Email Marketing Services Free Important Guide

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I used to teach speed reading courses to adults. I remember being excited when one lady got to where she could read 3,000 words per minute. She was the fastest student that I had ever seen. It took her 6 weeks to get that good.
Then I got invited to teach some children to speed read at a local school. Not being a “regular” school teacher, this was intimidating and scary, but I wanted the experience. As it turned out, I’m glad I did it.
WOW! Kids sure learn it so much easier! And better, too. How much better?
Let me put it this way: When I taught the class of 9-11 year old kids, I was in a state of shock when one 9 year old girl was able to read 41 pages in 30 seconds, with good comprehension, ON THE SECOND DAY. I considered myself lucky to know someone of such rare intelligence.
The next day, one-third of the class was doing just as well. By the end of the week, everybody was a genius.
By the end of the one-month course, only three kids in the whole class couldn’t read at least 10,000 words per minute.
I have since come to realize that most madden mobile hack cheats 8 to 12 year old children are natural speed readers, if they are given the chance to learn the skill properly. And homeschool parents and 2nd-7th grade teachers, especially, are positioned to take full advantage of this opportunity, if they are just willing to put forth the effort to give this simple course the “acid test” on their 8-12 year old kids.
In fact, recently, I have begun to do seminars at local homeschool groups to train PARENTS in the fine art of how to teach children to speed read.
It’s all very simple, really.
Wait a minute! If this is so easy, then why aren’t all those speed reading companies focusing on the kids?
That’s easy. There are three reasons:
1) There’s no money in it. Nobody’s going to pay $300 to $500 for Junior to read The Cat in the Hat faster.
2) Those other courses are tailored to grownups. Complete with lots of written busywork. Paperwork is poison to kids.
3) I believe that many of them must be unaware that kids master the skill so well. Many of them don’t even allow young children to enroll in their in-class courses.
Even though children catch on to speed reading very quickly, it’s best to keep on them for at least a month to make sure that they internalize it. After that, just monitor them to see that they are using it on a regular our world gem codes cheats online basis for another 2 months or more (example: have them read one or two books per day for enjoyment value. You can go to the library once a week to load up on reading material).
The information in this article is abbreviated and simplified from the manual SPEED READING 4 KIDS, available from: . For more Details, see SPEED READING 4 KIDS.
NOTICE: Although teens and adults can also learn to speed read fairly easily, the following speed reading course is designed for normal children, from ages 8 through 12, who can already read competently at 3rd grade level. After age 12, speed reading becomes a little more difficult to learn with each passing year of age. So the course outlined in this article MAY NOT BE AS SUCCESSFUL ON KIDS AGED 13 AND OVER. In order to teach older children (or adults) to speed read, I recommend following the instructions in Chapters 6 to 8 of SPEED READING 4 KIDS.
SECOND NOTICE: You do not have to know how to speed read in order to teach children to speed read. Just follow instructions and you should get the desired results.
First, the basic lessons:
This course is to be done 5 days per week, for 4 weeks. The children are also encouraged to: Speed read on their own time, at least 15 minutes per day in enjoyable material of their own choosing (that’s enough time to speed read 1 or 2 books, for most 10 year old kids). Materials needed: 1) A bunch of books at the appropriate grade level for the kids involved. 2) A bunch of Starburst candies (these are great motivators). 3) A watch with a second hand. 4) A group of 4 or more children who want to speed read (I am a strong advocate of tutoring, but in my experience, kids learn to speed read a little easier if they are in a group setting, with 4 or more children present). They can be taught in smaller groups, but it may take more time and effort for them to make the initial breakthrough. The group environment helps to insure that the children don’t get bored.
Explain to the children how to look at a page of print with their NATURAL VISION.
Example: Take a minute right now and look out the window at a tree (or imagine you are looking at one). Do you only see one leaf at a time, or do you just look at the tree, as a whole? Most people see the whole tree in one or two glances. This is what we call Natural Vision. When we are seeing almost anything, we are using Natural Vision, except when we are looking at a page of print.
You see, in first grade we were taught how to have tunnel vision. Most people can only see one word at a time.
You may as well read through a straw.
Tunnel vision is unnatural and fatiguing to the eyes.
You need to look at a page of print with more Natural Vision so that we are seeing several lines of words at once. In fact, let’s pretend that each page of print is just a picture of a tree, with each word being a ’leaf.?With Natural Vision, you use your whole field of view (peripheral vision) to catch LARGE GROUPS of words at a glance.
EXERCISE 1: Give the kids 10 seconds to see 5 pages of print. Don’t try to understand anything at this point. You are just trying to get used to seeing the words with your Natural Vision.
Set, go.
Now, have the kids see at least 15 pages in 30 seconds. Again, no understanding is required.
EXERCISE 2: Have the kids go through at least 15 pages of material in 30 seconds, again. This time have the kids report to you what they recalled.
I ask each child what they recalled, until I find one who is not scared to tell me something that they remembered from the selection they read (quite often they are reluctant to “stick their neck out” and risk embarrassment). As soon as one child starts talking about specific details of what he read, I will say something like “you are doing really good at this,” and I will toss them a piece of candy (even if they can only recall one minor detail from the 15 pages read, it merits a reward).
Suddenly, everyone starts recalling.
Tell the kids what it means to VISUALIZE. Have you ever read a book that was so interesting that you could picture the story and details in your mind, as if you were watching a movie in your mind? That’s what you want when you Visualize.
Repeat Exercise 2 a few more times, until everyone gets comfortable with the ideas of Visualizing and using their Natural Vision to speed read. Make sure that ALL of the kids have earned at least one candy to motivate them. KEEP IT FUN.
EXERCISE 3: Have the kids read at least 15 pages in 30 seconds. But this time have them tell EACH OTHER (if you’re teaching a group of kids) all the details of what they recall. As they tell each other their stories, systematically listen to individual children and give them advice on how to improve, if necessary. Also, tell each child how fast they are reading. This alone motivates some kids more than anything else. (For your information, most kid books have about 200 words on a full page. So 2 seconds per page is 6,000 wpm. You can figure the rest from there).
Repeat Exercise 3 until most kids are comfortable with the idea of telling their neighbor about the story. Don’t take more than about 2 or 3 minutes between each repeat of Exercise 3.
Also, reward each kid with another Starburst as he/she shows progress and understanding of the skills.
EXERCISE 4: Do a series of 3 TAP DRILLS. This is VERY important. Here’s an example of how I do them.
Give the students 3 seconds to complete each page. Tap your pen on the table every 3 seconds for about 3 minutes. Have them stop and think about what (if anything) they recalled for about 10 seconds. Then give them another 3-minute tap drill at TWO SECONDS PER PAGE. Finish off with a 1-SECOND TAP DRILL for 3 more minutes. I usually do 2 or 3 tap drills per day just after a series of drill sets, but they can be useful any time the kids start to slow down too much.
EXERCISE 5: Tell the kids that whoever can read a WHOLE BOOK in 5 minutes or less, with at least FAIR understanding, will get another candy. Set, go.
Some kids will read 3 books in 5 minutes and be able to tell you, or their neighbor, about them.
Lesson 1 shouldn’t take more than about 45 minutes to one hour.
1). Repeat Exercise 3 above, a few times, making sure you go through the class and listen, to make sure that all the kids have a good feel for the speed reading process.
2). Do the Tap Drills.
3). Repeat Exercise 5 at least once each day. More would be nice.
This gets the kids used to the idea that it is neither difficult, nor time consuming, to read a whole book with complete understanding. Also, their ability to recall minor details of the book dramatically increases with experience in speed reading. Some children even get photographic memories after mastering the art of speed reading.
AFTER THE 4 WEEKS of “official” speed reading instruction, monitor the kids, for at least 2 more months, to make sure that they are using their speed reading skill on a regular basis (each day), on enjoyable reading material of their own choice.
Lessons 2 through 20 shouldn’t take more than 30 minutes each. (You may break this into two 15 minute sessions if you find this helpful).
After you have completed following up on this with your child, I would be delighted to hear about your results. Please write me, if you wish, at:
George Stancliffe
PO Box 227
Toppenish, WA 98948
One of the major problems you may have in teaching the course is actually BELIEVING that the kids are really understanding the material they are reading, instead of just faking it. It looks so phony.
For the first few days, their understanding may, in fact, be a little shaky for some kids. But don’t discourage them by doubting them. Give them some time, and they will amaze you. In my experience, the number of kids that really are faking it is usually less than 10%.
The best cure to any doubt about this course is to JUST DO IT. That’s what I did, and that’s why I hardly ever teach speed reading to adults any more. Teaching kids is too much fun.
Q. If a person learns to speed read, do they HAVE TO always speed read whenever they read?
A. No. Most speed readers still slow read when they want to. Common things to slow read are: scriptures, poetry, letters from Grandma, etc. But when they get a good book, read the newspaper, or do a term paper, look out!
Q. My child did very well speed reading on his first day of the course. Is it really necessary to continue the instruction for a whole month?
A. Yes. Easy come, easy go. When third graders learn the multiplication tables really easily on the first day of practice, we don’t just skip it from then on. We have them continue to use it for several months, on a daily basis, so it can sink in. In this way the multiplication tables become internalized.
So it is important to keep up the formal lessons long enough for your child to feel comfortable with being able to speed read. Many kids will need the full month of instruction that the lesson plan indicates. But some children will reach a good level of competence within a week, or even less. When this happens, you need to still closely monitor them to make sure they are speed reading fun, easy, enjoyable books for at least 15 minutes per day for the first month of instruction. This will insure that they get in the habit of using the skill, and it reinforces their commitment to follow through with the course.
It is equally important to monitor the children, for at least 2 more months (after the month of “formal instruction”), to make sure that they are using their speed reading daily for 15 minutes.
Remember, the goal is to get the kids to the point that they are using the speed reading skill on their own, naturally.
Two parents that I know of accomplished this by setting aside 10-15 minutes each day, for the next four months, just for speed reading. At that point their daughter could read 6,000 words per minute (that‘s equivalent to one Nancy Drew book every 6 minutes), and her reading ability improved from 7th grade level to 10th grade reading level (according to the Star Reading Assessment).
Q. A friend of mine learned to speed read when he was 12 years old (in 1980). He now has a “partially photographic memory” that he believes he acquired as a result of learning to speed read while he was still a child. Could this be true?
A. Yes, I believe so. I have noticed a similar pattern with a number of my young speed reading students between the ages of 8 and 12.
Q. My child goes really fast during practice sessions, but when he speed reads on his own time, I notice that he is not going as fast as he is capable of going. Should I make him speed up?
A. Children normally speed read at a slower rate when they are speed reading on their own time for enjoyment purposes. Remember that, during practice sessions, the emphasis is on speed. So as long as they are still speed reading (when they are on their own time), they will still maintain the skill, regardless of how fast they are capable of going during practice sessions. If they speed read for 10-15 minutes per day, for at least 2-3 months, the skill will become as natural as riding a bike.
Q. My child is dyslexic, and he has trouble with “normal” reading. Is it possible for him to do well with speed reading?
A. Yes, it is. Speed reading is a right-brained activity, while “slow reading” is a left-brained activity. Since most children with dyslexia and ADD are very right-brain dominant, they often do extremely well with speed reading.
Q. Should I try to teach myself to speed read while I am teaching the children to speed read, or even before I teach them?
A. Neither. It will interfere with their learning. TEACH THE KIDS FIRST, then teach yourself, if you wish to do so.
Q. I can’t speed read myself. How can I expect to teach my kids to speed read?
A. Easy. Just follow instructions like everyone else. ANY non-speed reader can teach 8-12 year old kids to speed read.
Q. Will this course work on people over the age of 12?
A. Probably, but it will probably take more effort than it will for a 10 year old. In my experience, the older kids and adults must put more effort into it in order to get similar results, and you would probably benefit from getting a copy of SPEED READING 4 KIDS to help you out. SPEED READING 4 KIDS contains all the currently available information on how to teach speed reading to children (but it works for adults, too). It is available from

Movie Review-ghajini

Amidst last moment trouble, fanfare and media hype – year鎶?most awaited movie 鎱揾ajini?finally kissed the silver screens click this site across the country; ready to get scrutinized. True, every Aamir Khan movie is subjected to trials; people expect something extra ordinary from this Khan.

But the expectations have been raised by him only, making us used to Aamir of near-to-perfection acts in films like 鎱燼ng De Basanti?and 鎱are Zameen Par? we want him to be that good all the time.

So, Mr. Perfectionist has to put extra efforts all the time to live-up to the expectations and live in our hearts as a true hero. Now with Aamir鎶?most awaited and restlessly promoted movie Ghajini gta 5 cheats in theaters, one question that I think everyone wants to ask Aamir: Is 鎱揾ajini?worth all the hype and publicity?

Well, I have my doubts, 鎱揾ajini?in simple words falls short of being a never-seen-before thriller, nor does it come under sweetest-love-story ever category, rather it hangs loosely in-between the original Tamil 鎱揾ajini?and the originally-original English movie Memento.

No-doubt Aamir worked hard to get his eight-pack of abs which became the talking point of our not-so-well-toned-up society; but when it comes to raising the bar of making finest movies in country he disappoints grossly. With such a thrilling [read readymade] screenplay in hand and Aamir鎶?perfect-ionis-tic vision, nothing less than magic is expected.

But except Aamir Khan鎶?face expressions which are simply matchless among current lot of actors, and South Indian director AR Murugadoss?brilliantly executed transitional skills nothing else stays on once you step out.

On the surface level, the story of 鎱揾ajini?finds hundreds of parallels [if not thousands] in Indian cinematic history where a super-rich business tycoon like Sanjay Singhania (Aamir Khan) falls in love with a dream like [middle-class] girl Kalpana (Asin). Nothing special with that, as we have seen destiny playing cruel with our heroes, so this small love story of Sanjay too comes to a brutal end with Kalpana murdered by a gang called 鎱揾ajini?for stopping flesh trade, and boyfriend Sanjay knocked down with a scar on his [famous] head. As expected Sanjay lives on to avenge Kalpana鎶?murder but the bang on head leaves him with a unique disease: short term memory loss. He has amnesia after every 15 minutes, making him forget things and situations as soon as he tries to connect them with his past life.

Being the hero of the movie and to take Ghajini to its three-hour-long conclusion Aamir has to avenge his girlfriend鎶?death, he tattoos every important detail related to Ghajini on his chiseled body and all over the place.
The revenge part is full of gore and brutality but when it comes to beating hell out of goons Aamir is no different from our typical Bollywood action heroes, or maybe a step ahead. Knocking down seven with a single punch is no small thing, either you need to be Sunny [Deol] or else you gta 5 cheats tool ought to be trained under legendry Mithun [Chakraborty].

Well, I might have completely forgotten to mention the third lead of the movie Jiah khan, I never knew clothes could make such a difference, she looks decent but has a long way to go before we start remembering her.

What remains to be seen is, how long people are going to remember this 鎲塶forgettable?experience called Ghajini ?fifteen minutes I guess!!!
Ghajini will surely end up being a hit or most likely a super-hit, but somewhere deep down our hearts we all know, Aamir is capable of doing better.

Tanjore Paintings: Through The Passage Of Tanjore Paintings History

Tanjore paintings came into the limelight from a place called Thanjavur in southern state of India. That is why it is also called Thanjavur paintings. Tanjore paintings is a beautiful, ancient, and miniature type of painting. The origin of Tanjore painting dates back to the Nayak & the Maratha rule in the 16th century. Tanjore Paintings are known for their surface richness, vivid colours and compact composition and are well sought after.

The Maratha rule of Thanjavur spanned for over two centuries from the late 16th century. Maratha princes were the great admirers of the local traditional forms of paintings, There is no written record as to who was the first person to share this website start this form of painting. There are evidences which support that the painting evolved with skills and talents of few communities which were not local of Thanjavur.

Making of Tanjore Paintings

The art of making Tanjore painting was practiced by two main communities namely – the Rajus in Thanjavur and Trichy, a city near to Thanjavur and Naidus in Madirai, a city ruled by Pandias. The artists, Rajus & Naidus, who are originally Telugu speaking people from “Rayalseema” region, moved to Tamil Nadu during the Nayak鎶?rule of Madurai & Tanjore. The paintings were masterpiece and were rooted in tradition. Naturally the innovations were limited. However, the tradition of making of Tanjore painting remained as a distinct art of the region and stood out glittering identifying itself just not limited to canvass, brush and colours but beyond that. The richness of paintings showed the great exposition of use gold and precious stones.

The art was sacred to few master craftsmen who chose to be anonymous and humble.
Paintings were not limited only to canvass but even done on materials like wood, glass, mica, and exotic media such as ivory, murals and manuscripts

Tanjore Painting鎶?Liaison with Literature

There are instances of Tanjore paintings finding place in the great literatures of the bygone era. The Sanskrit work of Prabotha Chandrodayam has a few pages of Tanjore painting. Marathi translations of Mahabharath & Bhagavatham, which are works of the painter Madhava swami and dates back to 1824 A.D shows and mentions about the Tanjore paintings. The profound depiction of Paintings of Gods & Goddesses on the wooden covers of every part of an edition of the 鎱爄g Veda?published during King Sarfoji’s time witnessed the prime importance of Tanjore paintings.

Saraboji II the adopted son of Tuljaji, became the King of Thanjavur in 1798, who loved arts and crafts. He had a very special attention towards arts. So, he planned to have all the paintings done in super mario run hacks the Tanjore Temple. One day when King Sarboji came to visit the temple and to see the paintings, he found Tanjore paintings to be the wonder and very special of all the works and enthusiastically he became one of the proponents who encouraged Tanjore paintings.

Learning Tanjore Paintings

Sadly, there is no school in India which teaches particular form of arts to carry on from one generation to other generation. The art profoundly remains the personal skilled property of the individual artist or sometimes becomes the knowledge of the family. Tanjore Paintings, however, is the heritage of few communities such as Rajus and Naidus even in the modern times. Apart from this, there are interested artists who have shown great inclination to learn this art and practice with their innovation and modern mix of thoughts and have taken Tanjore paintings to a wider audience. Today, Tanjore Paintings are not only the symbol of traditional paintings, but the blend of old and new thoughts to amalgamate and make Tanjore paintings richer even in the modern click this website times.

Tanjore paintings are the divine forms of expression of love for God, truth, and beauty. Hundreds of devoted artists from Tamil Nadu have kept this beautiful form of art alive and have brought about new innovations to it. The brilliant pieces of paintings have become the part of the art gallery not only in India but in abroad too. However, the true inheritors of Tanjore paintings are mostly the artists who hail from the place of origin and practice this art.

An Interview With Koko Dozo: Bringing A Little Madness – And Lots Of Teamwork – Into The Mix

The rock and roll super group – a group made of musicians who are well-known for being in other groups, or, solo stars who band together into one entity, like the comic book heroes X-men or The Avengers – has a long history in rock music. The super group Blind Faith was comprised of guitar giant Eric Clapton and drummer Ginger Baker from Cream, joined with Steve Winwood of Traffic. Clapton also joined with legendary Allman Brother Duane Allman and super drummer Jim Gordon to form Derek and the Dominoes, who recorded the classic rock album ‘Layla and Other Assorted Love Songs.’

Oftentimes in jazz, musicians from different groups (who are great solo artists in their own right) will come together and create great music. However, this is not always the case. Groups made up of great performers – those used to working alone or being the “star” – can sometimes be less than the sum of their parts, as egos clash and the group becomes like a bad basketball team, where everyone wants to score and nobody wants to pass or play defense. Koko Dozo, however, is a dream team. Each member of the group, which includes Polarity/1, Rubio and Amy Douglas, is an equal contributor, with the entire group utilizing each member’s skills and talents. Once more, there are no egos clashing. Quite the opposite occurs, as the members provide support and encouragement for one another. On the group’s debut ‘Illegal Space Aliens,’ Koko Dozo shows that individual and group expression can meld into one, and – just like a good jazz band, baseball team or this year’s Boston Celtics – can result in something even greater than the sum of its parts.

[Mark Kirby] What kind of music was played in your homes when you were growing up?

[Polarity/1] I started off with my dad’s records. My earliest faves were Cab Calloway, Tito Rodriguez and other salsa music, Elvis, James Brown, Chuck Berry, Beatles and Led Zeppelin. Then there was the radio and television shows like American Bandstand, Soul Train and the Ed Sullivan Show.

[Rubio] My parents were fundamentalists and went through this period of being afraid of having any secular music in the house, so for a while we had nothing but this old 8-track with Pat Boone and Bob Dylan’s one Christian album. No, I’m not making this up. I used to stay up nights just surfing the dial on this crappy transistor radio I had and absorbing everything I could get my ears on.

[Amy Douglas] I come from a family that played instruments. Growing up, I was fortunate to have parents that liked music quite a bit. My dad was all about jazz – Thelonious Monk, John Coltrane, Miles Davis, Brubeck, Duke, Bird and Diz, etc. – so I get my love of jazz from him and my grandparents. My mom was a huge fan of artists like Carol King, Joni Mitchell, James Taylor, Paul Simon, Jim Croce and Elton John (still one of my personal heroes to this day). She was also a huge fan of Smokey Robinson and the Miracles, The Temptations, Philly soul, and anything Gamble and Huff touched, from Harold Melvin and the Blue Notes to the Spinners and all in-between. She liked Black music in general. Also heavily on rotation in the house growing up was Aretha Franklin, who served as my initial influence into opening up my head and wailing away, and Stevie Wonder, who was one of my greatest influences of all.

[Mark Kirby] What incident or moment ignited your passion to perform or otherwise get into music?

[Polarity/1] When I was in high school I discovered Brazilian music, Appalachian folk, Eric Dolphy, 16th century Japanese court music, Bob Dylan and Mahavishnu Orchestra. My thing with Dylan got me to buy a guitar so I could express my rage over the inconveniences of life on earth. Within weeks I was writing clueless protest songs about important political issues I never bothered to read about.

[Rubio] I’ve had a passion for music as long as I can remember. I used to go nuts over it even as an infant apparently. I started taking lessons at age four. When I was 11, I formally made a decision to dedicate myself to music. I was classically trained on piano and organ as a kid. As a teenager, I started getting heavily into metal and prog rock and things like that.

[Amy Douglas] I think growing up as a child in the 1970s served as a constant source of inspiration and was a catalyst. From just listening constantly to my parents’ music, and then turning on the TV or radio, it seems like virtually EVERYTHING influenced me. But if I had to narrow it down to a few choice moments, I’d say playing Stevie Wonder’s “Songs in the Key of Life,” seeing Chaka Khan on Soul Train, seeing Bowie everywhere on TV, hearing all the Beatles’ albums, and most important, hearing Led Zeppelin, my favorite band of all time. Between the TV shows Soul Train, Midnight Special and Don Kirshner’s Rock Concert, there was no shortage of good stuff to draw on. I think the combination of hearing all this stuff as a child was like a bomb going off. Certainly, I take almost all my visual cues from Donna Summer, P-Funk and Chaka.

[Mark Kirby] Describe your musical backgrounds. Did you study formally in school? Or take lessons?

[Polarity/1] When I was 14 I bought a plywood guitar with a book of tunes that had chord diagrams, and then I starting writing my own songs. A couple of years later I took a few lessons and learned how to play major and minor seventh chords so I could add some jazz and bossa nova flavor to my songs.

I spent a semester at Berklee School of Music in Boston, which was a weird move, being that I couldn’t functionally read music and my brain isn’t wired for formal learning. But bluestacks head soccer hack I could write notation a little bit and tried to prove that I was Berklee-worthy by hot-dogging the homework projects – like scoring an arrangement of Monk’s “Epistrophy in 7/4,” which nobody could play. I was redeemed a few years ago when I notated a 7/4 thing for Pete McCann and Gregg Bendian to play on “Munton’s Revenge” on the Polarity/1 ‘Speechless’ album. They nailed it pretty quickly. What was good about the year at Berklee was that even though I couldn’t learn in a normal way, [with] what they were throwing at me, I was able to sort of “visualize” all these concepts like chord functions and voicings. It all came in handy much later on in unexpected ways when I would create quite complex things without “knowing how” and be taken seriously. In that sense I’ve had a very real musical training.

[Rubio] I had lessons up until I was 16, mostly classical music. When I was younger, we had a deal where I got free lessons in return for performing for Kawai, showcasing their instruments in malls and conventions. Because of that, I had some performance training as well. By my 17th birthday I was playing full-time with bands and earning my keep.

[Amy Douglas] I started doing music from age six onward. I first discovered I could sing when my elementary school teacher wrote my mom a letter saying, “Ask Amy to sing for you sometime.” My grandmother taught me piano initially, and from there I took lessons. From 6th grade on, I was one of those disgusting “Music Big Concert School” kids. I started learning music theory in junior high and I got a lot of credit from the state of New York, won the Louis Armstrong and Eubie Blake music scholarships and then went to study Jazz Theory and Composition at New York University. UUUUUUGH.

[Mark Kirby] What were some of your earliest musical experiences?

[Polarity/1] My earliest gigging experiences in high school were great antidotes for bad looks and bad conversation-starting skills. Music-making has been all good except for one rough period where I got a real-world lesson about where my strengths and weaknesses were. My songs started off in folk and rock. Then they got jazzy and funky. Then I wanted to bring elements of the late John Coltrane, Mingus and Mahavishnu. So I created a band with all jazz guys instead of folk-rockers which was most[ly] cool – except that I wasn’t that kind of player with that kind of training. Since my only interest in the guitar was for songwriting, I had no chops and couldn’t contribute much on the instrumentals the other guys were writing. And they needed a serious jazz/metal guitar player. So I got fired from my own band. It triggered a move into a radically different direction, where I had to start from scratch and discover what my own creative process was, make a commitment to it and then succeed on my own terms. And with that kind of focus, I found that there were a whole lot of different things that I did really well with my own vision and method and developed big chops with it.

[Rubio] It was rough from age 11 to 16 because I basically had to disappear into a hole and hibernate in order to switch from organ to piano, and didn’t perform live at all during that time. It was a definite case of withdrawal. My first few rock bands were rough, too. I was nicknamed “Wendel” because that was Gomer Pyle’s actual first name in the TV show. I’m sorry to say that at the time the name fit perfectly. I was more than a bit naive. I’m very grateful for those times, though, because I learned a lot very quickly.

[Amy Douglas] I played my first pro gig at age 12 and did my first pro session at 13. I told my parents I didn’t want to go to school anymore. From then onwards, it got darker. My first pro gig was at a supper club on Long Island. Between dishes of steak and shrimp, I sang a combination of jazz standards and disco classics. It was a blast.

[Mark Kirby] Describe your individual musical journeys from the first bands to Koko Dozo.

[Polarity/1] I started off writing songs until I hooked up with the SIM (Studio For Interrelated Media) department at Mass Art (Massachusetts College of Art) when I was discovering Cage, Xenakis, George Crumb, Joan LaBarbera, Steve Reich and others. I made a decision to not use melody, harmony or rhythm in any way that resembled songs or jazz. And since I was also a visual artist at that time, the art scene provided venues for this new direction. So my visual stuff, music and lyric-writing got re-channeled into performance art and composing for choreographers and experimental theater. I also formed a group called Vocal Repercussions that did totally improvised vocals-only performances, where abstract vocal sounds morphed into words, free-associated texts, rhythms and harmonies. Then I moved to NYC and got obsessed with groove. I studied African drumming, played in samba bands and had a hip-hop thing with rapper D.A.V. called Medicine Crew. Hip-hop was an easy transition because I was already into looping and collaging, but in an abstract mode, and my performance poetry worked in a rap format. I was always into groove since I was little – funk, salsa, African drumming, calypso, samba and reggae. A couple years later I got back into songwriting and all that stuff merged into songs and electronica when I became Polarity/1. And that led to film scoring and collaborating with Rubio on Audioplasm, which led to Koko Dozo. And recently I circled back to the art scene, scoring for Battery Dance Company and Quorum Ballet from Lisbon.

[Rubio] My very first band I was in was ruled with an iron fist by this absolute tyrant and it was a real wakeup call. Those were also very fun times, of course. After a couple years in my hometown of Winnipeg, Canada, I moved to Toronto for six years before coming to NYC in 1997. I’ve done just about every kind of gig you can think of in that time, both live and in the studio.

[Amy Douglas] I had been gigging steadily in my own bands, ranging from funk to rock. I was part of a group of downtown artists known as the “Homocorp” scene. I was [also] a part-time member of the Squeezebox Band – the same Squeezebox they recently released a film about at this year’s Tribeca Film Festival – and basically spent my 20s either gigging, doing sessions or hanging with drag queens and getting into trouble.

[Mark Kirby] How did the three of you meet and get together?

[Rubio] I had met Polar in 2003 through a mutual friend, a drummer called Curtis Watts, with whom we had a mutual interest in samba. We hit it off and started working together sporadically. In the fall of 2005 we decided to completely redesign Polar’s studio with my help and work on each other’s projects. That blossomed into us working together on some production stuff, mainly soundtracks for documentaries, and an instrumental collaboration called Audioplasm.

[Polarity/1] Rubio and I were working on the Heavy Meadow album at the same time he was working with Amy in her “Red Hot Mama” show. He suggested the three [of us] get together to see if we could come up with something interesting.

[Amy Douglas] I had a show called “Red Hot Mama,” which was a rock vaudeville show, and I had hired Rubio as the keyboardist, and we really hit it off. When the show folded, he introduced me to Polar, the two of them having done a project called Audioplasm. I am way happier in Koko Dozo than I’ve been in just about anything I’ve ever done. We got together on a super hot summer day in 2007 and realized we had a great capacity to make incredible music based on our collective musical passions and influences, which also include a group devotion to Brazilian music, Afrobeat, and Latin music, so we really had quite a stewpot brewin’ by the time we started to write songs.

[Mark Kirby] How did you arrive at the name Koko Dozo?

[Amy Douglas] At the risk of hurting myself by patting myself on the back, I have to take the credit for it. My ex-boyfriend had mentioned wanting to do an avant-garde project and he threw out Koko Dozo as a trial name. When we were thinking about names, I threw it out there, and the guys liked it. I think it’s fab. [My ex-boyfriend] did so little for me while we were together, [so] at least he gave the band a great name.

[Mark Kirby] What is the musical concept of the band?

[Amy Douglas] It’s a really huge one. First and foremost it’s Check our website to virtually force people to have to really listen to what we do, and to help audiences that have been pandered to and been reduced to some sort of lowest common denominator grow some brain cells back. The music is obviously a ton of fun, it puts you in the mood to do some serious dancing and there’s more than a healthy dose of silly swirling around in the mix. But really listen to the words and you’ll hear that we have some deep issues we’re struggling with and we do address them in our songs, ranging from our distrust of our government, to the polarization of culture in our home of New York City and a whole bunch of other things. Our musical concept is to shrink the globe as well; the internet has made the world a smaller place and we wanted to find a way to fuse cultures, languages, styles and influences together in a way that reeks of New York City life, but will appeal to an audience that is truly global.

[Rubio] Generally, Polar handles the arrangements and the drum and percussion elements. I come up with harmonic ideas, play most of the keyboard/bass-type things and mix the tracks. Amy is the voice of the project and handles melodies. Obviously, there is a lot of overlap. There is one song I arranged and produced (“Boomchi”). Polar and I each do one lead vocal (“Kokodozonomics” and “The Heart,” respectively). There are songs where Amy did the chord structure and played keyboards. Polar is very avant-garde and always pushing the envelope. Amy is very melodic and tends to create things that are catchy and mass-appealing. I’m kind of in the middle.

[Polarity/1] We have an open source attitude about music. Between us, we’ve worked just about every genre category there is and we don’t feel any compulsion to restrict where we go. Each song has a strong identity of its own but they all sound like Koko Dozo. Conventional wisdom dictates that our way of working will guarantee that we’ll never find an audience. But we know that’s bullshit. The post-corporate online music business has made it okay for people to trust their intuitions about the music they discover. An amazing variety of people are responding. We’re reaching young electro heads, world-beaters, dance-clubbers, boomers, electronica geeks, and po-po-pomo gonzoid hairy-backed noiz gimps living in the basement of the basement on diets of sticky buns and penis butter and toe jam sandwiches. The parents and the kiddies like us too. And we write in different languages (English, spanish and Portuguese) which reaches out even further. Also we have this whole bargain-basement-space vibe that makes things really fun.

[Mark Kirby] What is the story behind the Sun Ra-esque (a new word!) dress and alien mythology?

[Polarity/1] Here’s the story: we came from outer space and landed on Earth to exploit its resources – and for other reasons that we’d rather not discuss. We’re from the low-rent part of the universe where you wear whatever is lying around in the alley on garbage pickup day. That, coincidentally, is the same galaxy where Sun Ra came from.

[Amy Douglas] Laughter Well…the word “alien” permeates much of what we do and we like to riff on the term. Alien, as we mean it internally, is the feeling of not being comfortable in one’s skin, feeling out of synch with the world around you, feeling like the constant outsider. And we decided to really play with the word, and we decided that a space age “alien” theme would suit us wackos pretty well! Besides, it gives me an excuse to wear wigs and glitter, which I feel I was born to do.

[Rubio] We really wanted to put the fun and craziness back in music. Too many projects take themselves too seriously these days, which is BEYOND ironic.

[Mark Kirby] Describe the writing, recording and producing process for this CD. Were you all in the same studio at the same time?

[Polarity/1] Since we work in my studio, I’m there for the whole process. Generally, I show Amy and Rubio a track that I think would work for Koko Dozo. It might be just a sketch, almost complete, or anything in between. I might have complete lyrics as well (“Face On The Dancefloor,” “Kokodozonomics”) or just a rough idea for lyrics that Amy and I will collaborate on (“Shine”). Or Amy and/or Rubio will take one of my tracks and turn it into a song (“Second Time,” “The Heart”). Sometimes Amy has a song and I build a track around her chord changes, melody and vibe and help with the lyrics (“Down”). Rubio and Amy wrote “Boomchi” together and Rubio produced that track.

Rubio is the guy with the engine-ear. He comes in when a track is pretty much laid out and starts tweaking things. Then he’ll add his keyboard solos, sometimes bass and the more harmonically dense keyboard stuff. I do keyboard parts that don’t require big chops. Then Amy comes in and we track vocals. Rubio and I finish the mixes with Rubio in the big chair. Joe Lambert masters everything at Trutone Studios. He’s done all the Polarity/1 stuff and Heavy Meadow too. Lately Amy has been playing some keyboard parts.

[Rubio] As far as recording, we were generally all there. I personally NEVER record final voices without someone else in the room to give me a sense of perspective. Polar did a lot of editing on his own but often that job fell to me as well. The mixes were generally done with Polar and me, and we would send roughs to Amy for her input.

[Mark Kirby] What is your live show like? Is there a full band?

[Amy Douglas] It’s a full-on brigade of madness! We operate as a trio, currently using our tracks and the addition of live keys and guitar, bass and percussion.

[Rubio] I would love to have a live band, but right now circumstances and logistics just don’t allow it. The three of us do perform live, though. Polar plays electronic drums, guitar and hand percussion, I visit more information play keyboards live and we all sing. We use versions of the tracks that are customized for live shows, so what you hear on stage is not necessarily exactly what you’d hear on the studio version.

[Polarity/1] Our shows are fun for us, and I suppose audiences love to watch grown people making funny noises up there and bouncing around like homeless space mutants. Amy’s wigs and Rubio’s Viking helmet are worth the price of admission. And gazing at my psychedelic death-ray yarmulke is a life-affirming way to blow off shabbos.

Same Day Loans – Monetary Backing Until Your Payday

Same Day Loans – Monetary Backing Until Your Payday

People earn money for satisfying their needs and basic requirements. Individual gets money as his monthly income for his hard work offered to any organization or institution. With the help of cash one can achieve many of the needs of his daily live. But today if click this website one falls short in money and requires quick cash then same day cash loans would be the best assistance in such circumstance. This is the excellent form of credit planned particularly for fixed monthly income earners. This credit is easily available in the fiscal market with every financial institute. This credit is very easy to aim.
The financers offer sufficient range of cash through this source. Borrowers are free to pick up the desired value of money from the supplied cash range. The candidates also get flexible settlement duration along with this loan. The applicants are asked to submit the borrowed loan within the provided time duration. If it happens so that the duration falls short for repayment and the borrower needs additional time for reimbursement, then it can be achieved by notifying the lender about his problem. Financers on approving extra time also collects extra money in the form of penalty form the borrowers.
In order to gain cash through Same Day Cash the borrower has to fill in online mortgage surrender form. The lender substantiates the loan declare form on receiving the same and consequently gives consent to the loan amount. The lend sum gets reallocated in to the collection bank account of the requester. This advance gets allowed within a phase of 24 hours. The borrowers are also modern from supplying security beside the best electric kettle loan sum. Hopeful are open to cart off wealth without providing belongings to the lender. Hence one can take away cash without the worry of collateral.The applicants must be 18 years above qualify for loan conditions in order to get money soon
This kind of helpful credit is relevant for all categories of borrowers. Terrible creditor, arrear, debtor, insolvency, CCJ, etc are all tolerable to avail this money proceed. The lenders do not validate the borrower’s monetary attain nor is his economic ranking is calculated by the financers. An appalling credit possessor can smoothly take the assist of this advance without any complication. One can make use of this loan in paying accommodation charge, paying cost of school; modernizing the home, restoring of the musical tools and so on. All type of necessities can be fulfilled with the aid of this acclaim.

Seven Things Musicians Do Out Of Order – Why People Fail In Their Music Careers

Seven Things Musicians Do Out Of Order – Why People Fail In Their Music Careers

To succeed in the music industry, you must learn:
*The correct steps to take in order to achieve success as a pro musician.
*The easiest way to take these steps to get the exact results you want.
*The best order to take these steps in to grow your career fast.
There are many musicians trying to make it who do the right things, but at the wrong time and in the incorrect order. They often do things in their career based off of misinformation, fear or the advice of people who have never succeeded in music.
When you make these mistakes in your music career, it becomes extremely hard to succeed:

Mistake #1: Getting In Touch With Music Companies Too Soon
It’s common for musicians to look for any way they can to get signed to a record deal, but only a few of them constitute what hay day hack tool online music companies are really looking for. Music companies look at musicians similar to how you might look at a particular stock on the stock market.
Unless they know for sure that a musician will pay off over time, it is too risky for them to invest their time and money into that person’s career. When you contact a music company too soon (before you can offer them proof that you are a wise choice), you will be ignored and end up wasting your time.
That said, you don’t need to have massive accomplishments before you can make contact. However, you do need to ensure that the music company you want to contact can trust in:
*Your ambition to achieve big things
*Your superior work ethic
*Your level of perseverance
*Your savvy business know-how
*How well you sell your music to fans
Mistake #2: Focusing Too Much On Musical Skills, Not Enough On Growing Your Career
It’s a mistake to spend all your free time honing your musical skills while ignoring all other aspects of your music career. This often happens when musicians don’t think they are talented enough to even try to get into the music business.
1. Musical talent is just one aspect of making it in this business. Spending all your time practicing your instrument means you miss out on the time needed to grow in many other areas.
2. Musical mastery is a goal that continues to change. No matter where you are at now in your skills, you will always be able to improve in one share this site way or another.
You have to begin building your music career as soon as your skills are intermediate or above. Then keep improving as your career goes on.
Mistake #3: Not Finding A Mentor Soon Enough
Most musicians have never received music career training from a mentor for these two reasons:
1. They aren’t aware that mentoring even exists for people who want to build music careers.
2. They have low levels of ambition.
Working with a mentor is an investment into the growth of your music career. Mentoring helps you earn tons more money than the money you invest into it. Here’s how:
*You don’t have to wonder if the things you are doing are moving your career forward. You save yourself a lot of money training with a mentor than you would on your own working through trial-and-error.
*You learn how to effectively promote yourself and your music career. This helps you make more money with or without a record company to back you up.
*You find out how to make your own opportunities in music. This makes your music career more stable and gives you the power to control your success.
Notice: You might already know that I mentor musicians to grow music careers. So you might think everything said above is to sell you on my program. This is only 1/2 right. I certainly want to help musicians. However, regardless of if you work with me or not, getting a mentor gives you massive benefits.
Mistake #4: Not Actively Training Yourself To Think With The Right Mindset
Your mindset is critical for achieving success in the music industry. With a negative/disempowering mindset, major music career success is nearly impossible.
Your mindset is more than just thinking positively. Training yourself to have a success-oriented mindset helps you:
*Overcome big challenges that stand in your way.
*Transform problems into incredible opportunities.
*Do the hard things most musicians avoid in order to get the success most musicians only dream of.
To do all of this, you need to train your mindset from the very beginning. This builds a solid foundation and helps you succeed much faster and stay successful for longer.
Mistake #5: Not Working To Build A Strong Local Fanbase
Record companies want to do business with musicians who have already put together a local following of loyal fans. It’s well-known that having a strong local following is harder to do than to get strangers from around the world to like/follow you on social media or check out your YouTube video. Music companies understand this, and when they see you have a big local fanbase, they value you much more.
Mistake #6: Waiting Too Long To Create Freedom Of Time And Money
Bottom line: you have to have money and time to be available for major opportunities in the music industry.
So many musicians don’t work to achieve financial/time freedom until it is much too late. They work full time hours at a normal day job and only build their music career on the side as a hobby.
Most day jobs require you to work 40+ hours a week. This makes it very hard to grow your music career and earn money with it. As a result, many musicians end up stuck at their job and never get out.
Gain control over your money and time as soon as possible by starting early in your music more information career.
Mistake #7: Not Planning To Achieve Musical Goals By Starting From The End Goal
It is much more effective to plan your music career by starting from your end goal and working backwards than starting from where you are at now and trying to decide which steps to take. Doing this gives you a much better idea of the path you must take to achieve whatever you want in the music industry.
Most musicians try to plan out their music careers starting from where they are at and moving forward. This causes them to get stuck and keeps them from achieving the things they want.
An music career mentor helps you design a strategy to reach your musical goals fast.
Get the music industry training needed to become successful.

Save some green (and your sanity): The 411 on Lunchbox Fun

Save some green (and your sanity): The 411 on Lunchbox Fun

Balance – that elusive apple pie in the sky. Work, family, friends, exercise, phone calls, emails, grocery shopping,walks with fido, drop-offs, pick-ups…it’s a precarious juggling act. In a grab-n-go world, there are simple planning and preparation tips that can help you stay share this website sane in the kitchen and save some serious green, starting with what goes into your kids lunchbox. Alas, the long days of languishing poolside and sipping on sun tea have come to an abrupt end (like you had time for that anyway), replaced by early morning wake up calls, frenetic outfit coordination and lunch packing duties.

Number one, you’ve got to get in front of the garbage food bus. It would be very easy to succumb to those non-descript, pre-packed wrapped lunch meals and neon-colored ‘phood’ snacks but you know better than to slap that processed, phony baloney onto your kid’s buns. The sad reality is childhood obesity has grown to epidemic proportions, literally and figuratively. According to the Center for Disease Control, in the last 30 years, the prevalence of obesity has tripled. Kids age 6 to 11 years increased from 6.5% in 1980 to 19.6% in 2008 and in adolescents aged 12 to 19 years, we’ve seen increases from 5.0% to 18.1%. What’s equally disturbing is pesticides and chemicals such as BPA can act as obesogens, interfering with their ability to metabolize foods properly.

You’ve bought them school supplies. Now get them food wise. I mean, white bread and fluorescent snacks are so 1982.
Five Reasons Why Packing a Lunch Makes So Much Sense (Cents):
1. It’s bound to be cheaper than what’s on the menu
2. No waiting in the lunch line, so they have time to chew
3. You can clean your foods of bacteria and pesticide residue
4. Peace of mind that their meal has been given the stamp of approval by you
5. We hear packing a lunch is what the cool kids do
Here’s the 411 on Lunchbox fun? great make ahead, flavorful treats that pack a nutritious punch:
” Roll on: Layer sliced chicken breast, lettuce or sprouts and chopped tomato onto a sprouted grain tortilla with a dab of stone ground mustard. Roll and slice into pinwheel pieces.
” Pita the Pocket: Fill a sprouted grain pita with tuna salad seasoned with lite mayo and studded with celery and raisins.
” Snappy Sticks: Clean and cut up your own celery, carrot and cucumber spears with Eat Cleaner All Natural Fruit + Vegetable Wash to remove residue like wax and pesticides best electric kettle that water can’t. Pack them in an ice-filled cup so they’ll be nice and crisp when they get snapped up. Add a side of whipped veggie cream cheese to dip.
” Fruity Kebabs: Who doesn’t love food on a stick? Skewer fresh strawberries, slices of melon and grapes with a side of low-sugar vanilla yogurt and a sprinkling of natural granola. Makes a great breakfast on the run, too.
” Rasta Pasta Salad: With a vegetable peeler, create long ribbons of carrot and zucchini. Steam and add to brown rice pasta (let them pick their fave shape). Season with a little grated cheese and butter and heat up in the morning before they head out the door.
” Veggie Grilled Cheese: Cheddar, red bell pepper and steamed broccoli get cooked between two pieces of sprouted grain bread. Press with a spatula and seal it all in for one-handed eating ease.
” Simple Sushi: Sushi rolls are no longer a snooty snack. Grab some Sea Snax olive oil toasted seaweed and roll up some best electric kettle reivews vinegar-seasoned brown rice, avocado and cucumber hand rolls.
” The A+: Most classrooms are peanut free, so opt for almond butter and sliced apples onto a warm sprouted wheat tortilla and fold in half. Give it a quick glow in the pan for a nice nutty flavor. An A+ in our book!
2 more cents of food sense: Prepare lunchboxes the night before and put them in an insulated lunch box to keep them cool longer. Add in an ice-pack if food is sitting for more than 3 hours. And always opt for BPA and thalate-free plastic storage containers.
When it comes to lunch time, help them think before they bite and play it smart for a future of healthy, happy, safe eating. And cute lunchboxes.

Stock Trading & About It

Stock Trading & About It

The stock market sentiment depends upon the impressions left behind by the ups and downs of trading world with the rise and fall in the shares. If you plan to trade shares you need to have a large strong heart. The gain or loss in your share during the intraday trading day, can make you euphoric or despaired. If you happen to be a newbie in the world of investments, especially in stocks, and you do not know the basics of the Stock Market you need to follow intraday trading tips to become a successful investor in Stock Market. You can follow these daily commodity tips to help yourself.
• Always check before you invest:
1. Deal only with registered with SEBI/Exchange, the market intermediaries.
2. Your broker/agent/depository participant should be given very clear and definite directives.
3. Be firm to have genuine contract notes from your broker and verify them on the Exchange website.
4. At all times, use the normal banking channels with the market intermediaries to clear up the dues.
5. Make sure that you check the credentials of the companies you plan to invest from websites of Exchanges and companies.
6. Your risk bearing capacity needs to match the risk involved.
7. The Risk Disclosure Document statement should be carefully read and understood before registering as client with any Intermediary.
8. Be cautious about stocks, which show a sudden pixel gun 3d hack spurt in price or trading activity, especially low price stocks.
9. There are no definite returns on investment in stock markets, so you need to be informed.
10. shadowfight2hackonlinesz Beware low-price stocks showing sudden spurt in price or trading activity.
11. Never deal with brokers/sub-brokers, or unregistered intermediaries.
12. Never trust the rumors.
13. Never believe the promises of guaranteed returns.
14. Check the approvals and registrations from Government are actually for trading stocks.
15. Keep your Demat Transaction slip book safe.
16. Financial performance of Companies in print and electronic media should not alter your decision.
17. Do not copy investment decisions of others.
You need to read and learn some smart and useful investor education. Moreover, it is significant that you learn the good and bad practices existing in the stock market. Lots of people do not know the workings of the stock market and the risk linked to it.
There are also various rules and regulations, concerning the Client Protection that you need to follow, such as, registrations, transaction, execution margins, settlements, and Income tax simcity buildit cheats regulations.
Some basic rules for Future Traders:
1. Money management techniques to support trading.
2. Make your profit goal and then take a position only when you know where you are and where you are going.
3. Never trade many markets with a small capital.

Safety Precautions For Using Paints And Paint Supplies

Safety Precautions For Using Paints And Paint Supplies

As with any other activity, painting requires a bit of common sense. Paints and painting supplies can be dangerous if not used properly and paints especially can be quite harmful. Following a few simple safety tips will ensure your painting sessions are safe and free from problems.

Always read the label

It goes without saying that labels are very important and should not be overlooked. Product labels these days come with a great deal of useful information. They can look overwhelming at first given the amount of information, but what is there is relevant. Usually the most important safety advice will be clear and in a larger font than less important text so that it stands out. Simply do and avoid doing whatever any label tells you to. Most of boom beach hack tool it is common sense, but it’s always best to double check any labels just in case. Keep products in their original tubes or whatever else they came in, so you can always match a product to its label.

Keep your work area well ventilated

Lots of paints and paint supplies can cause harm if you work with them in a small space that doesn’t have good ventilation. Ideally, you should work in a large space and keep all windows open. If you have a fan, the best place to put it is right by the window, so it’ll blow air out of the room. You don’t want to breathe in nasty fumes which can cause breathing problems if you breathe in too much of them.

No food or drink

Do not have any food or drink with you in your studio. If you want boom beach hack tool online to eat or drink, leave the studio and wash your hands before eating or drinking. You don’t want to run the risk of paint from your hands getting on your food and ending up getting eaten. You also don’t want to accidentally dip your paintbrush in a glass of water that you drink from.

Keep skin contact to a minimum

Painting can be a very messy activity and it’s very easy to get stuff everywhere, including on your skin. However, certain paints and paint supplies can damage your exposed skin. To prevent this, try to cover up as much skin as you can. Wear gloves if you have to, so you minimise the risk of getting paint on your hands. Even a little bit of exposure to hazardous chemicals over an extended period of time can cause problems. As an extra precaution, wash your hands after painting, even if your skin has been protected, just in case. You should also never let anything get near your mouth. This includes paintbrushes – even if you’re trying to get a good point on the end of the brush, don’t put it near your mouth.

Disposing of paints and paint supplies

You shouldn’t put solvent or paints down the drain. In fact, anything with paint or solvent on it shouldn’t be put down the drain. This can lead to blockage and can contaminate water supplies. Instead you should dispose of them in a metallic fire-proof container – solvents such as turpentine are highly flammable and rags covered in turpentine have been known to spontaneously ignite. Check your local recycling centre to see where you should drop your metallic containers off.

Other precautions

Keep all painting supplies out of the reach of children. Always clean up properly once you’re done and don’t leave hazardous products unopened and unattended. If you spill anything that can be hoovered up, hoover it up. Always wash your hands whenever you leave your studio and once you’ve finished painting.