The student is only using half of his or her lung capacity. I like to use the analogy of breathing like a baby. Whenever you watch a baby breath (especially when sleeping) his or her stomach rises up and down. By observing this, we can come to the conclusion that we should breathe all the way down into our stomach (or you can think of dropping the diaphragm). Try this: have the student breathe down to their stomach; tell them to breathe in and aim for their toes. They probably will still take in a loud, fast breath, but it will be deeper.

In order to improve on this, we must help the student take a more open breath. My favorite tool to use for this is an empty toilet paper tube. Try this: take the empty toilet paper tube, and put it inside of your mouth (about 1 inch of the tube will actually be in your mouth). Seal your lips around it, and breathe in. You will notice first off how much air you are taking in, and secondly, you may notice that the back of your throat feels cold. THIS IS HOW ALL BREATHING SHOULD BE DONE! Have your students try this. They may find it funny or goofy, but it will help. As for breathing without the toilet paper tube, tell the student to imagine that they have a baseball in their mouth. This will ultimately lead to more open breathing as well.

Now that breathing has been covered, range can be focused on. The best range building exercise I have used is one that I obtained from the Bill Adam routine. This exercise involves starting on a second line G, and playing it as a long tone, and then expanding out both ways on long tones. For example, I would start on G, and then play F#, then G#/Ab, then F, then A, and so on. Go as high as you safely can, and as low as you can go (pedal tones work great for range exercises). Be sure to also play each note as a long tone. You can either assign a specific number of counts (such as playing each note for 8 counts) or just play them until you run out of air. By expanding out, you are not only building range, but also getting your lips used to the different partials and developing your ear by playing large intervals. It should also be noted that low notes are just as, if not more, important than high notes. A good, three dimensional sound should always be attained.

The most important part of this exercise is to not play higher than is comfortable for you or the student, as injury could occur. To prevent this, tell the student that the embouchure (lip position) should never change only the amount of air. As the range expands upwards, the air should be pushed from the diaphragm (stomach) muscles.

I have used this method on beginners, and now all of those students have as comfortable range of at least a 14th after 2 months of weekly lessons (the average range for beginners is an interval of a 7th after one year). With this method, the student will be on his or her way to playing solid in all ranges.

Don Stinson is the owner of Don Stinson Brass. He performs throughout the Chicagoland area, and teaches privately to beginning through advanced students. For more information, visit donstinsonmusic.com donstinsonmusic.com

10 Leonard Bernstein Quotes To Celebrate His Birthday

Friday, February 29th, 2008

On the 25th of August we will celebrate Leonard Bernstein’s birthday, and what better way to do it than with some fabulous Leonard Bernstein quotes? Orchestra and theater fans everywhere appreciate Bernstein’s contributions to the music world, but the man was much more than just a composer. He was, and is, an example and inspiration to those who love to create music. These 10 Leonard Bernstein quotes are perfect examples of why.

1. “Music can name the unnameable and communicate the unknowable.”

2. “The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another… and leaves us with the feeling that something is right in the world.”

3. “I’m not interested in having an orchestra sound like itself. I want it to sound like the composer.”

4. “Life without music is unthinkable. Music without life is academic. That is why my contact with music is a total embrace.”

5. “I believe in people. I feel, love, need and respect people above all else, including natural scenery, organized piety and nationalistic superstructures. One human figure on the slope of a mountain can make the mountain disappear for me, one person fighting for truth can disqualify for me the entire system which had dispensed it.”

6. “Any great work of art revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe its strange, special air.”

7. “Inspiration is wonderful when it happens, but the writer must develop an approach for the rest of the time… The wait is simply too long.”

8. “The joy of music should never be interrupted by a commercial.”

9. “Stillness is our most intense mode of action. It is in our moments of deep quiet that is born every idea, emotion, and drive which we eventually honor with the name of action. Our most emotionally active life is lived in our dreams, and our cells renew themselves most industriously in sleep. We reach highest in meditation, and farthest in prayer. In stillness every human being is great; he is free from the experience of hostility; he is a poet, and most like an angel.”

10. “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.”

Leonard Bernstein was many things. An artist, a composer, conductor and a pianist… Perhaps the most important of all is that he was a teacher and a mentor to some and an inspiration to many. These Leonard Bernstein quotes shed light on why so many listened when dear “Lenny” spoke.

For more

Cut And Run ~ 3

Friday, February 29th, 2008

She had some money on her, and had found her way to a little open-air hot dog stand, near the corner of Selma and Vine, walking distance from her new home, and right across from the Brown Derby. She ordered the cheapest thing on the menu for her lunch. It was a tiny place, wrapped with a three-sided counter, with stools surrounding it, and a juke box in the corner. It was right in the middle of everything! It was owned by a bi-racial couple, a tall, bleached blond lady, and her tall black man. Very shortly after, they changed the name to Soul-Taco. She asked them for a job, and got it on the spot. She worked 10 to 14 hours a day, seven days a week, for $65.00 a week, under the table. She figured it was a fair trade since she had no ID and in those days, it was a crime to be a runaway from home.

They made the best hot pastrami sandwiches, you could ever hope to get a bite of. Juicy, sweet, soft and cooked right there in front of you. To this day, she has never had one better! The grill was right up against the counter she waited, facing the customers, and she could take orders, cook and chat, all at the same time. She was happy to be there. The kitchen was in the back, behind a wall. She ran it all. Taking orders, cooking food, making good old fashioned thick shakes and malts, doing the dishes and checking in deliveries. But it was cool. Hollywood in the summer, in the city, rock and roll blasting from the juke box, the constant parade of people, and it was the summer of love! She had her first job ever. Awesome! What was funny, was that her dad had worked in Hollywood as a child actor and her mother had waited on a counter at Schwabs, on Sunset, decades before. It had a homey feel for her. Like she belonged. It was as close to home as she could get right then and there.

Soon, word got back to her friends in Ventura, that she had a place to stay and a job. They came looking for her. Later, she would be amused to find out that the cops in her home town, considered her to be a ring leader, leading others to run away from home, offering them her insight on survival skills on the streets. What a joke! She was no leader. She was just a survivor. If others came to her, then let them come. But then again, they did not get jobs and they got picked up by the cops, on a regular basis, because they would steal, lie and cheat. So, they did not really follow anything, but their own foolish ways, in her eyes, if you asked her.

She remembers with sadness, the friend who came to stay for a while. Her name was Debbie. She was two years younger, and was one of her funniest friends. And that made a total of three Debbies living in the commune. It was funny when people called asked to speak to Debbie. The standard answer was, “Debbie with the short red hair, Debbie with the long brown hair, or Debbie the Blond?” The Blond Debbie and Debbie with the long brown hair, had a lot of adventures together, on the road. Now here they were together in Hollywood. Debbie came to visit her one day, at the lunch stand, but she got bored and told her she was gonna take off. It was after dark, and she said, “Come on Deb, wait till I get off. I’ll walk home with you.” Debbie never had much patience. So she told her to shut up, she was not her mother, and she was taking off. Debbie said she would see her later at the house. So, she finished her shift without another thought for her wayward friend, except for, what a bitch and pain in the ass she could be sometimes…

Later when she got off work, she walked home alone. It was a long walk after 10 PM, because that’s when the streets did get a little weird. It was after curfew, so she had to watch for the “good, bad and the ugly”, as she put it, on her way home. And then she had to make sure she did not give the cops any reason to stop her either. When she got home, she found Debbie, red faced from crying, her clothes and hair an utter mess. She asked her friend, what happened, why all the tears?

Debbie said that on her walk home, she had gotten lazy and careless. She had accepted a ride from some guys. Instead of taking her home, they had taken her up into the hills of North Hollywood and raped her. Each and everyone of them. All she could think of, was that she had told her friend not to go home alone. So, now what? Debbie was in pain, they were runaways, and she thought back to when she was also 15 years old, and a runaway, and had been raped by a junkie in Santa Paula. She didn’t ever report it. She had been raised to think that everything that happened to her, was somehow, her fault. And her heart ached for her younger friend. “Don’t worry.” she told Debbie, “Tomorrow We’ll go to the free clinic and have you checked out.” And she went in search of something to help her friend get to sleep for the night. Thinking back now, it was odd how each of them accepted that this sort of thing just happens. Did Debbie feel worthless too? What kept them from going for help. Did having to go home when they were in trouble seem so much worse than getting them own selves out of trouble?

About the Author:

Deborah Coss, has been writing since 8 years old, getting published off and on since 15, and finally realized her child hood dream, of carrying press credentials, working for

Atheists Agnostics and Evolutionists - The Worst Gamblers in the World

Friday, February 29th, 2008

I have seen the odds of having the right amino acids and other components coming together from the primordial ooze and creating life mathematically computed. It produces a number followed by so many zeros that if I used the smallest font on my computer it would take the rest of this article to write them in, plus another several hundred pages to record them all.

Mathematics being a far more exact science than some others there is little room for speculation, pontifical statements or what is commonly called prior philosophic postulation. Such is what is commonly used by evolutionists, archaeologist, paleontologists and others when making statements about the beginning of life. In the plainest language, scientists who use prior postulation are making statements that require faith to believe – just like a preacher who proclaims the gospel.

I never did well in math. It seemed I could comprehend the value of literature and philosophy better. But I am not so foolish as to disregard the findings of the math crowd. Indeed, I rather respect them and their no-nonsense findings.

Calculating odds for or against something is given great credence today. It can free an innocent man or condemn a guilty one. The odds of some ones DNA being the same as someone else is sufficient grounds to free or convict them in a trial. Why then, do we ignore the odds when it comes to matters like the beginning of all life or what happens at the end of life?

Being ignorant doesn’t always mean you are dumb. It can mean that while you may be superbly intelligent you are ignoring certain obvious facts or figures. Often ignoring these facts is due to a prior philosophic postulate. So what’s that? It is a pre-disposition or a mindset to believe something else that you’ve been taught, something you have read or just a pet belief that you have attached to yourself without any examination and scrutiny. Here is an example.

Long before the advent of the computer mathematicians were able to calculate odds. At the close of World War One a famous eschatologist, Mr. Clarence Larkin had some mathematicians make some calculations for him. They calculated that the events that took place in the last twenty four hours in the life of Christ which fulfilled Old Testament prophecies about him took place against the odds of fifty three million to one in favor. Put simply, no one but Jesus Christ could have fulfilled these prophecies as he did. So why are there still people bent on trying to prove that those events weren’t accurate or historical at all? Would those same people go to Las Vegas and shoot craps, spin the roulette wheel or play poker with such odds against them? Not likely.

The odds were against me in my historical geology class when I told my college professor that I would give him the answers he wanted on the quizzes and tests even though I didn’t believe a word he was saying. He was a gentleman and passed me because he respected my position. I respected him for doing so but it saddened me to see a brilliant man hampered by his own prior philosophic postulates. Not to mention his complete ignorance of the second law thermodynamics or entropy. So what’s that?

Nothing in the physical universe goes from a less complicated molecular or atomic state to a more complex state if left to it self, this is commonly referred to as entropy. This means things don’t go from squirming amoeba in a pool of mud to hundreds of thousands of species of living things. Entropy says it just doesn’t happen.

Other scientists not so willing to suspend the law of entropy have said it another way. Believing that the right amino acids just found each other randomly and produced all life as we know it is like a very special airplane. We will call it the News Plane. It flies overhead at 20,000 feet and throws out a load of news type. When the type hits the ground it just happens to form the complete latest edition of today’s New York Times. What are the odds for that, I don’t know, but don’t take those odds to Vegas either.

Being no mathematician my own calculations are very simple but I wouldn’t gamble against the odds I’ve discovered. Most atheists, agnostics and evolutionists think that when you’re dead, you’re just that, dead, a sort of big black nothing. Since Jesus was emphatic about a real heaven and hell that means this group thinks there is a chance he could be wrong. That gives them a fifty-fifty chance to come out OK.

The Christian believes it is appointed once for man to die and then there is a judgment. Hebrews 9:27. Those judged will be sent to either heaven or hell. They choose to believe, and are saved by their faith, Ephesians 2:8, 9 If they are wrong they still at least get the same big black void of the atheists but no hellfire. If they are right they spend eternity with God and millions of others where there is no mare war, suffering or tears. Whether right or wrong they cannot lose. Do the math.

I am not trying to say that people should believe in Christ and his finished work on the cross because of some mathematical calculation, its still a matter of the heart. What I am saying is that even with a fifty-fifty chance the atheists, agnostics and evolutionists are the poorest gamblers in the world. The odds are not the only thing that is frightful but consider the stakes. You can only wage that bet with your own eternal soul, money is not accepted, no, not even Visa and MasterCard!

Rev Bresciani is the author of two popular Christian books. He has also written dozens of articles both online and in print.

Please visit the website americanprophet.org americanprophet.org.

11 Jobs That Can Help You Stay Focused On Your Acting Career

Thursday, February 28th, 2008

1. Try to get work in a casting director or an agent’s office. Sometimes in the industry trade papers agents and casting directors advertise for assistants and people to work a few hours a week opening mail and doing office chores. It’s a great way to learn what goes on in their offices. You get to see the kinds of mail other actors send in, overhear telephone conversations, and just basically see what it’s like first hand.

2. The Actors Connection is an organization in New York that provides a great service to actors by giving them the opportunity to meet and audition for agents, casting directors and other industry professionals who are not always the easiest people to be able to meet. They do this in the form of seminars every evening and often even on Saturdays. During the seminars there are what I call “gate keepers” who keep the time and ensure that all the participants get an equal share of the industry professional’s time who is conducting the individual session.

At times AC is looking for people to work, usually flexible hours as one of the “gate keepers”. That is also a great way to meet first hand casting directors and agents, listen in on the question and answer sessions before the individual, one on one sessions take place. A great way to learn!

3. In addition, there are other acting schools around the city that look for assistants.

4. Theater companies looking for stage personel and production assistants often with no experience necessary. Prerequisite is to be responsible and a fast learner.

5. There are also a host of casting websites and organizations, such as Actors Access, Breakdown Services, NYCastings as well. If you do a Google search, you will find a slew of others. Why not see if they need help or could use your services?

6. There are also showcases and industry events that are organized to help actors promote their careers. It’s a great way to meet casting directors and agents. The organization of those events is a big to do and they need hosts and hostesses to help the event go smoothly. You can find information about such events by simply keeping abreast of what’s going on in the industry. Read the trade papers regularly and check the top acting/casting websites.

7. Why not see if the local union offices of SAG, AFTRA and EQUITY could use some help? Find out where their offices are. See if you can find out what they might be looking for. Find out who the person is you need to contact and if your approach is to send a cover letter, then address the person by his name as opposed to “To whom it may concern.”

8. Do you have skills that one of the trade papers could be interested in, maybe to work in one of their offices? Could be an idea to contact Backstage, Ross Reports, probably the most read of the industry papers. Have a look on the internet or in the Drama Book Shop in New York to see some of the other possibilities that exist.

9. There are many production companies who are looking for good people with skills.

10. Do you have the skills to form a production company? I know someone, a fellow actor, who has done just that. It’s a great way to make industry contacts with people who could also help you further your career as an actor.

11. Do you have the skills to start and run your own small business, form your own company? What do you love to do? Could you turn your hobby into a business? If so, do you know other responsible and reliable people who share your same passion and who have good business skills? If so, maybe you could form your own company together with those people. Why not? As time goes on, you could gradually distance yourself from the daily business of running your small company and dedicate more and more time to acting and promote your acting career.

The whole point of this article is to help you think. If you don’t have a steady stream of residual income that will permit you to focus 100% of your time on your acting career and you have to work in the traditional sense to make ends meet, then at least do something that will keep you connected to the industry and at the same time help you grow in some way as an actor.

Anthony Smith left a successful corporate career as a senior manager in Nike and Levi’s after 15 years to follow his dream of becoming an entrepreneur, writer, motivational speaker and actor. While enjoying success in his “new” life, Anthony shares his business insight and acting experience with young actors. Aside from acting work, he has created actingcareerstartup.com actingcareerstartup.com and his first book, Acting Career Start-Up: Four Key Factors For Success will hit the U.S. market in April 2007.

In The Light Poetry Titled - Finding God’s Light and Sharing God’s Love and Let Your Heart Show

Thursday, February 28th, 2008

Finding God’s Light

Oh the light,

how it touches my soul.

Gently reaching in

somehow making me whole.

Once there was darkness,

no guidance, just pain.

With a prayer God somehow found me,

and to my side he came.

Where beauty once was not,

now the flowers they have grown.

Where there was only bleakness,

now the bright sunshine is shown.

Now the greatest power of love

fills the emptiness inside me.

God has granted vision to someone,

who had eyes closed, who could not see.

There is goodness in this world,

hearts that care for others.

Gentle hands to find a way,

for helping one another.

So if the darkness fills your life,

wandering are you through the night,

just say a prayer, you′ll find the light.

God will see to your needs,

his love makes all things right.

Sharing God’s Love

Sand seeping through my hands,

time is slipping away.

Needing to make my time on earth count,

passing quickly… day by day.

So many lost souls.

So much to be done.

Reaching out with my words

light the world like the sun.

In motion I send them

to all parts unknown.

Hopeful words to touch the heart

of someone who feels alone.

God’s love shining through me,

like the sun through a cloud.

Hope passed one to another,

Like words spoken aloud.

Many gifts are there for giving

yet the very best is love.

So share it with the whole world,

as God has from above.

Let Your Heart Show

Walking through the forest

on such a peaceful day.

I met up with a friend I know

while going on my way.

I smiled brightly at my friend,

to greet her I said Hi.

But there was no mistaking

I saw sadness in her eyes.

She almost walked right past me

with a touch I stopped her there.

In need of something to say, I prayed,

God help me show I care.

What do you say to a friend

who’s heart is breaking in two.

How do you say, I’ll be there,

I’ll help you see things through.

I struggled for a moment,

then took her hand in mine.

I smiled and I hugged her,

no words of comfort could I find.

I stepped away still smiling

and found her smiling too.

My actions spoke loudly for my heart,

no words and yet she knew.

So take this lesson with you,

no matter where you go.

Words are not always needed,

just let God’s love light show.

Gotta Be Me

Thursday, February 28th, 2008

You take my words and turn them around
Make me confused
I lose my ground

You say you’re a man
Then let me be who I am
I do what I say
I refuse to fight another day
‘Cause baby I gotta be me

You think you’re strong
Always trying to prove me wrong
Make me take it back
Convincing me I’m on the wrong track

You say you’re a man
Then let me be who I am
This time, I mean what I say
I refuse to stay another day
‘Cause baby I gotta be me

Pretended to be sweet
Your heart became my retreat
Gave you my soul for free

You chose her and forgot me

Remember, you left me alone
I′ve changed and grown
Everything feels true
Living my life without you

You think you’re a man
Your shallow heart
Will always keep us apart
Baby, I’m loving me
Living happily free

However much we may distrust men’s sincerity, we always believe they speak to us more sincerely than to others. – Francois de La Rochefoucauld

These words- “Gotta be me,” came to me several years before I published them. Of course, they were born from personal experience, heartbreak and growth. When I found them, I was reminded that denial is part of the processes of life and love. This is a piece of what, I believe, Francois de La Rochefoucauld alludes to in his quote. In life and love, a subtle moment may occur, our eyes open and the illusion begins to dissipate. After the dissipation begins, we then have to accept that we know we′ve lost the sincerity and honesty of one we once believed so completely and our only option is to decide if we can live with this loss.

One issue at least, men and women agree: they both distrust women.
–H.L. Mencken

I must include this statement in my repartee, as I′ve always been “a guys girl” and I never want to give any impression that men are the only one’s who deceive. Some women are more talented at betrayal, but I don’t believe that all women are distrustful, either. Deceit and betrayal is a human sin. My words can adjust gender as necessary.

Respectfully- Patti Pacifico

Copyright 2006 Patti Pacifico

Lyrical may be used without repartee,with proper copyright credit, of course.

A former computer professor turned Internet writer, I have combined elements of the film,music,and publishing industries to create a new genre exclusive to the Internet- Digi-Tome’s. Interested in a different way of learning and beautiful way of living, I created the world’s first digi-tome, “life”.

pattipacifico.com pattipacifico.com
respectfully-pattipacifico.com respectfully-pattipacifico.com
ezinearticles.com/?expert=Patti_Pacifico ezinearticles.com/?expert=Patti_Pacifico (RSS feed for my ezine articles.)

Boarder Town Melee (1927) and Two Poems

Thursday, February 28th, 2008

1)

dying in the bar
[sluggishly]

yet,
I would crawl too
upto the bar,
it was everything, the dampness
the carved wood
the zoned-out-ness in my head
dreaming; it was better than death?
then I took another drink…so many
I never moved much, like dead fish.
my head split like an ass
it was numb and, nothing else
numbness was my home

across the street, dancing
on the patio
the moon was out…they saw
me, and kept
deancing!…
as I wished I had another drink…!

#682 5/05

2)

Doña Leonor’s Revenge
(1627 AD)

Rafael Ortiz’s fate
Was on the plate
Of Doña Leonor’s

When she arrived
In Lima, Peru;
To taste revenge

For the beheading
Of her Husband.
And so the plot

…was now played out
(in an alley way)
As she gutted her trout!

3)

Boarder Town Mêlée
[Christmas Day—1927]

Note: the story took place around Christmas time, in 1927, the names of the people and location have been changed, for reasons I’d prefer not to mention: which linger in my family’s history.

(The End) Seven Mexicans came to the bridge crossing from the American side of Laredo, and what is known as the Rio Grande, over to what is known as Laredo Nuevo, or the New Laredo, and again the same crossing the same river, yet known to the other side, the Mexican side, as the Rio Bravo de Norte.

A strong looking United States youthful Military Sergeant was checking their ID’s out, as an American Colonel, Colonel Wright (who had just happened to be at the crossing at the same time), seen the Sergeant in Charge, checking them out: doing a cross-checking, double checking of the several weather beaten Mexican’s. Thence, the warrior Colonel stood by watching carefully (as he leaned against his car dawdling over some papers in his hands)—studying the inspection, as the Sergeant check out their clothing, along with their undergarments, faces [profiles], ID’s—(precarious indeed—was the good Sergeant, thought the colonel); possible some of this checking was too impress the Colonel: so the Colonel thought—for the Sergeant was taking much longer than normal: or possible because he felt there was something wrong and couldn’t quite put his finger on it. In the course of a military career, one acquires instincts and wisdom beyond the normal, a survival thing, somehow, someway imprinted into our nature, our physical being, our subconscious, and it goes on automatic in such matters. In either case (with the art of foresight and deduction), the Colonel approached the Sergeant and the several Mexicans, whom were standing beside the guard shack that lead to the bridge crossing the Rio Grande the Sergeant and his two Privates were armed with weapons, –both privates guarding—hawk-eyed on any and everything that moved within the radius of a hundred yards: thus, standing—almost like robots—in case there was resistance, an emergency, or crisis of any kind.

“Any problems Sergeant?” asked the Colonel, whom had one Junior Officer and one Staff Sergeant on each side of him, as he approached within three feet of the Sergeant in Charge of this Guard Post; knowing the Sergeant slightly, for the Colonel had crossed the bridge many times for official meetings, business, with the Mexican aristocrats, on such matters that concerned his GI’s going into their town and drinking, buying souvenirs, and buying flesh and pleasure. The Colonel—prosperous enough to be able to purchase the respect of the Sergeant—waived to his black-limousine, now in back of him, which was a signal for his driver, a Private First Class, to park it for the time being.

(A pause, –the Sergeant had seen the Colonel approaching: now both within a few feet of one another.)

Says he [the Sergeant now standing three feet in front of the Colonel, with his waxed and dutiful available smile):

“We had some trouble as you know, ‘Sir,’ earlier on this morning and afternoon, and so I’m just double checking, they look a bit ragged, as if they were doing some fighting someplace, possible the...(a pause, the Colonel is opening his mouth to speak, and the Sergeant simply stops…).”

(A light smile appears on the Colonel’s face, directly looking into the Sergeant’s eyes, to insure he knew, the Sergeant knew that is, that the Colonel was a Colonel, the same one that had looked the other way a few times on his squad that had drank too much, crossing the bridge back to the American side, looked the other way and not brought such matters to his attention, such matters as Court Marshals and so forth and so on).

“Yes, we’ve had some trouble Sergeant, and yes, double checking is wise, if you don’t mind, let me see their papers, or whatever you’re holding, ID’s of whatever kind they have. We have just fount a good skirmish as you well know, with these devils.”

A little unusual the Sergeant was, at this request, that normally would bring suspicion, but the Sergeant handed over the documents nonetheless: four-passports, two birth certificates, three licenses. All indicating they were from Mexico City, and Veracruz.

“Without a doubt, I don’t see a mounting problem with these wetbacks.” (Implying these were Mexicans that swam the Rio to work on the American side that was not likely trying to get back home.) I seen all their faces, face-to-face almost, I killed three of them you know, three for sure if not more. Let them pass on through: double checking these, well, well time is redundant, easier to just let them go back across the boarder than hustle them to death, and use our time for other things,” said the Colonel, commenting, then adding:

“You have a good eye Sergeant, but I doubt any of these are Manual Garcia, and therefore, let them get on home to their families, I’m sure they are being missed, you know the Latin’s, their families worry to death when they are not home on time (a light chuckle comes from the Colonels mouth).”

(Garcia was in with the seven, and the Colonel knew this; but what the Sergeant didn’t know, and the Colonel did know, was two things: first, all seven had weapons under their ponchos, had they checked much more a new skirmish would have been provoked—and it was Christmas Day; second, he had given his word for a twenty-four truce, although only them two knew it. And even though the ’24-hour period,’ was not spelled out during the dialogue between Garcia and the Colonel, it was implied, understood, and they both knew it.) Having heard that from the Colonel, the Sergeant started to stand down—hesitantly, but stand down he did, thus, detaching him from the much concerned tension that was building. The Colonel somehow had created calm, save for the tiny cloud of suspicion he had left in the mind of the Sergeant.

Early Part of the Day

(Part One) In the early part of the day, the part that the Sergeant was talking about, the Colonel, during a fire-fight, had killed his son, Garcia’s son, and wife whom tried to guard him (Garcia, father and husband had been huddled together) from racing bullets, and in the process they took the bullets for him. The colonel new, then and now, the moment of battle, when the bullets are flying, seemingly never to stop—men tend to hope without being conscious of it, hope for a happy ending, life (and so this also would be part of his deliberation, when he would approach after the battle, the bridge the seven would try to cross, which was still in the future).

In addition, there were a number of American soldiers killed in the fire-fight. The battle had gone on for over three hours, and when it was over—the clash that took place in this small town, on the American side of the boarder—the Colonel took to resting—thinking much on trifling matters, allowing his imagination to speculate of his future, fanciful thoughts came and left—. Now—now with an empty pistol on his lap, resting against a brick wall of a second floor building he was occupying, his mind went to the current event: he had shot previously transversely—across from one building to the other side—that is from the top of the building he was in, to the building on the other side where Garcia was, for whence he had kill the enemy: the wife and son who had surrounded Garcia: this was now on his mind, he didn’t mean to shoot the wife and child, but it did happen, peculiar as it was, it did take place. What were they looking for he pondered on? That one would give up their life for: possible he said, for, “Paradise without snakes.” Yet, he had never found that place himself.

Thereafter, thinking the battle was over, and Garcia was dead (of which of course he was not) he had found himself walking down aimlessly down off the top of the building, and resting against a wall on the second floor; --tired, fatigued: feeling a little guilty, and sad, that the skirmish could not have been contained to simply the men of the world; he let out a great sigh of energy from his stomach and lungs as he leaned hard against the brick wall—almost in a sonorous voice the last of the air came with in his body came out of his nose; his eyes shutting a bit, and then reopening.

As the silence of the afternoon took hold—the sun overwhelmingly heating up the outside of the vacant building like toast, the Colonel rested cumbersomely against the wall of the building: cooling his body temperature to normal, as he started to breath better, more from his stomach: while checking his empty revolver, now resting on his thigh: while his other soldiers remained in place, he had one platoon of: forty-four-men in all; forty-four men covering the whole town of which ten of them had surrounded this very building, and the building Garcia was in.

The Colonel had given instructions to all remaining soldiers to stay in place, to stand down for the moment, to let the Mexicans come out if they wished to, peacefully: but none did. And so it was a waiting game. They had killed several they knew, several Mexicans, and figured between five to ten were left (--evidently, it was seven, only seven were left, for they had showed up at the bridge ((all seven haggard looking, but soldiers none the less, and the Colonel knew, he knew his word was given, implied, not to fight, and that more lives were at stake had he let the situation go, or get out of hand; whence, he headed on to his next destination in his big-long, black limacine)).

The two men: Garcia and Colonel Wright now were face to face—both less then twenty-feet away. Garcia had showed up on the other side of the street, oddly enough, on the stairway that led up to the room the Colonel was in, resting against the wall. The Colonel heard the foot steps, but said nothing, thinking it was one of his men. Hence, still sitting, leaning lightly against the wall now, not as heavy as he was before, again, an instinctive measure for he did not here his men talking nor any low-laughter from their voices, nor the sounds of boots, just an uneasy sound of one person climbing the steps his men came in two’s or three’s, normally not alone—he went checking out his pockets for a cigar, for he projected to himself the fighting had stopped, or at least clogged up for now, for about twenty-minutes.

As the Mexican warrior got onto the second floor, the dusty wooden floor (a few spiders, roaches, rats scrambling here and there—the colonel started now listening even more so to the disruption of the moment), thence, he (he being: Garcia) seen the Colonel latent, resting against the fortification-thick brick wall, he had seen him before, they both had seen each other before, but the Colonel was now vulnerable—and Garcia stood there like a tropical moon light fixture. The Colonel had bullets to insert into his gun in his pocket, but instead said before Garcia could pull out his weapon,

“Enough, there’s been enough fighting for one day, enough killing for one day its Christmas Day, (both maintaining a sharp look at each others movements, as if to indicated should I, or should I not—snake instincts, snake eyes: race, charge quickly for my bullets, or shoot this murderer who killed my wife and son?.”

The dark Mexican, lean and rustic looking—looking with almost telegraphic eyes, long black hair, sunken in face, pocked marked cheeks, five foot six inches tall, as dirty as a rag-picker: said with an honorable, and bawled voice: “Se, amigo, daya largo—let there be peace,” (it had been a long day for both, and much killing had taken place) he turned around, a tear in his eye (the Colonel noticed), and walked back down the steps. The Colonel never touched his gun, nor did the Mexican go for his.

Nothing would bring back his wife or child, and in battle one knows there were no rules—not really, not when it comes to the last moment of breath, all were soldiers, even if you bring into sight your own flesh and blood. Plus Garcia knew that Colonel knew it was not a mans way to kill children or women, it was as it was, something that happened and would not had, had his wife and child not insisted on being part of the militia.

The Roof

[The Beginning] As the Colonel lay back against the rock-hard wall of the building, he thought about what had taken place. He was on top of the building less than an hour ago, or was it more, or was it less. He questioned himself. He shot three times, as he came under fire, as he remembered, as he looked back, back to reminisce. He had then run out of ammo, and had shot his last three shots, two killings, one a woman, and the other a child-warrior, somewhere along the line, in the morning he had killed another Mexican involved with this insurrection. Now after the shootout with his family, blood was all over Garcia’s white shirt, which was not really white anymore, egg-white, with blood stains, crimson blood that would remain in both the memories of the Colonel and the Mexican. They had both run out of ammo, only the Mexican had run out a little before the Colonel, had it been the other way, possible the Colonel would be dead, but it wasn’t the other way, it was as it was, not the past, not the future, as one would like it to be in his or her favor, but the present, as it was all was in the present. In the mist of battle—the dark-macabre battle, they had both somehow found additional bullets, but the Colonel never put them in his gun, and Garcia, although he did, it was tucked away in his belt, under his poncho.

And so ended, the mêlée (the fight), and when they had met again at the bridge, the encounter was over, at least for twelve-hours more; at least in the minds of the two warriors, at least in the two warrior’s minds, hearts and characters—souls. Nature has a burning pull, and for them, neither one could or would fight unless the odds were equal, unless fate demanded it, it was just part of their nature; plus, it was Christmas Day.

Dennis is an author of 29 books, soon to be 30, with his selection of some 24-poems to be published soon in English and Spanis; the book is called, “The Spell of the Andes.” His books can be seen on most any book store web site.

What Ever Happened to B&W?

Wednesday, February 27th, 2008

If you’re an emerging stock photographer and have never entertained the idea of taking a black & white stock photo, I’d encourage you to try it. But, fair warning though, it’ll be more an experience for the soul, not for the sale.

B&W is no longer popular among photo editors at books and magazines (our targets here at Photosource International). In rare cases (about 5%), b&w still claims attention in commercial photography. And b&w claims even more attention in fine arts photography, where the photographers take a day job to be able to sustain their efforts to produce art photography.

If you flip through current newsstand magazines, you’ll see very few b&w photographs. The general public, it was proved long ago, prefers color to b&w. (Is your TV still b&w?) Editors always conform to management’s marketing research.

The change to color started in the mid-80’s, and by the mid-90’s the changeover was almost complete. Only small publications with limited budgets or a special focus use b&w today.

As an emerging photographer, you may wonder how well b&ampw fared in the early days of stock photography. In my own case, back in the early 60’s, I put my b&ampw photos with one of the few early stock agencies called “Photo Researchers.” (The agency still exists today.)

When we moved to our farm in 1966, I began selling my b&w’s via the mailbox. The delivery system was simple, and I encouraged photobuyers at publishing houses to keep my b&w pictures on file at their central library. They would send me a check each time they used one of my pictures. The honor system worked.

When I wrote the first edition of my book, “Sell & ReSell Your Photos,” in 1981, I advised photographers to use the mailbox as their delivery system. The system was easy. I would send off a package of my b&w’s “for consideration” to a potential photobuyer whose photo needs matched one of my specialization areas. If my photos were accepted, very often that meant I’d found a client for life, unless the theme of the publishing housed changed, which rarely happened. From time to time, I updated my collection of photos at the publishing house with new b&w prints, and the photobuyer returned photos that were no longer needed. These I placed in a file in our barn, which my grandchildren one day can sell to PBS or an historical photo archive.

Slowly, in the mid-80’s the preference for color grew. Photobuyers now wanted color transparencies. This gave rise to the age of “lost images.” Many photographers and photobuyers alike, found they were incapable of tracking the transparencies they were handling. It wasn’t pretty. Lawsuits multiplied and photobuyers began dealing only with a circumscribed number of stock photographers who were savvy in their business acumen. Veteran stock photographers who are reading this will well remember the turbulent transparency mess we had to live through before the Digital Era came along and gave us a break.

Superstars began to emerge in the industry. Photobuyers were willing to pay the high fees of certain stock photographers in exchange for “hassle-free” service, knowing it was safe to deal with them and their valuable transparencies. Photobuyers also placed confidence in the emerging stock agencies of the mid-90’s, who introduced overnight transparency delivery to clients.

And then it all changed in the early 2000’s. Digital delivery made transparency delivery obsolete. The line between superstars and gifted amateur photographers was erased. Anyone with a sensitive eye who could produce high-resolution images with their digital camera became eligible to sell their photos on-line.

Yes, b&w disappeared. Color now rules. Even though b&w prints were easy to distribute and sell to photobuyers in the 70’s and 80’s, digital delivery is even easier in the 2000’s…a lucky happening for the independent stock photographer.

Few stock photographers today specialize in b&ampw. If they do and are successful in their marketing, they are a rare breed.

Who knows? Maybe someday in the future, the public taste in photography may change back to b&w, if only temporarily. Prepare now to deliver and capture some of your digital images in b&w.

Rohn Engh is director of PhotoSource International and publisher of PhotoStockNotes

Karen Noles, A Study Of The Native American Culture Through Art

Wednesday, February 27th, 2008

If beauty in artwork can defined as a delightful quality intertwined with harmony of form and color and combined with craftsmanship and originality, then one need look no further than the work of Karen Noles and her artwork of Western art that revolve around Native American women and children. Though this artist is certainly capable of painting an array of subjects, her concentration over the past few years has been the feminine and domestic side of Native American Western Art. Karen has worked in pastel, gouache and, most recently, oil.

With her home located on the Flathead Indian Reservation in Montana, she works out of her home studio where she has a backdrop of more than 30,000 acres of gorgeous scenery and recreation area. She has wonderful views of the southern end of Flathead Lake and has, no doubt, been inspired by the majesty of nature in her surroundings.

Besides creating her many paintings, she touts that horseback riding is the highest on her list of interests and activities. Her work is carefully researched and is an accurate accounting of the subjects that she portrays in her paintings. She primarily focuses on “domestic life of the 1800’s Native American, especially the early reservation time period,” according to her biographical statements about her work.

She is a stickler for being thorough in research and data gathering. She attempts, in a very successful manner, to convey realism in her work. She has been known to spend weeks, or even months, doing research for each painting. She methodically secures reference materials and museum books to gather all that she needs to depict her scenes in an accurate and realistic form. She often travels to museums to take photos of exhibits that will help her incorporate the reality of the time into her work. In addition, her distinctive paintings are a result of attending local powwows and from drawing upon her natural surroundings.

In commenting on her work she says, “I find that not only can I try to portray a situation of that time, but I can also give honor to their works of art.” This is in reference to the depictions of bead and quill work of the Early Reservation time period that she enjoys most.

To further emphasize her commitment to realism in her work, she chooses to use Native American models. In addition, she also incorporates wild animals in her photo shoots. She explains, “The children that I’m working with now I’ve been working with for a few years; the parents know and trust me. Children have such wonderful imagination and do such spontaneous things – some great paintings come out of it all.” One only needs to look at some of her most recent works such as: “The Feather Fan”, “Daughter of the Sioux”; “Blackfeet Stories”; and “Embraced In Wisdom” to understand her quote.

If you look at her work in “Tepee Tender”, you will see a little girl holding a fox pup in her lap with another cuddled up next to her. Noles is able to achieve this realism with the help of a friend who works with injured or abandoned animals. Those that are tame enough to be photographed with the child models are often used. Fauns, fox pups, young lynx and bobcats are among those that have been in the photo shoots.

Among the numerous awards and distinctions for Karen Noles are the following:

· The People Choice Award – C.M. Russell Art Show and Auction, Great Falls, Montana

· 1998 Viewers Favorite Award at the Spirit of the Great Plains Show, Museum of Nebraska Art

· Honors, Pastel Society of the West Coast

· Honors, New York Society of Illustrators

· Patrons Choice in the Stampede Western Invitational Art Exhibit and Sale

Inspiration can be defined by something that stimulates a person to a high level of feeling, to creative thought, or to achieve the making of art. In looking at the outstanding pieces created by Karen Noles, one would have to say that she has certainly made a connection to her surroundings and interests. Fortunately, the art world is the recipient of her beautiful inspirations.

No permission is need to reprint this article as long as it remains unedited and the author’s bio and links are included.

Floyd Snyder owned and operated three framing galleries for nearly 20 years. After selling his business in the late 80’s and retiring form a successful career in the stock markets he has returned to the trade he has always loved and missed. He has established his own online store representing some of finest artist in the world at FrameHouseGalleryeBay.com FrameHouseGalleryeBay.com He can be reached at mailto:Floyd@FrameHouseGallery.com Floyd@FrameHouseGallery.com To see Karen’s work go to: stores.ebay.com/FrameHouseGallery_Karen-Noles stores.ebay.com/FrameHouseGallery_Karen-Noles