Neale Sourna's Blog, page 25

SEXUAL, SENSUAL REFERENCE: How To Give ANY Woman Multiple Orgasms And Have Her Sexually Addicted To You! by Dan & Jennifer

http://askdanandjennifer.com/sex-intimacy/orgasm-videos-tips/how-to-give-any-woman-multiple-orgasms-and-have-her-sexually-addicted-to-you/

This FREE VIDEO will show you how to give your girl the most incredible, heart-pounding sexual experiences of her entire life! When you  watch this free video , you’ll learn secrets to get ANY woman off at ANY time, regardless of your penis size or sexual stamina, and even if you’ve been with your partner for YEARS and the “spark” seems gone.

The truth is, most men don’t have a clue how to touch a woman, make her feel good and get her off during sex – let alone give her incredible, body shaking orgasms. A lot of women cheat on their partners for one reason and one reason only:

Because she is bored with you in bed!

Women love and NEED sex just as much as a man, if not more! They crave orgasms given from their partner and not just any kind of orgasm – they want their lover to make them feel incredible! Girls want wet, wild, SQUIRTING orgasms just as much as YOU want to give them to her!

If you can give a woman INTENSE orgasms, she will do whatever you want, when ever you want! If you can please your girl, she’ll let out her inner freak and become totally, completely addicted to you! (Trust us when we say that her inner “bad girl” is way naughtier than you EVER thought possible)

You Probably Didn’t Know This But…. Girls HATE to tell you what to do in bed!

It’s completely embarrassing for a girl to have to show you what to do during sex – so much so that she’ll either go without and wait for you to get it over with, or find someone else who already knows how to please a woman. Even if she does show you what to do, she’ll be so turned off by the time you actually do it that she probably STILL won’t be able to get off.

You NEED to know what to do to get her off, WITHOUT her having to tell you!

This is the only way to have truly great sex and get her having multiple orgasms.

If you’re like most guys, you want to learn how to make your sex life SIZZLING HOT!

You might have struggled to give your female partner an orgasm, or you may never have been able to before. Rest assured, if you have problems getting your girl to reach climax, you’re not alone.

The Truth Is, MOST Guys Can’t Give Their Girl An Orgasm! Most guys don’t know the first thing about how to put their hands on a woman, so forget trying to actually get her off. If you’ve been in that position before where you try and try and try to get your lover to reach climax only to fail miserably, then you KNOW how frustrating it is.

You KNOW how frustrating it is to go down on her for the better part of an hour, without her EVER having an orgasm!

You KNOW how it makes you feel like less of a man when you can’t give her the pleasure that other guys have before! 

There have been many nights where no matter how hard you try and no matter what you do, you just can’t get her OFF!

But does that mean you should assume that it’s impossible and stop trying?

NO!

You CAN have incredible sex with your lover – sex so good, she’s having 2, 3 or 4 orgasms and she’s so wild, she’s literally soaking the sheets as you thrust into her again and again! You CAN make your partner so satisfied in the bedroom that not only will she never even THINK of having sex with another guy, she’ll be begging and pleading for YOU to do her every single night!

Even if you have a small penis, average sexual skills or low stamina, you CAN become so good at giving your lover orgasms and pleasing her sexually, that she’ll think you’re a SEX GOD?

So, are you ready to say GOODBYE to a mediocre, boring sex life?

Do you finally want to be DONE with wondering if you pleased your lover in bed, or worrying whether she will find someone else that will give her the orgasms that you can’t?

Are you READY to make your sex life as hot as the porn stars?

She WANTS You!  2 Girls Teach Sex is a revolutionary video system that teaches you, step by step, how to seduce a woman and how to give her orgasm after dripping wet orgasm! When you use these insider sex secrets, you’ll be able to give your girl an orgasm with just a few simple moves! These are the super hot secrets that the PROS use, but never share with anyone! That’s right, you can get your hands on the sex tips, secrets and sex positions that will turn you from an ordinary (or bad) lover into an absolute and total SEX GOD!

Who Wants To Learn About Sex From A Book? There are tons of sex guides out there that claim to teach you how to give your lover an orgasm. While some of these sex tips may be useful, most guys can’t sit there and read a book for hours, trying to visualize different sex positions and techniques and how they would work. Guys need to SEE something to actually learn it!

This is why 2 Girls Teach Sex is DIFFERENT than any other sex instruction product out there!

And that’s why it will WORK for you!

2 Girls Teach Sex  features gorgeous professionals acting out the fingering, oral sex techniques and sex positions that make their legs shake!

Wait, back up for a second.

You mean to say that this product has hot naked women that SHOW YOU exactly what to do on camera?

YES!

2 Girls Teach Sex  is an instruction video, but you’re not going to have to sit there and watch someone sit in front of their webcam and read from a script about sex. How would you learn anything that way? With THIS product, you can get STEP-BY-STEP, visual instruction on how to make your lover orgasm over and over again!

What You’ll Learn In 2 Girls Teach Sex A simple twist on the missionary position that will make your penis feel 2 INCHES BIGGER to her! And she’ll feel even tighter to you!3 spots you only have to TOUCH before sex to get her squirming with anticipation and BEGGING you to be inside her! How to tell if your girl is faking her orgasm (THIS is a dead giveaway! You’ll be able to tell every single time!) What lesbians know about oral sex that YOU don’t 6 easy tricks to give her a powerful clitoral orgasm A technique that will give her an orgasm through penetration alone (she CANNOT do this by herself! She will be ADDICTED to you after this!)When you discover the powerful sex secrets that thousands of men DON’T know, you will see five incredible changes in your sex life, LITERALLY OVERNIGHT!

Sex Will Never Be Boring Again!  2 Girls Teach Sex  isn’t about sex tips that you use once or twice and get bored of them quickly, like so many other tips out there. These are techniques that produce an orgasm every single time, and no woman ever gets tired of climaxing!

Even if you end up sticking with your lover for months, years or for the rest of your lives, you will still be able to use the techniques you learned to keep your sex life stellar.

That’s right, it won’t matter how long you’ve been together! The sex will always be hot!

Don’t wait. Take control of your sex life now!

Get 2 Girls Teach Sex  and give your woman an earth shattering, squirting orgasm TONIGHT!Read More On: http://askdanandjennifer.com/sex-intimacy/orgasm-videos-tips/how-to-give-any-woman-multiple-orgasms-and-have-her-sexually-addicted-to-you/ female orgasm• have better sex• orgasm• sex tips

Alt Script: Five Good Reasons to Write a No-Low Budget Script

Alt Script: Five Good Reasons to Write a No-Low Budget Script 

I believe that every screenwriter should have at least one no-low budget script in their portfolio. Even if that writer’s sole ambition is to write for Hollywood.

In this article, I want to lay out five good reasons why any writer should know how to write no-low budget, and also why getting a no-low budget film produced could be a writer’s best shot at the brass ring.
1. Writing scripts for No-Low Budget is harder than any other form of screenwritingIt may seem odd to suggest that something being harder to do, could be one of the primary reasons for doing it. However, in the case of screenwriting, it’s one of the best reasons. Show the industry that you can do something difficult and you prove that you’re valuable.

No-low budget screenwriting is difficult precisely because of what you can’t do, which is to create spectacle by spending money. A huge car chase, you can’t afford it. A gun fight, you can’t afford that either. Period costume or expensive prop builds, not in your price bracket. Basically, the lower the budget, the more the drama has to come from the relationships between the characters… or in other words, the success and failure of the project rests totally on the shoulders of the screenwriter.

Not only does the writing have to be compelling to carry the story and to hold the audience, on top of that, the core concept of the movie has to be strong enough to persuade an audience to chose to spend ninety-minutes with you, as opposed to the multi-million dollar movie with the big name actors and the mind numbing stunts.

Let me be straight with you, this is the very definition of difficult.

The good news is, if you can can persuade an audience your film is worth the effort, and then give them a great filmatic experience, without spending vast amounts of money in production, then there is very little in this industry that you aren’t capable of achieving. The creation of a high-quality, compelling no-budget drama is, for me, the holy grail of screenwriting.
2. Showcase your voice and prove its worthEverything in the movie industry is gauged by its ability to make money. Most people in the industry, including many writers, believe this means there isn’t room for unique voices. They believe that it’s dangerous to write challenging, difficult scripts that step outside of the norm, because the greater the risk, the less likely it is that producers want to make it.

So, instead of becoming the best screenwriters they could possibly be, they settle for becoming a safe pair of hands. Their theory is that by showing the industry they know how to play nicely, they will succeed. They also believe that the best way to play nicely, is by providing the industry with a spec script which hits all the standard plot points, which is on trend, and which everyone feels confident in from a business point of view. A confidence they have in the script simply because there isn’t anything in it that can’t be explained by current script theory. Most of the teaching done relating to screenwriting is “safe pair of hands” teaching.

Or, in other words, what people teach is largely reverse engineered from previous successful Hollywood projects. There’s nothing wrong with this approach, unless, of course, you were inspired to write movies by the kinds of artists who have always trodden their own and distinctive paths.

However, the “safe pair of hands” route isn’t the only way to make your mark in the industry.

What people often forget is that the industry also supports talent, regardless of whether they understand it or not, providing they believe they can make money from it. Basically, the “safe pair of hands” rules only apply to regular folks, not to the cash-cow mavericks. There is nothing the industry respects more than mavericks who make them money, but which they can’t understand or replicate.

If you look at talent like: David Lynch, The Coen Brothers, Woody Allen, Quentin Tarantino or even Kevin Smith, these guys colour well outside of the acceptable lines when it come to choice of subject and in some cases the way they approach screenwriting. And yet, in each case, they established themselves as unique voices by making films the way they wanted to and then making money with it. Once you can demonstrate that what you do will make money, the industry doesn’t require you to play nicely, it only requires you to make more money.

What this means, is that for some writers, writers who have a distinctive voice, making a no-low budget movie can be the best way to make that distinctive voice work for you, instead of working against you. If agents and producers are telling you your script isn’t commercial, you have two choices, you can either endlessly rewrite it. Change your risky, distinctive script into something they feel is safe and normal. Or, you can make it yourself and prove its worth.

For a writer with a distinctive vision, making your own films may be your best route into the industry.
3. There is more to life than playing by the industry’s rulesNot everyone is motivated by the idea of catching the industry’s attention. There are other reasons for making films. It’s not all about furthering your career or making money. Some people just want to make the kind of films they want to make, often because they believe the industry’s output is tediously repetitive or just that they have projects they want to put in front of audiences, which the industry won’t tackle.

I know this may sound like a radical idea, but commercial viability isn’t the be all and end all of human existence. The idea of art for art’s sake is a very real thing. Not only that, there are audiences for all kinds of films, films that fall well outside of industry norms.

So, for instance, there is a small global audience for experimental filmmaking. Not only are there online groups, there are also film festivals which celebrate the innovative and unusual. One of my all time favourite films was shot on 8mm film by a couple of Eastern Europeans. It’s not the kind of film you can see on Netflix, and I was given my copy by the filmmakers themselves, at the Milan film festival. It is a film that is unlikely to be seen outside of European Film Festivals. But, it’s still a great film and the world is a better place for it’s existence.

It’s called Slow Mirror, here’s the trailer for it.

Personally, I believe one of the best reasons to make a no-low budget film is put aside the shackles of conventional thinking and to imagine what it would be like if you could write without constantly worrying about whether what you are doing conforms to the set of rules that only really exist for spec script writing. It is entirely possible to write exactly what you want to write, exactly the way you want to write it. Even if it is your intention to concentrate on commercial projects afterwards.

There is a lot to be said for giving yourself permission to be unfettered and free in your creative life. Just do it. Make a film for the hell of it and make it exactly the way you want to do it. I guarantee that there will be some people who like what you want to make.
4. Learn What’s PossibleNo-low budget script writing is all about figuring out what is and isn’t possible. It means absorbing into your writing skills an understanding of what can be achieved well in production, cheaply, and what can’t. In many respects it’s the opposite of spec script writing, where you imagine something and then go out to find the resources to make your vision possible.

In practical terms, this may mean that your entire project is constructed around one particular resource. Say for instance you just happen to have access to an abandoned, ex-military nuclear fallout bunker… or perhaps you are friends with a particular actor. Writing to make the most of your resources is a completely different skill-set than writing to spec.


Photo courtesy of filmindustrynetwork.biz
What this kind of writing and filmmaking teaches you, is a working knowledge of production and what things cost. On top of that, it’s also an exercise in hiding your lack of budget from your audience. In my experience, one of the best ways to make your no-low budget movie look like you’ve spent a fortune, is to base your story in an exceptionally filmatic and free to use location.

When you think about it, this is a fairly obvious way to approach screenwriting. Find somewhere real, that your story would naturally inhabit, and write about what happens in that specific place. This idea of setting my story in real, visually interesting places, is something I learned through micro-budget filmmaking, but which I now apply to my spec scripts as well. Trust me, it a great way to work. Actually, don’t trust me, try it for yourself and make your own mind up.

Understanding what things cost, how to work around the expensive stuff, whilst retaining a movie’s cinematic integrity are all skills that producers appreciate. Being able to save a producer’s budget, by applying budget saving tricks you’ve learned in micro-budget filmmaking, is a very marketable skill for a writer to have.
5. Find Your Own AudienceIn the film industry, the second you delegate one part of the process to someone else, you are giving them control not just of your current project but of future projects as well. Let me explain that, because it’s a difficult idea to take on board if you’ve spent your entire career being told the opposite.

Imagine you decide that you are only going to write scripts and therefore you are going to let your agent sell your scripts for you. You have just made a decision to delegate the sales process. You write an incredible script, which your agent uses to open a lot of doors. Your agent does a lot of preliminary meetings and adds ten or fifteen really useful producers and commissioning editors to her Rolodex.

However, just as everything is going well with your project, Guy Ritchie announces the release date of his new project, which just happens to be very similar to your project. Suddenly, your great script has gone from being hot to being untouchable (This happens all the time, by the way). As a result of this turn around of fortunes, you and your agent have a massive spat. She stops returning your calls. You are effectively without representation again.

Now, because you delegated responsibility for finding sales to your agent, your agent now has ten/fifteen useful new contacts.

You don’t. Your project opened doors, but this hasn’t helped your career one single iota, because when you delegated the process of networking to your agent, your agent gained all the benefits.

If you understand the above process, you should understand the importance of being independent.

Fundamentally, the same phenomenon applies to any step in the process between writer and audience. So, if you find your own producer, but then delegate the sale of the film to the producer, you then fail to make your own relationships with those distributors, which means your fate will always be controlled by that producer.
The important thing to learn from all of this is that you do have a choice at every single point in the process.

Some writers don’t want to sell their own work, because they don’t have the people skills, so for them an agent is a must. Some writers don’t want to learn how the business side of sales works, therefore it makes sense for them to work with producers who will do that for them. Some writers can’t imagine self-distributing their own movie and forming a direct relationship with their audience… so, they will always rely on a distributor to do that for them.

It’s all about choices. But at least we should know that those choices are there to make.
ConclusionsI genuinely believe that any writer who is serious about their craft should have at least one no-low budget script in their slate. I believe this because no-low budget script writing offers writers a perspective on screenwriting that isn’t given in any of the current tomes on “how to” write for film. It’s not taught anywhere, simply because the “how to” industry still sees writers as servants to the industry, as opposed to artists in their own rights.

So, it teaches writers to be a safe pair of hands, rather than to be bold and innovative. On top of that there are a whole heap of useful, pragmatic skills to be acquired. Every producer loves a writer who can write to a specific budget.

Ultimately, no-low budget screenwriting is about a writer deciding to make the films they really want to make, regardless of whether they make money or whether they will appeal to mass audiences. There is something deeply satisfying about having a direct and honest relationship between what you want to write, as an artist, and what is presented to audiences. And, the truth of the matter is, the only way you’ll ever be given the opportunity to develop a unique voice in this industry is if you are able to prove that your unique way of working has commercial value.

A writer who can create their own Blood Simple, their own Reservoir Dogs, their own Eraserhead, or even their own Clerks, can pretty much write their own ticket. Writers like that get a lot more freedom to make the films they want to make, than any writer who has crawled their way through the spec script system.

Distinct voices in the industry earned those freedoms, by taking the risks themselves and creating their own audiences.

Related Articles:
Taking the Reins: Give to Get BackedAlt-Script: How to Pick the Right Independent Producer A New World in Distribution - Goodbye Promise Releases on IndieGoGoTools to Help:
The Script-Selling Game: A Hollywood Insider’s Look at Getting Your Script Sold and Produced The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers Writers Guide to Hollywood Producers Producers http://www.scriptmag.com/features/alt...

Lets Play - The Secret of Margrave Manor by (story) Neale Sourna [auf Deutsch] played by TheDarksideLPs

LYRICS - REAL LIFE RAP_MACKLEMORE & RYAN LEWIS - THRIFT SHOP FEAT. WANZ (OFFICIAL VIDEO)

Those shoes you can't / don't want to walk a mile in. Reminding us to see the unexpected and to position characters in not always in perfect comfort.

Those shoes you can't / don't want to walk a mile in. Reminding us to see the unexpected and to position characters in not always in perfect comfort.

http://shine.yahoo.com/the-thread-how-to/scariest-shoes-time-173900092.html
The Scariest Shoes of All TimeBy Joanna Douglas, Senior Fashion and Beauty Editor | How To – Tue, Oct 9, 2012 1:39 PM EDT
Yahoo! editors have selected this article as a favorite of 2012. It first ran on Yahoo! Shine in October 2012, and quickly garnered over 15,000 comments and became one of the 20 most-read articles from the Yahoo! Front Page this year. Readers were shocked and horrified by these treacherous backwards heels, calling them “Edward Scissorfeet” or likening them to Natalie Portman’s broken legs in “Black Swan.” Others appreciated the designer’s thought process, agreeing that lengths women will go to for vanity is, in fact, quite scary. Scary Beautiful shoes by Leanie van der Vyver. Photo by Lyall CoburnWe've come across many ugly shoes in our day, but a pair dubbed "Scary Beautiful" is definitely the most treacherous footwear we've ever seen. The massive heels appear backwards on the foot, so the wearers feet point straight down the back, as if in ballet shoes, with their shin leaning against the front "heel" end of the design to balance. The shoes are a collaboration between artist Leanie van der Vyver and Dutch shoe designer René van den Berg, and serve as a commentary on today's impossible standards of beauty.

The ugliest shoes of all time

Van der Vyver is South African, and recently graduated from the Gerrit Rietveld Academie in Amsterdam. We spotted "Scary Beautiful" on her website, cargocollective.com, and reached out to her for the inside scoop.

Imelda Marcos' prized shoe collection is ruined

"After working in fashion for seven years, and therefore being well aware of the manipulation images in fashion suffer for a perfect result, I still compare myself to them and other current beauty ideals," Van der Vyver told Yahoo! Shine exclusively. "My frustration with my own inability to overcome these feelings of inadequacy was what brought 'Scary Beautiful' into fruition. The shoes formed part of my graduation project that was a result of my thesis. The conclusion of my thesis investigation was that people are not satisfied with what they look like, and that perfection, according to the beauty and fashion standards, has reached a climax. Humans are playing God by physically and metaphorically perfecting themselves. Beauty is currently at an all time climax, allowing this project to explore what lies beyond perfection. Scary Beautiful challenges current beauty ideals by inflicting an unexpected new beauty standard."

A model wearing the Scary Beautiful shoes. Photo by Lyall CoburnUnsurprisingly, Van der Vyver's "Scary Beautiful" shoes were nominated for a design prize at Gerrit Rietveld Academie. Jury members Barbara Visser, visual artist and Xander Karskens, and curator of De Hallen had this to say about the shoes:

"The object created by Leanie expands the concept of a shoe into multiple new meanings. The beautifully made leather object is accompanied by a video registration of a girl wearing it. One observes the design forcing the wearer to develop a new way of walking, leaning forward while refining a painfully fragile balance. The jury applauds the way aesthetics, ergonomics and prosthesis merge into an awkward choreography. The craftsmanship and strong conceptual way of designing also show in another work, a ceramic tea set in which reference is made to a building in South Africa. Leanie succeeds in translating political consciousness into form and is considered by the jury to be a meaningful future designer."
Alexander McQueen's spring 2010 Armadillo heels. Photo by Antonio de Moraes Barros Filho/Getty Images We find the clip shocking but also oddly moving. The shoes are obviously not practical, but as art they're intriguing. We can't help but be reminded of Lady Gaga trying to steady herself in the now-famous Alexander McQueen "Armadillo" heels in her "Bad Romance" music video. Major models like Abbey Lee Kershaw, Natasha Poly, and Sasha Pivovarova reportedly refused to wear the 12-inch McQueen heels out of fear, and were cut from the designer's spring 2010 fashion show. In comparison, the "Scary Beautiful" shoes make the "Armadillo" heels look like sneakers, but we had a feeling the always-outdoing-herself Lady Gaga would give them a spin one day. Sure enough, Van der Vyver confirmed our suspicions.

"Yes, on request I did actually send them to Studio Formichetti for a Lady Gaga music video, but I could not get confirmation whether she actually used them," Van der Vyver told us. "I did not charge for her to possibly use them. I would love to sell them to a gallery."

We're holding out for the "Scary Beautiful" shoes to appear in an upcoming Lady Gaga music video, but until then Van der Vyver is back home in Cape Town starting her own studio where she'll continue investigating fashion and beauty. We're anticipating her next creation.

Check out a video below of a model walking verrry slowly in the "Scary Beautiful" shoes.



Scary Beautiful (Leanie van der Vyver) from Lyall Coburn on Vimeo.
Scary Beautiful (Leanie van der Vyver) from Lyall Coburn on Vimeo.

Your Computer and Cell Phone Brought to You by Poet Lord Byron's daughter and a Hollywood Star!

The daughter of Lord Byron invented the grandparent programming of the computer you're using right now. And Ms. Hedy Lamarr added her bit too. I love you Hedy!!!

How Ada Lovelace Shaped ComputingAda Byron, later known as Ada Lovelace, helped explain and analyze the potential for one of the great inventions of her day, Charles Babbage’s Analytical Engine. By Mark Hachman December 10, 2012 Ada Byron, born today in 1815, was the daughter of the famous English poet, Lord Byron, and Annabella Milbanke. Her mother, Milbanke, was described as a religiously fervent woman with a penchant for mathematics, and her husband, Lord Byron, reportedly described her as his "princess of parallelograms."

Their daughter, Ada, inherited her father's mercurial temper, but her mother's mathematical skill. And it was fortunate she did so.

Today, Google is celebrating the 197th birthday of Ada Lovelace - considered to be the world's first computer programmer - with a homepage doodle that honors her contributions to computer science.

In 1835, Ada Byron married William King, her former mathematics tutor. King was later made the Earl of Lovelace, and Ada became known as the Countess of Lovelace; history, for some reason, attached “Lovelace” as her surname. Ada’s intelligence and social standing won her introductions to the leading minds of the day, and her friendship with scientific researcher Mary Somerville allowed her to meet the distinguished mathematician Charles Babbage, whose descriptions of a Difference Engine and, later, the Revolutionary Analytical Engine, essentially created the first computer.

But it was Lovelace’s translation of Luigi Menebrea’s account of the Analytical Engine that brought Lovelace fame. While the translation was admirable enough, it was Lovelace’s “notes” at the end - a dissection of the Engine’s potential as operation, as well as the first “computer program” describing how to use it - that justifies her place in history. Lovelace also had the lucky fortune of providing a scientific “exclusive,” - Babbage was reluctant to publish much on his invention, leaving Lovelace’s work to stand largely alone.

In some ways, Lovelace’s contributions to science mirror German actress Hedy Lamarr, who co-invented the early process of spread-spectrum communications, which uses frequency hopping to prevent interference among wireless communications. Unlike Lamarr, whose claim to fame was really as a film actress, Lovelace was well respected as a mathematician first and foremost.

According to Wikipedia, Ada Lovelace had three children, and had amassed considerable gambling debts before dying from cancer on Nov. 27, 1852. For more on her contributions, click through to the slideshow.
 Click here to see "How Ada Lovelace Shaped Computing" slideshow >
Do your characters have as much going on as these real women: Hedy Lamarr and Ada Byron King, Countess of Lovelace?
====
Ever cool Ms. Hedy Lamarr a computer programmer, too. Told you, I love you Hedy!!!

Frequency-hopping spread-spectrum invention Antheil and Lamarr submitted the idea of a secret communication system in June 1941. On August 11, 1942, US Patent 2,292,387 was granted ... This early version of frequency hopping used a piano roll to change between 88 frequencies and was intended to make radio-guided torpedoes harder for enemies to detect or jam....

The idea was not implemented in the USA until 1962, when it was used by U.S. military ships during a blockade of Cuba after the patent had expired....

In 1998, Ottawa wireless technology developer Wi-LAN, Inc. "acquired a 49 percent claim to the patent from Lamarr....

Lamarr's and Antheil's frequency-hopping idea serves as a basis for modern spread-spectrum communication technology, such as Bluetooth, COFDM used in Wi-Fi network connections, and CDMA used in some cordless and wireless telephones....

Lamarr wanted to join the National Inventors Council, but was reportedly told ... she could better help the war effort by using her celebrity status to sell War Bonds. [Ovarian prejudice, folks]

http://en.wikipedia.org/wiki/Hedy_Lamarr#Frequency-hopping_spread-spectrum_invention

Does Ms. Hedy look familiar to you?

For several years beginning in 1997, the boxes of CorelDRAW's software suites were graced by a large Corel-drawn image of Hedy Lamarr. The picture won CorelDRAW's yearly software suite cover design contest in 1996. Lamarr sued Corel for using the image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998.[20][21]

For her contribution to the motion picture industry, Hedy Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Blvd.[22]
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Character: The #1 reason why you may be single is... By Kimberly Dawn Neumann

The #1 reason why you may be single is...By Kimberly Dawn Neumann “Is your family keeping you single?” could be the title of a reality TV show these days. But the truth is, your relatives may actually have a bigger influence on your dating life than you realize.

Not only are there the obvious issues that crop up (i.e., if they don’t like your new love interest, it’s going to be harder to make your relationship work), there are subtle familial maneuvers in play that may also affect how you come across to potential dates — or how you view romantic relationships in general.

“Most families want the best for us, so the way they interfere is probably unintentional,” says Karin Anderson, Ph.D., Associate Professor of Psychology at Concordia University Chicago and author of It Just Hasn’t Happened Yet. “Typically, family patterns are passed on from generation to generation, so your parents’ intrusive behavior is likely very similar to what they experienced themselves when they were dating, so they think that it’s normal and appropriate.” But knowing that doesn’t make it any easier to deal with — or help you in your quest to find The One.

So how can you best deal with relatives who become over-involved in your love life? Gently, but firmly! Boundaries may be considered a bit cliché at this point, but they are imperative for healthy family functioning — especially for single, adult children. “According to family systems theory, healthy = very close and very separate, meaning I’m close with family, but I maintain boundaries that permit my separateness, independence and personal space,” explains Dr. Anderson. “For some adults, finding this balance will be quite tricky — but to the extent that one makes efforts in this direction, he/she can expect to see improved health in other relationships.”

Family Issue #1: “Are you seeing anyone?” is the only question they ask you anymore
It’s the first thing you hear when you pick up the phone or visit for the holidays: “So, is there someone special in your life?” This constant questioning about your relationship status can not only drive you crazy, it could also affect your psyche (as in, making you feel like a failure if you can’t answer “yes” to their well-meaning queries). “Constantly having to defend your dating status is exhausting, and it takes all the fun out of sharing what’s going on in your love life. And sometimes, you might hang onto a boyfriend or girlfriend when you know the relationship isn’t going anywhere just to have a date for Thanksgiving so as to avoid the barrage of questions regarding your dating life,” says Dr. Anderson. “Your family’s over-involvement in your love life puts an enormous amount of pressure on you — whether you realize it or not.”

How to deal with it: Don’t bring home a lukewarm date just to appease your grandmother; that’s not fair to anyone, especially your guest. “If it bothers you that your family seems more interested in your dating life than in any other aspect of your existence, gently (but firmly) tell them that you’d prefer to discuss other matters and interests — your work, hobbies, travels, etc. — and that you’ll be the one to bring up your love life if there’s anything worth reporting,” advises Dr. Anderson.

Family Issue #2: You’re expected to attend all family events, which leaves little time for dating
Does your family expect to see you at every family get-together without exception — including your third cousin’s daughter’s graduation from kindergarten? “Some families see neglect and betrayal at every turn,” says Dr. Anderson. “They expect single adults to attend family get-togethers with the same frequency as any other family member, and frankly, this is neither possible nor desirable.” The reality is that dating takes up a lot of free time and energy for most people. Whether you’re searching online or otherwise, assessing your potential connection with dating prospects can often feel like a full-time job. Your family needs to cut you some slack and recognize that you’ll be unavailable for less-crucial gatherings every now and then. Giving in to their guilt trips may win you the “Aunt/Uncle of the Year” award, but sacrificing opportunities to meet The One isn’t helpful.

How to deal with it: Again, this is a boundary issue. “If your family continues to pressure you to attend every last event, gently (but firmly) explain that while you love them very much, you also need to devote time and attention to finding your life partner and building your own family,” suggests Dr. Anderson. “Especially if your parents met in 10th-grade algebra class, they won’t understand how time-intensive dating is, and their expectations about your level of involvement will likely be way off.” Furthermore, single adults need to spend quality time with others who are also single and looking for love. Hanging out at family reunions every summer may contribute to feelings of isolation and loneliness if you’re the only single person who’s there.

Family Issue #3: You still have unresolved emotional issues with your parents, and it’s affecting your ability to find a good partner
It sounds trite, but parents greatly affect the way people search for a life partner. “Typically, you’re attracted to dating partners in reaction to your relationship with an opposite-sex parent — or a same-sex parent, if you’re homosexual,” says Dr. Anderson. “If you’re lucky, this relationship was an emotionally healthy one and you’re looking to replicate these dynamics in an adult romantic relationship of your own.” Realistically, though, you’re often hoping to repair what wasn’t working with the relationship with your parents during adulthood. For example, a woman might say, “My dad was gone all the time and I never felt close to him, so I find myself dating men who are emotionally unavailable in hopes that this time around, I’ll get the intimacy I lacked with my own father.” Of course, this strategy rarely proves successful — and even if the lady in question were able to snag an emotionally unavailable man, would it make up for her dad’s lack of attention earlier in life? Furthermore, is it fair to burden any new partner with your unmet childhood emotional needs? Hardly!

How to deal with it: Identifying such patterns can prove extremely difficult — most people are too close to these issues to see them clearly without an outsider’s help. With concerns such as these, Dr. Anderson says that it’s best to get a recommendation from someone you trust and engage in some counseling, since there’s no better way to achieve personal growth and development. “Remember, you’re going to attract someone with roughly the same emotional health as your own; in therapy, we talk about water rising to its own level — meaning that in a relationship, one partner may appear to be the dysfunctional one, but ultimately, both are typically at about the same level of emotional health,” says Dr. Anderson. “So the healthier you are, the healthier the partner you ultimately end up with is likely to be.” In other words, work on your own issues if a happy relationship’s ultimately your goal.

Family Issue #4: Your family has set restrictive rules regarding who you can (and can’t) bring home as your date
Even in this day and age, certain families have rigid expectations about the people their relatives should date — and marry. “True story: One young man broke up with a girlfriend he adored who was of Irish decent because his Greek/Italian family insisted he marry within his own culture. He complied by marrying a woman of Greek heritage — and then divorced her after a miserable, 10-year marriage. Coincidentally, he ran across his former Irish girlfriend shortly after his divorce was final, and this time, he had the courage to follow his heart. Now he’s happily married,” relates Dr. Anderson. “Sounds like an old-school story, but such pressures are still alive and well in the new millennium.”

How to deal with it: All families have rules and opinions regarding touchy topics like your date’s religion, ethnicity, political affiliation or otherwise. Some families are quite permissive in their expectations of your future mate, while others remain rigidly stalwart. Dr. Anderson suggests paying attention to the messages your family members send regarding “acceptable” dating partners. Re-examine how these expectations have affected your dating life until now, whether it’s positively or negatively. For example: Are you ruling out prospects based on these archaic family rules? Do you avoid getting serious with someone because you know there’ll be hell to pay when you bring your date home for the holidays? “Remember, family members are responsible for their own happiness,” says Dr. Anderson. “It’s not your job to make sure everyone in your family approves of your partner.”

Family Issue #5: You’re estranged from your family and don’t interact with them at all
Are you emotionally disconnected from your family, for the most part? If so, you may believe that they couldn’t possibly affect your love life… but this isn’t always the case. “Oftentimes, people are still very much influenced by their family of origin, despite being disconnected from them,” says Dr. Anderson. “For example, you may unknowingly be looking for a substitute family, which could subtly affect who you desire to date.” On the other hand, your lack of contact with them could leave you with some relational deficits — especially if there was little communication within your family, even when you still lived at home. “You may never have learned how to appropriately attach to others or work through conflict in a healthy, productive way,” advises Dr. Anderson. “Also, psychologists who study families assert that if you’re cut off from your family of origin, aspects of your development will stagnate. So if you haven’t spoken to your family since you were 18, part of you remains ‘stuck’ at age 18.”

How to deal with it: It’s not fair, but people don’t choose their families — and some are dealt a doozy of a hand trying to deal with it. “Still, trying to stuff your dysfunctional family into a past that you’d rather ignore is a recipe for allowing your family’s lack of health to continue to plague you in the future,” says Dr. Anderson. “And remember, even if you’re able to successfully meet and marry someone, you’re likely to bring that untouched pathology into your marriage, thereby repeating the very patterns you’d hoped to leave behind.” This may be another case where professional help is truly the best course of action for you to take. Don’t let your family’s dysfunction ruin your chance at finding a happy, healthy, everlasting love, because in the end, it’s your relationship that matters most!

Kimberly Dawn Neumann (www.KDNeumann.com) is a popular New York City-based freelance writer whose work has appeared in such publications as Cosmopolitan, Marie Claire, Redbook, Maxim and frequently online. A certified dating/relationship coach, she’s published two books: The Real Reasons Men Commit and Sex Comes First and is the founder of www.DatingDivaDaily.com.


Article courtesy of Match.com.

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Sarah Vaughan says, "Bye, Bye" lyrics to Peter Gunn Theme

Lyrics to Sarah Vaughan's Cover of Peter Gunn Sarah Vaughan says, "Bye, Bye" to Peter Gunn CD cover Sarah Vaughan Sings the Mancini SongbookSarah Vaghan first recorded Bye, Bye, the actual title of the song that adds lyrics written by
Every night your line is busy,
All that buzzin' makes me dizzy.
Couldn't count on all my fingers
All the dates you had with swingers.

Bye-bye.
Bye, baby.
I'm gonna kiss you goodbye
And walk right through that doorway.

So long.
I'm leaving.
This is the last time we'll meet
On the street going your way.

Don't look surprised
You know you've buttered your bread.
So now it's fair you should stare
At the back of my head.

If you write a letter to me
My former friend
Don't you end
With an R.S.V.P.

I'm goin' bye-bye
I'm moving!
Tomorrow I may be splittin'
To Britain or Norwas

I'm sayin' bye-bye
Bye, baby!
Now that I've heard all that jazz
Whereas I've had it, I've had it

I'm through now with you now
So baby it's au revouir
Adios, ciao, ciao, goodbye
http://www.youtube.com/watch?v=oAk8DwaF0fs Max Sedgley Remix at YouTube: http://www.youtube.com/watch?v=Kf17nKtllW

Six Essential Issues in Any Ebook Contract Negotiation by Deanna Utroske / http://www.digitalbookworld.com

Six Essential Issues in Any Ebook Contract Negotiation Categories: Expert Publishing Blog | Tags: contract negotiations, ebook royalties
December 4, 2012 | DeannaUtroske |         
For more information on ebook royalties, contracts and negotiations, attend Digital Book World 2013 in New York in January.
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Publishers and authors are shaping new standard contracts as the industry shifts toward digital-first and e-original book publishing.

As opposed to big publishers, which are thought to pay authors a standard ebook royalty of 25%, new independent ebook publishers like The Atavist, Open Road Media and OR Books, can and do pay authors substantially more. But, on what terms? And, royalties aren’t the only issue at hand as a new publishing landscape emerges.

There are six basic issues at stake in an ebook contract negotiation:

1. Duration
2. Territory
3. Consent
4. E-functionality
5. Medium
6. Royalty

Basically, these issues add up to answering the following questions for the publisher (and the author):
What can I do with this intellectual property?How long can I do it for?What cut of it am I going to get?Kim G. Schefler, Esq., a Partner at Levine Plotkin & Menin, and F. Robert Stein, Esq., of counsel at Pryor Cashman, conducted a mock negotiation at the fall meeting of the Entertainment, Arts and Sports Law section of the NY State Bar Association, elucidating these points.

The contract, as proposed by a hypothetical independent publisher in the mock negotiation, described the property — the ebook under discussion — as “a previously unpublished book, which includes photographs and illustrations.” Schefler and Stein’s conversation followed basic negotiation strategies and revealed emerging ebook contract precedents.

Duration

Digital technology moves swiftly, and rapid content delivery and speedy adaptation to new opportunities looks to be the new norm.

Matters of duration address the time frame that governs the commitments in an ebook contract.
 – How long will the contract remain in effect?

In our example, the publisher stipulated that rights would comprise “The exclusive right for the full term of copyright and all extensions and renewals….” And the author countered by offering instead “The exclusive right for five years from the date hereof….”

Similarly, the author and publisher need to answer:

– How much time can elapse between manuscript acceptance and publication? For an ebook this can be a matter of months, in contrast to 18 months for conventional print books.

– How much time does the publisher have to produce alternate formats allowed by the contract?

– How long until the rights revert back to author, before the contract term expires organically. This is contingent upon more than duration alone: It involves time passed since initial publication, the agreed upon definition of “out-of-print,” and a minimum level of annual author earnings.

Territory

Independent ebook publishers rarely have the resources to translate their publications but seek World rights in English as a matter of course.

Authors may choose to limit this territory — to only the U.S. or North America for instance. In this negotiation, the author proposed adding qualifiers like “English-language” and “English-language editions of” in nearly every section of the contract to clarify that the publisher didn’t have the rights to translate the ebook for non-English markets.

Consent

Evolving digital platforms and shorter production schedules lend themselves to quick, shrewd decisions.

Throughout an ebook contract, the publisher favors using their own discretion at decision points: Using the ebook content in-full or in-part in any form; and regarding the design, cover, and title of the ebook, for instance.

Thus, the publisher strategically benefits from phrases like “in the Publisher’s judgment.”

In contrast, the author pushes for disclaimers like, “subject to Author’s prior written approval in each instance” or simply, “subject to Author’s approval.”

If, when, and how consent is required during the term of contract is carefully described in each relevant section.

E-functionality

Each device and e-reading ecosystem features unique (and often proprietary) functionality. To ensure that an ebook can remain available, publishers often prefer the rights to define and enable these features broadly: “functionality features available for any applicable electronic or digital device or other distribution system now known or hereafter created.”

An author’s concern that advancing technology could infringe on opportunities for unique product development make it wise to narrowly define approved functionality.

What’s challenging here is anticipating and describing the future. Established publishers feel they lost revenue when the digital transition made ebook rights of their long-standing back-list titles available to other publishers. They’ve learned that contracts that outline rights to content “in book form” aren’t specific enough.

In an effort to close the stable door after the horse has bolted, publishers now seek rights to develop book content in all prospective media, known and unknown. Authors generally don’t want to relinquish those prospects ad infinitum.

A flexible compromise must be struck that suits the time frame of the contract and the priorities of each party.

Medium

The ebook, evolving new media, and emerging channels for content sharing and distribution make for an animated debate around “what is a book?”

The formats, features, enhancements, and iterations that an ebook can take must be thoughtfully defined in an ebook contract.

Of particular importance are what adaptations and apps can be developed by each party and what percentage of the ebook content the author can use commercially as well as what constitutes competitive works.

Can a publisher that acquires the rights to a travel ebook also develop an app from that content, which adds, say, video and site-specific historical information, let’s users build a profile, upload personal travel photos and plot their next journey?

Can the author give away sample chapters of that travel ebook to promote her next project?

Can the author arrange for the production and sale of a DVD version of the book that’s simply a dramatic reading of the text and tasteful video of the images included in the ebook?

In the mock negotiation, contested media included, “links to web sites…sound recordings, literary, pictorial, graphic, and non-dramatic audio visual material” and “enhancements…such as sound, images, animation, interactivity…audiovisual elements [and] apps.” Also under consideration were the parameters of audio rights — “non-dramatic, single-reader” as opposed to “dramatic, multi-reader.” Essentially, any presentation of the ebook content that goes beyond mimicking a conventional print book is carefully allocated.

Additionally the author, generally, cannot compete with the publisher through comparable works. During the term of contract, the author cannot sell a product that will diminish the value of the publisher’s rights to the ebook. So it should be clear that whatever adapted ebook or (new) media rights the author retains, when exploited, would not constitute competition with the publisher.

Royalty

Ebook royalties run the gamut from 0% to 100% depending on an authors’ chosen publication and distribution channel.

A contract with an independent ebook publisher will take up what percent of the publisher’s net revenue the author will receive, if this rate will increase to after the publisher recoups plant costs (production, design, editorial, etc.), and whether the author can exercise an option to receive the publisher’s current standard rate, should it increase — this falls under a most-favored-nation clause, where the publisher will allow the author to enjoy royalties at least as good as those generally paid to other authors.

Large publishers pay between 25% and 40%, while self-published authors can command upward of 70%. Independent publishers, such as Other Press and Rosetta Books, are likely to pay in the 50% range.

Knowing that major publishers pay in the 25% range, independent ebook publishers can incent their services by offering a higher rate.
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As independent publishers capitalize on digital-first and e-original publishing opportunities and large houses, like Random House and HarperCollins launch digital-only imprints, ebook contracts and these six issues will shape the future of digital publishing. Yet even as the contracts progress, the issues will linger; authors and publishers will focus on what can be done with the content, how long the rights last, and how much of the profit they will get.
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For more information on ebook royalties, contracts and negotiations, attend Digital Book World 2013 in New York in January.
Image Credit: Negotiation image via        About DeannaUtroskeDeanna Utroske is the Content Producer at Digital Book World and an active member of New York Women in Communications, where she serves on the Integrated Marketing & Communications Committee. Previously, Deanna worked in the editorial office of Signs: Journal of Women in Culture and Society, a publication of the University of Chicago Press.    View all posts by DeannaUtroske →