Ethnicity and regionalism in voice over, is your race or culture a burden?

This article has been on the shelves in the back of my mind for a while. I was waiting for the time to write it as much as I was waiting for the right words and phraseology to come to the forefront. This is and always will be a sensitive subject so I will attempt to treat it as such. I was further inspired to get it on paper now, by the recent departure of Isaac Hayes from the hit comedy cartoon South Park. Though the story of his departure includes religion and politics, neither one applies to this article. Isaac Hayes was the voice of the character Chef on Comedy Central’s animated series because of who he was and what he sounded like when he spoke. Why he left the show has nothing to do with this article, but his situation while working for the show may have some correlation. It seemed now was just as good a time to write it as any other, with a little national attention being given to a topic in the same family.

So ok already, enough with the justification for writing it. Get on with it…

In several years of learning the ins and outs of the voice over business, I have always wondered if voice over might someday become a great pillar of equality. Something that leveled the playing field for the diverse multicultural society we call America; a business with open doors for all, regardless of where we came from or what color our skin happened to be. As I continue to ponder the possibilities of such a level playing field, the answer to the overall question is a resounding no. It will not be a playing field of equality anytime soon, but maybe not for all of the same old reasons you might suspect.

In no other business would it be acceptable, or for that matter legal, to post a job opportunity or listing with criteria or parameters such as “Wanted, African American male or female.” or “looking for north American Caucasian male for this job.”; job postings that in their limits not so subtly say, "No others need apply."

But in the voice over industry, the ability to pick and choose between male or female, black, white or Hispanic is not only an every day occurrence, it is the way business is done. Producers and casting directors are at liberty to be as finite as they like in their pursuit of the perfect match for their part. Does this make them evil, horrible people? No. But there is no shortage of talking points when it comes to how equally opportunities are spread among performers in the movie and television industry. Imagine the front doors of a large American corporation covered in posters to this effect: “wanted, computer programmer must be black female with a slight urban tinge to her voice.” The idea should be so far from the realm of possibility as to be laughable, at least in this day and age. But in the voice over industry there are daily postings that don’t imply or infer this. They come right out and say it.

No one will ever be able to tell the true intentions behind the people hiring for the project, and for our own sanity we might as well assume their intentions are good and with merit. With all of the attention and criticism Mel Gibson received for his hand in The Passion of the Christ, I don’t think the thought of a black male lead ever crossed the minds of the people in the casting department, and oh what a ruckus there would have been had that been the direction they decided to take that movie in. Did they cast a white male lead actor for the part of Jesus in order to preserve the accuracy of the story? If so, there are many in this country and the rest of the world that question that accuracy.

Wait a minute... I can feel this article spiraling… Apply breaks, return to original intention, and get back to the topic…

Ok, I think I got it.

Suffice it to say, that people’s true intent is generally buried so deep it is pointless to begin looking for it. If we want to move beyond the possibilities of prejudice and exception in this business, we will have to find a way to fool the directors and casting people. A way to beat the system that may or may not be in place. A way to overcome, so to speak, an obstacle that to this point remains faceless and so illusive it may never be tackled. We wont know what we are fighting, or if we are fighting anything at all. Not a very bright prospect.

Breaking Down Barriers.

When I have the opportunity to coach voice over talent with ethnic backgrounds different from my own, my mind opens to the fascination of the unknown. I am peering into a crevasse so deep and different from my own, that my receptors are on high alert. Inside that crevasse are many things I haven’t ever seen, culture I may have never witnessed, beliefs and experiences that I may have never considered. Many are portions of human existence that I have never encountered, and as they have shaped this person, might shape me a little as well. I must witness them, learn from them, feel them and hear them in order to better mold my approach to teaching this craft. That is usually much easier said than done. Many times I encounter actors or broadcast talent who have fought so hard to suppress their regionalism, ethnicity or nationality that getting them to lower the wall they have been at times forced to create, is not an easy task.

Much of my ability to break down these barriers is simply a developmental approach to building trust. You may ask why I would try to break these walls down at all; why not just leave them be and skim over them? Probably for the same reason when I speak to someone I want them to look me in the eye. As a coach, it is my job to dig as deep as I can to find the raw talent. Then I need to bring that talent to the surface where it can breathe, grow and flourish. This is a performance art, a human business, an art form that requires people be their true selves. I am trying to teach voice actors how to create characters, not teach one character how to become another. I need to be able to see the real person. It is there I will find the voice I am trying to coach. I cannot coach the person adorned with a shallow façade. I need to talk to the real person behind the wall.

Reality dictates that societal pressures and socioeconomic status along with cultural background will be the strongest influences governing how a person presents themselves to others. In the far from Utopian community of commercial voice over talent, producers, and companies that hire freelance talent outright, if the above mentioned factors lead you to speak anything but “The Kings English” (along with his accent) the world of opportunity in voice over will be forever very small for you. The way we speak, our intonation and the regional artifacts in our sound play a huge role in whether or not we see any success in this industry.

Becoming better versions of ourselves.

So many people pursuing voice over or broadcasting careers are forced by some unwritten word of law to mold their sound into something considered more user friendly. Who makes those laws or sets that policy is unknown to me, as well as the rest of us, but more often than not it dictates that: Urban accents and dialects are eliminated or suppressed. Culture is lost and regional flavor is buried. What is left over is a completely manufactured sound which in turn becomes the person’s permanent public or professional voice. Many times it sounds forced, which in turn makes it sound fake. When it sounds forced or fake the announcer sound starts to creep through. Forced, fake announcer style reads are not at the top of the hit list in the voice over business.

Producers and even regular people who might be casting voice talent are looking for the voice and/or feeling of real people; the guy or girl from the coffee shop, a person they met at the bank, the people who provide their daycare services, the people at the deli’s and small shops they frequent. In essence, people they choose to interact with during the normal course of business. When many voice over jobs are cast, it is the feeling we get when we see a familiar face or hear a familiar voice that producers and casting people are trying to recreate.

When we see a familiar face, or hear a familiar voice and it is one we want to see or hear, it is generally comforting. When something is foreign to us, or strange and unrecognized, we are usually anything but comfortable. That in a nutshell is why we don’t want our voices to be strange, unrecognizable or foreign to the general audience. Our ability as voice actors to create the desired imagery with our voices is what gets us hired and lands us jobs. What gets us overlooked if not pigeon-holed completely is not being able to deliver these voices without some sort of regional, urban or ethnic affect. When a voice actor auditions with any of the above artifacts in their voice for a job that does not expressly require or request them, they most likely will not get the job, and the person hiring for that job, by making a discriminate judgment, will have in essence discriminated against them because of the sound of their voice.

Understanding the brisance of the word "discrimination" I ask that you please entertain all definitions of that word before going off the deep end over my use of the word. It is not at all meant to imply the producers in the world are directly discriminating against anyone who sounds as if they are anything but white. That was not the intention of the comment, but the reality of that idea, is we will never know if they are or not. The only way to remove it as a possibility is to subvert it by becoming a better, more versatile voice over talent and learning to speak with or without our regional or ethnic affect. Essentially through training and practice becoming better versions of ourselves.

Embracing our natural character.

I can think of nothing more hurtful, insidious or nefarious than telling a person of any color, culture, race, nationality or creed that the way they were born into this world isn’t good enough to participate in and prosper from its harvest. However, that is the message received daily by people of various cultures from directions and sources that are too many to name. There are some who may conclude by my simply writing this article, I have become one of those sources. I beg to differ, but at this time decline to argue. Once again, I will not allow this article to spin out of control. My only comment is this: The longer we go on without talking about these issues, the longer we will ultimately end up talking about them.

Our natural character, more than how we sound when we speak, is what makes us whole. Though some of us might not entirely like ourselves, when we are free to be ourselves we seem to be most at ease. When it comes to the business of voice over, being at ease is one of the main keys to success in front of the microphone. We want to be relaxed. We want to be able to focus and concentrate on the task at hand. Both of which are quite difficult when a portion of our energy is spent trying to be someone we are not. The best example would be the type of discomfort a singer experiences when they try to sing a piece that is out of their range. That experience is identical to the experience of the voice over talent who is trying to bury an accent or dialect, and sound like someone he or she is not.

However, if our natural character is one that speaks with a southern draw, an urban accent or foreign dialect, any time we speak as ourselves, we will be speaking in fashion not very well suited to performing voice over here in America. So what are talents of various regions and ethnicities to do? To answer that question we need to explore the implications of hiding or learning how to perform around who we really are. That brings forward the dilemma I alluded to a few columns back; how do you wake up, look in the mirror and accept that the way you were born into this world isn’t good enough to participate in this business? It’s a rather tough pill to swallow.

On every forefront, in every corner of our society forces are struggling to preserve their culture, and this industry in many more ways than one, asks that you abandon it. Not to say there aren’t opportunities out there for people of different culture, color and dialect, but the majority of voice over jobs are going to the average Joe or Jane that speaks with a typical middle America type affect.

My first opportunity to coach an African American student came several years ago. She was a young woman, very poised with a charming smile. She came to my studio with a fair amount of acting experience which was a true advantage for her. Due to some of her Shakespearian stage experience her regionalism and dialect were only very subtle attributes to her voice. I found her to be a very pleasant speaker, and after hearing her behind the microphone, thought that with a little tweaking, we could produce a demo reel that had no identifiable characteristics that would announce to the listener what she looked like, how tall she was, what kind of shoes she liked to wear, and yes, what color her skin was.

After some discussion about the concept of having her demo be ethnically neutral, she and I both agreed we would work to have it not be completely neutral, but instead trickle some of her natural flavor in with the more mundane, conservative reads on her reel. It was important to me that she was able to demonstrate her ability to turn her urban dialect on and off, and not have it lean more in one direction or the other. I didn’t want to suppress or try to hide that fact that she was a young, dignified, intelligent black woman. I wanted her demo to show that she was a young, intelligent, dignified woman who by the way happened to be black.

We both wanted to embrace her culture. My overwhelming desire was that she got a fair shake when someone listened to her demo. I wanted them to get a few tracks in before they discovered that there were more layers to the product. My primary concern was that someone would pop in her demo reel, hear the first track and disregard it as an ethnic demo, or add it to the black pile if there was such a thing, or worse throw it out. We discussed all of these possibilities and took them into consideration when crafting her demo. I knew from the beginning I was treading in ethically unknown territory by bringing these issues to the forefront, just as much as I am by writing this article. But I felt as strongly then as I do now, that until society finds a conscience and some decency, or we can turn back the hands of time, it may do more harm than good by choosing to pretend the world isn’t the way it is.

When it came time to select cover art for her demo reel, the question became whether or not she should put her headshot with her demo. My answer to that question was not to. After all, this business is called Voice-Over, not Face-over, or Where-Did-I-Come-From-Over, or What-Color-Am-I-Over. In this business, as with any other business, it should make absolutely no difference where you come from or what you look like. The only thing that should matter and often does is what you sound like.

Isolating your abilities

One of my greatest concerns when a new talent comes to my studio is that they understand the difficulty of achieving success. It takes a great deal of investment, time and energy to move forward in the industry, and informing a talent of what obstacles stand before them up front before they ever get started, or ever spend a penny on the business only seems fair to me. Most people have the same obstacles when getting started: Lack of experience, cold read ability, and audition technique, lack of technical knowledge when it comes to editing and uploading files to servers and configuring home studios. All of those obstacles are pretty general. But when a talent has a regional, ethnic, or cultural background that directly effects their delivery of voice over copy, it becomes much more of a challenge for them as a talent and me as a coach.

In my early days of coaching, commenting on someone’s cultural background as a hindrance to their success felt a little like walking a tightrope. I wasn’t exactly sure of what approach I should take and saying anything at all was a little uncomfortable. But when I considered the alternative of not telling the student and letting them go into their training only to have someone tell them later, I felt I might as well take the risk and tell them up front. Each time I have had to do it, there has been a mixture of responses, most of them non verbal so it is hard to tell exactly how the talent perceived what I was saying. I can think of no easy way of saying it. So up to this point I just come right out and tell people that their accent or way of speaking is going to have a negative impact on their success as a voice over talent.

I usually try to explain the process of installing a switch that rather than completely ridding them of their natural style of speaking, enables them to turn it on and off. Installing this switch takes time and effort, and time of course in the pursuit of coaching costs money. Money continues to be the one major prohibitive factor that keeps people for entering this business or continuing to pursue it for very long. When someone considers the prospect of spending some of their coaching budget on getting rid of something they never saw as a problem in the first place, it occasionally prompts them to throw in the towel early and decide this business isn’t for them.

Though it may sound cruel or untoward, when most students decide to back out at this point I am elated. Turning tail and running at the first sign of difficulty is what keeps everyone and their brother from having a voice over demo on the market. But when a talent from an ethnically diverse background decides to back away upon being informed of this, it hits me a little closer to the core. I can’t help but feel that I am just another in the long chain of people that has said throughout the course of their lives, “I am sorry, but because you are (place ethnicity here), this business isn’t right for you.” One, it is not at all what I am saying and two; it couldn’t be further from the truth. Though on a human level, this is what it feels like I am saying and I never wanted to be a person who said things like that.

I have known for a long time that the truth hurts and people’s perception is their truth. How people perceive what I am saying can lead to it being be misconstrued. I have also known that in order to be a leader you sometimes have to make some very unpopular decisions. This is why I continue to follow a path of honesty, and provide assessments of how I see this business to all comers and how I feel they will fit into it. I find it an act near criminal to take a person's money, push them through training and launch them into the world with less than the appropriate tools and barriers standing in their way. I am afraid that not all in this industry share the same foundation of principal. This is certainly something I think voice over talent with ethnically diverse backgrounds should be aware of when entering this marketplace.

If you are a voice actor who feels some of the characteristics of your voice may have something to do with your lack of success in this business, then I try to offer you a hand of understanding. In such a detail oriented business where even the slightest variation in our voice can mean the difference between getting hired and not getting hired, it is of the utmost importance we are able to analyze our product and see if there is anything holding us back. If we lack the ability to self analyze, it is a process that can be learned through steady coaching. Also, don’t feel as if your natural style is something that needs to be crushed, wiped away or stuffed into some deep dark corner because it doesn’t. Look at it as a tool, another arrow in your quiver, and another voice with which to demonstrate your versatility. Try to look beyond it as your only voice and see it as one of the many things that make you unique, diversified and intriguing. It can be a very valuable piece of your portfolio, but as your only piece, may be a detriment to your success.

There are walls all around people of culture in this country, let alone the world. Some are made of granite; some are not so easy to see. Some have fallen in the last 25 years and some are still in the process of being constructed. Some are meant to keep people in, though many now are meant to keep people out. These are the realities of the world in which we live. They may continue to be realities for as long as we live. Though this doesn’t mean we have to bow to them, or attempt to tunnel our way beneath them, we only have to imagine there are ways to rise above them and make them disappear. In the faceless world of voice over, a little training can go a long way toward creating a new reality. A reality where we are not judged buy the color of our skin or where we come from, but by the content of our demo tape.

The Bottom Line

The following article includes pertinent information that may cause you to reconsider what you thought you understood. The most important thing is to study with an open mind and be willing to revise your understanding if necessary. What Really Matters We are here on this earth to learn acceptance. Acceptance of everything that life can throw at us, the good and the bad. One still needs to work at right livelihood and fight for truth and justice, but there will always remain many things we simply have no control over, and we must learn to accept this. We have no other choice but acceptance if we want to progress. Acceptance leads to forgiveness which leads to progression, but it is never easy. How does one accept the continued support and popularity of war criminals masquerading as leaders or child molesters. To embrace acceptance is to become objective...about everything in this life and on this planet. By becoming objective we are able to disconnect from many of the attachments that bind us to servitude. In the ultimate scheme of things our lifelong tribulations are insignificant. We are here such a short time, and for most of us, our influence and ability to change anything for the better is limited or remote. The path of least resistance for most unwary souls is to be caught up in the obligations pertaining to cycles of birth, family, children, and the roles we are taught or forced to assume. In this mode the freedom of disconnection alludes us. But it is through the gradual disconnection to our worldly attachments that allows us to realize how trivial jealousy, deceit, anger and acquisition are in relation to the big picture of existence which extends well beyond our occluded perceptions. True freedom comes when one is free of these distracting imperfections and can find forgiveness towards those who have wittingly or not caused us harm or pain. The most difficult part is to forgive yourself, but this becomes available once you realize that most of the wrong decisions made, and hurts caused to others, were made from the immature vantage point you were in at the time. You didn’t have the tools or perspective you now have to realize that bad things happen to good people, that what you may have thought was important and worth the shortcuts, was in fact just a blind alley of glitter or delusion. If you can reach this level of awareness, to see that past decisions and actions were made by a less complete and understanding self, you will then be able to find compassion and eventually forgiveness of yourself for the harm you caused to yourself and to others as a result of your shortcomings. Nobody said it was easy. That is why, in my view, most people continue to go round and round in their mental prisons, some eventually spiraling downwards, most doomed to instant replay, and only a few who find the doorway leading to salvation. Is deliverance available to everyone? I don’t know, in fact, I doubt it. So many with besmirched and sullied egos will inevitably follow their ill conceived prejudices to the grave. Or perhaps we all have epiphanies at one time or another and it is up to us whether this brief unanticipated opening into other domains should be acknowledged and pursued, or simply dismissed as a momentary slip of the gears as in a dream. One thing that cannot be dismissed or ignored is the reality of life, death, corruption and beauty. Also intelligence, as it is apparent that this faculty, above all, has allowed our species the ability to comprehend these very notions, and through freewill, choose to manipulate them for better or worse. Most social manipulation via political, monarchal or religious constitution, served some evolutionary purpose but ultimately failed, because no man or demigod can impart spiritual epiphanies on another. Each individual soul must make a choice to see or not to see. On a collective scale, sooner or later any Emperor in any guise is observed to have no clothes, in fact never did, and becomes exposed. We find ourselves at this time, in this hyped electro-techno modern world, either intellectually adrift from the old paradigm of institutional oppression and its attendant restraints and excesses, living in our own delusions, or blindly and fanatically grasping its slimy tentacles as evidenced in the Muslim world. Neither is sustainable, and more likely than not, to clash inducing further misery. Attachment to any belief, even if it’s a non belief, is sowing the seeds of eventual self-destruction. Only through disconnection from externally imposed belief or self-seeking illusion, and by acceptance and the fostering of forgiveness, can we hope to find redemption. Furthermore, this enlightenment can only be realized on an individual basis. The only exception where group fervor is benign is in the unfettered praise of the gift of life through gratitude and thanksgiving, as evidenced by the enhanced aura of such gatherings. The best we can do towards the edification of grace in this world is to help others by encouraging them to follow their own insights, to impartially lend a genuinely helping hand in practical and useful areas, or to communicate love through art and beauty if we are so gifted. Sadly, scientific studies tell us that in the marketing world at least, only 2 percent of any given population can think for itself. The remaining overwhelming majority can only act when persuaded or cajoled by an external entity, which usually means political, religious or commercial coercion. And of course, foolishly allowing this majority to lend control of our lives to any of these interest groups has resulted in our collective consciousness being entangled in yet another fine mess. The best we can hope for now, as thinking individuals, is to be adept and agile enough to position ourselves as advantageously as we can, in circumstance and place, without sacrificing our hard gained spiritual insights to expediency especially at the expense of others. We must continue to disconnect while at the same time investing in pursuit of right livelihood, which usually means sharing the best of what is in us, not an easy feat. Writing this article is my humble attempt to add some clarity to the constant clamor of present day unconscionable self-aggrandizement, and the inevitable pervading disillusionment that will soon be swirling around us. The day will come when you can use something you read about here for beneficial impact. Then you'll be glad you took the time to learn more about actualizing acceptance.

Erik: The Man Behind The Phantom

In the literary world, there are few villains and monsters as sympathetic and as “human” as Erik, the Phantom of the Opera. The man behind the monster has been labeled as the villain of Gaston Leroux's novel just as often as he has been named a misunderstood protagonist. He was the ghost that haunted the halls of the Opera Populaire, terrorizing the diva Carlotta and several other performers who were housed there, as they clashed with his artistic sensibilities. In almost all incarnations of the character outside of the novel, there is almost always only a small measure of sympathy accorded to the deformed and persecuted Erik. The focus had always been on the horrifying visage he presents before the public, and less on “Angel of Music” persona he bore when he trained the young ingénue, Christine Daae.

However, behind the mask was, ultimately, a man. Erik was not the overwhelming force of evil that people had portrayed him to be. Indeed, along with many of his contemporaries, Erik shared traits and attributes that were all too human. He needed to feel loved by the ones he believed he loved... he craved for recognition for his achievements... and desperately needed to interact with the world without having to strike terror in the hearts of those who see him. In this way, he echoes earlier figures of horror, such as Quasimodo of “The Hunchback of Notre Dame” and the Frankenstein's Monster from “Frankenstein.” His quest to love and to be loved, as well as his aristocratic demeanor, also mirror the nobler qualities of an earlier literary figure, Bram Stoker's Dracula. In the end, like all of the above literary icons, Erik was more than the “Phantom of the Opera.” Erik was, underneath the mask, a human being, albeit one with a number of issues, including social anxiety and paranoia. Andrew Lloyd Weber's musical, despite having taken a number of liberties with the story, has lyrics that echo the various complex emotions that Erik had to endure in his lifetime.

This face that earned
A mother's fear and loathing
A mask my first
Unfeeling scrap of clothing

From an early age, Erik instilled fear and anxiety in the people around him because of his deformed face. The interpretations and versions of the story vary in the details, but in the original novel, he was described to have looked like a living corpse. From Leroux's description, one could deduce that his face was deformed such that it appeared more like a skull than a normal face. His mother, feeling overwhelming fear and anxiety over her son's monstrous appearance, eventually abandoned him. He managed to make an early living in a carnival, where he inspired mockery rather than fear and anxiety. That mockery would eventually evolve into a total dislike of society and people in general, morphing into a twisted form of social anxiety.

Masquerade!
Paper faces on parade...
Masquerade
Hide your face,
So the world
Will never find you!

His social anxiety forced him into seclusion, though he was not completely without contact with the outside world. He gained a good handle on architecture and engineering, building palaces for two prominent rulers, while also serving as an assassin for one of them. His fear of society led him to go to great lengths to remain unseen and hidden in the shadows. With his mask, he was able to conceal his disfigured features to those whom he chose to reveal his presence. He also attained a high sense of appreciation for music, which turned out to be a natural talent for him. Indeed, it was this natural aptitude for performing and composing music that would eventually lead him to seek out Christine, which he probably saw as an outlet for his status anxiety.

Those who have seen your face
Draw back in fear
I am the mask you wear...
It's me they hear.

It is easy to speculate that Erik's initial reasons for training Christine stemmed from his desire to overcome his status anxiety. As he discovered his talent for music, it is possible that he developed the idea to showcase his talent to the world at large, and let them see how much musical brilliance can be produced by someone who was scorned by society. He wanted to use her as his mouthpiece, his “avatar” to the world and society above his shadowy lair. However, even a man that has lived a life alien to concepts such as love and devotion can be made to feel them, in much the same way as Frankenstein's Monster and Quasimodo did in their respective stories. In a way, his pursuit and desire for the love of Christine was his own twisted way of achieving a sense of emotional healing.

Pitiful creature of darkness
What kind of life have you known?
God give me courage to show you
You are not alone

There is little argument on whether or not Erik loved Christine, albeit he expressed that love in a rather twisted manner. Despite the emotional healing that came with training Christine in music, he still behaved very much like the figure of darkness that everyone perceived him to be. This is likely because, despite having felt more human emotions, emotional healing cannot instantly undo a lifetime of psychological damage. His mind was, unfortunately, still damaged and incapable of seeing his actions as anything more than things done out of necessity, unaware of how monstrous his tactics would seem to others. In the end, his music was not able to remove the terror that came with his persona as the Phantom of the Opera.

Wisdom

Title: Wisdom Word Count: 724 Summary: What is wisdom? But first, what are the conditions that render it desirable, if not necessary, and what is its essential purpose? Keywords: wisdom, purpose, life, suffering, satisfaction, religion, happiness, success, courage, awareness Article Body: What is wisdom? But first, what are the conditions that render it desirable, if not necessary, and what is its essential purpose? Life is a desire to live, and better still a desire to live happily. As we strive to satisfy this desire, we encounter obstacles that complicate or frustrate our efforts. This complication or frustration amounts to suffering because it stands in the way of satisfaction. Wisdom is designed to help us cope with this suffering. It is an adaptive product of reason in the face of tough circumstances. Thanks to it, happiness is conceivable and achievable in spite of everything. It is therefore the supreme good. Actually, religion is a good that many rank equally high, since it serves the same purpose as wisdom, if differently. The difference lies in the way religion and wisdom portray suffering and define the meaning of life. From the perspective of religion, suffering betrays a state of worldly imperfection that is in contradiction with the human desire for perfect happiness. Consequently, life here below – where humans are doomed to suffer – is absurd in itself. Or rather, life is meaningful strictly in terms of means to a heavenly end in the great beyond: A life of virtue prepares the way for an afterlife of bliss. The religious believe this in accordance with the teachings of an inspired spiritual leader, who claims to know the transcendental nature of the hereafter. While personally I cast a skeptical eye on these teachings, I keep my mind open. They are highly suspicious, but the transcendental nature of their object puts them beyond the reach of any discredit based on conclusive evidence. Anyway, as I see it, wisdom is independent of religion, though it can complement the latter. According to it, life in itself has meaning, despite its imperfection that people can learn to accept. Better still, they can learn to value this imperfection as they realize that perfection, contrary to popular belief, is not infinitely desirable. Indeed, perfect happiness leaves something to be desired. By definition, it excludes suffering and hence all forms of complication or frustration. It supposes that circumstances are absolutely favorable – that is, not tough in any way. Therefore, no effort is necessary while every dream is possible. At first glance, this sounds like the most wonderful situation imaginable, and yet taking another look at it will dispel this illusion. What strange whim, in the history of humankind, has compelled people from every walk of life to leave their cozy home and embark on risky ventures? Perhaps this whim is not so strange after all. A multitude of conquests have been made for the sheer joy of conquering against great odds. The operative word is pride, accompanied by excitement. To conquest-minded people the infinite ease of heaven entails infinite boredom. To them life – together with the struggle that is integral to it – is the very thing that perfect happiness leaves to be desired. It is an opportunity to prove courageous and victorious, though it is also a risk of failing painfully. Happiness is about grasping this opportunity with courage and gaining a victory over the obstacles that stand between us and success in all the activities that most matter to us. This victory is often strenuous and always limited, precarious, and transitory, and we are bound to lose the battle in the end; but that makes the victory all the more precious and worthy of savoring. When trying to define the activities in which we most care to succeed, we are forced to study our nature to know our purpose. Our growing wise depends on this study and this knowledge, leading to this definition. It begins with an awareness of our animal will to survive, as survival is the foundation on which life, in the truly human sense, is built. The awareness of life in this sense follows. It takes into account both our humanity and our individuality, as members of society with particular tastes and abilities to which a wide range of activities are suited. The clearer we are about our purpose, the more we can live our lives with determination and passion, and so with a greater chance of succeeding and achieving happiness. The reverse is equally true. It therefore stands to reason that in striving after wisdom we lay the groundwork for success and happiness.

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Entertainment coupon book allows you to enjoy your shopping, dining, traveling, movie and many more which you always wanted to. As now on food items you get the discount coupon so restaurant, resorts, hotels, travel are also has became a part of it.

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Be Psychic- Tips For Awakening The Psychic In You

Have your ever had an experience you thought was a coincidence, but a nagging feeling made you feel there was more meaning to it? Those nagging feelings may be the very seeds of your own psychic ability waiting to be cultivated. Your psychic sense can be compared to the bubbles that surface on a quiet pond. As you quietly stare into a still pond, you will soon notice the movement of the water. When you continue to focus your attention into the small body of water, you will eventually see tiny ripples of water and small bubbles emerge from the depths of the quiet pond. That’s exactly the way your sixth sense will respond, when you pay attention to the “psychic bubbles” of insights that surface from the depths of your mind. How can you develop your psychic ability naturally? Set aside time to do nothing but experience your senses. Absorb everything you observe or feel around you. When an image flashes into your mind or a feeling runs through your body, don’t be quick to dismiss it. Instead, allow yourself to savor it as you would a delicious dessert. If it is an image, observe the details of it but also pay attention to the way the image makes you feel. If it’s a feeling, try to make it into an image. Imagine it as a sound or a smell. Try new activities and do old things in new ways. Loosen your focus on goals and try being flexible enough to stimulate your mind by doing something out of the ordinary. Follow your impulses and lean toward the unusual. As you do, you will be exercising your mind to function psychically. Studies show that the brain waves of subjects change when they’re introduced to new materials or experiences. A person who is receptive to new experiences, new information, and has been exposed to unusual and varied life experiences, will find it easier to develop the ability. Therefore, act like sponge! Soak up as many experiences as possible to feed your mind the subliminal stimuli necessary to cultivate your psychic ability. Exercise your extra-sensory mental muscle naturally with these five simple tips: - Travel as much as possible and observe everything. - Change your routine by driving a new way to work or in some other way. - Try an exotic food and savor the experience. - Talk to someone you think you have nothing in common with. - Solve a problem by listening to a “hunch” or “gut instinct”. Developing your psychic sense is a natural as learning how to exercise. One is for body fitness and the other is for mental fitness. Both give you the tools to reach your full potential and the ability to create an even better life than you have now. To develop your sixth sense naturally set aside time to accomplish nothing. Instead just experience the moment through your senses and become aware of everything as though you were just born.

Entertainment and Media Production for your Business. Why?

You are a business. You do well. Why do you need to worry about what Entertainment and Media Production companies can do for you? Why would you need to hire some weird artist to make your company’s exposure to the public more attractive? Let’s get to the bottom line. Revenue! You can actually increase your revenue through the way that you expose yourself in the media. This is not a new idea it’s just advertising.

Entertainment and Media Production companies can do a lot for your business. They can make you literature more visually appealing and easy to read and understand. They can make your TV and radio commercials for you. They can even make great designs your internal newsletter. How does this affect the bottom line? It draws people in to what you want them to read, see or hear. That generates more sales leads, which in turn generate more revenue.

Good and attractive media helps your company look professional. Looking professional helps customers trust you. These customers can be individual buyer or business to business customers. People are more likely to buy from you if the trust you. Many times all the customer sees is your literature. In many businesses they don’t see you office building, or your factory, all they see is your literature and your product. Make your product look great. Then, make you literature look great too.

Good entertainment media, like ads and TV spots can actually work hard for you. A good ad can raise the top of mind awareness for your company or product. As it does this it also positions your company in their mind. Let’s say you own a bank and you ask your entertainment media production department to come up with a TV spot promoting your bank. If they create a TV spot that looks like it was done in a garage, then your bank will be positioned in the minds of the consumers as an unprofessional banking firm. However, if they do an excellent job and make a TV spot that has the feeling of solidarity, then the consumers will position you as a secure bank. In short, find your position then let your ads, TV spots and literature exemplify that position.

Be careful with entertainment media. Vulgarity, offensiveness and even humor can get you in to trouble. You media should never be vulgar or offensive. You are trying to entice people to trust you not turn them away. Humor can be a great tool but it can also be a stumbling block. When you use humor, make sure that it has a purpose (i.e. sell a product or position you company in the mind of the consumers). If it is funny but unrelated. Don’t do it! It won’t help.

Here are a few guidelines about how to use entertainment media.

1. Make it look professional
2. Don’t be uptight. It is okay to have fun as long you don’t forget your purpose
3. Be Fresh but tight. Make all of entertainment media productions clean and appealing
4. Make it memorable
5. Make it friendly (this applies to most businesses
6. Don’t put anything in that is vulgar or offensive
7. Make it fun. Remember that it is called entertainment media production, there should be an element of entertainment.
8. Make your views feel like you are a long-time friend
9. Make it speak your company values. Make your media speak volumes about your company by their layout and design not just the type.
10. Get it done professionally!

Entertainment media production is a powerful tool in helping generate revenue. Let me close with and example. A few years ago BMW took an interesting approach to advertising. They produced a few of short films that featured their cars. These were actual films but every drove BMW cars. They offered these for free to whom ever wanted one and on the DVD was a brochure for their cars. The films were a great way to promote their cars. Be creative when you work with media and it will serve you well.