#but the additional info they added into the drama really rounded it off well!

[springmachinery]

The super detailed eyebrow guide Part 1

Hello everyone, this will be my first post on this blog. Let’s cut to the chase, the first thing we will be talking about is eyebrow styling. There is no one “ideal” eyebrow shape that suits everyone and likely you suit a couple of eyebrow styles yourself. There is no absolute “wrong” answer when it comes to eyebrows, it greatly depends on what kind of vibe you desire to give off: cute, professional, sexy, mature, innocent, anything goes. These will just be some tips that might help you to figure out what works for you, just remember that it is very difficult to make an absolutely accurate guess without seeing your full face, this is ideally a self-help resource.

First of all, you will often see the basic styling guide that goes something like this:

However, I found that this wasn’t absolutely helpful to me. What about thickness? The height of the brow? How arched should I go? Some girls look amazing with perfectly straight brows, right? Is this the only arch that looks good? It’s hard to find info on all of this so let me start:

The thickness of the brows

Think of it this way: The eyebrows are supposed to accentuate what is already there or balance it, as such it is important to follow the lines of the face to create appropriate harmony. Faces are complicated and you may even suit a different type of eyebrows when you have more weight on you, I know I do. Along with that, when it comes to eyebrows, the eyes are the most important determinant, but not the ONLY determinant. Some faces need more softness/sharpness so you add the appropriate eyebrows, at other times, you want to play exactly into the type of features that you have. 

Would you say your facial features are more elongated, narrow and have a certain lightness? None of your features stand out, rather they all work together, no facial feature is too large. Then go for a thinner brow. Think of celebrities like Taylor Swift 

Or Charlize Theron

Heather Morris 

Hyuna ( kpop idols rarely rock completely thin eyebrows, but you can see that among them she has a thinner variant)  

Another point to present is the “chubbiness” vs “dryness” of your face. The more “dry” your face is, meaning the less facial fat and roundness you have, the more likely thin brows suit you. Let’s look at Halle Berry - the thinner her face became, the more she suited thin brows. 

And the midpoint:

One thing to notice is that her eyebrows were never TOO thick - her balanced features would simply never allow for it. Look at someone like Charlize with thick eyebrows, it just didn’t suit her. Her features are simply too delicate for that.

Are your features larger, heavier, more "in your face" - especially the eyes? Consider a much thicker brow like the following ladies. The brows need to follow the lines of your face, if your eyes are very “strong”, they deserve an appropriate assistant! Lucy Hale

Sofia Vergara

Sofia Loren

Lilly Collins

Aisha

Look how much better Beyonce looks with thicker brows, these eyebrows are not that thin to begin with, now imagine how much less flattering thinner eyebrows would be for her face:

The same can be said about Lykke Li, her face is much more balanced when she sports thicker brows due to her beautiful heavy features. 

Notice that many of these women have either rounder or wide cheeks, even if their faces may not hold onto more flesh, that’s the bone structure. That is a trait that suits thicker brows, on the other hand, the ladies in the “thin eyebrows” category often have slightly narrower lines and sharper bones. The thin eyebrows soften them up. 

However, there are some exceptions to this. If all of your features a very large or maybe even your forehead is smaller than you’d prefer, you may go the complete opposite route and take thin brows.

A youtube Anncy is a beautiful example of someone who made the right call going for thin brows instead of thick ones. Larger brows would wear down her face and perhaps take more space away from the rest of her features. When you have large features, sometimes it is difficult to juggle proportions: adding large eyebrows can take away either from eyebrow height or forehead length so if you recognize yourself in this, consider going for thinner brows even though your features are large. The only image of thick brows on her I could find offhand is this  but I felt it would be unfair to put them with the other ones, as I feel the lightning and angle isn’t equal or as flattering, but hopefully you get the point. 

Another example of this is Angelina Jolie. She goes for much thinner eyebrows than you’d expect from someone with features as large as those. 

Big eyebrows would simply be too much competition for the rest of her face:

However, many people don’t fit any type perfectly and that’s also perfectly fine. Most are in the hybrid category, so they have to pay attention to various features.

Kerry Washington is one such example. Her features are larger, yet her eyes are very delicate. Her face is narrow, but there is much fleshiness to it. She goes for a brow that isn’t too thick or too thin. They’re narrow to follow the longer line of the face, yet not too thin to harmonize with the roundness of her features, cheeks and chin. 

Megan Fox has fairly small features and yet she looks better with thicker brows? Why? Because her face possesses a certain sharpness, particularly in her features, that needs thick eyebrows to balance them out. This also has to do with her coloring and contrast, but that will be its own category in a following post. 

Also, while it may seem like blondes suit thinner brows and brunettes thicker ones, that may not exactly be it. I put the example of Lykke Li who shows that a blonde can perfectly rock thick eyebrows, and Hyuna and Halle, as an example that brunettes can also look beautiful with thin ones. I’ll go more in depth about this in the Coloring section. 

Arched vs Straight eyebrows

The arch of the brow depends on your overall features and the style you want to convey. A longer midface may suit straighter, longer eyebrows to add width to the face. Straight eyebrows also make you look younger and more cute. They can also help the forehead look wider. An example of this is Yoona, this girl has a longer midface and the brows add a vertical line that breaks apart the length of the midface. The straight brows also suit her cute and youthful appeal.

Mina from Twice is another good example of this. The straight brows add balance to the length of the face.

I would suggest straighter brows to people who’d prefer a cuter look usually, however many sexpots, so to speak, go for this look to balance out their features. Look how much width these straight brows, that extend far out, allow Jessica Alba’s longer face.

Straight eyebrows, depending on how dark they are, can also add drama and make the face seem more symmetrical and lifted, especially if the ends of the brows point up - that’s why they’re popular with models. Notice how symmetrical and compact, or even wide, a lot of these faces appear due to this effect. Additionally, these faces appear more dominant or modelesque and may even photograph better, which is why you may want to try them out. 

Let’s look at Nyane, her straight brows with a slight elevation towards the end point out the beautiful symmetry and sharpness of her face. When they are arched, there is too much sharpness. Even if they were shaped differently, the elevated arch would take away from a more balanced look.  

On the other hand, for the e-girl or cute girl look, the straight eyebrows don’t point up, rather, they point down. Look at the classic e-girl Belle Delphine for that. For the cute girl look, choose either an end that points neutrally or down. Beware that an eyebrow that point down may make your face appear less lifted, but many faces can handle it pretty well. It’s all subjective and not everyone wants the lifted look.

As for arched brows, they definitely bring up the sex appeal and make your eyes appear lifted. This is great if you want to go for enhanced sex appeal or have a negative canthal tilt (downturned eyes) that you’d like to change. Arched eyebrows are a classic and they add that “wow” factor to the face, in addition to that, it’s also a great choice for those who have a baby face and want to stray away from that. It’s great to add that arched eyebrows can break up a wide face and add “length”, it can also shrink the forehead and make the eyes appear larger, but that will be further covered in the placement section.

Gigi Hadid has beautiful eyebrows that make her eyes appear huge due to the high arch point. The eyebrows are her best feature and certainly add something to her look. Pay attention to how babylike her face would look without those eyebrows, if you’d cover them, her face would seem so much softer. The arched brows are exactly what make her face model like. It’s that extra something.

Aishwarya Rai is famous for her sex appeal and beauty and her eyebrows play up that aspect - she often lifts up one or both brows in photos to get an even more pronounced arch.

When her eyebrows are straighter, she loses some of that seductiveness.

Anne Hathaway has beautiful downturned eyes, however, in case one would like to “lift” the area up, so to speak, they could try out this type of style. The arch of the brow is exactly above where her eye ends and goes down, making for beautiful harmony.

Eyebrows can also be more sharply arched or have a more rounded arch. A sharper arch can add more dimension to the face, as well as sex appeal, while the rounded one can accentuate femininity (look Gigi and A,R, or someone like Sofia Vergara). Marylin Monroe, in tune with old Hollywood beauties, sported a sharper arch often, as did Olivia Wilde, to suit her sharp features.  

Naomi, is also an example of beautiful arched eyebrows, that mix up both the rounded and sharp aspect by going to no extreme. This can suit you really well if you have a mix of sharp and round features like she does (high cheekbones, elongated face + full lips, rounded cheeks etc.)

If you can’t decide which eyebrow to go for, consider the mix of the two: where the eyebrows bottom line is more straight and the top of it is arched. It is often seen on women with cat eyes that want to add softness but also show off that allure. Notice how the bottom of Barbara’s eyebrow here is straight and the top is arched - this is also great if you have difficulty with shaping your brows as it is forgiving for filling in + it looks very natural.

All of this said, it is up to you if you want to add sharpness or softness to your face - there is no right call and a lot of it has to do with what your style and taste is. Many of these women have tried out all types of arches and found that each look “sold” something, a particular essence. It is up to you to choose what you like, however, I hope this guide helped you in discovering which eyebrows suit what style. 

I wish to also address more finely tuned details of the eyebrow such as:

-Eyebrow placement (Low and High placed)

-The placement of the arch and its effects on the look you are portraying

-Having eyebrows compliment individual features (close set eyes, wide set eyes, broad noses etc)

-Coloring of the eyebrows

and perhaps some more. Stay tuned! 

#beauty #eyebrows #style advice #style #advice #mua #makeup #brows

[rocknrollarticles]

The Artwoods Story

The Artwoods’ 100 Oxford Street is a UK compilation album released in 1983 that features a four-page booklet (pictured above) that tells the band’s story, written by guitarist Derek Griffiths.

Since there's a limit on the number of photos that can be added to one post, I'll be reblogging this a couple times until I have all the info up. To see this post with all the info added in reblogs, click here.

Thanks for reading, and I hope you enjoy Derek’s words as much as I do!

Transcript under the cut (main text + Record Mirror article from page three's rightmost side)

“  It's difficult to pinpoint exactly when the Artwoods came into being because everything just seemed to evolve naturally. The one date however that does stick in my mind is the 1st October 1964 which is the date I turned professional, thus depriving the accountancy profession of a valuable addition to its ranks! But seriously, one must go back to previous events in order to trace the history of the group.

I first met Jon Lord at a party in West Hampstead when he was a drama student at The Central School of Speech & Drama. He was introduced to me by Don Wilson whose claim to fame was his membership of the famous skiffle group Dickie Bishop & His Sidekicks. They had had a hit years previously with "No Other Baby But You", and Don now ran a band on a semi-pro basis called Red Bludd's Bluesicians in which I played guitar. Well, I say we were called this, but only when we were fortunate enough to cop an R&B gig. We used to play The Flamingo Allnighter and lots of U.S. air bases. The rest of the time we played weddings and tennis club dances as The Don Wilson Quartet! Jon Lord was brought in on piano and was a very valuable addition especially as he could get his hands around a little jazz and all the old standards. Jon used to ring me at work and interrupt my vouching of sales ledger invoices in order to discuss the coming weekends gigs. We would bubble with excitement at the approach of an R&B gig as we really hated all the weddings and barmitzvahs.

Around this time Don made a very important policy decision and we suddenly became the proud owners of a Lowrey Holiday organ for Jon to play. Shortly after this Don contrived to drive the band-wagon into the back of a lorry on the North Circular, doing himself considerable mischief in the process. This brought about the unfortunate end of Don's career with us, but not before he had masterminded an important merger of two local bands.

For some time we had been aware, and not a little envious, of The Art Wood Combo led by none other than Art Wood himself. His band underwent a split at that time and Red Bludd's Bluesicians, alias The Don Wilson Quartet, were neatly grafted on. We really felt we were moving into the big league by doing this as Art not only had more work than us but, wait for it, used to sing with Alexis Korner's Blues Incorporated with Charlie Watts on drums and Cyril Davies on harmonica! The next problem was a replacement for Don, and this was solved by stealing the bass player from another local group The Roadrunners, a good looking cove who went by the name of Malcolm Pool. The offer and acceptance of the gig were transacted in a pub car park somewhere in West Drayton staring into the murky waters of the Grand Union Canal clutching pints of local bitter (Fullers?). (Authors note: drugs had not been invented at this stage, as far as most groups were concerned, apart from the odd pill to keep one awake on an all nighter!)

~

The next personnel change took place some time in 1964 and this involved the retirement of drummer Reg Dunnage, who did not want to turn pro. Auditions were held in London and lots of drummers attended. However it was more or less a foregone conclusion that Keef Hartley would get the job. You see we'd already decided that what The Artwoods needed above all else was a Liverpool drummer! Unfortunately none came to the audition, but Keef hailed from Preston which was near enough for us. Keef had previously played with Rory Storm & The Hurricanes, replacing Ringo Starr in the process (heady stuff this), and Freddy Starr & The Midnighters. Both were such influential bands of their time that these credentials combined with Keef's quasi Liverpool accent (at least to our ears) provided him with a faultless pedigree.

~

So that was it, the line-up that would take us through to 1967 when Colin Martin eventually replaced Keef Hartley on drums.

For a while we worked as The Art Wood Combo but then decided it was hipper to drop the Combo and become The Artwoods.

The period when The Artwoods were operating was one of musical change when groups went from recording and performing other writers' material to writing their own. In fact the last year of the group's existence was 1967 which heralded the arrival of "Hendrix", "Flower-Power". "Festivals" and experimental use of mind expanding drugs! 1966/67 were particularly exciting years to be based in London and every night would be spent in one of the many clubs which had recently sprung up. The Ad Lib, The Scotch of St. James, The Cromwellian, Blaises and of course The Speakeasy to mention a few. Many of these we played in and the trick was to be well known enough not to have to pay the entrance fee on nights off. Any night you could be sure to meet your mates "down The Speak" and it became the unofficial market place for rock musicians.

It was also the days before huge amounts of equipment took over. Equipment meant road-crew and trucks and in turn financial hardship. This simple equation has been the downfall of many bands over the years. We used to travel in a 15 cwt van together with all the gear-no roadies, just us. It's amusing to recall but after recording the TV show "Ready, Steady, Go" (in Kingsway in those days?) one would be besieged by autograph hunters on the way to the van with the gear. Even really 'big groups of the day like The Zombies would hump their own equipment and apologetically place an amp on the ground in order to sign an autograph! Because it was financially viable to travel to small clubs in this way, we would often average 6 or 7 nights a week, every week, on the road. A bad month would probably mean less than twenty gigs. This meant we were living, sleeping and eating in close, and I mean close, proximity. You really found out who your friends were.

The subject of equipment is an interesting one as it really distinguishes the bands then from those of today. The average pub band of today would carry more equipment than we did. As I've already mentioned we were quick to realise that we could elevate ourselves musically by investing in a proper electric organ as opposed to a Vox Continental or Farfisa that many groups used. Consequently the group purchased a Lowrey Holiday and we thought this alone would provide us with the Booker T and Jimmy Smith sound.

What we failed to realize was that we also needed a Leslie cabinet with a special built-in rotor to get that "wobbly" sound. Our friend and mentor Graham Bond, the legendary organist/saxophonist, was quick to point out the error of our ways one night when we were gigging at Klooks Kleek in West Hampstead. We groaned inwardly when we discovered the extra cost and humping involved, but it had to be bought. We were fortunate very early on to score a deal with Selmers, who provided us with free amps and P.A., but we had to make the trek to Theobalds Road once a week to get it all serviced as they were not as reliable in those days. I used a Selmer Zodiac 50 watt amp and Malcolm had Goliath bass cabinets with a stereo amp.

The P.A. comprised two 4 x 12 cabinets and a 100 watt amp! When we toured Poland we played in vast auditoria and linked our system with the Vox system being used on tour by Billy J Kramer & The Dakotas. This meant we were pumping out no more than 300 watts which is laughable by today's standards. Although it would never have compared in quality, I can remember standing at the back of extremely large halls and being able to hear clearly all the words Billy J sang. One day in 1963 Alexis Korner sent me off foraging in and around Charing Cross Road for a new guitar, with instructions to mention his name whereupon I would receive a discount of 10%. Previously I played a Burns Trisonic (collectors will appreciate this model did not have "Wild Dog" treble) but fancied owning a Gibson ES335 as favoured by many blues players. Sure enough one was hanging invitingly in the window of Lew Davis's shop.

I ended up paying £135 and still use it regularly today although its value has multiplied five fold. Malcolm came with me that day and bought an Epiphone bass, the same colour and shape as my guitar. For years we looked like matching book-ends on either end of the group! Keef started off using a Rodgers drum kit, but somewhere along the line changed to, I think, Ludwig. There was no out-front mixing as is common today, just the P.A. amp on stage with the vocalist. Primitive I know, but everything revolved around bands being able to travel economically with their gear and perform at small clubs anywhere in Britain. The college circuit was much sought after and provided the icing on the cake while package tours were not necessarily well paid. We did our first with P. J. Proby and got £25 per night (for the lot of us) and we had to pay for our own accommodation!

~

I have already mentioned "Ready, Steady, Go" a show on which we appeared on more than one occasion. The original format called for groups to mime to their records but after a time it was decided that it would become "live" and that the show would be re-titled "Ready Steady Goes Live". We were proud to be picked for the first "live" show and learnt the news via a telephone call to our agent in London from a phone box high in the Pennines. We managed a drunken war-dance of celebration round the phone box believing that this meant we'd really cracked it. As I remember the first show we did featured Tom Jones (complete with lucky rabbits foot) miming to "It's Not Unusual", The Kinks, Donovan and Adam Faith's Roulettes playing live (without Adam). We were promoting our first single "Sweet Mary" and I would put the date at around late 1964.

~

Our first recording deal was with a subsidiary of Southern Music Publishing called Iver Productions and I reckon that would have been mid 1964. Southern had a four track studio in the basement of their offices in Denmark Street ("The Street") and getting the gear downstairs, especially the organ, was "murder". Our first producer was Terry Kennedy and we recorded several tracks with him. Without going too deeply into all the details of recording techniques of the period, one tended to compensate for the lack of tracking facilities available, by attempting to duplicate the live excitement. In many ways it was a frustrating experience particularly for ambitious guitar-players. I was a Steve Cropper freak and I knew as a musician that a lot of his sound on record resulted from him working his amplifier hard in the studio— thus the speaker would emit the sound he was used to on stage. In Britain however, engineers would say "You don't need to play loud man, we can turn you up on the desk". The result was a weedy, thin guitar sound. From way back I'd been experimenting with "feed back" on stage and I really had to dig my heels in about the guitar sound in the studio. Once when I turned my amp up to give it a bit of "wellie" on a solo the engineer bounded out of the control room screaming that the level would bust his microphones!

~

Sometime during the career of The Artwoods it was decided that we should graduate to a better studio. This was arranged by Mike Vernon who also became our producer. Our records had all been released through the Decca Record Co. and Mike was a staff producer with them. Mike w also an authority on "The Blues" and the relationship led to our only single chart record "I Take What I Want" a cover of a Sam & Dave U.S. R&B hit. Mike was also producing John Mayall at the time and it seemed only natural that Mike and The Artwoods should team up. From this point on we recorded at the Decca studio in Broadhurst Gardens, West Hampstead, but I can't honestly say it did any more for us than our previous efforts in the Southern Music basement, although we could now indulge ourselves in the comparative luxury of the eight track studio. Later on, towards the end of the groups life we were signed by Jack Baverstock at Philips Records who was looking for a group to cash in on the thirties-style gangster craze which had been triggered off by the film "Bonnie & Clyde". As a result we changed our name to "St. Valentines Day Massacre" and released a single of the old Bing Crosby hit "Brother Can You Spare A Dime?" It was an ill- fated venture, which I would prefer not to dwell on, virtually signalling the end of the band apart from a few heavy-hearted gigs with a changed line-up.

~

Before that though, there were many great times to remember, and a fair number of gigs that were memorable in one way or another.

One of our favourite gigs was Eel Pie Island which we regularly played once a month; in fact we held the attendance record there for a while until the ageing blues artist Jesse Fuller took it from us. Eel Pie Island is literally an island in the middle of the River Thames at Twickenham and there's never been a gig like it since. It was an Edwardian ballroom originally I believe, that achieved notoriety in the 50's with the Trad Jazz boom. At that time, an overloaded chain ferry was used to convey the crowd across the river, but during the 60's a small bridge was in existence although it was only wide enough to take the promoter Art Chisnall's mini van. He had to make three separate trips across with the gear strapped to the roof and hanging out the back doors.

The audiences were exceptional for those times and I don't know where they all came from... very much like art students and very much more like the 70's than 60's. Long hair predominated and this was before 'hippies' had officially been invented! If you can imagine a ramshackle wooden ballroom, bursting at the seams, condensation pouring from the walls, the audience on each others shoulders leaping up and down, the sprung dance floor bending alarmingly in the middle, in the summer couples strolling outside and lounging on the river bank ... all this and not a disc jockey in sight! One other bonus was that it was a “free” house and therefore sold many different types of beer— we always favoured Newcastle Brown. Back on the 'mainland' afterwards it was always riotous packing the gear into the truck. I don't know how he managed it but one night Malcolm drove our truck over the support band's guitar which happened to be lying about, thus breaking the neck. I'll never forget the shocked look on that poor guitarist's face as Malcolm smoothly slipped the van into gear, apologised and drove off in that order!

~

No trip up north was complete without stopping at the famed Blue Boar on the M1 for a "grease-up" on the way home. I do not refer to truck lubrication but to a particular rock'n'roll delicacy known as “full-house”. This comprised double egg, sausage, chips, beans, tomatoes, fried slice, tea, and (if you were man enough) toast. It was considered a Herculean task to break successfully the 10 bob' (50p) barrier-all served on wobbly cardboard plates that doubled as items to sign autographs on for the self service waitresses.

Waitress: What band are you?

Me: You won't have heard of us.

Waitress: Oh go on, tell us.

Me: OK. The Artwoods.

Waitress: Never 'eard of you!

It was everybody’s dream to walk into the Blue Boar just as their hit of the moment was playing on the Juke Box.

~

One time we were chosen to represent the twentieth century at the centenary celebrations of the State of Monte Carlo— a most lavish affair which the aristocracy and dignatories of Europe attended. Princess Grace and Prince Ranier were the hosts and people like Gina Lollobrigida and the like were there. The ball was held in the famous Casino at Monte Carlo and we stayed in an opulent hotel called The Hermitage, I think. All I can remember is that we all had single rooms (a rare luxury) which were massive, and you could have pitched a tent under one of the bath towels, they were so big. After this we jetted off up to Paris where we played next door to the Moulin Rouge at a club called The Locomotive.

Whilst we were there we were taken out by our friend Mae Mercer, the American lady blues singer who we backed in England. She lived in Paris and took us out to Memphis Slim's club where we all set about drinking like it was going out of style. At the end there was an embarrassing scene concerning the bill with the result that Mae ended up in tears. Whilst we were bumbling about in an alcoholic stupor, an upright looking gentleman put his arm round Mae to comfort her and a wallet appeared magically from his inside pocket. Without further ado the bill was despatched and we later learned that our anonymous benefactor was none other than Peter O'Toole who was busy in the street outside filming 'Night Of The Generals' and was an old buddy of Mae's.

~

One Boxing Day we loaded up with turkey sandwiches and Xmas pudding and headed off for a gig down in Devon or Cornwall somewhere. We arrived to find the club closed and boarded up, and as usual we were broke. Naturally we were livid, checked into an hotel and located the promoter who lived with his mum. Next morning we drove round to where he lived and burst our way past his confused mum. We found him in his bedroom nervously cowering against some fruit machines which he collected. He had no money so we forced him to empty his damned machines with the result that we drove back to London with 50 quids' worth of 'tanners' (approx 22p for the younger reader!)

Whilst on the subject of disasters I suppose I am duty bound to mention Denmark. The first time we went there we caught the ferry to the continent, drove up through Germany, then caught another ferry to Denmark. There was no promoter to meet us when we arrived so all we could do was drive to Copenhagen and check in at the Grand Hotel. It cost us an arm and a leg but at least we got a good nights sleep after being awake for nearly two days travelling. The next day we made a few phone calls and finally tracked down the promoter. He said: "Didn't you get my telegram cancelling the tour?" We politely said no we hadn't and what did he intend doing with us? He checked us into another hotel (cheaper of course) and set about booking us at places that were similar to English coffee bars and youth clubs. We made enough to survive on and paved the way to more successful tours of that country. In fact by now we had Colin Martin on drums and were pursuing a much more adventurous musical policy and writing our own material. It was just right for Denmark who had taken Hendrix to their hearts to name but one, and we subsequently became quite big there in 1967.

The Artwoods achieved modest success-a minor hit single in "I Take What I Want", but we worked constantly, travelled abroad, had fantastic fun and made a living doing so. We had seven single releases, one album, and one EP, and we broadcast both on radio and TV many times. We did stage tours such as the P. J. Proby tour and covered most aspects of "show-biz" apart from actually making a movie. It was the era when bands still had to prove themselves as a live act before being offered a recording contract. now frequently happens of course that an act can become huge record sellers without so much as venturing to do a live gig.

~

So what happened to everyone? Well Art returned to his former occupation as a commercial artist and finds some time to fit in free-lance work between accompanying brother Ron Wood on raving excursions between Rolling Stones gigs. Malcolm moved into the same field as Art and they now work in the same building. Both of them gig occasionally on a semi-pro basis although Malcolm spent some time playing with Jon Hiseman's Colosseum and Don Partridge in the early 70's. Jon Lord became famous with Deep Purple and Whitesnake as did Keef Hartley with John Mayall and various bands of his own. Colin Martin is now a BBC Radio producer of repute. I played in various bands such as Lucas and The Mike Cotton Sound, Colin Blunstone's band, Dog Soldier (with Keef again), before I somehow drifted into studio and theatre work. Recently I formed an R'n'B band called the G.B. Blues Company, and it's great to be back on the road again.   ”

Derek Griffiths.

Clipping from Record Mirror on June 5, 1965, by Norman Jopling.

“We aim to excite!” … say the Art Woods

Just for the record, the Art Woods aren't a part of Epping Forest. In fact they're a group of five interesting young men, named after the group's leader Art Wood. They also happen to be one of the most realistic groups on the scene.

For a start, they are the awkward position of having a large following, a club residency but no hit record. Secondly. they don't mind pandering to commercial tastes, even though they have been hailed as one of the most authentic R & B groups in the land.

NO PULL

“But authentic R&B just isn't pulling the crowds any more,” says Art. “The audiences want to be excited, not to be lectured on what is 'good' and what is 'bad'. Although there was a time when you could spend half an hour on one number with long solos by everybody, it didn't last long. And although there are some clubs like that still, most of them want something fresh and new.

“And we try to cater for them. We like authentic R&B, but we also like playing everything and anything else. So far, our two discs haven't meant a light. Of course we'd love a hit. But we're lucky enough to make a good living without one.”

DISCS

The Art Woods latest disc is "Oh My Love" and the one before that “Sweet Mary”. Of them Little Walter has said that he couldn't believe any white group could sing and play the blues like they do.

Line-up of the group is Art Wood, leader. vocalist and harmonica. Derek Griffiths, lead guitar, Jon Lord, organ and piano. Malcolm Pool— base guitar, and Keef Hartley on drums. The boys use a specially adapted Lowrie organ, and get a sound that's really different.

But even if the boys sometimes become depressed about no hits records, they should remember groups like Cliff Bennett, the Barron-Knights, the Rockin' Berries and the Yardbirds, and how long THEY waited before they had a hit!

N.J.

#the artwoods #the art woods #art wood #derek griffiths #malcolm pool #jon lord #keef hartley #colin martin #100 oxford street #the 100 club #articles #liner notes #newspaper clippings #record mirror #my posts

[noonewantstotalkaboutpinball]

Terrorwrists vs. NYCFSA

No One Wants to Talk About Competitive Pinball

Quick background: Pinball NYC is a team pinball league now entering its 16th season. Teams of up to ten players compete at their home bars or visit other teams for ten weeks during the regular season. Team play is not sanctioned by the IFPA, and this league is largely about camaraderie and bragging rights.

This is my second season playing in the league. I was recruited to my team, the New York City Flipper Sport Association, by our captain, Eric Asher, and promoted to co-captain this season.

The first matches of the new season for the Monday night Upper Playfield division were contested on 19 February 2018. The Terrorwrists, last season’s champion, came to visit our home bar: Creek & Cave in LIC, Queens.

I was inspired to start this blog by putting together an action report of last night’s match to send to Benjamin Furiga for possible use on his NYC Pinball Podcast, and I’m going to use those comments as a jumping-off point for this post.

My email:

Hey, Benjamin, a report on our match last night. If the minutia of stuck balls is not interesting, please ignore that. The Terrorwrists visited Creek & Cave without their captain, Adam Cane, but their strong players still gave our Flipper Sport Association a run for the money. In one particularly odd moment, I was playing against Mike Pantino on The Walking Dead, and he had his second ball get stopped on the left ramp; apparently there's a flat section hidden behind the back wall, and shaking wouldn't free it. It would stay there through three more balls until it was finally knocked out during a multiball on my third ball. Both the original stopping and the eventual drain of the ball caused loss of turns, so Mike and I were each to play a compensation ball. Before the stuck ball he had put up a good score, finishing at 49 million, but during the stuck ball I was able to pass him, and with his compensation ball he couldn't catch my 87 million. After three rounds, we had clinched at least a tie, and a win in the final round gave us a 10 to 6 victory. Our player of the night was Freddy Asher (Mr. "Always a billion on Game of Thrones"), who won all three of the games he was involved with. Erik Swedlund, NYCFSA co-captain On a personal note, I finally executed the Star Wars strategy we discussed, during the Oskar Blues Brewery Pinball Circuit event at Jackbar on Sunday. Although not to the exact letter, I picked Han, worked through the necessary modes, used a multiball to get my multiplier up to 40x, and hit the Hoth shot for two consecutive video modes, together worth around 600 million of my billion-plus game. I didn't even play the video modes particularly well. That was enough for me to avoid a strike in a group with Steve Bowden, Chris Cafaro, and Dave Peller.

Of the two games I participated in, The Walking Dead against Pantino was the remarkable one. Aside from the stuck ball drama, I want to lay out what was going through my mind.

Before that, though, I want to briefly comment on the novel experience of performing some of the captain’s duties. I consider myself to be in the middle of team in terms of strength of play, though I am always striving to improve. We have team practice once or twice a week. I try to never miss those, and I’m sure this dedication played some part in Eric nominating me co-captain. During those practices, we pay special attention to each player specializing on a particular machine or two, so that we have an expert to call on no matter what might be picked. In the first round, seeing that the Terrorwrists had elected to play on Medieval Madness and Game of Thrones, I consulted with Eric on what players we would put against them. We had a good break with their choice of those two machines, as our best players really shine on them. We won both and captured all four points of the first round.

Sensing a chance to lock up the match early, we hoped to press our advantage by choosing our specialty machines, especially by doubling up on No Good Gophers, a recent addition to our venue and unique in the city. Eric also wanted to see me on The Walking Dead, the machine I specialize on.

Now, and this may be a lack of confidence that I need to work on, I don’t like playing the singles rounds as much as the doubles. I prefer having a teammate with me, to sort of back me up should I fail to score well. I was also dreading playing singles against Pantino. Mike is one of my favorite guys in the NYC pinball community, but he’s also one of the strongest guys on the very strong, defending champion Terrorwrists. My hope was that there was a chance he was on an off streak.

His first ball disproved that theory. I forget the details, but he played a multiball or two along with a mode and put up something like 35 million points. I said to him that it was a very good ball, and he said, “Don’t worry, you’ll have a good ball, too.” Did I mention that Mike is one of my favorite guys in the NYC pinball community? I had been practicing on the machine earlier in the evening and doing very well (I recall a 70 million game), but as always on this brutal game, interspersed with terrible scores. I stepped up determined to play my strategy.

Execute the skill shot. Missing this isn’t actually losing out on the value of the first skill shot, but losing the larger values of later skill shots that you’ll never get to.

After the skill shot, pay attention to the ball entering the bumpers. On this particular machine, dropping through the left top lane will not activate the bumper below it, but dropping through the right top lane will, and it will often bounce straight back up through the lane. Quick flips to change the lit lane can get you a bonus multiplier or two. Bonus isn’t huge on TWD, but when the machine is being mean, every little bit helps.

As the ball exits the bumpers, try a little shake to fend off a SDTM drain.

Get a hit on the drops (to progress towards modes and Blood Bath multiball) and on the prison (to progress towards Prison multiball) while the ball save is active.

Hit the prison again to begin Clear the Yard and light shots for progress towards Prison multiball.

Now would be a great time to complete the first set of drops to light modes. Super dangerous, but key to finding points. A bunch of games, taking this shot drains my ball with the modes sadly lit. In another bunch of games, I recover from this shot but brick on my mode select shot and again drain, taunted by the lit mode inserts.

Two of the modes are particularly good at this point, because they involve all the shots on the game, which you also want for Clear the Yard: CDC and Tunnel. CDC is on the easier to hit and safer left ramp, and it can lead to a huge score. Tunnel is on the tough orbit through the pops; it scores nicely but is also pretty good in multiball. So, try to start CDC.

Play CDC: loop the left ramp as long as you can, then start hitting all the other shots. Watch for multi-kills starting. Avoid using the inlane multiplier until you’re ready to finish CDC by hitting the left ramp two more times (then use the multiplier on the second ramp shot). You can hit the drops to extend mode time, but I’m usually not able to pay enough attention to this.

Should be pretty close to Prison multiball at this point. Bash the prison to start it.

In Prison, alternate between the major shots and the prison for jackpots. Go nuts while ballsaver is active, then trap up and try to clear some more drops (for a different supply than before) to progress towards Blood Bath and another mode.

I played my strategy. I had a good ball, like Mike said I would. Instead of draining out around step 3 or 4, I got to step 10 and about 28 million points. I felt pretty good about that, though I would have liked to have played CDC better.

Then came the stuck ball described above. Mike had added to his score a little, getting to around 45 million. I don’t remember anything particularly good about my second ball, and I don’t remember adding any significant score. On his third ball, Mike again added just a little bit and wound up with 49 million (and the prospect of a compensation ball should he need it).

Stepping up to my third ball, I studied the board and the instant info to see what I could do. I had only collected one supply on the drops, so Blood Bath was a long way off. Well Walker multiball was a bit closer at five hits. I went for the Well Walker, choosing the safer backhand of the bash toy from the right flipper. During the bouncing around I also completed the drops and lit my modes, so just as the multiball started I took a swing at the Riot shot--and hit it! I celebrated this nice stack with a fist-pump and a “Yes!”. I made an attempt at getting to Blood Bath but couldn’t. Instead, I was feeding balls to the pops through the Riot shot, bashing the Well Walker for jackpots, and then a stray shot to the left ramp started (my second?) Bicycle Girl AND freed the stuck ball . . .

Which I didn’t even notice until the multiball ended and I was attempting to trap up and think about what to do next. Instead of catching the last ball, however, my flippers went dead and bonus started counting up. That stuck ball had entered the trough, and the machine thought I had drained all my balls. Now I was due a compensation ball, also.

First I had to plunge off the extra ball I had earned--only I discovered two balls in the shooter lane. The Walking Dead was definitely a little confused. I still wanted those skill shot points, though, so I considered how best to deal with it. I decided to pound in the shooter rod rather than pull it back, and that turned out to be the right choice. I finished at 87 million.

We power-cycled the machine before starting a new game for the compensation balls. Unfortunately for Mike, he barely got to touch his ball, and scored less than a million, not enough to catch me, and I did not play my compensation ball.

I think there might be more about this evening of pinball that I could write about, but this post is getting a little long in the tooth.

I invite any comments or suggestions!

Signing off, IFPA Player #47714

#pinball

[risprinabeachw-blog]

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[itsworn]

Ford Performance Unleashes New Z2363 Crate Engines

Our Week To Wicked Mustang is receiving some final detail touches for its debut in our SEMA booth as I write this, but the actual build happened back in July 2017. It was a week of long days and a couple of long nights as staff from the east and west coasts banded together with our sponsors. Everyone was turning wrenches, shooting video, and more with the common goal of having a running, driving 1966 Mustang hardtop by Friday night. In all honesty, it was the wee hours of Saturday morning when we finally were able to create the familiar aroma of burning tires, thanks to the power of Ford Performance Racing Parts’ (FPRP) new Z2363 crate engine.

We debuted the project right here in print in our November 2017 issue, and we’ve been sharing details on various aspects of the weeklong build every month since (and on our Facebook page at www.facebook.com/mustangmonthlymag). This month, we are going to delve into that Z2363 engine, more specifically, the Z2363FT, which is the front sump offering and give the lowdown on what makes it tick. FPRP also offers this engine in a rear-sump option (under PN: Z2363RT) for those of you with late-model Mustang projects who are possibly looking to repower with a crate engine.

In the past, if you wanted to increase displacement but retain the stock block dimensions for ease of fit, you were typically maxing out the 302 Ford block at 349 cubes. Maintaining that 8.2-inch deck height meant you could have more hp and torque, but not run into issues like having to buy different headers, hood fitment issues, and more. That said, we hp junkies always want more, and going above that 349ci displacement, meant moving up to the 351W block and its taller 9.2-inch deck height. Along with the additional cubes of the Windsor (408 or so cubes in a stock casting), it came with new headers, new induction, and often a new hood, or at the least, a hood scoop.

Today, aftermarket performance blocks allow a greater range of displacement in their given deck heights. The FPRP Boss 302 blocks (PN: M-6010-BOSS302), like its Boss 351 big brother, are proven pieces. FPRP starts by using diesel-grade iron to cast the blocks, adding in webbing, and other design aspects to increase strength. Inside, you’ll find a larger than stock bore at 4.125 inches. Coupled with the crate engine’s SCAT forged-steel connecting rods with 7/16-inch bolts swinging on a SCAT forged-steel crank (PN: M-6303-C340) with a 3.400-inch stroke, we get a grin-inducing 363ci out of a stock block that’ll drop right into our 1966 Mustang engine bay without any drama. And it puts out 507hp to crank!

Of course, a crate engine is more than just a block, crank, and rods. To that end, FPRP has really gone to great lengths to stuff the best of the best in this engine. Topping those rods are Mahle forged pistons with floating pins. Elsewhere, you’ll find a high-volume oil pump (M-6600-D2), Boss-spec head bolts (PN: M-6065-BOSS), Z2363 exclusive head gaskets (PN: M-6051-R351), FPRP’s new Z2 aluminum cylinder heads (PN: M-6049-Z2), a custom-ground hydraulic roller cam, new water pump, oil pan, valve covers, timing cover, timing chain, and more.

Getting one is as simple as reaching out to your favorite FPRP dealer and placing an order. Be ready for a big box of power to arrive and then schedule a weekend with some friends to help drop this mighty power plant into your Mustang or Ford project.

1. The basis for the Z2363 crate engine is FPRP’s Boss 302 block casting. The block features a standard 8.200-inch deck height, which is the same as a 289 or 302. So it’ll fit anywhere they did originally. The cylinder wall lengths have been optimized for stroker applications with none of the grinding or clearancing usually required with a stock casting. It has splayed four-bolt mains (2, 3, and 4) and accepts factory roller lifter spiders. Inside the block has been enhanced with revised cooling passages, front feed oil galleries to the lifters, and screw-in core plugs. It even has a vintage-style clutch Z-bar pivot point threaded hole on the driver’s side of the block. Note: This block is not designed for production 302/351W heads.

2. FPRP has used SCAT and Mahle for many years now as its source for internal bits in its crate engines, and the new Z2363 is no different. FPRP specs a SCAT forged-steel crank with 1.1232-inch rod journals. The rod and main journals are also nitride and polished, while the counterweight leading edge is rounded and the trailing edge is tapered. In a production block, it can be used to create the popular 347 stroker, but the larger bore of the Boss 302 block (and using SCAT forged steel 5.40-inch rods with Mahle forged slugs at the top) nets us the 363ci displacement. A custom-ground hydraulic roller cam with .580/.602 lift and duration @.050-inch of 232/240 and a double roller timing chain are used in the crate engine, as well.

3. On the bottom side of the Z2363 is one of Ford’s high-volume oil pumps with pickup and a steel deep-sump oil pan. The oil pump is a standard pressure pump, but due to the high volume of flow, an extra-capacity oil pan is recommended. Depending upon the PN of the crate engine, you can have either a front sump, which is what we’re using, or a rear and dual sump configuration. FPRP includes the correct oil pump pickup for the fitted pan. The pan itself is powdercoated semi-gloss black and features a full-length crank scraper and full-length bolt-in windage tray. These two items help keep oil in the pan and off the crankshaft where the oil can rob power. The pan’s internal baffles and trap doors keep the oil around the pickup during hard braking, cornering, and acceleration. A 7-quart capacity means plenty of oil to keep the engine cool, and the pan includes 3/8-inch NPT ports for oil temperature sending units.

4. Up top is where the revised Z2363 crate engines really shine. Previous iterations used the Z304 aluminum heads, which had a raised exhaust port. They often would wreak havoc on exhaust fitment, or at the least, require you to buy new headers. The all-new aluminum Z2 head features a Velocity Vane in the intake port floor for more power and was completely computer designed and modeled with simulation tools for more power through the usable rpm range. The head is cast from 356 T6 aluminum with stock exhaust port height and all accessory boltholes drilled and tapped as OE. It is an inline-valve head featuring 20-degree valve angles. Valves are sized at 2.05-inch intake and 1.60-inch exhaust and use PAC conical valve springs, machined steel retainers, and 10-degree locks. The Z2 uses standard 14mm gasket-style sparkplugs and has guide plates for 5/16-inch pushrods and 7/16-inch rocker arm studs.

5. Attaching the new Z2 heads to the block and keeping combustion pressures where they need to be are these Boss-spec head bolts that must be used with the Boss 302 block, and FPRP’s new Z2363 exclusive head gaskets. Both the head bolt kit and head gaskets are available separately for servicing your crate engine or for custom builds with Boss blocks or the new Z2 heads.

6. Wrapping up the crate engine are these trick FPRP black-wrinkle-finish valve covers, along with a new timing cover that works with standard or reverse rotation water pumps, a standard rotation water pump, SFI crankshaft damper, and a set of intake gaskets.

7. We knew going in, our 1966 Mustang project would be driven a lot of miles. That’s true of all of the Week To Wicked projects. So we wanted to not only have power steering, air conditioning, and other comforts. We wanted reliable components and ease of service if we did have to tackle a repair on the road. Instead of piecemealing our front dress, we went right to a serpentine conversion kit, using this trick setup from All American Billet. High-amp alternator, compact power-steering pump, reverse rotation water pump, and Sanden rotary air conditioning compressor, all brand-new parts with known track records.

8. Induction wise, we knew we were going to be going with EFI. But we wanted something that would allow a period look with a round air cleaner, which left out OE-style fuel injection. Instead, we’d be running a throttle-body-type unit, which requires a standard square-bore intake manifold. We picked an Edelbrock intake up locally, and yours truly cinched it down with new hardware. More on the ignition setup in a minute.

9. The Z2363 crate engines do not come with a flexplate, flywheel, or block plate. So be sure to order the proper pieces for your drivetrain. We’re using a Performance Automatic 4R70W (look for more info on that in a future issue), and the folks at PA made sure we had the proper flexplate and block plate to get the job done. Here, Santa Ana TEN Tech Center manager Jason Scudellari is fitting everything up.

10. Our hardtop was a factory inline-six car, so we needed new engine-mount brackets and mounts for our Z2363 to bolt it down into the engine bay. The engine mount brackets were scored from a local Mustang part vendor, while we used Energy Suspension engine mounts (and trans mount, as well) on the install.

11. With the engine dressed, it was time for Jason and me to lower it into the engine bay. As a stock 8.2-deck engine, there was not a single bit of drama getting it down on the mounts like when you do a 351W swap. Yet we have more cubic inches than a Windsor (a stock one anyway).

12. Hooker supplied us with a set of its Competition full-length headers in its bright ceramic coating, along with a set of Aero Chamber mufflers and universal pipe kit to allow us to build our exhaust system onto the rear axle. Long-tubes have to be installed from underneath the car, and after our FPRP starter is installed and wired.

13. As noted earlier, we opted for a throttle-body EFI system for drivability and to give us miles of trouble-free driving. FiTech’s Go EFI 4 system is capable of handling 600hp, and it’s a simple bolt on with a minimum of wiring.

14. E3 Spark Plugs is known for their power-enhancing sparkplugs that can be used on just about any internal combustion engine you may own. The company has also recently begun offering full ignition systems to support its sparkplug line. Our Week To Wicked Mustang’s engine gets a hot spark from E3’s multi-spark ignition box, ignition coil, billet aluminum distributor, sparkplug wires, and of course, a set of their plugs.

15. Wrapping things up is a FPRP 14-inch air cleaner in a black-wrinkle finish to match the valve covers. At first glance, everyone thinks we’re running a carburetor, which is what we were going for.

16. Friday, our last day of the Week To Wicked build, was a long 20-hour day. That night, we were finally able to fill our engine, trans, and radiator with fluids and light off the engine to a round of applause from everyone who were still in the shop!

17. This is what it’s all about. After a weeklong build with its share of ups and downs, to be able to back the Week To Wicked Mustang out of the Tech Center and light up those brand-new Maxxis tires, dispensing every bit of the Z2363’s 507hp to the ground, is what made it worth it!

Sources

Energy Suspension – http://www.energysuspension.com

E3 Spark Plugs – http://www.e3sparkplugs.com

Hooker (A Division of Holley Performance Products) – https://www.holley.com/

Ford Racing and Performance Parts – http://www.fordracing.com

FiTech EFI – http://fitechefi.com/

All American Billet – https://www.allamericanbillet.com/index.htm

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[sandytree1]

How to excel in school - valedictorian

Start your extracurriculars now a great way to get scholarships, attract attention, and show you're well-rounded. Experiment with a few activities while you're still young. Don't stick to just one area. 

Pick the classes you enroll in carefully. Read the class descriptions and talk to other students who have taken the classes you're interested in. Instead, look for classes with students and material that is slightly above your level as the best motivator is competition. Keep in mind the subjects necessary to pursue your intended career. If you're considering becoming a psychologist, for example, take psychology and sociology over Metal Shop and Ceramics. If you can, look at the textbooks for the various classes. Oftentimes the rigor of the textbook will reflect that of the class. Obtain the textbooks early, and supplemental ones too. Ask your teacher or office staff. Always pay attention in class. You might miss some impo info about answers to tests and quizzes. You could get bonus points. Most teachers reward students who are active and participating with extra participation points. This could be a sizable chunk of your grade. Do the homework Don't slack off just because some assignments are "graded for completion" Organize everything - loose papers and notes Makes it easy to find exactly what you're looking for Invest in some small binders and hole punch your papers Keep your syllabus in the front pocket. You'll be referring to it often, so make it easily accessible. File away any homework that's more than a grading period old. Use topic-wise indexes for easier access. Label each paper with a colored pen: classwork, homework, notes. Clear out your backpack. Make and maintain a study place It should be organized and clean, well-lit, quiet and ventilated. Do you have necessary materials at your fingertips? Store all textbooks, notes, etc. within reach - incl. computer with internet If your house is always crowded or noisy, try the library Know the syllabus for every class a syllabus is an outline of everything you're going to do in the class and when Ask your teacher to provide this for you This way you know which areas are concentrated on and when tests will be * You'll know what topics your teacher spends the most time on * You'll know all your deadlines * You'll know the test dates months in advance Set high standards for yourself make yourself and others a promise that you will get acceptable grades on tests and complete all your homework. Take action if your marks start failing before someone else has to point it out to you Find ways to motivate yourself and convince yourself that you want college Do a little studying every night Read through the material in the book you predict or have been told will be covered that day Use review questions at the end of the chapter to make sure of basic understanding of it Write down any questions you have and ask your teacher Cram little facts like dates, names and equations Take good notes Copy down all diagrams as completely as possible Write down anything you think you might not remember Put them in order of date for easy reference later Try to retype notes at home, adding any extra info Get a tutor to help you understand concepts, make the class fun and set problems appropriate for your level. Can offer help and advice between classes and after school often. Talk to your counselor or teacher about a possible tutor you could work with. Start studying a few days before a test 3 days is usually sufficient for adequate study time if leftover time in study session, review some old material for exam Avoid pulling an all-nighter to study for a test. It makes sense that any studying is better than no studying, but when you're so tired, your memory can't function, making that studying pointless. It's sometimes necessary to stay up late to write essays or complete projects since it's better to be exhausted and get credit for the assignment than to sleep and lose the points that could make a difference between an A and a B, or a B and a C. In these cases where a deadline needs to be met, coffee and energy drinks are your best friend. But be warned: once the caffeine wears off, you will probably be even more exhausted than before. Do some extra credit After you finish your homework, do some difficult problems from your supplemental resources do past exams or learn new techniques to help you get the most out of your class Many teachers take extra credit and tack it onto test scores or project scores Give yourself a study break when you need it Begin working on long-term projects as soon as they are assigned 200 point essay due in 45 days - 200/45 = 4.4 points a day 1 point is about 6 min of work - 4.4x6=26~30 min a day Form a study group with friends Designate someone as a group leader Decide which topics you're going to cover that day Have everyone bring a snack and some drinks Have everyone come with a few questions Study when you have small bits of free time Carry around some flashcrds to run thorugh Quickly quiz each other Cram as a last resort Get involved - show you can do more while mantainin excellent grades Art, music, and drama are impressive, too. Colleges are also looking for great artists, singers, musicians, actors, and dancers as well. Join a club. Join any club you are interested in or are good at. If you are great in Spanish, for example, then join the Spanish Club. Love chess? Join the Chess Club. You'll likely meet friends, too. Get involved in more than one thing It really doesn't matter how good you are at it – all that matters is that you try. "Yes, but how good were you at playing Little Orphan Annie?" or "Sure, but how many balls even went to right field?" All they care about is that you were a valuable member to your high school and gave it your all. Volunteer local hospital, animal shelter, old folk's home, soup kitchen, local community theatre, local church, women's shelter, tutor unprivileged kids If your school doesn't offer an activity, try starting it yourself environment club, thespian club Ask teachers or principal if you can have the go-ahead to be a verified club. You'll get into the yearbook and have official status. Prioritize your after-school activities Figure out how much time you need to perform at your best and add thirty minutes to be safe. Then add on at least 8 hours for sleep and the number of hours you spend commuting to or attending school. Subtract this number from 24 and you have the amount of "free time" during your day. Find a calendar for the year and write down all of the activities you would like to do and the amount of time each will take. If you have more scheduled on one day than you have free time, prioritize and cut back on your activities. Also keep in mind that you need some "down time" where you can do nothing but think, chill, and relax. --- TAKE CARE OF YOURSELF Sleep plenty - aim for a solid 8-9 hours a night This affects performance and general understanding Eat a good breakfast every day - full of protein Ask for help when you need it when it comes to homework, quizzes, tests if your teachers, parents and tutors know you're trying your best, they'll want to help you through whatever you're facing. when it comes to general morale. talk to teacher and counsellor about it, if your class load is hard to bear. They might have ideas to help you bear it. School is tough and stressing. Make time for fun. Set every saturday night aside for friends, family, or just time to relax --- WHAT's THE DEAL WITH EXTRACURRICULARS? What activities can be considered an extracurricular which can be included in college applications? Activities outside class / school that reflect an unique interest, talent, or commitment. Feks: volunteering, community service, sports and athletics, clubs at school, arts and performance, and other leadership roles in the community. Also colleges know interests change. Why are these important to colleges anyway? Colleges care about building up campus lif and want to admit students who will positively contribute to their campus experience. Besides extracurriculars help and teach students to balance and manage their time. This is esp important in college where you suddenly have much more freedom and responsibilities over your studies. Extracurriculars also helps admission counselors understand the student's interests. They're looking for students who are commited - dvs. longevity > quantity of extracurriculars. Mustn't look like you signed up for anything. Show that your membership meant something, and that you contributed and participated more than just the bare minimum. Ideally tell a story of how participating helped you grow and develop. * Does this college understand where my student's true interests and passions lie? * Can admissions counselors see a strong commitment to a club or organization across your student's high school career? * Did or does your student pursue leadership opportunities with a team or club? * Have they started a new club or team? The goal of admissions counselors is to understand your student. They want to know what your student contributed to these extracurriculars. Incl. what experiences, insight and leadership qualities they gained as a result. How did your student deal with a disagreement between teammates in the middle of a game or competition? How did they work with others to move their group or club forward? What skills did they gain that will help them positively contribute to their future school community, or to their future life experiences? These non-cognitive skills are crucial to your student’s success in college, but might not always be measured in a GPA or test score. Colleges are looking for students who are going to be positive additions to their college campus, students who are committed, take initiative, have track records of success, and have a variety of interests. Colleges and admissions officers want to know how students’ past experiences will help them achieve in their future. --- Pointers given by teachers: Be an active participant during class * Ask good questions * Participate in discussions * Stay off electronics Frame questions in a non-accusatory tone Instead of asking a question like “Why did you take off points for that?” use something along the lines of “Can you explain what I need improve for next time?” Never confront or correct a teacher in front of other students * Do so privately - before or after school *

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