Archive for December, 2009

On Saying Goodbye to a Drama King

Tuesday, December 29th, 2009

Charles left her, just left altogether with no satisfactory explanation. Just announced, after six months of a hot-house infatuation that had swept her off her feet, “Sorry, Miranda, this isn’t working” — said it not even kindly, at that — and said he wanted out. He wasn’t interested in hearing why Miranda thought that in fact it was working; that it was a relationship and relationships needed a little working out now and again. No, he didn’t want to hear it. For him, it was the end. Discussion over.


And he never came back.


It always seems unthinkable, this scenario in which a lover not only leaves, but leaves abruptly; runs you over like a train, as if whatever you had together was a meaningless diversion and you, well, you were just something to be left on the side of the curb like roadkill. In all my years of writing about love, this form of goodbye is the one that draws the most letters from readers.


Or maybe you weren’t dumped by a Hit & Run lover but are limping along with someone I call The Visitor — a man who comes and goes at whim and cannot commit to anything other than a measly, “Hey, so, maybe we’ll get together a week from Tuesday, if I don’t have to work and if my mother isn’t coming into town? Or maybe another night that week, maybe? Or something? Whatever.” He’s someone who ascends on you for food, drink, sex — and may or may not stop by again sometime soon, as if you were the owner of a Bed & Breakfast, and you run a good enough establishment for him to return sometime to be served and nurtured again, but only at his leisure.


How do you ever find closure when you’ve been decimated by a Hit & Run? How do you find love with a Visitor who can’t even commit to a definite date? How do you, a 21st century woman, busy and happy and self-sufficient and more successful than women ever were before, extract love and commitment from a 20th century man? For yes, these men — I call them Drama Kings because they’re solo performers, one-man shows who still long for an ancient, man-centric universe — still think the world revolves around them. They still think women are put on earth to please them — but haven’t the talent nor the inclination to return the favor.


How do you cut your losses? I’ll tell you how. You pick yourself up, dust yourself off, and start all over again. You remind yourself that you’re lucky to get out. That these guys are exhausting and will always drain you dry. You are too busy, and much too evolved, for this nonsense.


You do not call the Hit & Run lover on his cell phone to locate him, nor to find out why you were so unceremoniously dumped. (You’ll only be humiliated over again. You’ll only hear the most chilling replies — “Oh, it’s you. Um, yeah I know I left you on the side of the road, but I’m busy.” Or, “No, I really don’t want to talk about it.”) You do not try to make a Visitor become a grown-up man who can commit to something more than a “Whatever.” You remember one thing, and one thing only: You do not NEED this man. You have a roof over your head. You are a smart, darling, self-sufficient, loving woman who wants a smart, darling loving man. He is out there, but this one is not the one.


When you’re hurt by a Drama King — of which The Hit & Run and the Visitor are but two of five types — you’ve been hurt by a man who doesn’t care how he behaves. Who doesn’t care to become deeply attached. Like a skilled performer, he only pretended he wanted a relationship, pretended he was fit for love, but in the end, sabotaged them both.


So before we focus on your heartbreak, I want to remind you: Why do you always feel exhausted with Drama Kings? Because they sap your energy. Why do you always feel lonely in your relationship with them? Because they refuse to get close. Why do you always feel anxious and sort of weirdly needy? Because my friend, they aren’t giving you what you need. And never will.


So do not idealize him, and do not blame yourself. You escaped! You avoided spending more time with a love fraud! I once spoke with a woman who’d been dumped as unceremoniously as Miranda was, and listened to her litany of self-blame — she’d “wasted years of my life” with this man; she’d “made a mess” of the relationship, she “should have known it wouldn’t work out.” Awash in misery, I couldn’t get her to rejoice in the fact that she had a chance, now, to find a man able and willing to love her back.


Today, though, I find women recovering quickly and not beating themselves up. Best of all — I find them saying they feel better than they did before they wrestled with their Drama Kings! The hundreds of women I’ve spoken with over the years do NOT stay permanently depleted by these guys: In fact, post-Drama King, strong women only get stronger. They seem to have developed steadily, cumulatively, through their relationships with Drama Kings — no matter how long it lasted or how dramatically it ended. It’s as if the adult woman’s self grows more resilient, more durable — stronger — through even the knottiest, nuttiest relationships — just as a child’s self grows. Kids get through developmental difficulties by working through issues of attachment — and so, I believe, do adults. It’s as though the developing personality is like kindling, needing to rub against another personality in order to create the spark that ignites the ever-growing self. That’s why you will move on from your Drama King ready for love sooner than you think — growing ever more proficient at finding a man who’s able to share center stage; and able to love you back.


Avoiding a Drama King in the future requires holding on to the sense memory of what it feels like to be with one. You have to know your responses, and pay attention to them. That’s why I always ask women, Do you feel exhausted when you’re around him? Lonely? Do you feel as if you’re banging your head against the wall whenever you try to have a discussion? You must remember these questions, and any “yes” answers, because they’re specifically associated with Drama Kings.


One more thing: When you begin to feel sad all over again, and tempted to play the self-blame game, keep this in mind. An involvement so important that you wanted it to last forever is not a “waste of time” because it did not. Few relationships last forever, and the criteria for success have to reflect the realities of the 21st century. That year-long relationship with the guy you loved in college; that fabulous sex you had with the adorable cameraman from L.A. at your first job; those three days we won’t talk about with someone you shouldn’t have been with — they matter, all of them. They not only familiarized you with different kinds of love, but different aspects of yourself in love. Most important, they told you an infinite amount about what you were working through at the time; what was irresistible to you and what was problematic; what developmental issues you were grappling with and what qualities you were searching for and trying to develop in yourself. As I said before, these relationships are what made you who you are today; they made you strong. They gave you self-knowledge. And they prepared you for a deeper, more intimate, love.


We must never, ever, devalue our effort at making love work — to say things like, “All that work for nothing,” or “I gave him the best years of my life,” as if time alone were the measure of love. We must respect the effort and the time we put in. The measure of love is your capacity to offer it openly, and to have the intimacy skills necessary to have the connection that you crave — and a man’s ability to do the same.


Most men have the same capacity.


I think that our attraction to Drama Kings, those men who haven’t caught up with us yet, men who have rigid, outdated views of love and life, may be hardwired, a built-in responsiveness to different types of familiar, traditional, masculine stereotypes. We can only move past our training by grappling with one or two. And we all do. And we all wind up exhausted and lonely and wishing we could find someone else, someone who is able to love. And then, stronger, more clearly focused, we move on.


There are fabulous 21st century men out there who know that love isn’t solely a woman’s job. They have learned intimacy skills. They know that 21st century women are very happy to please them, but that the pleasure must be returned — that women want to be pleased, too. They know, too, that the days of standing by your man no matter what are over.

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The Most important Part of your Commercial Audition - Your Slate!

Tuesday, December 29th, 2009

Why is a slate so important?

A slate is your golden opportunity to book a major market commercial. A slate is the 4 second chance to blast your competitors out of the market. A slate is telling us who you ware.

“Hi ! I’m Blah-Blah!” But there’s more to it than that.

1 - What is a slate?  

Contrary to what a lot of actors think, a slate is not just saying your name or the name of the product before taping a commercial audition. A slate is the first 4-7 seconds of your audition. It is the introduction of yourself to the client, the producer, the director and all those “creative-writer-advertising-agency-type” people sitting around watching the playbacks of 50-100 auditions- your competitors - and deciding WHO will be booked for the job. Guess what? They decide in those first 4-7 seconds if they want to see your audition or if they’re going to pass on you. A bad slate and they’ll never see your wonderful prepared commercial performance. You’re out of the running. Audition over!

 

2 - What not to do in your slate.  

A - If you say your name in a bland or dull way-that’s what they think of you. Fast forward and they never see your “read”, your audition. Oops! Audition over!

B - If you say your name indifferently and then look down at the copy and come back smiling, “acting” and selling the product, they’ll think  you’re phony because you haven’t connected you with the copy about the product. It should be seamless-no gaps in between. Who you are and how you talk about any product should be in the same voice, the same personality. They’ll probably fast forward. Oops!

C - If you say your name too fast or mumble or your name is very foreign sounding to the average Midwestern American, they will most definitely fast forward. Middle America, West of the Hudson and East of the pacific-  buys 95% of all commercial products!!! Say your name slowly, clearly, repeat if necessary!!!!! If you can’t say your name and be understood- it’s over. No one will spend a few million dollars on an Ad campaign if the actor representing the product and the corporation can not be understood saying their own name! (Happens all the time!!) Oops! You’re wasting your time coming to the audition.

 

3 - What to do in your slate.        

So the trick is to grab them with your smile, your warmth, your personality and your energy so they will watch your audition. Even then, they’ll probably fast forward after the first line, skipping to the last line. They wrote the copy, know it very well and certainly don’t need to hear all 50-100 actors say the same thing over and over. They want to be “blown away” by someone in the first few seconds or the last. Time is money- lots of money- in the Advertising world. Provide the solution in a hurry and you make the money!

A slate is the time to charm them, wow them, enchant and motivate them to hire you. Sometimes that’s all you have to audition with, the slate. How so? If you go to a commercial audition and there’s no copy, no lines, how do you book the job? 30% of all commercials have no lines, just a storyboard. The actor is doing something with a product. You’re a teenager at the pizza parlor, a housewife dusting the furniture, a happy couple on a cruise ship, a pretty woman brushing her hair, some guys drinking beer at a bar. So how do you book a job where you can’t act, can’t speak or say anything? Your slate. You can be the character they are looking for by the way you say you name and introduce yourself. No law against what you can say in a slate.  So think outside the box. Be creative!

4 - How Do I Do That?        

There was a Volkswagen spot a few years back-very retro where they were looking for a couple of hippies from the 60’s.  I suggested to one of my clients that he go dressed in a tie-dyed t-shirt, wearing beads or a headband. OK. That’s easy. Wardrobe choice. When he got to the audition-no copy.  So what did he do? When it was time to slate his name, he raised a fist, turned it into a “V” sign for peace and said,


“Like wow-Peace, man, I’m Stephen” and then mimed smoking a joint.

That did it! They could see the behavior as well as the “image” of a hippie and Stephen got cast. Network spot. Five figure income in the next 6 months. The slate got him the job. (well, of course he wouldn’t be smoking a joint in a real TV commercial but it suggested 60’s behavior.)  A good actor has imagination and that’s why he got booked!

Another example: For a Baby Shampoo, one of my clients mimed washing her baby who was obviously splashing soapy water in his bath. Wiping the imaginary soap from her face and eyes, she used her best “Mommy” voice and said during the slate,


“Whew, no more tears even on my face- Hi, I’m Jenny and this little splasher is Joey…mmmm?”

Again, the behavior, the Mommy voice during the slate and introducing an imaginary baby using the product, BABY SHAMPOO did it. She booked the major market spot and and made a $6 figure income.
 Sound ridiculous? Well, that’s how commercials work and that’s why your slate is so important.
Besides having fun and being creative as an actor, you make a lot of money!

To Sum up
Just saying your name won’t get you the job. Using the slate to portray the character will.
Can’t argue with a few hundred thousand $$’s  in residuals, can you??

Happy Auditioning and Successful Marketing!

Gwyn

 

Gwyn Gilliss is the Executive Director of TAM, The Actor’s Market (http://www.theactorsmarket.com) a marketing firm for actors. They provide every marketing tool an actor needs - HEADSHOTS, RESUMES, BIOS, DEMO REELS, CAREER COACHING, MARATHON SEMINARS to met the INDUSTRY-AGENTS & CASTING DIRECTORS - as well as FREE monthly seminars, FREE weekly marketing tips and access to top photographers, graphic artists and videographers to create great demo reels (sizzle reels). There are Training courses via teleseminars, downloadable Podcasts and Home study courses with DVD’s and the ACTOR’S MASTERMIND a bi-monthly FREE teleseminar for all actors globally. (check for more products and services at The TAM Store) . Gwyn’s acting career spans several decades during which time she appeared on and off-B’way, in classical roles in American Repertory companies, in over 18 contract and recurring roles in Daytime/Primetime TV, Films and dozens of network commercials/V.O.’s. As a Career Coach she is available to work One-on-One with actors at all levels.

The History of Breakdance

Monday, December 28th, 2009

Throughout history the art of breakdance did not refer to the actual dancing that was being performed. Instead it was meant to talk about the breaks in the music. Later it began to refer to the movements that were associated with the music; hence we see breakdancing as a genre of dance in addition to a form of music that goes with it. Breakdancing itself first began in the 1970s and was typically performed by the youth in the Bronx. Today breakdacning is referred to as a form of street dancing.

 

Where this form of dance originally came from is unknown. If you were to break this form of dance down into pieces and look at its individual parts you would find that there is a mixture of dance and athleticism that have been combined. When looking at the dance closely you can see areas that look like the Charleston and then there are parts that look like they are coming from a martial arts movie. The art of breakdancing includes moving the feet sideways and onto the toes, spinning on the knees, head and hands. In the 1980’s a new element was introduced to the breakdancing genre in California and that was pantomime.

 

People wishing to learn to do some form of break dance must learn some basic movements but they must know that normally this dance is improvised rather than learned. Once the basic moves are learned, the dancer then listens to the music and finds the beat and goes with the feeling he or she has for the music. This means that typically when a break dance is performed on the street it has not been planned out in advance and it has not been practiced. The dance itself is performed on the spot.

 

In addition to being able to perform several break dancing moves, a person must be able to dress the part. In recent years there has been a way of dressing in order to perform a break dance. Typically break dancers wear the pants low with oversized. T-shirts and a hat is usually worn that is always tipped sideways. The dance is performed in sneakers. While this does go with the clothing, sneakers are suggested because they are the safest footwear to have on during a break dance. Good sneakers will help prevent the dancers from slipping and hurting themselves. Break dancing is a form of street dance because the hardness of the street offers a good surface for dancing. Even if the dance is not performed in the street it must be done on a hard surface.

Performing a break dance is not without its risks. Even those dancers who have been performing for years have been known to have fallen and have been injured. People today are always trying to perform electrifying moves during their dances and this increases the risk of injury even more. The fact that this dance has to be performed on a hard surface has caused some people to break bones and some have even broken their necks. This dance requires skill and practice and should not be taken lightly.

For more information on how to break dance, the history of breakdance and lots of tips to help you learn break dance visit http://www.BreakDanceClass.com

Wow gold—Why loot drama happens (and how to prevent it)

Monday, December 28th, 2009

I really want to quit and sell my wow account and wow gold out. I am a girl and good at changing mind. Maybe I will miss my wow and wow gold. If you want to buy cheap wow gold, contact me please.

 I like this post over at I am a Paladin — it’s a pretty insightful look at why drama is so easy to come by in bigger guilds. Blizzard has done almost everything they can to divide loot fairly (and they’re still working on it, with the addition of more token systems), and there are certainly plenty of systems out there to try and keep things as fair as possible. Still, as long as there are only a few rewards to split among 25 people in a raid, there will always be loot drama — as IaaP says, when people aren’t rewarded for their hard work (or at least they perceive that), then frustrations start to set in. And gone unchecked, that can lead to jealousy or resentment, which leads to anger, and that all leads to the kind of spectacular guild breakups you can read about in Guildwatch.

 So how can you avoid all that?

 If the main reason people start causing drama is that they don’t feel rewarded, then you’ve got to find a way to reward them. That might mean going with a more fair loot system (I’ve been in a few guilds that have switched to DKP at the first hint of drama), it might mean changing up the way you run things (by switching groups around or switching roles in a raid), or it might mean stepping back down into an easier raid to better gear up some of your members.

 As long as Blizzard requires more members than loot in a raid, there will always be imbalances, but hopefully most drama issues can be avoided if everyone realizes that though any given piece of loot might get passed out unfairly, there’ll always be enough to go around.

 Do you have any wow gold buying tips? If you have leave me here please. I want to be a super game player who handles more wow gold. Do you have any tips about it? How do you get wow gold in your opinion? Farm or buy? I have played this game for a long time and I want to quit now and earn more wow gold and then sell.

 

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UK Holiday Entertainment is Like No Other

Monday, December 28th, 2009

Well we all know that the entertainment in the UK is by far one of the best in the world, from live concerts to kids acts, to television entertainment such as Britain’s got Talent. But by asking the question who else can entertain in the world as much as the UK? it is very hard to find an answer.


Let’s put it this way, last time I went away I found that most of the entertainment in the resort I was staying in was totally useless, I had to actually leave the hotel because it was just so boring there was no change, it was the same thing day in day out and to be honest the acts were not very good either. Ok I know I might sound like a nag but when the audience participate are they not meant to be part of the show? Not become the actual show, we were paying for entertainment that the hotel visitors were supplying.


Now let’s get back to the UK entertainment scene, ok I do accept that not all acts are good or talented but the ones that we actually pay for are supreme. From visiting a circus to seeing magic acts on television. Most UK holiday destinations are renowned for having great entertainment and producing the best unfound talent, you have a selection of different events throughout the day from stage shows to people belting out classic karaoke tunes.


It is not just at night that you can find great a entertainment programmer, you can infact find joy throughout the day with activities such as bingo and the pantomime. Or if you are looking to do something with the kids then you can take a walk to the sportdromes that are usually available, and start keeping fit and then take a nice dip in the heated pool while the kids have fun on the river rapids. Also as the wireless scene is now growing at tremendous rates you can now bring your work on your trip with you, as a lot of the hotels abroad have still to obtain wireless access or even broadband it will be very hard to still connect with the world and your work while you are taking a break. What’s more is that once you have experienced the entertainment in the UK it will be quite hard to match it any where else in the world.