It's said to soothe the savage beast. It can make your newborn child smarter. Plus, if you play it, you can get cool haircuts and laid often.

Humans have been making music for thousands of years. But only recently has its effects on the human mind been studied in a scientific manner. Music makes us swoon, yearn, weep, laugh, gets us all lovey-dovey or can work us up into an aggressive, martial frenzy. But how?

That's what a group of scientists at McGill and the Université de Montréal are trying to find out, with a new joint institute called (drum roll please) the International Laboratory for Brain, Music and Sound Research (BRAMS). The head researchers are Dr. Robert Zatorre of McGill's Montreal Neurological Institute and Dr. Isabelle Peretz of UdeM's Department of Psychology in the Faculty of Arts and Science. UdeM donated a fair amount of space to BRAMS, although it is not a new department affiliated with any one university.

Technical virtuoso

In a phone interview, Zatorre speaks with the calm, level voice of a professional scientist. But kind of a hip one, name-dropping bands and subcultures with ease. Trained as a classical organist in his undergrad years, he says he "realized he would be a better scientist than a musician" but would incorporate music into his research - which he's been doing for over 20 years.

What makes studying the effects of music on the brain so interesting for researchers are the multitude of different avenues of research possible. "Advanced music touches on a lot of different things," Zatorre says. "What are the mechanisms in the brain that are affected by music? How does a performer sit down and play a piece of music for half an hour from memory? That's an amazing piece of cognition."

The BRAMS team relies on advanced technology to get an inside look at the mind of a musician or music listener. "We use MRI to look at the anatomy of the brain, which is the usual way to use an MRI, and to measure anatomical changes in the brain - MRIs are also used to find brain tumours," he says. "But in a more global way, if we do an MRI on someone who is trained musically, they'll have changes in the parts of the brain that control fingers, and it's possible to show enhancement in certain auditory parts. But in the majority of cases, we look for brain activity. The brain uses oxygen when it's active, so with our scanning protocols it can pick up changes in oxygen use. This way, we can see what parts of the brain are responsible for controlling different functions."

Because music affects not just the brain but also the rest of the body, the BRAMS scientists have also examined singing, toe-tapping, the "chills down the spine" effect, mood manipulation and the effect music has on physical pain. Dentists, for example, often pipe in music when fiddling around in a patient's mouth. "Is it merely for relaxation and distraction [for the patient], or does it actually reduce the pain threshold?" Zatorre asks. "It seems that it's related to endorphins and opiates that might be released in the brain, but that theory's still up for grabs."

Exposed early and often

They are also studying the innate musical knowledge of casual music fans. Zatorre says laypeople can identify discordant notes in a melody, for instance, because of prolonged exposure to music at an early age. But the music they are exposed to is generally Western - classical, jazz or rock/pop. Research has yet to branch out to study, say, classical Chinese music.

"We're stuck with Western music for now solely because the people involved in the study have knowledge of Western music," Zatorre says. "It's hard to find someone anywhere in the world who has not been exposed to Western music." It's so widely disseminated, he says, that even in the more remote parts of the world, people have probably heard some Western songs, which affects their overall musical knowledge. "What, then, is the influence of early exposure?" he asks.

Still, there is much, much more to learn about the human brain. "We try to cover the whole musical spectrum," he says. "Different styles of music have different components that are of interest. Why can a classical pianist play a 30-minute sonata from memory? That's not typical in pop, where musicians tend to learn chords. And if you want to study improvisation, you look at jazz. A classically-trained musician has no clue how to improvise."

And as for that theory about playing Mozart to babies? "Well, I think it's a good way to sell CDs," he says. "But I think that theory's way overblown."

Researchers have found the first evidence that young children who take music lessons show different brain development and improved memory over the course of a year compared to children who do not receive musical training.

The findings, published today (20 September 2006) in the online edition of the journal Brain [1], show that not only do the brains of musically-trained children respond to music in a different way to those of the untrained children, but also that the training improves their memory as well. After one year the musically trained children performed better in a memory test that is correlated with general intelligence skills such as literacy, verbal memory, visiospatial processing, mathematics and IQ.

The Canadian-based researchers reached these conclusions after measuring changes in brain responses to sounds in children aged between four and six. Over the period of a year they took four measurements in two groups of children -- those taking Suzuki music lessons and those taking no musical training outside school -- and found developmental changes over periods as short as four months. While previous studies have shown that older children given music lessons had greater improvements in IQ scores than children given drama lessons, this is the first study to identify these effects in brain-based measurements in young children.

Dr Laurel Trainor, Professor of Psychology, Neuroscience and Behaviour at McMaster University and Director of the McMaster Institute for Music and the Mind, said: "This is the first study to show that brain responses in young, musically trained and untrained children change differently over the course of a year. These changes are likely to be related to the cognitive benefit that is seen with musical training." Prof Trainor led the study with Dr Takako Fujioka, a scientist at Baycrest's Rotman Research Institute.

The research team designed their study to investigate (1) how auditory responses in children matured over the period of a year, (2) whether responses to meaningful sounds, such as musical tones, matured differently than responses to noises, and (3) how musical training affected normal brain development in young children.

At the beginning of the study, six of the children (five boys, one girl) had just started to attend a Suzuki music school; the other six children (four boys, two girls) had no music lessons outside school.

The researchers chose children being trained by the Suzuki method for several reasons: it ensured the children were all trained in the same way, were not selected for training according to their initial musical talent and had similar support from their families. In addition, because there was no early training in reading music, the Suzuki method provided the researchers with a good model of how training in auditory, sensory and motor activities induces changes in the cortex of the brain. Brain activity was measured by magnetoencephalography (MEG) while the children listened to two types of sounds: a violin tone and a white noise burst. MEG is a non-invasive brain scanning technology that measures the magnetic fields outside the head that are associated with the electrical fields generated when groups of neurons (nerve cells) fire in synchrony. When a sound is heard, the brain processes the information from the ears in a series of stages. MEG provides millisecond-by-millisecond information that tracks these stages of processing; the stages show up as positive or negative deflections (or peaks), called components, in the MEG waveform. Earlier peaks tend to reflect sensory processing and later peaks, perceptual or cognitive processing.

The researchers recorded the measurements four times during the year, and during the first and fourth session the children also completed a music test (in which they were asked to discriminate between same and different harmonies, rhythms and melodies) and a digit span memory test (in which they had to listen to a series of numbers, remember them and repeat them back to the experimenter).

Analysis of the MEG responses showed that across all children, larger responses were seen to the violin tones than to the white noise, indicating that more cortical resources were put to processing meaningful sounds. In addition, the time that it took for the brain to respond to the sounds (the latency of certain MEG components) decreased over the year. This means that as children matured, the electrical conduction between neurons in their brains worked faster.

Of most interest, the Suzuki children showed a greater change over the year in response to violin tones in an MEG component (N250m) related to attention and sound discrimination than did the children not taking music lessons.

Analysis of the music tasks showed greater improvement over the year in melody, harmony and rhythm processing in the children studying music compared to those not studying music. General memory capacity also improved more in the children studying music than in those not studying music.

Prof Trainor said: "That the children studying music for a year improved in musical listening skills more than children not studying music is perhaps not very surprising. On the other hand, it is very interesting that the children taking music lessons improved more over the year on general memory skills that are correlated with non-musical abilities such as literacy, verbal memory, visiospatial processing, mathematics and IQ than did the children not taking lessons. The finding of very rapid maturation of the N250m component to violin sounds in children taking music lessons fits with their large improvement on the memory test. It suggests that musical training is having an effect on how the brain gets wired for general cognitive functioning related to memory and attention."

Dr Fujioka added: "Previous work has shown assignment to musical training is associated with improvements in IQ in school-aged children. Our work explores how musical training affects the way in which the brain develops. It is clear that music is good for children's cognitive development and that music should be part of the pre-school and primary school curriculum."

The next phase of the study will look at the benefits of musical training in older adults.

Do you ever come accros a webpage adorned in colors and why it is all these colors, while none of the other writing tips pages are so adorned?  It is called psychology.  You were cruising along through the pages, then you clicked to a page and were sort of startled.  It grabbed your attention.  I know you have heard it said many times, you have to grab  the readers attention.

No, this isn’t about why you write, but about how you write.  Having rather extensive training in psychology, I have tried to analyze the frame of mind you must be in and your surroundings when you write.  The following suggestions are based on sound principle, and some of what I use in my workshops and seminars.

The first question is:  Where do you write?

• Do you have a fairly quiet, relaxing place to write?  Can you escape from the other sounds and distractions around each of us?  In other words, can you find solitude, without any sort of distractions?  This is vitally important to writing well, especially when you do that final rewrite to make your novel or book as perfect as you know how.
  

The next question:  Is your writing place cluttered or neat?

• I firmly believe one must work in an uncluttered environment  for their writing to be uncluttered.  If you have “stuff” stacked all around, two dirty coffee mugs, half a dozen notebooks and scratchpads with notes on them, computer disks lying about, a half-eaten package of Oreo cookies in front of your monitor, a bag of Fritos alongside the monitor, a haphazard stack of print paper on the other side of your monitor, a clock atop your monitor, so you won’t forget to pick the kids up, well, you get the idea.  This is a cluttered mess!  How in the world can you work in there, while stepping on spilled potato chips? (:
• I have what I call uncluttered clutter.  Yes, I have some fifty CDs that have to be close by, but I have them in those neat little vertical racks, sorted by type of program etc.  Yes, I have several notebooks and scratchpads, but they are also in one of these stack file trays, with a label on the tray to tell me what is on or in each notebook or scratchpad.
• How many books do you have stacked around?  If they are references you are currently using, put them somewhere besides right on the desk by your monitor, yet still within easy reach.
• Sweep the chips off the floor.  Just kidding.  (:
• Another little reasonably priced piece of equipment that is great is the case to set your printer on that holds your paper, etc.  These come in a number of styles, but my favorite has side-by-side trays that accommodate 8 ½ X 11 paper.  It comes with four slide trays, so you can have four different papers quite neatly and readily available.  Cheap copy paper for those drafts you print out, good 24 lb. Bond paper to send to agents etc, card stock for printing your own cards identifying you as a writer, and that laid bamboo paper for important correspondence.
• All in all, the message I want to deliver here is, as I stated, an uncluttered work area makes for an uncluttered mind.
  

So, now that we have our room all cleaned and straightened up, what about your frame of mind as you write?  And, this is far more important than your writing area being uncluttered.  Please do not object to language here, because it is part of writing.

I would first like to ask you a question.  How many times have you seen an actor/actress in a movie shed tears?  I mean, when you can actually see the tears run out of their eyes and down their cheeks?  How can they actually cry in that scene?  Sure, someone can squirt onion juice in their eyes, but do you think Julia Roberts would put up with that?  Have you noticed, the truly good actors and actresses draw you in, make you cry, too?  Heck, you know it’s just fiction.  Why are you crying?  Because the actress is crying.  Plainly and simply, you are feeling what they are feeling, and that is the secret to their being able to cry in a sad scene.  They actually FEEL the sadness they are play-acting, so they cry.

How can you get in the frame of mind to write a sad scene that will move your reader to tears?  You do not have the good fortune to be able to sit with your readers and cry like the actress sits on the screen in front of you and cries.  YOU MUST DO IT WITH WORDS!

Again, let me ask a question.  Can you write a truly sad scene while laughing at someone telling you a joke?  Not likely.  Can you write a funny scene when someone is telling you about their mother passing away?  Of course not.  Not only would her sadness distract you, but it would be a rather impolite thing to do.  (:

Remember, we are speaking of the psychology of writing.  You must be in the proper psychological frame of mind to write certain scenes well and make your reader cry, get angry or laugh.  If you do any or all of these things with your writing, you are doing well.

How do you get in the right frame of mind to write an angry scene?  Well, for some, you can sit and stare at the shredded picture of that bastard you gave the better part of your life to, only to have him run off with a twenty-year-old!  Think about him going out the door for the last time, and the anger you felt.  Get mad all over again!  Then, sit down and write your angry scene.

To write a sad scene?  Wait for a rainy or, at least, a cloudy day.  Stare out the window and think of the hurt you felt when he left you.  Or think about the young boy who died of leukemia.  Think back to when one of your parents died.  When you have tears running down your face, start typing.

When I do a writing seminar or workshop, I like to have fun.  So I tell the attendees all these things, only I elaborate.  Then, I tell them I have to replace my keyboard about once a month.  I either ruin it from the salt in my tears or I beat it to death!

Again, how do you write a truly funny scene?  Well, some scenes will be funny regardless of your mood.  But the best way, before you start writing, don’t think about funny jokes you have heard or read.  Rather, think about true funny things that you have observed or which have happened to you.

In conclusion, the main thing to remember is that your mood will be reflected in your writing, despite yourself.  It is a psychological fact.  Let me give you a small bit of information that will convince you of the psychological pressure used against us every day.  Are you aware that corporations such as GM or Ford or Proctor and Gamble pay Industrial Psychologists HUGE, HUGE salaries and bonuses, sometimes running into the millions?  What do they do for all that money?  No, they do not design commercials.  That’s another department.  What they do is, cause you to  choose their product over others through very subtle means.

Unless you saved your boxes over a year's time, you would never notice the slight change in package colors to fit the season.  Hot summers call for softer color.  The dead of a cold winter puts the brighter, more intense packaging on the shelf.  The brighter colors unconsciously attract you when the weather is miserable.

Let me tell you about another trick they pull on you.  I’ll illustrate by example.  When you buy a box of a well-known brand of laundry detergent, it comes with a little scoop included.  You put a scoop of powder into the washer, and when the box is empty, you buy another box, with a brand new scoop enclosed, and you throw the old box away, scoop and all.

Now, suppose you are the executive in charge of this division, and the big boys tell you your sales were lagging.  My gosh, you’ve done everything you know how to move more product.  Then, you hit on a great idea, perhaps with the aid of your Industrial Psychologist.  Just increase the size of your scoop, so people will use more product in each load of clothes they wash.  “Hell, Joe, let’s just make the scoop half again as large!  Brilliant!”

“No, no, Percy.  People would notice.  But, what we can do is gradually increase the size of the scoop.”

That is exactly what this company has done over the last two to three years.  They have increased the size of their scoop by over 30%.  Guess what?  You are using 30% more detergent to wash your clothes every time you dump a scoop in the washer.  But, you hadn’t noticed, because the scoop was slowly increased in size and you threw the old scoop away every time you bought a new box, along with its slightly larger scoop.

This really happened.  Being the frugal and inquisitive type, I saved the scoops for comparison.  I use it as an example of how we are manipulated by the company wanting us to buy their product or use more of their product.  You have all seen the ad for the well-known aspirin brand that states it helps prevent heart attacks.  They advertise as if their brand is the only one that will do that when, in truth, an aspirin is an aspirin.  But, heck, who doesn’t want to prevent a heart attack?  Gotta go get some of them!

Although these examples have nothing to do with writing, they do point out the psychology of how we perceive things or how we don’t perceive them.  It illustrates that we are, indeed, susceptible to our own psyche.  That is why it is so important to be in the proper frame of mind to write various scenes.  If we are consciously sad, our unconscious mind will lend toward us putting that sadness in our work.

I hope this article will be of use to you, and keep writing.  (BUT, psyche yourself up for the task first.  (:  )

Pricing is one of the four major components of marketing. Psychological pricing forms one of the key elements of demand pricing wherein the consumer demand is the main focus. The price and quality relationship that governs the central theme of the consumer market relationship is surrounded by uncertainty and gives the consumer the perception that higher the price, better the quality. 

The science of pricing is an art in itself. Rounding off the figures may be good for basic maths but never in business. The art of setting prices for articles has been an ever challenging task in business. Keeping in mind the changing economy, heavy competition in the market and consumer affordability, the trick of pricing an article has been more on a psychological evaluation of the consumer. Pricing is usually done by keeping with industry standards. But in order to sell their products after a baseline or whole sale price has been fixed, individual business organizations have most often dealt with pricing in terms of smaller denominations such as cents and pennies. 

While quoting the universal example of $9.95 or 9.99 being more attractive to consumers as compared to $10, this psychology seems to hold in business world wide. The main reason for this is that people tend to see the first figure in dollars as compared to the cents. $9 is cheaper than $10, and the cents don't figure in the perception. While shopping, consumers tend to overlook small differences in cents but go by the dollar value. And funnily, the highest single odd digit is the most psychologically favoured and 9 is that most fortunate figure of acceptance. However one cannot rule out the fact that the cents are totally ignored by the customer but the ignorance is at the subconscious level and is partial. Also the use of odd figures has a background in that it was used to curb theft by employees by way of forcing them to give change and enter the amount in the cash register a practice that was originally put forth way back in 1875 by the publisher of Chicago daily news, Melville E. Stone. 

Another most popular way of attracting consumers has been introductory offers. Suppose a new toothpaste is released in market, it often sells better when its accompanied by a free sample, a toothbrush or even 25% extra toothpaste. And more so when the actual price is quoted and struck off, with a new pricing quoted in a different colour alongside to attract the consumer. Often in these cases the consumer has this inherent feeling that he is getting more for a lesser price. Sometimes he also compares another similar priced similar product with the one available on discount to satisfy himself that he is certainly getting more for the price quoted. 

When an article comes to shelf with a certain price, consumers most often never question how and why it was priced. If a group of articles is priced at say in the range of $20s, the price is taken for granted and the evaluation and comparison of prices is limited to that range only even if the product may be of lower or higher value of that price. However, when the price of the same set is increased after a certain period, the consumers do not appreciate it. The tactic of increasing the price by 20% and giving a 10% discount on the same article is perceived better than just an increase in price. "Buy one take one free" is another pricing tactic to attract buyers although the offer maybe for a limited period of time. Definitely such articles sell fastest. 

By increasing the price of a product by a few cents, a company can earn profit as there seems to be no complaints from the consumer as the price hovers around a key threshold point and minor increase is accepted. Consumer sensitivity in pricing can be found when the consumers have no other product to compare with or when the product is exclusive and unique. Even in such cases, when the product is bundled with a few other accessories, the aspect of consumer emotion is very much aroused and they sell better.

Above all, when a customer is satisfied, both the company and the customer are profited. But then the response to the concept of psychology pricing has always been mixed. As long as the customer is not cheated, the concept is of advantage to sellers.

There are certain things you can do that might help your date go with a bang - and turn into something more serious.

Ditch the chat up lines

It can take between 90 seconds and 4 minutes to decide if we fancy someone. But this has little to do with your smooth-talking. As far as attraction goes, here's how we get the message:

• 55% is through body language
• 38% is the tone and speed of our voice
• Only 7% is through what we say
  

Stare into each others' eyes

New York psychologist, Professor Arthur Arun, has been studying the dynamics of what happens when people fall in love. He has shown that the simple act of staring into each other's eyes has a powerful impact.

He asked two complete strangers to reveal to each other intimate details about their lives. This carried on for an hour and a half. The two strangers were then made to stare into each others eyes without talking for four minutes. Afterwards many of his couples confessed to feeling deeply attracted to their opposite number and two of his subjects even married afterwards.

When we are aroused and interested in what we are looking at our pupils dilate. In medieval Italy, women put belladonna into their eyes to make them look bigger. In fact, bella donna means 'beautiful lady'. However, this is not recommended, as belladonna is a kind of poison!

Match their moves

When people are attracted to each other, they tend to sit or stand in the same way and copy each other's physical gestures. This is known as 'mirroring'. When someone does this, it marks good communication and shows us that our interest is reciprocated. Mirroring also happens when talking to close friends as well as potential lovers, so be careful as you may misread signs of friendship as signs of love.

Don't play hard to get

Research suggest that playing hard to get doesn't usually work. However, there is a theory that we tend to fancy people who are hard to get for everyone else, but easy for us to get.

Scientists tested this 'selective difficulty' theory by using a computer dating experiment. One woman was keen to meet any of the dates that the computer selected for her. Another played hard to get and wasn't enthusiastic towards any of her computer matches. A third was selective and only showed interest in one of the candidates. Out of all three women, the choosy woman was the most preferred by all the male participants.

Understanding lonely hearts ads

If you wrote a lonely hearts ad, what would it say about you? Does the opposite sex find you more attractive if you describe yourself as sexy or successful, or wealthy or reliable?

Be dangerous

Another experiment showed that if people experience fear on a date they often misinterpret that feeling as love. So dates at a theme park are likely to be successful. A bungee jump might seal your relationship for life!

In fact, people who both like the same level of thrills and excitement are more likely to be compatible. 

Why are some people born natural flirts and others couldn’t charm the backside of a bus if their life depended on it?

The power of flirting goes beyond attracting the opposite sex. Master the art of flirting and you also become a friend magnet and can use your skills to influence business relationships. 

“You’ve either got it or you haven’t!” is often what you will hear men saying when they boast about their conquests. Women, on the other hand, are more coy when talking about a man they have met. So as not to appear full of herself, she will often say to her friends “Oooh, I don’t think he likes me, what do you think?” If she is a successful flirt, however, she will be thinking along the same lines of a man, “Yeah, he was putty in my hands!”

Flirting is an art requiring confidence. A successful flirt knows how to get the balance just right; too much and there is a real danger you will be labelled as “slimy” (if you’re a man) and “tarty” (if you’re a woman).

If flirting doesn’t come naturally to you, you can learn to flirt by building your confidence, believing in yourself and interacting with other people.

Here are some basic flirting tips which can be practised at work and/or on a social scene.

1. Have Fun!
First and foremost flirting is fun! Whether you are the flirter or the flirtee it makes both parties smile (on the inside as well as the outside!). Don’t take it seriously; be playful, be light-hearted, be infectious!

2. Ooze Confidence
The best flirts have a positive outlook on life and are happy with themselves. To successfully flirt you need to feel good about yourself before you are able to transmit this “feel good” factor to the opposite sex. If you display a positive and optimistic attitude to life you will find yourself connecting with people who are right for you.

3. Make the first move
Don’t wait for someone to approach you. If it’s someone at work you’ve got your eye on, wait for them to go to the kitchen and then make a beeline for the coffee machine. The same applies in a bar, wait for them to go to the bar and then squeeze in next to them. Start with a simple “Hello” and take things from there. What have you got to lose?

4. Pay a compliment and receive a smile
A genuine compliment costs nothing and yet can make someone feel so special. If someone looks great, tell them! If someone has achieved something to be proud of, tell them! Once you start making someone feel good about themselves, they are more likely to want to spend more time with you! And if someone pays you a compliment, be proud of the compliment and say “Thank you”!

5. Eye to Eye Contact
Eye contact is one of our most powerful communicating mechanisms. Most people don’t have a problem making eye contact with someone they don’t find attractive but they become awkward in front of people they are attracted to. If you tend to look away at people you like, practice making eye contact with people on your way to work, a quick glance and then turn away. This is a good way to build up your confidence. Don’t stare, however, this will make people feel uncomfortable!

6. Pitch your voice
Learn to vary the tone, pitch and speed of your voice. A voice rich in tones sounds far more interesting than one dull note!

7. Listen
A good flirt has the ability to get people to open up and talk about themselves. Pay attention when someone is talking to you and ask questions to show you are interested. The best questions are the ones which will lead to someone remembering a positive experience about themselves.

8. Move your body!
There are many positive body language signs: lingering eye contact, smiling widely, touching someone, head tilting to one side, running fingers through hair, undivided attention but if you really want to let go and flirt openly – dance! Dancing is a great form of self-expression allowing you to interact with someone and connect.

9. Smile, Smile, Smile!
Make your smile contagious! The more you smile the more people will want to know you and be around you!

10. Don’t be rude!
Flirting does not involve being sexually explicit! Nor does it involve being offensive if someone rejects your advances. If you have been flirting with someone and are not receiving positive feedback don’t get disheartened or take it personally, move on to the next person! You may want to consider a different approach if you are getting a lot of rejections.

11. Send an email
Emails are a great way to communicate with someone if you’re too shy to approach them face to face. Whether it’s someone you are interested in at work or you want to try internet dating, emails and instant messaging allow you to flirt without blushing or getting tongue-tied. 

Be careful not to become intimate online too quickly though; it’s easy to paint a rosy picture of the person behind the monitor but until you have met them you don’t really know them. My message here is get to know someone online before arranging a date, but don’t fall in love before meeting them! The reality could burst the bubble!

Hopefully you’ve got the idea now so the next time you’re online, in the supermarket, in a night club or at work and someone catches your eye, remember my tips and flirt with them!

I have compiled a list of 12 tips I think should be helpful when you are writing articles on the Internet.

1. Use lots of white space. People like to read in 'chunks' of information so have lots of space in your background.

2. Use short paragraphs. Following on from tip 1 keep it short and let your visitor read little pieces of information at a time.

3. Use the occasional exclamation mark (!) to get your readers attention. But please do not over use this as many people now appear to be doing.

4. Ask a question so that your visitor will read on to find the answer. This keeps the readers attention focussed.

5. Put a lot of thought and effort into your heading. If the heading does not get the visitors attention straight away then they will just move on and not even read your article. Try 'The 7 Secrets to Successfully breeding Cane Toads' rather than 'How to breed cane toads'.

6. Use bullets to quickly outline a number of points that may be important in your article. Readers can scan through these.

7. Use numbers if this is appropriate for writing an article. For example the way I am writing this article.

8. Outline the benefits to your reader. They want to know what they can get out of reading the article so portray the benefits of what you are writing about.

9. Do not waffle. This is never more important than on the Internet. People get bored quickly and there are a million other articles they could be reading instead of yours. Get to the point quickly - in the very 1ST line!

10. Target your article. Make it on one topic only and stick to the topic. Do not try to write about 2 or 3 things in the same article. Keep your focus on one topic to keep the interest of your reader.

11. Conclude with a strong message. A message that summarises your article or gets your reader to take further action.

12. Finally, be humble. People admire people who are humble. Do not talk down to your readers.

Learn as much as you can about writing on the Internet. It really is different to writing in the offline world. Read as many articles as you can and see which ones you find easier to read.

Whether the other person is interested or not, you'll never know unless you ask. So gather up all your courage and follow these steps.

Instructions

• STEP 1: Introduce yourself to that person you've been admiring from afar.
• STEP 2: Get the person's telephone number, or tell a common friend you would like the number.
• STEP 3: Call. Choose a time that is not intrusive. Call when you are comfortable doing so, regardless of what your friends might say about the right time to call.
• STEP 4: Reintroduce yourself once you're on the phone by saying something like, "Hey, it's Shirley. We met at the drag strip."
• STEP 5: Using as little pretense as possible (ideally none), ask the person if he or she would like to get together for a cup of coffee or do something similarly casual. If you are politely refused, take the hint and get off the phone.
• STEP 6: Meet casually for a brief time - half an hour or so. If that goes well, suggest a more formal date, such as lunch.
• STEP 7: Go on the more formal date.

Tips & Warnings

• Besides getting a cup of coffee, some of the best ideas for a date are the things you love to do the most, such as going to an art museum or getting muddy on a mountain bike ride. This gives the other person a chance to get to know more about your personality.
• Humor is often the best remedy for rejection. Congratulate yourself for trying and move on.
• Going to see a movie is not a very good idea for a date; it shows a lack of creativity and does not allow the two of you to spend much time talking.

Asking for a second date can be just as nerve racking as asking for a first date. The fear of rejection when you ask for a first date still exists to a certain degree when you are asking for a second date. This is because you may be uncertain whether or not your perception of the first date  was shared by your date. If you aren’t positive that they had a good time on the first date then you may worry that they will not welcome the opportunity to go ona second date with you.

Laying the groundwork for a second date at the conclusion of the first date is one way to make asking for a second date easier. If you enjoyed the first date and suspect that your date did also, you can try suggesting a second date as you are saying your goodbyes on the first date. Be honest with your date about how you had a good time on this first date and would like to continue the relationship by going on a second date. Hopefully your date will also be honest in their response and if they had a good time as well, they will mostly likely be open to the idea of a second date. You do not have to establish the details of the second date immediately but finding out if your date is even interested in a second date can make it much easier to call them later in the week to officially ask them out on a second date and suggest specific details for the date.

Sending flowers as a thank you for the first date can provide the opportunity to ask for a second date. If you are interested in a second date, you might consider sending flowers a few days after your first date and including a note with the flowers that tells your date that you had a great time on the first date and would love the opportunity to have a second date. Not only is this a sweet way to say thank you for the first date but also it increases your chances of having your date agree to go on a second date with you. The other great part about this technique is that prevents you from having to ask for the second date face to face. This is especially helpful in the situation where you are not completely positive that your date enjoyed them as much as you did on the first date.

A similar way to ask for a second date is to send your date a souvenir that is intended to remind them of your first date. For example if you attended a concert on your first date, you might consider sending your date a copy of the band’s latest CD along with the ticket stubs from the concert. You can conclude a card with the gift that tells your date what a great time you had on the first date and how you hope to have the opportunity for a second date.

You can also use a casual get together as an opportunity to ask for a second date. You might consider asking your date to meet you for coffee one afternoon. The two of you can discuss your previous date over coffee and you can take this opportunity to ask your partner out on an official second date. Although some may argue that getting together for coffee is a second date, you can look at that as kind of a test for whether or not your partner will say yes to another official date. Chances are that if they are willing to meet you for coffee than they would be willing to go on a second date with you. Meeting to talk about a second date also gives you and your partner the opportunity to plan the second date in detail together. You can talk about where and when you would like your next date to take place so that you each have a chance to offer your input.

A second date is very rarely guaranteed so asking for a second date includes a risk of rejection. Whether you choose to ask for your second date by sending a gift or meeting in person, you may find yourself being rejected. It is important remember that even if you perceived the first date as going very well your date may have not felt the same way.

Don't settle for topical solutions to increasing your self-worth. True self-confidence isn't an overnight acquisition. It takes dedication to realize you are a good human being that is worthy of respect and love.

Steps

1. Try to think more positively about yourself and say more positive things. People will appreciate you more if you're always being positive, and it will make you seem like a fun and interesting person, which you are!
2. Remember to look at yourself in the mirror and recognize your good points. It's a fact that most people underestimate the quality of their looks by about 25%!
3. Give yourself credit for your success in life. No one else is responsible for your achievements. Did anyone put a gun to your head and force you to go to work/school/practice today? Your parents brought you into this world, but that is all. You chose to do everything from the point of your first conscious adult thought.
4. Feel free to say whatever you please. It will be hard to talk out in class or at work for the first time, but once you've started, it gets much easier.
5. Don't let people drag you down. If they say something mean, they are obviously trying to bring you down. Don't let them, just walk away.
6. Be yourself! If you're shy, talk a little! If you feel uncool around people, remember that everyone was created equal and everyone is only human, even celebrities! You are just as good as they are!
7. Remember that nobody is perfect. Every once in a while the seemingly most beautiful and popular people get deceived or have hidden insecurities. At one point in each of our lives, we always feel that we lack something. That is the reality of life.
8. Join a club and make new friends.
9. Wear clothes you love. Being comfortable and feeling attractive in your clothes can up your confidence by several notches.
10. Find friends who will make you feel good about yourself. Make a point of being around people you can look up to and emulate.
11. Express yourself. Art, music, writing. Find something you enjoy. Everyone is born the same way- talent is nothing! If you practice really hard, anything can be done by you! Remember- you are just as good as everybody else! As an extra plus, you'll be more able to recognize your worth to the world along the way.
12. Respect and commit to your partner as according to your words, and do not do the opposite.
13. If you still cannot build self-confidence, fake it. Pretend to be confident. You can do this by pretending, or even convincing yourself that you are superior to everyone else, but remember that in the end, you are not better, only different.
14. Stick to your principles. Don't compromise just to maintain a relationship. It might be tough, but if you don't have something you can believe in, you don't have anything.
15. Everyone should be able to name a few things they do well (not necessarily an expert, just above average ability) or enjoy doing regardless of talent, without putting too much thought into making the list. If you find it difficult to name two or three things you have some ability in or just plain love to do, think about things others do that you would like to do too (within reason of course!) and take some lessons or join an enthusiasts club. Keep going until you can say something like "I love to go for walks with friends, host dinner parties and garden. My neighbors often comment about my lovely garden and my cooking gets better with each party I host!" Adding a variety of interests to your life will not only make you more confident, but it will increase your chances of meeting compatible friends!

Tips

• Exercise makes a person feel better.
• Keep a positive attitude. Name 10 positive things that you want to do.
• Your intelligence is always more important than your weight.
• Always smile brightly and be happy.
• Don't get wrapped up in your mistakes and dwell on bad points; they can contrast your good points or even give you something to improve. There's no feeling like being good at something you were really bad at.
• Find hobbies and interests that can increase your knowledge and skills, or that just make you really happy. Examples: blogging, writing, designing websites, playing football.
• Do things that will cause other people to respect you and help you to respect yourself.
• If you've got it, flaunt it! Look at your best feature (even if it's your feet!) and find ways to enhance it.
• Look in the mirror and think of all the good things about you! Not the bad.
• Everybody was created equal! You're just as good as everyone else, don't let them make you think different.
• Know the difference between jealousy and envy; whilst jealousy is wishing you had something that someone else does, envy is wishing that you had it and they didn't. Learn to turn jealousy into a motive to achieve.
• Don't be afraid to push yourself a bit - a little bit of pressure can actually show just how good you are!
• Listen to music. If there is one song that makes you feel really alive and like you can do anything listen to it before you go out. It is guarenteed to put you in a good mood.

Warnings

• There is such a thing as trying too hard, talking too much, etc. Pay attention to people's body language, and how they respond. You'll notice if you're talking too much, because they will be the one listening most of the time, and you will start to notice their silence.
• Don't confuse what you have with who you are. People degrade their self worth when comparing possessions.
• Don't talk just for the sake of talking.You could just end up saying a load off rubbish that makes you look really stupid. But also don't think too much before you speak either because you will miss out on the conversation.

You've been thinking about that hot new kid all month. So when you see the object of your affection by the lockers, you take a deep breath and head over. As you approach, though, those clear green eyes turn your way and suddenly you can't breathe — much less think of what you wanted to say. So you keep on walking . . . right past your crush and over to the trophy display case, where you pretend to be fascinated with the 1992 boys' state badminton championship plaque. You gather your courage. Too late! A friend at the lockers has struck up the conversation you wish you could be having. You stare at the dusty awards and mentally shake yourself for wimping out.

Why can it be so hard to approach new people or try new things? If you find yourself hesitating because of what others might think or because of a fear of being rejected, embarrassed, sounding silly, or making a mistake, then chances are shyness is the culprit.

What Is Shyness?

Shyness is a social emotion that affects a person's feelings, thoughts, and behavior. Shyness is about feeling uncomfortable, self-conscious, scared, nervous, or insecure around others. When people feel shy, they hold back on saying or doing things because they're concerned about how others might respond. Physical sensations can be part of shyness, too — like feeling flushed, shaky, queasy, speechless, or breathless.

Shyness tends to strike in certain kinds of social situations — like the first day of school, when you're meeting someone new, initiating a conversation with someone you feel attracted to, or giving a presentation in class. People are more likely to feel shy in situations where they're not sure what will happen, how others will react, or when all eyes are on them. People are less likely to feel shy in situations where they know what to expect and what to do or say or where they are among familiar people.

Shyness can vary from person to person. People can be mildly shy, moderately shy, or extremely shy. Some people with mild to moderate shyness feel shy only in certain circumstances. For these people, shyness may feel uncomfortable at first, but it often melts away after a few minutes. They often learn to push through their immediate shyness, knowing they'll warm up to new people or situations if they can just get through that initial reaction.

People who are extremely shy find it hard to push through their initial shyness. They may avoid social situations, have trouble making friends, or hold back on trying new things. Eventually this can interfere with their self-confidence and self-esteem.

What Causes Shyness?

Occasional mild to moderate feelings of shyness are like any emotion — as with happiness or sadness, feelings of shyness can be a part of how we experience things and react. But other factors can also influence shyness:

• Temperament. People can be shy by nature in the same way that people can seem grumpy, upbeat, nervous, or easygoing. Scientists believe that temperament is determined by the genes children inherit from their parents. Someone with a shy nature is more likely to be cautious, slower to get used to changes, and prefer to stick to what's familiar. He or she is more likely to hesitate when faced with something new. People who are shy by nature are also more likely to watch everyone else for a while before joining in on a group activity. They might be more sensitive to emotions — not only their own, but the feelings of others as well. Because of their emotional sensitivity, people with this temperament are often kind and caring toward others.
• Learned behaviors. Someone's natural tendency to be shy can be influenced by what they learn from others, especially family members. If parents are overly cautious or shy and find socializing uncomfortable, their actions might teach a child (especially one with shy temperament) that socializing is uncomfortable or distressing — even without meaning to! Young children also learn to expect certain reactions based on how people respond to their actions. If children are constantly receiving critical or disapproving reactions, they may grow into adults who expect others to judge them negatively. These people are more likely to be reserved, shy, scared, or intimidated by certain situations.
• Uncomfortable experiences. What a person learns from experience can influence shyness, too. Someone with a shy nature might become even more shy if they get pushed too much into unfamiliar or uncomfortable situations. Getting teased, bullied, treated unkindly, or humiliated by peers, siblings, or adults will probably make someone who's already shy retreat even more. On the other hand, if someone who's shy is allowed to approach new things little by little, this positive experience can help them learn to feel less shy.

What Can Someone Do About Shyness?

The good news is that no one is destined to be shy. People with shy natures can overcome shyness. Old patterns and experiences can be unlearned when they're replaced with new, positive experiences that teach new skills. If you're a shy person, the key to overcoming shyness is surrounding yourself with good people.

The way others react to someone who's shy can make a big difference. When you're shy, simply having someone who understands and accepts you is really, really important. This person might be a parent, a sibling, aunt, uncle, cousin, teacher, counselor, or best friend. Knowing someone's behind you as you learn to take slow forward steps can help shyness melt.

Good friends and supportive family members know how to help a shy person approach a new experience at their own pace. Really good friends and loved ones also know not to overprotect someone who's shy. Being protected from an experience doesn't allow someone to learn to handle it. The person doing the overprotecting sends a message that the experience is too much for the shy person to handle — even if they don't really believe it. That's not a confidence builder!

Here are some tips things to keep in mind if you're dealing with shyness.

• Learn and practice social skills. People who are shy give themselves fewer chances to practice social behaviors. It's no wonder that people who shy away from socializing don't feel as socially confident as peers who chat it up a lot. Practice social behaviors like eye contact, confident body language, smiling, introductions, small talk, asking questions, and invitations with the people you feel most comfortable around. Build your confidence this way.
• Plan ahead. When you're ready to try something you've been avoiding — like a phone call or a conversation — write down what you want to say beforehand. Rehearse it out loud, maybe even in front of the mirror. Then just do it. Don't worry if it's not perfect (few of the things more confident-seeming peers do are perfect either). Be proud that you gave it a go. Next time, it'll be even better because it will be easier.
• Be your own best friend. People who are shy are concerned with how others might judge them. Because they're always tuned in to the possibility of negative judgments, shy people are sometimes pretty judgmental themselves. And the people they're the hardest on? Themselves. Notice the negative judgments you might be making about yourself. Ask yourself whether you'd criticize your best friend for the same things. If not, then treat yourself like your own best friend. Accept yourself with all your imperfections.
• Act as if you're not shy. Sound strange? "Acting as if" is a technique that can help you shift into a more self-assured attitude and let you try social behaviors that you don't normally use. Think of people whose social ease you admire and respect. Act as if you were in that person's shoes.
• Develop your assertiveness. Shy people are often less assertive, but that doesn't mean they're wimpy or cowardly. Because shy people might be overly concerned with others' reactions to them, they don't want to rock the boat. But this can mean they are less likely to speak up for themselves when they should, ask for what they want when they need to, or tell people when their toes are being stepped on (ouch!). Assertiveness skills can help people find respectful ways of standing up for themselves and build self-respect. Think quiet power.
• Focus on your strengths. What do you do best? What qualities in yourself do you feel really good about? Ask your best friend or family members what they think your strengths are, too. When you're in a situation that makes you nervous, think about your qualities and strengths. As with assertiveness, when you feel competent, you feel more self-assured. And your confidence builds.
• You're just fine the way you are. We can't change our true inner nature. (And who would want to? If everyone were perfect, we'd all be the same — which means we'd all be pretty bored with each other!) But we can learn outer behaviors, like "acting as if" and confident body language, that help us cope better with the situations we face.

When Shyness Is Extreme

For as many as one out of 10 people, shyness can be as powerful as any strong fear. With extreme shyness, someone rarely feels comfortable around others and might feel very anxious in almost any social situation.

Mild shyness might make someone blush and want to crawl under the desk when they say something silly in class. Extreme shyness can interfere with a person's ability to answer in class at all. People who are extremely shy might sit through class completely unable to pay attention because they are so preoccupied with the fear that the teacher might call on them.

People who are extremely shy might feel so uncomfortable at a party or so afraid they won't know what to say at the lunch table that they avoid these situations completely. This kind of extreme shyness is called social phobia. Like other phobias, social phobia is a fear reaction to something that isn't actually dangerous, although the body and mind react as if the danger is real. The person with social phobia who's afraid of being called on in class might stop going to class completely.

When someone is so extremely shy or so fearful about talking to others that he or she just doesn't talk in school, to certain people, or in certain social situations, that's a form of social phobia known as selective mutism. This term simply refers to not talking (being 'mute') in certain situations but not in others (selective). People who feel too anxious to talk because of social phobia or extreme shyness do have completely normal conversations with the people they're comfortable with (such as parents or siblings, or a best friend) or in certain places (like home). But other situations cause them such extreme discomfort that they may not be able to bring themselves to talk at all.

Although avoiding the situations that prompt social phobia may seem like a relief at first, it can actually make things worse. The more a person with social phobia avoids a particular situation, the more fearful he or she becomes about it. That person may continue avoiding more and more social situations until he or she feels alienated and alone.

Because of the intensity of feelings involved in extreme shyness, it can be a lot harder to overcome alone. People with social phobia or selective mutism often need the help of an expert to talk through their difficulties and help them find solutions to their problems. Professional therapists who are trained in dealing with shyness can not only help teach a shy person new social skills but also work on managing the anxiety and reducing the stress that go along with social phobia.

Avoid Avoidance

What happens when you get into a swimming pool and find the water really cold? If you jump out immediately, you miss out on the fun of swimming. Imagine if the next day you don't even put your foot in because you think to yourself, "the water might be cold and I'll feel awful." That's avoidance. It's the same thing as planning to talk to your crush but then bailing out because you think it might feel uncomfortable. Guess what? It might be uncomfortable at first. But you can handle it.

Back to the pool. What happens if you jump right into that cold water? After a bit, you feel warmer, not because the water has heated up but because you've become used to it. The same is true for shyness. If you stay in the situation, you'll get used to it and warm up. Warming up takes a little more than just staying power, though. A person could stand shivering in the cold pool and not warm up much. That's where a social situation is like the pool. Warming up means being a little active, using your skills. Talk, smile, say something (anything!), and remember your strengths. It's not easy, but it's worth it. After all, that hottie with the gorgeous green eyes may want to talk to you as well — but be too shy to make the first move.

Scientists have discovered a cure for the dreaded Monday morning blues - stop sleeping in on weekends.

A new study has found that lazy Saturday and Sunday lie-ins can disturb your body clock, leaving you fatigued at the start of the week.

Flinders University sleep expert Leon Lack said people often used the weekend to catch up on sleep lost during the week.

But he told the Australasian Sleep Association Conference in Perth that while this might help pay off a "sleep debt", it came at a cost.

"We've discovered that these sleep-ins are actually putting your body out of whack enough to change your Sunday night bedtime and set you up for Monday blues," Professor Lack told AAP.

His research team tested the theory by tracking 16 people over a weekend, asking them to go to bed a little later than they would on a weeknight but sleeping-in an extra two hours.

By comparing saliva samples and hormone tests he found participants' body clocks had been delayed by 45 minutes.

"That might not sound like a lot but it means that you're not quite as sleepy on Sunday night at the normal bedtime and you'll be much sleepier the next day," Prof Lack said.

Questionnaires completed on Monday and Tuesday showed much higher levels of self-reported fatigue and tiredness compared with pre sleep in days.

This was because the subjects' circadian rhythms - which determine patterns of alertness and tiredness - had been disturbed, creating an effect similar to jet lag.

By mid-week most people manage to get back on track but then they start staying up later, getting into "debt" once again and perpetuating the cycle.

"These days, we're pushing ourselves a lot, particularly during the week and the weekend is our only refuge," Prof Lack said.

The problem, he says, is that this comes at a price.

"It's a bit like paying off a mortgage - you take out a big one and you'll have a lot to pay off later on."

In the world of sales, impulse purchases are the most important. Impulse sales alone can account for over 50% of general purchases. Impulse purchases also help businesses to successfully release new products and maximise profits.

What makes an impulse sale so appealing to businesses is that they are instant sales with the customer giving little thought about:

• Price

• Reliability

• Usefulness

This is important because cost, reliability and usefulness are the main areas where businesses compete. Profit margins will be reduced if a business tries to reduce the price while improving the reliability and usefulness.

Impulse sales are determined by 3 separate factors. These are:

• First impression

• Availability

• Ease of purchasing

By using these 3 factors we can work to encourage impulse purchases. Here are some ways that might help to encourage impulse purchases.

The impressive one-of-a-kind feature

You need to catch your customers attention with a feature that is:

• Impressive

• Attention grabbing

• Marketable

• Cool

Your customers need to be thinking that your product or service is like no other and can do things much better, faster or easier. All your marketing needs to emphasise that what you have to offer is like no other. This will encourage impulse buying.

Marketing to a need

Your marketing needs to also make your customers think that they need your product or service right now. They should have no reason to put off buying your product or service. For example, you will have more impulse purchases if you try to sell winter clothes in the winter.

Limited time offer or discount

Discounts, special offers and sales are a great way to catch the attention of your customers. Deals make people think that they are getting something worth more than what they are paying for it. A well placed 3 for the price of 2 deal can have you customers walking out the door with 3 items when they only came in to buy one.

Easily accessible

You need your product or service to be very accessible to your customers. This includes:

• Having the product or details in a very prominent position that makes yours easier to find than your competitors.

• Place the product or details of the service everywhere people might look.

• Be able to deliver if the customer needs help to transport the product.

• Be able to provide the service on time.

Direct affect on customer

In your marketing, you need to cater for two types of audiences:

• Those who understand the features

• Those that do not understand

You will rarely get an impulse purchase from someone who understands the features. As long as the features and details are available, they will compare your product with others. Just make these details easy to spot.

For the rest of us, we are often overwhelmed by features and numbers. We are put off when we have to consider technical features as we automatically class the product as complicated and not easy.

To appeal to those that do not understand features and the details and make more impulse sales we need to state the benefits more prominently than the features. This means stating the direct effect on the customers. For example:

Feature that customers use to compare your product:

100 gigabyte per second transfer rate

Benefit that drives impulse sales:

No waiting

Rated fastest by [technical sounding magazine]

Feature that customers use to compare your product:

Double Glazing

Benefit that drives impulse sales:

Warm in the winter

Save on your home heating costs

Peer pressure

Potential customers are more likely to make impulse purchases if they can see that others are also buying your product. When your customers walk away with your product, you need others to be able to see what they have brought. This will get your next customers interested and thinking that they are missing out on something.

• If she pushes her fingers through her hair, she is looking to get your attention. Clean and neat hair is as important for a woman as acceptable height, wide shoulders and biceps for a man. The woman who grooms her hair with high care expresses that she is full of energy and feels like doing certain family-friendly activities. The way she touches her hair is also very important. It tells you information about her temperament. If she does it slowly you have encountered a cunning expert of the art of love. Quick, nervy movements disclose impatience or embarrassment.

• If she touches the edge of the glass with her fingers, Freudian psychologists interpret it as a sexual sign. This theory is supported by the women themselves, who claim that they deliberately pet the glass, in order to call the chosen man’s attention upon themselves. When you enter a bar and see a full-bosomed blonde touching and caressing her martini glass so that it’d scream, do not think that she is expressing her musicality this way. Don’t ask her whether she is playing the latest hit of Iglesias. This question would not be appropriate. Instead of asking stupid questions, notice the way she is playing the "musical instrument". Elegant, caressing movement is a sign of intrinsic calmness, self-control and waiting, so sit by her. Her beating a rhythm on the glass with her nails is a sign of impatience ora broad hint of SOS, which she’s sending to her boyfriend, who is fighting for another Bailey’s at the bar.

Check out her hands and arms.

• If she leans on her hand with her chin and her eyes seem to be thinking, it’s not always the sign of her being impressed by your appearance. Generally the woman tries to answer her own question this way: "Does this guy deserve me" You know the answer, but the lady needs time. If you want to help her make the only right decision, be politely determinate and determinately polite. Flash your sense of humor as well.

• If she sits back with her arms crossed together, this is the worst possible thing you can encounter when out hunting. This gesture is evidence of the fact that you’ve made the worst impression of all on the woman and she doesn’t trust you at all. Nothing helps here, neither refined jokes, nor nice, muscular body.

• The way the woman herself thinks of her hands is also very important. If she stares at them for a very long time, it may imply that something angers her (perhaps you?). if she beats the rhythm on the table or the bar means a similar state of mind. You think she’s a wild cat, but you’re wrong. She’s thinking about a way how she could get rid of you.

Look at the lips.

• If a woman wets her lips quite frequently, it’s either out of habit or desire to get you to pay attention to her lips and sooner or later kiss her.

• When a woman is biting your lips, do not interrupt her – everything’s alright. But if she’s biting hers, you may assume that she’s nervous. Why? Perhaps you are staring at her too quizzingly.

Eye the eyes. According to famous experts of the topic and authors of cheap romantic stories the fast movement of the eye-lashes is the sign of women who like to conquer men of their own accord. Besides they are emancipated, who like to take over the duty of initiation. They aren’t waiting for your jokes and wide smile. They undertake to initiate. The only problem with such ladies is that not all of them will enjoy herself in the role of the doped out game. But if you don’t mind losing the role of the hunter, swallow the bait.

Check out the legs. Researchers of body language emphasize that when a woman frequently crosses her legs or let them swing, is also a sexually charged movement. The strongest of all these movements is when she opens her legs without meaning it. It’s a classical Freudian opening symbol. (You must remember Sharon Stone opening her legs in such a beautiful way in Basic Instinct.) A contrary sign to this is when she puts her legs together.

Tips

• Not all women have the same body language.

Holding gaze - This is where you look into someone’s eyes while they look into yours. Ensure that they have a smile on their face.

Touching - Touching the other person without them pulling away, while they have a pleasant look on their face. Best to start with safe places, such as the back or the hands or arms, or by brushing or bumping against him or her.

Leaning in - Leaning towards the other person while being engaged in what they are saying or doing.

Facing them – Although facing the person is not primarily romantic body language, it is a method of engaging with them. If your body is tilted away from them it might seem like you are looking forward for the conversation to end.

Paying attention – This should be simple, but can be missed. Looking at your cell-phone or doing anything that prevents you from looking at them is negative body language.

Stroking – If a person is looking at your while stroking their legs, arms, face or hair, this is an indicate that they might want you both to touch in that manner.

Looking at you from afar - A person looking at you from afar, for longer than usual may indicate a romantic interest. If the person looks back at you again this idea is strengthen.

Licking lips – If a person is looking at you while licking or pursing their lips into a kiss shape, this indicates they might be wanting to kiss you in some manner. This may also involve objects such as wine glasses.

Preening – This includes tossing of hair, touching hair, brushing clothes, polishing glasses. Generally anything that might mean they are making themselves look good for you.

Body displays – Exposing, thrusting, wiggling or accentuating their body in any manner is an attempt to get sexual attention. This includes arms, legs and crotch for guys and breasts, neck, bottom, legs and feet for women.

Mirroring – This is when the person copies what you are doing or your pose. This indicates their awareness of you.

Body scanning – This is where a person looks up and down a person’s body. This shows interest in how they look. This is emphasised when they let you catch them looking at your body.

The 2 foot rule – When someone is within 2 feet of you, they are within your personal space; this indicates a willingness to risk the chance of physical contact. This is a good time to brush against them.

Evaluating responses – This involves the person making slow but steady advancements in their romantic body language while watching your response. This allows them to determine if you feel the same way.

Laughing – Laughing a lot is quite a strong romantic sign, especially if what they are laughing at was not really that funny. Girls can get a giggle that indicates a flirty mood.

Talking – When they are talking a lot when they are around you it is a good sign. People like to talk about themselves, and although this is not always romantic, it can be a sign.

Being able to read "nonverbal communication"-body language-is essential in business dealings. Problem is, we usually interpret a smile or lack of eye contact through an emotional screen, not a scientific one. Sometimes a smile is a sign of happiness-and sometimes it's a flash of contempt. Here is what modern communications science has to say about the myths of body language.

Most people call it "body language"-the clues to the meaning and intent of communication from others that we get from gesture, facial expression, posture-everything that isn't spoken. The experts call it "nonverbal communication," but it amounts to the same thing: a second source of human communication that is often more reliable or essential to understanding what is really going on than the words themselves.

Or is it? Accurate knowledge of body language is essential for success in interpersonal relations, whether in the business world or in personal life. However, much of our understanding is instinctive-and a good deal of it is wrong, according to modern communications research. What follows are some of the hardier myths, and the reality behind them.

1. A liar can't look you straight in the eye. There is a persistent belief that people with shifty eyes are probably lying. As Paul Ekman says in his classic work, Telling Lies: Clues to Deceit in the Marketplace, Politics, and Marriage, "When we asked people how they would tell if someone were lying, squirming and shifty eyes were the winners. [But] clues that everyone knows about, that involve behavior that can be readily inhibited, won't be very reliable if the stakes are high and the liar does not want to be caught."

Ekman goes on to argue against attributing too much meaning to such behavior for two reasons. First of all, although this kind of nonverbal communication most reliably signals the presence of some kind of emotion, that emotion may or may not mean that someone is lying. Nervousness can, for example, manifest itself as shifty eyes. But there are many reasons for nervousness. To understand what the behavior means, you still have to interpret the emotion.

Second, Ekman has found that one group in particular excels at making eye contact that appears very sincere: pathological liars. Hence, it is not safe to rely on eye contact as a measure of sincerity or truthfulness.

2. When meeting someone, the more eye contact, the better. This long-held belief is the inverse of the idea that shifty-eyed people are liars. The result is an unfortunate tendency for people making initial contact-as in a job interview, for example-to stare fixedly at the other human. This behavior is just as likely to make the interviewer uncomfortable as not. Most of us are comfortable with eye contact lasting a few seconds, but any eye contact that persists longer than that can make us nervous. We assume that there is something else going on-an attempt to initiate flirtatious behavior, perhaps. Indeed, studies on flirting show that prolonged eye contact is an early step in the process.

3. Putting your hands behind your back is a power gesture. For years presentation coaches have taught people to put their hands behind their backs in what is sometimes called the "Prince Charles" stance, in the mistaken belief that the heir to the British throne is a good model for strong body language. Since he's a prince, the thinking goes, and he stands that way a lot, it must be powerful.

Actually, the research shows that most people find the gesture untrustworthy-if we can't see what your hands are doing, we're suspicious. So if your goal is to increase trust in any given situation, don't put your hands behind your back.

4. "Steepling" your fingers shows that you're intellectual. Again, this technique is one that has been taught by many speech coaches. A good deal of research over the years correlates hand gestures toward the lower part of the face with thinking-stroking the chin, propping the chin in the hand, putting a finger on the cheek. If thinking is a sign of intellectualism, we should presumably be demonstrating this trait by indulging in a lot of hand-to-face contact.

The experts distinguish between "emblems," which are gestures with specific meanings in certain cultures, and gestures, which are intended to assist meaning but lack specific content. An example of an emblem is the hand sign that indicates "OK" in the United States. The same emblem has an obscene meaning in some Mediterranean countries.

An example of a gesture is the waving of hands we all indulge in when searching for a word. Steepling falls somewhere in between; it is a gesture without any specific meaning, but it is more deliberate than a mere waving of the hands. The best that can be said about it is that it may signal intellectual pretensions on the part of the communicator!

5. High-status people demonstrate their dominance of others by touching them. Another widely accepted belief is that powerful people in society-often men-show their dominance over others by touching them in a variety of ways. In fact, the research shows that in almost all cases, lower-status people initiate touch. And women initiate touch more often than men do.

In his book The Right Touch: Understanding and Using the Language of Physical Contact, Stanley E. Jones describes a study of a public health organization: "The group studied was a detoxification clinic, a place where alcoholism is treated. This was an ideal setting in which to study status, sex roles, and touching.… [The] findings showed two clear trends. First, women on the average initiated more touches to men than vice versa. Second, touching tended to flow upwards, not downwards, in the hierarchy."

6. People smile when they're happy. People smile for all sorts of reasons, only one of which is to signal happiness. Ekman describes many kinds of smiles, from the "felt" or true smile to the fear smile, the contempt smile, the dampened smile, the miserable smile, and a number of others. Daniel McNeill, author of The Face: A Natural History, says, "Smiling is innate and appears in infants almost from birth....The first smiles appear two to twelve hours after birth and seem void of content. Infants simply issue them, and they help parents bond. We respond; they don't know what they're doing. The second phase of smiling begins sometime between the fifth week and fourth month. It is the "social smile," in which the infant smiles while fixing its gaze on a person's face."

Whatever their origin or motivation, smiles have a powerful effect on us humans. As McNeill points out, "Though courtroom judges are equally likely to find smilers and nonsmilers guilty, they give smilers lighter penalties, a phenomenon called the 'smile-leniency effect.'"

7. Voices rise when speakers are angry. Again, nonverbal communication reliably signals the presence of emotion, but not the specific emotion. A rising voice is associated with a variety of emotions, including anger, but also nervousness, fear, excitement, hysteria, and others. You must always consider the communicator and the context carefully. Experts like Ekman warn that unless you have a good understanding of someone's basic communication patterns, you will have little hope in accurately deciphering the person's less routine signals.

"The best-documented vocal sign of emotion is pitch," says Ekman. And yet he also says, "While most of us believe that the sound of the voice tells us what emotion a person feels, scientists studying the voice are still not certain."

8. You can't trust a fast-talking salesman. The belief that speed and deception go together is a widespread and enduring one. From the rapid patter of Professor Hill in The Music Man to the absurdly fast speech of the FedEx guy in the TV commercial from a few years back, we react strongly-and suspiciously-to fast talk. People talk at an average rate of 125 to 225 words per minute; at the upper end of that range listeners typically find themselves beginning to resist the speaker. However, as Ekman says, the opposite is greater cause for suspicion. Speech that is slow, because it is laced with pauses, is a more reliable indicator of deception than the opposite.

"The most common vocal deception clues are pauses," says Ekman. "The pauses may be too long or too frequent. Hesitating at the start of a speaking turn, particularly if the hesitation occurs when someone is responding to a question, may arouse suspicion. So may shorter pauses during the course of speaking if they occur often enough. Speech errors may also be a deception clue. These include nonwords, such as 'ah,' 'aaa,' and 'uhh'; repetitions, such as 'I, I, I mean I really...'; and partial words, such as ‘I rea-really liked it.'

"These vocal clues to deceit-speech errors and pauses-can occur for two related reasons. The liar may not have worked out her line ahead of time. If she did not expect to lie, or if she was prepared to lie but didn't anticipate a particular question, she may hesitate or make speech errors. But these can also occur when the line is well prepared. High detection apprehension may cause the prepared liar to stumble or forget her line."

Most of the research into nonverbal communications shows that people are not very good at masking their feelings. Emotions do leak out regularly, in many ways. And yet, the research also shows that most of us are not as good at decoding those emotions as we would like to think. Young people are significantly worse at both signaling emotions and reading them. Although we do learn as we grow older, we should remain wary; in the end, body language conveys important but unreliable clues about the intent of the communicator. The more information you can get about the clues you are trying to decode, the more likely you will be to decode them correctly.

Before a job interview, do you peruse magazines or review prepared notes? When the meeting begins, do you wait to be told where to sit or choose your own chair? And do you give passionately expressive or carefully controlled responses?

In each of these instances, your body language speaks volumes about how you'd perform at a company. In fact, some experts say nonverbal cues are more important than verbal ones. According to these studies, body language comprises 55% of the force of any response, whereas the verbal content only provides 7%, and "paralanguage," or the intonation, pauses and sighs given when answering, represents 38% of the emphasis.

Jo-Ann Vega, president of JV Career and Human Resources Consulting Services in Nyack, N.Y., says body language is so important that it frequently torpedoes what we say.

"Our nonverbal messages often contradict what we say in words," says Ms. Vega. "When we send mixed messages or our verbal messages don't jibe with our body statements, our credibility can crumble because most smart interviewers believe the nonverbal."

Laid-off managers are a case in point. They're often so traumatized by their terminations that they appear downcast, even when discussing their strengths, says Ms. Vega. Difficult questions can throw them off balance, and their anxiety may cause them to fidget or become overly rigid, she says.

Since nonverbal communication is more eloquent, honest and accurate than verbal communication, such actions reveal your inner confidence. While words can deceive -- many people don't mean what they say or say what they mean -- body language is subconscious. Since it's more spontaneous and less controlled, it shows our true feelings and attitudes.

Still, most people discount the importance of nonverbal communication because their education and training placed more emphasis on spoken words. To become more adept at interpreting and using body language, heighten your awareness of nonverbal signals and learn to trust your "gut" instinct. Then, when interviewing, use the following tips to accentuate body language that stresses professionalism and performance.

The First Moments

Realize that you're being judged as soon as you arrive at the company. Set the right tone by being early, then use the extra time to compose yourself. When waiting for interviewers, don't open your briefcase to review notes you've prepared. Instead, glance through available magazines or literature in the waiting area.

This creates the impression that you're relaxed before stressful events, and helps you project confidence during the critical early moments of the interview.

If a receptionist or secretary indicates that the interviewer is ready to see you, enter his or her office as though you belonged. Knocking on the door, or opening it and peeking in, shows hesitation, which may be interpreted as a lack of confidence.

Greet your interviewer with a firm, sincere handshake. More than a few candidates have betrayed their nervousness by extending limp, clammy palms, and shaking hands weakly.

Don't start talking immediately, fumble with your briefcase or dive into a chair. If you aren't invited to sit, choose a chair across from or aside the interviewer's desk. Avoid soft lounge chairs or couches, which can prevent you from rising easily. And don't ask if and where you should sit.

If your interviewer receives a phone call during the meeting, select and review material from your briefcase to give him or her a sense of privacy. Don't show annoyance about the interruption or offer to leave the office. Many interviewers purposely take calls to determine if you'll react adversely to office disruptions.

How Close Can You Get?

Like anyone else, interviewers become uncomfortable if their personal space, or preferred distance from others, is invaded. Extraverted interviewers prefer a "social zone" of between 18 and 48 inches from their bodies, while introverts need more space.

Try to gauge interviewers' preferred distance by their seating arrangements. Move closer only if they seem skeptical about what you're saying. Other attempts to seem "friendly" by moving closer are likely to be threatening. For instance, some interviewers deliberately "interrogate" applicants by sitting or standing closer than they prefer.

When emphasizing key points, project sincerity and confidence by leaning forward, maintaining eye contact and using expressive gestures. Leaning back and looking down may be interpreted as a lack of confidence.

How Do You Speak?

How you say something often is more meaningful than what you say. Use a natural tone and don't deviate from your normal speaking rate, volume, rhythm, pitch, breathiness or resonance. Secure applicants have relaxed, warm and well-modulated voices that match their feelings, allowing them to appropriately express excitement, enthusiasm and interest during conversations.

Conversely, insecure candidates can't control their voice pitch and volume. They have weak, soft, hesitant or tremulous voices, and clear their throats, use "uhs" and "ums" or other nervous mannerisms excessively. Others mask their insecurity by speaking in complex, involved sentences.

Maintain Eye Contact

Candidates with secure self-esteem alter their facial expressions to match their message, rather than perpetually wearing the same one. They smile when saying something friendly, and maintain good eye contact, which signifies openness and honesty.

Less-assured candidates don't maintain eye contact, act shy or ashamed or smile at inappropriate times. They may appear downcast or pleading, or drop their eyes and heads, giving them an untrustworthy appearance.

Be cognizant of interviewers' expressions as well. If they don't maintain eye contact, it may mean they're anxious, irritated, disinterested or that they want the conversation to end. An interviewer who looks up may be uncomfortable, trying to remember something or doesn't believe your answer.

Don't overdo eye contact with interviewers, however. A gaze that lasts longer than seven to 10 seconds can cause discomfort or anxiety. Also, don't stare at interviewers during long silences, since it only increases the tension.

Posture and Gestures

Even if you're motionless, your posture communicates a message. Managers who put their feet up on desks and their hands behind their heads are saying that they feel confident, dominant or superior, a soldier standing at attention is showing deference to authority and a subordinate who stands rigidly with hands on hips signals defiance or dislike.

Confident applicants have relaxed, balanced postures. They hold their bodies upright, walk freely with their arms swinging and take determined strides. Less-assured candidates, on the other hand, have rigid or stooped postures, drag or shuffle their feet when walking and take short, choppy strides.

Strive for posture that's as free and natural as your speaking style, but don't be too controlled or rehearsed, says Ms. Vega, who advises applicants to "let some of the passion out." When your movements are in sync with your words, you'll seem confident, expressive and controlled.

Reading Interviewers

Hiring managers also use gestures to convey specific messages. Nodding signifies approval and encourages applicants to continue talking, while leaning forward shows they're interested. Folded arms, crossed legs, picking imaginary lint from clothing or running their fingers along their noses are signs that an interviewer disagrees with you. Thumb twiddling, finger drumming and other fidgeting mannerisms mean the interviewer isn't paying attention.

Guard against using similar gestures or betraying your nervousness by clenching or wringing your hands. Other actions that convey stress include holding your legs or arms tensely, perching on the edge of a chair or playing with a watch or ring.

One caveat: Don't imagine a hidden meaning in every gesture. For example, if an interviewer rubs her nose while you're speaking, she may just have an itchy nose. Try to gauge the situation when seeking the meaning to a mannerism. Most experts look for clues in groups of gestures, not random ones.

Nevertheless, communicating the right nonverbal signals can help you convey an enthusiastic, positive and confident attitude during job interviews. And learning to read interviewers' cues can improve your prospects as well.

There are 5 basic types of handshakes that most of us have experienced.  Perhaps you can think of others.

Knuckle Cruncher

This type of person is earnest but nervous.  While meaning to convey warmth through a tight grip of your hand, the person only causes you pain.  The impression created is definitely that of a person who lacks sensitivity.

Dead Fish Handshaker

This type of person, who places a limp, lifeless hand in yours, is sending a negative message. While the knuckle cruncher hurts you, at least there is a desire to express a real feeling.  You are left with the impression of this person having a lackluster personality.

Pumper

This handshake is overly eager but also insecure.  This person doesn’t know when to quit, almost as if stalling because of not knowing what to do next.  They keep on vigorously pumping your hand up and down—and with it your entire arm.  You may not feel pain but you certainly feel foolish.

Sanitary Handshaker

This person will barely put three or four fingers in your hand—and then withdraw them quickly, almost as if afraid of catching a dread disease.  They appear timid and sheepish.

Condolence Handshaker

This is the person who comes across as too familiar, clasping your right arm or hand, and perhaps attempting to hug you.  This behavior may be appreciated at a funeral, but it comes across as condescending and inappropriate.

Proper Handshaking

The protocol for handshaking is simple to learn.  Here is what you should do: Walk up to the person you want to meet.  Look into their eyes, smile, and extend you hand.  Offer a warm, firm, palm-to-palm handshake.

When you proffer your hand to a stranger or a distant acquaintance, simultaneously say, “My name is......( use both first and last names ).  This way you eliminate the awkward moment of the forgotten name.  The person being greeted is often relieved at being reminded, and will usually respond with their full name, which will in turn relieve you.

Both men and women should rise to shake hands.  Rising is a compliment; it shows energy and eagerness to connect.

Initiating a proper handshake will make an incredibly positive impression.  You will be perceived as a person who is knowledgeable, possesses excellent social skills, and has leadership capabilities.

An excellent handshake shows your charm and self-confidence.  It becomes an integral part of your style.

It is common for people to worry about their privacy. The companies around us like to compile as much data on us as they can and this is too much for some people. What advertising company really needs to know that you have just spent 1 hour on-line looking at digital cameras?

This is where anonymous surfing comes in. It allows you to browse websites privately and anonymously. There are 2 different types of privacy:

• Appearing anonymous to a website you are browsing

• Appearing anonymous to people who can watch your internet connection

Why surf anonymously?

People do not surf anonymously just to stop advertising companies from finding out information about them. They can also use anonymity as a way to keep their private life away from their employers, the government or annoying family members.

An interesting case from anonymity is when there is a chance of political persecution. In Iran, anonymous surfing is used to avoid being executed in street executions.

How anonymous surfing works

Anonymous surfing works by utilising a proxy server between the website and the user. This means the web browser communicates through the proxy server to the website.

The website only knows the details about the proxy server and does not know any details about your connection with the proxy server. As the proxy server knows about your connection, it is wise to select a proxy server you willing to trust.

There are 3 ways that a proxy server can be used to surf anonymously:

Anonymously surfing with a website service
Website services providing anonymity allow you to enter any URL of a page you wish to surf and it retrieves the web page for you.
Client applications providing anonymity
Some software can be downloaded that will manage the details of your anonymous surfing.
Anonymous proxy services
You can point your browser at these services and they will provide anonymity for all your web surfing.

Anonymous proxy requirements and features

The first thing a good proxy server will do is create a SSL or TLS connection to you. With this, it is harder for a third party to observe what you are doing on the internet and monitor your usage.

While browsing the net you can use a few protocols such as HTTP, HTTPS and FTP. Make sure that your proxy supports all the required protocols that you use.

As you are using an anonymous proxy to protect your anonymity, you do not want anyone to be recording where you are going. Make sure that the proxy you are using does not keep logs and does not record any of your details.

Although it is a simple matter to walk into the first music shop you see and pick out a guitar amplifier ("amp") at random, you will probably be unsatisfied with the results of this method. If you take a couple of mintues to figure out what you are shopping for, you will be able to make a purchase that you will enjoy for years to come.

Steps

Step 1: Picking the Right Size and Wattage

Determine the size of the amp you will need. Amps are rated by wattage rather than physical size (although high-wattage amps do tend to be physically larger). By wattage, there are essentially three main categories of guitar amplifiers (combos, heads, and rack-mounted amplifiers), with several subcategories:

Combo Amps

Combo (combination) amps combine the amplifier electronics with one or more speakers in a one-piece package. They are the alternative to "heads," which contain only the electronics, and are attached to separate speaker packages (known as "cabinets" or "cabs"). Because it is a one-piece unit, the combo design is generally preferred for smaller, lower-wattage amps. The following are the most common varieties of combo amp:

• Micro amps: 1-10 watts. These are tiny, ultra-portable amps which are useful for practice on the go (or when others are trying to sleep). They don't pack enough volume to be used in most "jam" situations (where you must be heard above other musicians). As a rule, their sound quality tends to be poor (when compared to larger amps). The Marshall MS-2 is an example of a super-portable (1 watt) micro amp which has received good reviews.

• Practice amps: 10-30 watts. Practice amps are also suited for the bedroom/living room environment, although the loudest of them may be used for small gigs (performances), especially if a microphone is used to run them through the venue's PA system. As with micro amps, practice amps tend to compare unfavorably to larger units in terms of sound quality, although as they approach the 30 watt level,a few models offer increasingly competitive sound. The Roland Cube 30 is an example of a practice amp which is generally well-regarded. As a general rule, the best practice amps have at least a 10 inch speaker. This is the smallest speaker size which is generally considered a "real speaker." If you don't have a 10 inch (or larger) speaker, don't try to use the amp outside the bedroom. The embarrassment you save will be your own.

• Full-size 1x12 combos: With 50 or more watts of power and one 12 inch speaker, the 1x12 amp offers the smallest package which is considered suitable as a stand-alone amplifier for small gigs. In better models, sound quality begins to approach levels acceptable to professional musicians. Quality is always important, but perhaps even more so in the case of the 1x12 combo - with a good one, you'll prove the doubters wrong, but with one of the many duds, you won't be taken seriously. The 1x12 is not a big amp, and if you want to bring it to a serious audition or gig without enduring a storm of eye-rolling and chuckling, it had better stand out from the crowd.

• 2x12 combos are similiar to 1x12 combos, but they add a second 12 inch speaker. The 2x12 design is considerably heavier and bulkier than the 1x12, but it is still a favorite choice of working musicians for performances at small to medium-sized venues. The addition of a second speaker allows for certain stereo effects, and two speakers simply move more air than one (allowing more "presence" in your sound). The 2x12 amp is small enough to be used in the living room, light enough to be lugged around by someone without major back problems, and yet formidable enough to be taken seriously at rehearsals, auditions, and even on stage. If you have to buy a single amp for practice, rehearsals, and club gigs, a 2x12 is a good choice. You'll occassionally slip and set the volume knob a bit too high (annihilating your unfortunate neighbors), and you'll be tempted to gripe about lugging 50-80 pounds worth of amp all over the place, but it will all be worthwhile when you avoid being "The Guy Who Showed Up to the Audition or Gig With a Practice Amp." That guy usually becomes an "inside story" for the band to tell other musicians when everybody needs a laugh.

There are other types of combos, but these are the mainstays. Having discussed them, we are ready to move on to heads and stacks.

Heads, Cabinets, and Stacks

A head is an amplifier without speakers. A cabinet ("cab") is a stand-alone speaker enclosure, which can be connected to a head. A stack is a head and a set of cabinets connected together, ready for use. Stacks are generally preferred for gigs rather than practice, although there's no rule against having a enormous stack in your living room - if your family allows it. Fair warning: in most cases, they won't. Stacks are physically bulky, very heavy, and devastatingly LOUD. These are the tools of musicians who either play arenas and stadiums on a regular basis - or at least dream of doing so.

• Heads are all roughly the same size physically, but they come in a variety of wattages. "Small" heads pack 50-100 watts. Full-power heads are generally 100 watts or more. There are also super heads, boasting a tinnitus-inducing 200-400 watts of power. For performances at small to medium-size venues, a small head is more than enough. The smaller heads are often connected to a single 4x12 cabinet (which contains four 12 inch speakers, as the name suggests). This type of setup is known as a "half stack," and it is a favorite of working musicians. The half stack offers plenty of volume, the presence of four speakers, and the "credibility" associated with stacks.

• The full stack is the dream of many a guitarist. This is usually a 100 watt head connected to two 4x12 cabinets, although other wattages are sometimes employed. The cabinets are stacked vertically (one on top of the other), giving the setup its distinctive name. A full stack is as tall as a grown man, making for quite an impressive sight. The sound is equally impressive. If you set one of these up in your living room and play it to its full capabilities, you will be evicted from the neighborhood (unless you are an isolated hermit). A full stack can handle all but the very largest of venues. Guitarists who are truly sadistic (in a sonic sense), such as some heavy metal players, may run one of the 200-400 watt super heads through a full stack. With any full stack (and especially the "hot rod" setups), you will require ear protection to play at higher volumes without sustaining potentially serious ear damage.

Stacks are great for playing big venues (and for impressing your friends), but if you aren't a working or touring musician, they can be "overkill" for most situations. Lugging around full-size 4x12 speaker cabinets is hard work, fit only for "roadies" who are getting paid to do it. Showing up to an audition with a full stack and a hand truck to set it up can be almost as bad as showing up with a practice amp. If you lug in a stack, you'd better have the skills to justify it, or (once again), you'll become another "inside story" for the band to chuckle about after rehearsal - "The Newbie Guy Who Brought a Full Stack to the Audition."

Rack-Mounted Products

Many musicians use "racks," usually a reinforced metal box with removable panels on the front and back. The front side of the rack, when open, has two verticale rows of threaded screw holes on the sides. Rack sizes have been standardized for years -- they are made to fit ALL rack-moutable units, including recording gear, PA amplifiers, vocal processors, chromatic tuners, DJ gear, etc. in addition to guitar amps. Rack-mounted products have a sturdy metal face plate strong enough to support the entire product; they are a standard width, a standard maximum depth, and are usually much shorter than they are tall or deep. The face plate is wider than the rest of the unit and has screw holes on each corner, spaced to line up with the screw holes on the front of any rack. To attach gear to the rack, lay your rack on its backside, place the unit in the rack so that the unit dangles down into the rack, its entire weight supported by the face plate, line it up with the screw holes, and fasten it at each corner with properly-sized screws. The smallest rack products are the shortest, covering only two screw holes -- these are said to take up "one rack space." A larger product that covers up four screw holes on your rack takes up "two rack spaces," and so on. To figure out how many spaces a rack has, count the screw holes on one side and divide it by two.

A rack-mounted guitar amplifier rig is similar to heads in that they have separate amplifier components that are plugged into external speaker cabinets. But nearly all rack-mounted amplifiers are broken down into two further categories -- the pre-amp and the power amp. Both heads and combos have these separate components as well -- racks merely separate them out into two units. Most major amplifier manufacturers, including Marshall, Carvin, Mesa-Boogie, and Peavey make rack-mountable amp rigs.

• The Pre-Amp shapes the signal entering your amplifier into a tone. In its basic form, a pre-amp defines the levels of treble, bass, and middle in your tone. However, functions such as gain, presence, and contour have become standard features of modern guitar amplifiers, and rack-mountable pre-amps usually have many more functions indeed -- they are essentially effects processors. Footpedal multi-effects processors are also pre-amps. Plug your guitar into the pre-amp. Most rack pre-amps only take up one rack space.

• The Power Amp is connected to the pre-amp by a speaker cable. It takes the signal the pre-amp shaped and gives it volume. Like heads, power amps are available in different sizes, from a minimum of 50 watts to monster 200-400W power amps. 100W or larger power amps will take up two rack spaces. The power amp plugs into the speaker cab like on a head. However, as many power amps as you want can be connected in a daisy chain or to different pre-amp outputs to boost the power of the signal, as well as possibly blend the tonal influences of two different power amps.

Disadvantages of Rack Rigs. As you can probably tell, racks are frequently very complicated rigs. A novice guitarrist may find them perplexing. They are also heavier and bulkier than heads -- and add onto that the bulk and heft of the rack itself. Since you need to buy multiple products and accessories, the price for a new rack rig can be (but isn't always) higher than that of a head.

Advantages of Rack Rigs. On the other hand, using a rack allows you to mix and match products by different manufacturers and find a tone that is distinctly "yours," not the boutique design concept of some engineer at Marshall or Fender. And if you have a reasonably good mind for engineering or basic spatial sequencing (i.e. lining things up in order), even complicated digital pre-amps can be surprisingly user-friendly, providing a more easy-to-understand interface than a row of inscrutable knobs on the front of a head or combo. If you are already a DJ, vocalist, or recording artist, or want to become any one of these, many valuable products are availble that can be mounted right on the same rack with your amplifier.

Also, big racks frequently have caster wheels, making them very easy to roll around, and having a rack can also simplify pre-gig or -practise setup. Instead of having to plug in all your components from scratch, your components can already be plugged in and ready to go as soon as you wheel your rack onto the stage or into the studio and remove the front and back panels. A rack-mountable power conditioner (essentially a rack-mounted power strip with surge protection) can be invaluable to this end as most rack units are independently powered -- simply plug all your products into the conditioner, then whenever you arrive at a gig or practice, plug in the one master power cable from the conditioner, plug in your speaker cab and guitar, switch everything on, and you're ready to rock. If you have pedals, microphones, etc, you can usually fit them into the rack as well, making it your all-purpose, highly-portable gig box (provided that it's on wheels).

Finally, racks are uncommon, and will attract attention. People will be impressed if you wheel a rack rig into rehearsal or performance, but beware -- they will expect you to be a seasoned guitarrist, or at least be able to effectively USE your rack. Don't bring your rack anywhere unless you know how to get those pre-amps and processors to do exactly what you want them to do. Such professionals asU2's The Edge and Nirvana's Kurt Cobain have favored rack rigs.

MIDI. Many rack-mounted pre-amps are digital and use MIDI (Musical Instrument Digital Interface) technology. This allows pre-amp settings to be saved in the pre-amp's digital memory to be recalled again later at the push of a button. These buttons can be on the faceplate of the unit, but MIDI pedalboards can be utilized to access those pre-set channels by stepping on footpedal buttons, to prevent a guitarrist from having to go to his rack and search out the right setting in the dark between each song.

Step 2: Selecting the Right Sound

In order to get the most from a guitar amplifier, you need to understand how different types of amps suit different styles of music. For the most part, amps are not "one size fits all." Although there are all sorts of amps, they can be classified in two broad categories - "vintage" and "high gain."

Tone Wars

Vintage amps produce (or reproduce) the classic sounds of early amplifiers. For the jazz, blues, or blues-rock guitarist, the vintage sound is still widely considered the best tone available. Vintage amps can be actual antiques, or they can be modern amps that replicate the sound of antique amps. The sound of Fender, Vox, Marshall, and similar amplifiers from the 50's, 60's and early 70's is the foundation of the vintage tone. When you think "vintage," you think Hendrix, Led Zeppelin, Eric Clapton, Deep Purple, etc. These are the sounds that started it all.

High-gain amps produce a sound with greater distortion than that of vintage amps. Although there is some debate about the evolution of high-gain amps, many believe that a large part of their history is owed to Eddie Van Halen, who took apart his vintage-style Marshall head and played around with the electronics, allowing him to get far more gain (the source of the classic rock/metal distortion sound). With his landmark "Eruption" solo in 1977, Van Halen introduced the roaring, face-melting sound of super high gain to the guitar community. At around the same time, the emergence of heavy metal bands added another dimension to the high-gain phenomena. For hard rock and heavy metal music from the early 80's and beyond, vintage amps are overshadowed by their modern high-gain counterparts.

If you want to play jazz, blues, blues-rock (in the style of Led Zeppelin) or very early heavy metal (in the style of Black Sabbath), a vintage amp may be your best choice. If you want to play hard rock, 80's metal, and "shred" guitar (in the style of the countless 80's "guitar heroes"), you will probably want to go with a high-gain model. Note that many newer amps can provide both high-gain and vintage sounds, although some purists feel that the only vintage amps worth playing are the actual antique amplifiers themselves. "Amp modeling" technnology (which allows one amp to simulate the sound of many different amps) is a relatively recent development which has both fans and critics. If you don't plan to specialize exclusively in vintage-style music, a modeling amp can be very useful, although if you're a purist, nothing beats walking in with a real Fender Twin Reverb, an ancient Marshall "Plexi" head, or something similar.

Tube vs Solid State

In the vintage days, all amplifiers used vacuum tubes to accomplish the actual amplification. Nowdays, many amps use transistors instead, sparking a long-standing debate about which is better. The concensus is that for almost all types of music, the sound of tubes is noticeably superior. However, tubes have several drawbacks:

• Tubes can be expensive, depending the tubes used. Expect to replace them after 4 or more years of use, depending on their quality and how loud/often they are used.

• Tubes are somewhat unreliable. They can and do go out at random times, crippling the amp. This can be aleviated by using good quality tubes.

• Tubes (and the associated design factors) add considerable weight to the amplifier. Back problems caused by skinny guitar players lugging around big 2x12 tube combos are an insurance company's nightmare.

• Tube amps are, generally speaking, more pricey than solid-state amps. You will almost certainly pay more for this ancient technology than you will pay for modern solid-state (transistor) electronics. There are tube amps, however, like the Fender Blues Jr., that go for roughly $300; the Fender Hot Rod Deluxe (which is an extremely loud, 40 Watt, 1x12 amp), goes for about $550-$600. A Vox AC-30 2x12" reissue, on the other hand, will set you back no less than $1200; and a Marshall head + half stack can be well over $2000.

If you can afford a tube amp, you should strongly consider buying one. In almost all cases, the sound is noticeably better. One possible exception to this is for heavy metal players. Many metal guitarists find that the harsher sound of transistors suits their style of music. Given the reliability, weight, and price advantages of solid-state amps, even the professional-level heavy metal guitarist may not require a tube amp. Pantera's Darrell Abbott used solid-state amps, as do many other notable heavy metal musicians.

Your amp will have two different kinds of tubes -- pre-amp tubes and power-amp tubes (a few combos and heads mix and match between tube and solid-state pre-amps and power amps). Many modern guitarrists have forgotten that the original rock 'n' roll "crunch" or distortion was created when guitarrists like Pete Townsend turned their amps' volume up to 7 or 8, causing the power tubes to overdrive. A pre-amp perameter called "Gain" has been added to most amps to simulate that overdriven distortion. But unless you're into the tinny thrash-metal sound, no artificial gain setting can compare to the sweet, distorted tone of overdriven power tubes turned up to 7. The problem is, most guitarrists, especially new ones, go whole hog for a 100W amp, which cannot be turned up to 7 or 8 in a small club without blowing the doors off. They turn their amps down to four or five, turn the gain up to ten, and never know what they are missing that they could get froma 50W amp turned to 7 with the gain down to 5. Angus Young of AC/DC plays live with both a 100W tube head turned up to 6 for his rhythm parts, and a 50W tube head cranked up to 10 for comparable volume but extra overdrive that he switched to for his solos.

Tips

• When shopping for an amp, price should not be your only consideration. Some lower-priced amps offer admirable sound, while you may find some costly amps unsuitable for your needs. To judge quality, read user reviews on various guitar websites. However, be aware that many equipment vendors publish only good reviews (to ensure product sales). Do your research and make an informed decision.

• If you purchase a tube amp, try not to abuse it physically. In general, transistor (solid-state) units are designed to take loads of punishment, but tube amps are much more delicate. If your brand new (very expensive) Soldano tube head falls down a flight of stairs, you are probably in deep trouble - while the same thing happening to a solid-state combo will probably result in nothing more than a momentary panic and some laughs (after the fact). In short, do not kick, hurl, slam, pummel, or viciously bludgeon a tube amp - and try to discourage others from doing so. If you're wondering why such a warning is necessary, you probably haven't spent much time with rock musicians.

• If you need one amp that can do "everything," consider purchasing one of the new modeling amps with onboard effects. The best of these amps can reproduce the sound of many other units with passable accuracy, and you have instant access to those cool effects that make even crappy guitarists (like me) sound good - delay, chorus, flanger, reverb, etc. With enough effects, your little old grandmother can sound like a rock star. Okay, that's an exaggeration, but if guys like me can sound good, you can too. Crate and Roland (among other companies) make some good effects combos.

• Unless you are playing heavy metal, it is generally better to buy a smaller amp with good tone than it is to buy a big loud amp that sounds cheesy. You will never regret having a nice tone, but you will always regret bad tone. If you play with a band, you will likely find that you never need that much volume anyway unless you are playing an arena, and if you are reading this I don't see any arenas in your near future. Buy a small tube amp with a nice sound. Some music stores will try to sell loud amps with loads of effects to beginners. Don't fall for that. Don't fall for all of the "cool" effects; effects get old after a while. Use your ears and pick an amp whose tone you absolutely love, and don't part with your money until you find that amp.

• For most beginners, a 15 watt amp will be more than enough for your bedroom and small gigs.

Warnings

• Buying a large combo or (especially) a stack for the purpose of wailing in your living room at all hours can lead to divorce. So can spending $2000 on an amplifier without telling the wife (because you know she's going to say no). As a general rule, guitar equipment is to be treated as if family members had a restraining order against it. It doesn't matter if people pay good money to have you assault their eardrums with your frenzied solos every weekend, nobody at home is going to want to hear it. Whatever type of amp you buy, headphones are a must for home practice. Similarly, if you plan to install an enormous Marshall stack in your garage for rehearsals, make sure it's a detached garage. The Mrs. doesn't want to have Black Sabbath's "War Pigs" rattling windows and knocking pictures off the walls while she is entertaining her Saturday bridge club.

Music helps us to make sense of the world. Through sound we can give an expressive shape to our experience. It is a pleasure and a joy for its own sake. The National Curriculum for music says, "As an integral part of culture, past and present, it helps pupils understand themselves and relate to others, forging important links between the home, school and the wider world."

Recent research emphasises the benefits of learning music:

• Music aids the development of speech. Singing simple songs teaches your child how language is constructed. According to Jessica Pitt from the Pre-School Music Association: "Babies seem to learn best when songs are experienced through their bodies. Movement and music greatly enhance acquisition of language."
  
• Music helps children to learn maths. "When children learn rhythm, they are learning ratios, fractions and proportions," says Professor Gordon Shaw, University of California, Irvine, after his study of seven year-olds in Los Angeles.
  
• Music enhances social skills. "Children who take part in music develop higher levels of social cohesion and understanding of themselves and others, and the emotional aspect of musical activities seems to be beneficial for developing social skills like empathy," says Dr. Alexandra Lamont, Lecturer in the Psychology of Music at the University of Keele
  
• Music enhances your child's intellectual development. Dr. Frances Rauscher, from the University of Wisconsin, says that music "helps improve children's ability to reason abstractly, by strengthening neural firing patterns of the brain that are relevant to both musical and spatial cognition."
  
• Most music teachers will tell you that music encourages self-expression and self confidence. As a non-verbal language, music can convey a complexity of emotions, and offers a means of expression to a shy or diffident child who finds it hard to communicate through speech