Friday, December 30, 2011

Truck Driving School

!±8± Truck Driving School

The CDL School I attended was located in Priceville, Alabama. A Super 8 motel room would be my home for the next three weeks. I did not know what to expect on the first day, but I met a wide range of personalities in the other students. The range included a Mississippi farm boy with a middle-school education to a former software engineer with a Master's degree. There was an ebony giant named Steve, who looked like an offensive lineman for the New England Patriots and, his foil, a rail-thin fellow named Ray. There was also Mike, from North Carolina, who had worked in the computer field in some capacity, but seemed perpetually bitter because of "lowering" himself to training for a trucking career. And, of course, there was the guy who already "knew everything" and for whom, in his mind at least, this school was a mere formality. Despite the varied backgrounds and personalities, everyone here had at least one thing in common: each person was seeking a better life for himself or, he was seeking to get his life back on track from a prior misfortune. So, it came as no surprise when a camaraderie quickly developed among most of us.

I became fast friends with Alan, the former software engineer. Alan had been laid off from his engineering job and, at 54; he'd been having difficulty finding suitable employment in a young man's field. Like me, Alan had a lot riding on the success of this new venture. After the expenses of moving from New York to Alabama and the costs of CDL school and my motel, my savings were dwindling rapidly. If this trucking thing didn't work out, I was screwed. However, Alan and I were not the only ones who had pushed our chips "all in" on this hand. The guy from Mississippi said that he'd ripped the stereo system out of his car and sold it at a truck stop in order to have gas money to get to Priceville.

As is often the case, most of us banded together and helped to alleviate the concerns of our circumstances through laughter and joking. Steve was the biggest comedian of all, both literally and figuratively. Steve wore a perpetual smile, and the clowning giant was the rare type of person whose mere presence tends to lift one's spirits. He was always a joy to be around and he usually kept everyone laughing, except Mike, who maintained a sour view of the world.

The training format of the school put us in the classroom during the first week in preparation for the written tests, and the next two weeks introduced the road training for the driving portion of the test. I wasn't too concerned about the written tests-but, I was VERY concerned about the road test. This could prove to be the potential worm in my apple but I was determined to give it my best shot.

The classroom instructor was a rotund, middle-aged fellow named Ron. He boasted many years of over-the-road experience and, although he may not have been the most entertaining instructor in the world, it soon became clear that he had probably forgotten more about trucking than most of us would ever know. Thanks to Ron's expertise, 10 of the 15 students passed the written tests on the first try. Three of them passed the second time around and, the other two had to make a third attempt but, eventually, everyone in the class had passed. Now, it was time to drive the trucks. Oh boy...

Alan and I bantered nervously in the crisp morning air of the big day. Alan was a transplant from England and, although he had been in the States for sixteen years, he had not lost an iota of his Cockney accent. When he became aggravated or nervous, his accent tended to become even more pronounced-sometimes to the point where I'd have trouble understanding him. On this morning, I didn't need to understand him. We were both nervous but, at the same time, we were excited about the new challenge before us. We'd be spending the first couple of days in the yard, learning straight-line backing and 45° angle backing.

The instructor entered the yard before the sun had fully risen and waved for us to join him at the row of trucks in the yard. The rank of about a dozen trucks was mostly ancient long-nosed Freightliners and dilapidated Volvos but, presumably, they all worked. They reminded me of ancient battle-scarred warriors who should be resting in retirement but who have been recalled to active duty for one last fight.

The instructor's name was James, who was a little younger than Ron, but whose shoulders were slightly hunched, as if he'd been carrying a cinder block before he'd arrived. He had a cookie-duster mustache and spoke in a nasal monotone, which made me glad that I'd ingested plenty of coffee this morning. James, as we would discover, had a propensity for talking about women's breasts. He didn't just talk about them, mind you, he analyzed them: the shape, the size, the feel, the texture, the smell, the "rating system", the color, the roundness of the areola, the smoothness, the pear-shaped ones, the apple-shaped ones... well, you get the picture. At first, the mammary musings of James was funny and entertaining but, after a time, it started seeming a little creepy. It was obvious that he was obsessed with the glorious globes. I'll admit that I have an appreciation for female breasts myself, but they are rarely exposed as a topic in one of my normal conversations. James spoke of breasts as if he were casually talking about the weather. Be that as it may, James was our instructor now, and I fervently hoped that he had more knowledge to bestow upon us than the most plausible route to "Titty City" in Nevada.

After about half an hour of verbal instructions, James climbed into the old white Volvo and fired up the engine. The roar of the diesel engine drowned out the sounds of morning as it proclaimed itself the ruler of its domain. Even Steve was dwarfed standing next to the rumbling white giant. James maneuvered the truck between two rows of orange cones and told us that we'd be learning straight-line backing today. He then pointed directly at me and asked me to remind him of my name.

"Rick", I said.

"Okay Rick", grinned James, "you're first-jump in!"

I climbed up into the rumbling vehicle with trepidation while some of the students wished me good luck, and others were wagering on how many cones I'd crush. James climbed up to the window and shouted a reminder at me over the noise of the thundering engine, "Steer into your trouble... if the trailer goes right-steer right, if the trailer goes left-steer left." With that, he climbed down from the vehicle and left me to the task at hand. The old Volvo was shaking with authority, as if it were a rodeo bull eager to dismount me in less than eight seconds. The mirrors were vibrating so violently that I couldn't even see the cones; they appeared as orange blurs.

I took a deep breath and began my backward trek. Amazingly, I managed to negotiate the 100-yard course without hitting any cones, but it didn't take long to discover that this was trickier than it seemed in theory. If I'd had to go another hundred yards, there's no doubt that I would have killed some cones. Over the next couple of days, I got to practice more and gained a little more confidence. Then, I was introduced to the bane of my existence: 45° angle backing.

Almost everyone is abysmal at 45° angle backing to start with, and I was no exception. I had been a submariner in the U.S. Navy and had gotten a commendation for serving as a helmsman/planesman during an ice expedition to the North Pole in 1981. I steered the ship through shallow, ice-covered waters on a daily basis without breaking sweat. So, it aggravated me to no end that the task of backing this truck between those stupid cones seemed to be so impossible for me. However, I was not the only one having difficulty. Alan even resorted to mathematical solutions to try and crack this puzzle but it didn't seem to help either of us.

The "guy who knew everything" was, amusingly, one of the worst in the class. I cannot recall his name, so I'll just call him "Douchebag". Douchebag blamed the equipment, blamed the instructor for teaching him bad habits, and blamed the setup of the course. It couldn't have been his lack of ability because he was God's gift to trucking. Douchebag insisted that if they had allowed him to design the course, he'd have everyone transformed into a Super Trucker within a week. By this time, Douchebag was being looked upon as comic relief rather than a mentor.

In truth, backing a big truck is more art than science. The only way to improve is through sheer repetition. Unfortunately, there was a limited amount of time and opportunities to practice before our road test. Concern began to arise among some of the students. We didn't see how we'd possibly be ready in time.

Enter Pat. Pat was another yard instructor, a petite middle-aged lady with closely cropped blonde hair and a forceful presence. Pat was a veteran of the road and traveled with her loyal companion, a terrier mixed-breed named Zip Code.

"I named him that because he's been in every zip code," explained Pat.

She said that the course in the yard was set up exactly the same way that it would be for the test. Then, she pulled a Joe Namath moment out of her hat:

"We've done this week in and week out with hundreds of students, and I guarantee that I'll have you ready for your test."

She seemed so confident and assured of herself that I didn't write her words off as bluster-I believed her. True to her word, she began showing us some tricks that yielded immediate results. The "tricks" that she showed us probably wouldn't have helped a whit in a real world situation of attempting to back into a dock at a crowded shipper, but they helped immensely in learning to set up at the correct angle on this particular course and getting the trailer in between the cones.

This brings up a point. A three-week trucking school is, essentially, a boot camp toward getting a CDL. Given the short time frame, the student is crammed with the essential knowledge to pass the test... period. There is no time to perfect or hone any of the basic skills that have been introduced. Make no mistake; a student fresh out of CDL School is, in no way, prepared to be on the road in an 18-wheeler. That is why, upon being hired by his first company, a new driver will spend 6-8 weeks with a certified trainer before he is cut loose on his own. The role of a CDL school is to whip a student into shape to pass a CDL test... that's it.

In the meantime, we had been going out in groups of four with other instructors to drive on a low-traffic route in Decatur, Alabama to learn how to shift through the 10 gears.

Donny was the first instructor to endure the comedy of errors from my group. Donny was a laid-back country boy with rugged features, for whom being behind the wheel of an 18-wheeler seemed as natural to him as putting on his pants in the morning. Donny was as cool as a cucumber, and never got frazzled by any of our beginner mistakes. For the first couple of days, there was more grinding taking place in those trucks than in a Starbucks factory.

Another instructor I rode with was Rick, a compact and vigorous black man with an energy level that could only be rivaled by the likes of Richard Simmons-although Rick wasn't nearly as annoying as Richard. Rick would earn the nickname of "Boom Boom" because, his method of instruction on the proper time to shift gears was:
"Okay, get ready-BOOM! Get ready-BOOM!" Boom Boom relayed countless road stories to us, and he became one of my favorite instructors to ride with.

Finally, the time to take the road test had arrived. We would be going, in small groups, to the testing facility in Hartselle, Alabama over the next 5 days. I would be testing on the second day, and Alan would test on the fourth. Everyone was nervous, so I guess that Alan just needed a laugh when he approached Douchebag and asked, "Do you think you're going to pass?"
"I KNOW I'm going to pass!" boasted Douchebag proudly.
Douchebag failed on his first two attempts.

The test would consist of four parts: first, the student would provide a verbal commentary of an inspection of the truck and trailer, next would be straight-line backing, then, 45° angle backing and, finally, driving on the road with the evaluating officer.

On my test day, the diminutive Ray and, another student named Jerome accompanied me. Jerome was missing most of his front teeth, but that didn't stop him from flashing an endearing smile. He had poignant circumstances for being here and I was in his corner rooting for him. The scuttlebutt among the instructors, however, didn't give him a snowball's chance in hell of passing. On this day, Jerome's smile was missing and he was nervous, almost to the point of trembling. It helped to relieve some of my tension while I offered encouragement to him as best I could.

Ray was the first to test and despite the fact that he was barely big enough to reach the pedals, he managed to pass on his first attempt. Next was Jerome. Pat was the instructor who had accompanied us and she didn't seem optimistic. Jerome, however, rose to the occasion and shocked everyone. He got what would hold up to be the highest score of anyone in the class.

"I didn't see that coming," is all that Pat could say.

Now it was my turn. We had gone two for two today, and I certainly wanted to keep the streak intact. I breezed through the inspection because Alan and I had unmercifully drilled each other on this until we had it down cold. Straight-line backing didn't prove to be a problem either. Then, it was time for the dreaded 45° angle backing. After my heart skipped a few beats, I set up the way that Pat had showed us and I slowly maneuvered the trailer between the cones. It was perfection! I was dead center perfect! My confidence was now soaring as I got out to see that my trailer was already across the first line, which was a passing grade. I thought, however, that I could back a little closer to the rear cone to improve my score. I climbed back into the truck and backed up a little. I got out to observe my mastery, knowing that I'd just sent my score into the stratosphere.

My life flashed before my eyes in horror as I observed the rearmost cone lying horizontal, as if it were a bowling pin that had been struck with a Brunswick from the hand of Walter Ray Williams Jr. I looked at the officer with an imploring appeal but, with the cone lying there like a dead duck, he had no choice but to fail me.

I was devastated. I moped to the curb and sat down with my head in my hands. Our roles reversed, Jerome came over to offer encouragement. I was pissed off at myself because it was my ego that had caused me to fail. I'd just been trying to "run up the score". I had deserved to fail, and I knew it. Jerome wouldn't allow me to feel sorry for myself for very long though.

"Git up and go take that motherbleeper again!" he insisted. "I know you can do it an' I'm gone kick yo' motherbleepin' butt if you don't go take that motherbleeper again!"
His words were blunt, simple, and to the point. I decided to go and take that motherbleeper again.

This time, I collected myself and left my ego at the door. I backed the trailer between the cones and got out 3 or 4 times to assess my progress. When the rear of the trailer was across the first passing line, I looked at the officer and asked, "Is that passing?"
He could not conceal an amused grin when he said, "Yeah, that's passing. Do you want to go for a higher score?"

"No, sir!" I stated with conviction.

The road test went well and, after the emotional roller coaster ride of today, I could rest easy now-I had passed.


Truck Driving School

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Saturday, December 24, 2011

ITEC Beauty Therapy Exam Papers - Sample Questions

!±8± ITEC Beauty Therapy Exam Papers - Sample Questions

ITEC Beauty Therapy exam papers consists of 50 multiple choice questions and have a pass rate of 60%.

When you are doing a Beauty Therapy diploma you will have to take about 6 separate exam papers depending on how many subjects you are taking. The main subjects covered under ITEC Beauty Therapy are;

* Skin & Eye Treatments
* Waxing
* Make Up
* Manicure & Pedicure
* Facial Electrical

When you are revising for your ITEC Beauty Therapy exams you need to have a set of sample questions similar to those you would find on the ITEC exam papers. As the format of the exam is multiple choice questions then these would be the best type of questions to use for your revision.

Some examples are as follows:

01. Cleansing creams are;
a) Oil based emulsions
b) Water in oil emulsions - Answer
c) Oil in water solutions
d) Water based emulsions

02. What part of the hair can be seen above the skin's surface?
a) Root
b) Shaft - Answer
c) Follicle
d) Bulb

03. Which type of skin tends to age more quickly?
a) White - Answer
b) Asian
c) Young
d) Black

04. Which one of the following is not an effect of using the negative pole on the skin?
a) Softens the skin
b) Stimulates nerve endings
c) Decreases circulation - Answer
d) Produces an alkaline reaction

Your revision plan should be structured and organised. If you write out your plan and hang it on the wall in front of your desk, this will make things more clear. Take a set of multiple choice questions daily and learn them over and over again. If you constantly use this method you will be very surprised at how quickly your knowledge on this subject grows.


ITEC Beauty Therapy Exam Papers - Sample Questions

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Saturday, December 3, 2011

Voice Over - A Beginner's Guide

!±8± Voice Over - A Beginner's Guide

IT ALL STARTS WITH YOUR VOICE

If you have ever been told that you have a great voice, then you may have thought of making use of that great voice in a professional way - as a singer, announcer or as a voice over talent. Voice over, or adding your voice to advertisements and recorded messages, can be a very lucrative field for a trained talent.

In the commercial world all kinds of voices are needed: low voices, whiny voices, gravelly voices, flat voices and even average voices. So, even if you don't have a classic "good voice" you can enter the field if you have determination.

First, explore your instrument. Not just your voice, but your whole being. Do this by taking an acting and/or improvisation class at your local college/learning annex/community center. Stay with it for 3 months. Aside from freeing yourself up, you'll probably meet some fun people.

Why acting classes? You need to know how to create the characters who "speak" in a commercial. Just taking an animation class won't do it. You need to start the process organically. It's not about the voice, just yet, it's about the intention behind the voice that gives the voice a shape.

After you've opened yourself up for three months in an acting class, it's time to move into specifics with a voice over class.

This is where I'll begin to speak to two types of people: Those who want to move to L.A., New York, Atlanta, Chicago, or San Francisco and pursue a union voice over career, and those who want to create an internet voice over career right there in Smalltown, USA. For simplicity sake, we'll refer to them as Red state and Blue state... Actually, I think CITY (union) and COUNTRY (non-union/internet) might be better.

CITY:

This part should be very easy for you. Just do a search for "Voice Over Class" and "your city" with Google. Of course, there may be classes offered at your local universities and performing arts centers. Ask around for good word-of-mouth about them. Then sign-up with the best and attend! (Avoid classes that end with you paying another 00 for a demo reel).

A comprehensive resource is Voice Over Resource Guide It lists all the studios as well as classes In addition, read some books on the subject.

COUNTRY:

Here's where you will find some challenges. Try your local college/learning annex/community centers to see if one is offered. Also ask your acting teacher if they know of any coaches who do voice over coaching. It may even be your own acting teacher! You might have to drive a bit to the next big town to find a class or coach. But, it's imperative to get some formal training. Just reading a book won't do it for you.

You need a "director" in the beginning to help you become aware of where your technique is weak or failing. By all means, read books, too! They will give you great insight into the mechanics. But, it all comes down to those sound vibrations and how they land on the listener's ear.

In addition to your voice over class, start practicing at home. Listen to any and every commercial on the TV and radio. Mimic them. Pick up magazines and read the ad copy aloud as though it were a commercial. Get so used to your voice that silence sounds wrong.

Most people want to skip this whole part and get right to the money making part. Believe me, if you skip this part, no one will want to pay you for what you'll be offering. Ego and confidence are not a substitute for talent and technique.

Some books on the subject:

There's Money Where Your Mouth Is: An Insider's Guide to a Career in Voice-Overs - by Elaine A. Clark

Secrets of Voice-Over Success: Top Voice-Over Actors Reveal How They Did It - by Joan Baker

The Art of Voice Acting: 2nd Edition - by James Alburger

The Page You Made: Word of Mouth -by Susan Blu, Molly Ann Mullin

Work in Voiceover Acting: written by a Casting Director

FINDING YOUR RANGE AND NICHE

Once you've gotten a handle on your voice, you need to know what your range is and, by association, what your market is.

Are you the classy BMW voice, the GenX hamburger guy, the Don Pardo game show host? You could be all three and more. Knowing all that you can do will help you promote yourself with confidence and direction.

Start with your normal speaking voice. What does your coach say? Are you the "everyman" voice? The "hip, edgy" voice? The "natural announcer" voice? Whichever comes the easiest may be your bread and butter. Foster it. What you and your coach decide will become the centerpiece of your promotion.

But don't stop there! Now start stretching your voice. Try accents, character voices - both broad and subtle (this is where the acting classes come in handy). Anything you can do with your voice may be called upon for any one of the different voice over market niches out there!

Here are the main areas you might find work:

Radio/television commercials
Promos/trailers
Business narration
Cartoons
IVR/voice mail greetings
Web audio

If you're COUNTRY you probably won't get much cartoon work and if you're CITY you probably won't get much IVR/voice mail greetings work. But ALL of these areas may require ANY TYPE of voice style! So, the broader your range, the broader your work potential.

This is an important step. It is here that you determine your whole approach to your career, whether it be CITY or COUNTRY.

For example, you have a gravelly, low voice that's warm. You might sell yourself as the "Your Bourbon Straight-Up voice". Or you have a super-sweet female voice you would be "The Voice of a Princess", etc.

It also helps to know what celebrities you sound like. See what kinds of commercials they perform voice over on. Listen closely, Alec Baldwin, Keifer Sutherland, Stockard Channing, Susan Sarandon - they all do voice overs.

You may want to specialize. For CITY folks, you can find an animation class or a promos class. COUNTRY folk will have to do a bit of self-teaching here. Read Terri Apple's Making Money in Voice Overs.

Start collecting copy (scripts) that fit your style. Even within your style there are sub-styles. Cover them all. Also look for copy that best shows your other "stretch" voices. This all will lead up to making your demo reel.

The business starts with your demo reel...

THE DEMO REEL

Here is where it gets complicated and potentially expensive. If your going the CITYroute, you'll want to ask around as to where to get your demo done. Where do other voice over actors go for theirs? How does their demo sound? And, of course, what's the cost? If it sounds too expensive, than it is.

For CITY folk, the demo is primarily used to get an agent. That's about it, as most clients/jobs/gigs will come from auditions you'll do at the agency or local casting facility.

For COUNTRY folk, your demo(s) will continually be your selling tool on your website. You will probably want to have one for each of the markets I wrote about previously. And getting your reel done will be hard at first. In some geographical areas, there won't be anybody who can edit them for you, let alone offer good direction. But that's where your career will differ from CITY folk. I'll talk more about this in a moment.

Let's start with the basics for both CITY and COUNTRY folk.

Your demo shouldn't be longer than a minute. Yes, a minute! Others will say 2 minutes, but no one listens that long unless you have SO MANY DIFFERENT voices.

Each clip on your reel should be no more than 15 seconds, probably less.

Each clip should show something NEW about your voice.

The clips should get shorter the longer the reel goes so the pace quickens.

Your demo should only contain things appropriate for that market! i.e. Commercials for a commercial demo, cartoon voices for a cartoon demo, narration for a narration demo.

CITY folk will probably only need a Commercial demo and a Narration demo (and Cartoon demo if they do funny voices).

COUNTRY folk should have a demo for each market listed previously.

So, the CITY folk have their reel and are ready to find an agent. Go ahead and skip to FINDING AN AGENT.

COUNTRY folk, you have some work cut out for you!

In order to have a home voice over studio business, you are going to have to learn to record yourself, edit your recording and burn CDs and also upload them to the internet. This is something you'll be doing every day.... You might want to read this paragraph again.

In order to have a home voice over studio business, you are going to have to learn to record yourself, edit your recording and burn CDs and also upload them to the internet. This is something you'll be doing every day....

The semi upside of this is that you will get to edit your own demo reels and save money. But, money that you will have already spent on your equipment!

BUILDING YOUR STUDIO

This is where your business comes to life! Here's what you'll need:

A closet or sound booth.
A microphone.
A mixer (optional).
A pre-amp (optional).
Headphones.
A music stand and a microphone stand.
A computer optimized for audio recording (processor/RAM).
A sound card or ProTools mBox.
A software program or ProTools.
Monitor Speakers (for accurate sound editing).
A website and DSL or Cable Broadband!

All this will require two other people (Helpers): One helper who knows about audio equipment and recording software (your musician friend, most likely, or the Guitar Center employee), and a web designer who can create your site and teach you how to upload audio.

Let's break this down:

A CLOSET OR SOUND BOOTH

When you're starting out, you'll want to watch your money, so a sound booth shouldn't be considered. They usually run about ,200 or more.

However, a closet is always easy to convert. You need a space that is away from the plumbing (so you don't record the toilet flush!) but close to your computer. Carpet the walls of the closet so you don't get your voice bouncing around, giving that echo-ey sound to your recordings. You can buy studio insulation, but carpet's much cheaper.

A MICROPHONE

You essentially want a microphone that records voice well. There are many out there. I use an AKG 414 and it cost me 0 on eBay. If you go to your local music store and let them know what you're doing, they should be able to guide you towards something right for your situation. Then check eBay for better prices!

Ideally, you'd want to find someone who will come out to your house and help you put the whole studio together for a small fee (around 0) or free (buy them lunch, though).

A MIXER

Someone who knows how to make a good martini... Wait, sorry. I mean a mixer is good for being able to control your mic and headphone volume when you're in the booth. It will also be needed if you decide to add a phone patch (a way to have someone on the phone to hear you record while they offer direction).

(A side note: You may hear about ISDN as a way of recording your voice remotely to some far away studio. The cost of equipment and installation is not worth it at this stage of your career. Wait a bit, as the technology is moving towards voiceover internet protocol [VOIP] which will render ISDN outdated.)

A PREAMP

This juices up your mic and can also warm your voice prior to being recorded, saving some EQ-ing time later. This is something to discuss with your Helper.

HEADPHONES/MUSIC STAND/MICROPHONE STAND

If I have to explain this, you might want to think about another career...

COMPUTER/SOFTWARE

Get a Mac. Any Mac that's a G4 or G5 with 1 gig of RAM. (Yeah, I'm partial to Macs). If you want to go another way (Not Mac?!?) then talk again with your Helper. If you are not good with computers, this could become a stumbling block for you.

If you have a computer, you might be able to use it. Talk with your Helper as to which sound editing application to use. (You'll need some tutoring from them initially). Knowing which program to use will help determine if your computer has enough processing power to handle voice recording.

SOUND CARD/mBOX

Some computers already have a sound card installed. Ones that don't will need one, or you can get an mBox, a sort of external sound card. mBox runs about 0 and includes the software, ProTools. Again, talk to your Helper.

MONITOR SPEAKERS

Make sure you get some monitors. The main difference between monitors and regular speakers is that they don't pump up/beautify the audio. You want to hear exactly what you sound like, not the best-case scenario. I use Roland Micro monitors. They're inexpensive and accurate. Don't use your internal computer speaker!!!

WEBSITE

And here is the monster! If you don't do web design (as I do), you want to find someone who won't charge an arm and a leg.

First, determine what you'll want on your site. You'll need to introduce yourself and your style. You'll need your demos on there. You'll want some instructions on how clients can work with you. Check out your competitor's websites. What do you like about theirs, what don't you like. Then, see if there are any website templates that could be customized to fit your needs. Going to a web designer with a template, aside from bumming them out, will save you lots of hours and money.

(Side note here: Make sure your designer makes your site optimized for search engines. Google "SEO" to see the ocean of info on this.)

Now that you've bought all your equipment, installed it, learned the software and built your website, it's time to edit your own reels!

Yup, you can do it yourself. Listen to all the reels out there. Which ones work for you? Why do they work for you? Implement those techniques with your reels. If you've been practicing your voice over, taking classes, etc., then you should be fine with creating your own reels. You hear TV and radio ads all the time. Do yours sound like those? It can be that easy.

You'll also want to find some royalty free music to put underneath the spots you created. In all honesty, you can use anything since you're not selling the demos.

Update your demos often as you get real work.

If you're uncertain about how your demo is sounding, get feedback from people you respect. But, take all the input with a grain of salt. It's YOUR demo after all.

But most importantly: Just do it. Most COUNTRY folk get stuck right about here. Will you?

FINDING AN AGENT

For CITY folk, this is the hardest part. Not that the act is difficult, but the perseverance required is enormous. It may take you several mailings, meetings, etc. to land an agent. The most important thing to remember is "don't give up"!

First, package your CD so that it represents you, your product, what you're selling. Make it catchy. You want to grab their eye so they'll want to pop your CD in the player.

Get the agency list from your local SAG (Screen Actors Guild) or AFTRA (American Federation of Television and Radio Artists) office. Mail that CD with a SHORT intro letter to every V.O. agent out there.

Also, ask your friends whom they are with. See if they'll take your CD into their VO agent. Ask your VO teacher for a referral. Ask your barber! Anybody!

In the interim, send your CD to all the non-union voiceover auditions you find online or in your local trade paper. In L.A. and NY you would check out Backstage and Actors Access.

For COUNTRY folk, you'll want to sign up with many agencies in many cities. They'll email you auditions, and you'll email your mp3 back.

I could list agencies here, but they change a bit over time. I suggest Googling "voice over agency". There are also two major pay websites. They get the majority of non-union VO auditions. They also have 1000s of voice over artists like you. Voice123 and Voices.com. The are the gorillas in the room that take everyone on who pays. This results in 1000s of actors for each job posted, though they do use some algorithms to help keep it semi-reasonable. Avoid websites that will charge to list your site, but not offer daily auditions. For the most part you're throwing your money down the drain.

COUNTRY folk, your biggest challenge now is to get clients. Focus on getting your website seen (pay-per-click with Google and Yahoo) and sending your link to all the local companies in your town. They'll be happy to know they don't have to go far to get a professional voice over for their commercial or in-house narration.

GOOD LUCK!

These are essentially the steps I took to start both my COUNTRY and CITY careers. There are hundreds of little details to everything I've mentioned. My intent was not to hold your hand through the process, but to give you an overview in a simple, straightforward way. Half of being good at this is the ability to learn on the job. The other half is the preparation (classes, reading, practicing).

There will be those people who will want an article to show them an easy way right to the money. Well, there is no easy way. But I've shown you some practical steps to get you into the game. What you do when you get into that arena is up to you. You can take a seat and watch or you can figure out how to get onto the field. It's different for everyone. But, the opportunity is there. It's real.

But, YOU have to take those steps. No ebook will do it for you. I wish you all the best in your new voice over career!


Voice Over - A Beginner's Guide

Used Salt Water Chlorinators For Pools

Sunday, November 20, 2011

Monday, November 14, 2011

Barber Chairs - A Short History of the Trim

!±8± Barber Chairs - A Short History of the Trim

The history of the barber chair is a long and interesting one. They have been the site of political decisions and style changes. Although barber shops have been seen as the domain of men, women are increasing using their services for their haircuts.

A barber is defined as someone who cuts hair, trims beards, and shaves men's faces. With the advances in disposable and electric razors, barbers tend to focus on cutting hair in modern times. Barbershops tend to focus on simple haircuts, although many stylists in hair salons are master barbers as well.

Evidence suggests that barbers were present in ancient times. Barbering even has a mention in the Old Testament of the Bible. In 296 B.C., barbershops were introduced to Rome where they quickly became a center for gossip and talk. People came to sit in the barber chair and talk to others. Many individuals would stop in each day to get the latest news.

In past times, barbers not only cut hair and shaved beards, but they also acted as doctors and dentists. They extracted teeth, performed blood letting, and conducted surgery on wounds. The barber's pole originated with the blood letting service, symbolizing the clean and bloody cloths used in the process. Barber surgeons formed their first organization in 1094.

In 1492, barbers formed their own guild in England. They were helped along in their business by laws that taxed individuals who wore beards. Most individuals choose to have their faces shaved on a regular basis by a barber rather than pay the tax. Other rulers of the time, such as Peter the Great in Russia, liked the laws and extended them in their own countries. This helped keep the barber chairs full.

By the late 1700s, the professions of barbers and surgeons had separated. Barbers concentrated on cutting hair and shaving beards, although their shops remained places of gossip and daily news. In many places, a boy's first haircut and shave was an important event in their life and signaled their march toward manhood.

Today, barbershops generally offer simpler haircuts than beauty salons or spas. Increasing, women are choosing to utilize barbershops for short or simple haircuts because they cost much less than the same cut at a salon. In small towns, the barber can still be the place to go for town gossip and political discussion.

Many important topics have been covered in barber chairs and the shops have been an important place in many locations from ancient times to today. Although these shops may not be as prominent today, barber chairs are in no danger of disappearing from the landscape. Many people still prefer getting their hair cut done in a barbershop.


Barber Chairs - A Short History of the Trim

Eureka Apex Tent Free Shipping Coupon Frye Sandra Riding Boot

Saturday, November 5, 2011

WE-barber-pole.mov

This is an example of animated textures to produce a moving object just by changing one attribute in the texture settings in Blender 2.5/6. The recipe for producing this effect is in the upcoming Blender 2.5/6 Materials and Textures Cookbook, PACKT Publishing.

Promo Fisher Price Take Along Swing Aquarium

Friday, October 28, 2011

Merkur Long Handled Safety Razor 38c

!±8±Merkur Long Handled Safety Razor 38c

Brand : Merkur
Rate :
Price : $39.00
Post Date : Oct 28, 2011 15:55:48
Usually ships in 1-2 business days



Classic Safety Razor has a slick chrome finish and a double edge design that provides a very close shave. Comfortable extra long handle is designed for a non-slip grip and works well with all hands, especially larger mitts. The handle weighs a hefty 4 oz. and is 3.75 inches long. Don't you wish you had a longer handle?

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