There is a great deal of argument on how to define talent. When investigated, the topic is more discussed amongst management (whether artistic or business) than among artists. For an artist, the thoughts on this topic are very personal. Between awareness of their gift, and awareness of functioning in a huge arena of gifted colleagues, the challenge for you, the artist is one of knowing yourself and knowing your talent. I believe that humans all have a part of themselves that is "In reserve". It is a part of us that not everybody sees right upfront, and often we don't either. But as life demands unexpected things of us, "more of us" shows up to meet the demands. Part of this is growing up and learning, but part of it is our own unique energy, or personal power, that comes forth to deal with life in a new and creative way. I think that for some reason artists know about this part of themselves more than other people. Usually as a small child, an artist starts to either drift in a certain direction, or KNOWS exactly what they want to do, and won't do much else. Adults can be quite impressed or distressed! when a child is focused this way. You, a dancer, you have a special challenge. A dancer must learn all the corps de ballet roles and blend into the style of the company she or he is in. And at the same time, the dancer must be able to show that she/he is somehow "more" unique than the other dancers in the corps. How is that supposed to be revealed? Usually the talent shows up when a child is selected for training. Being physically gifted helps, but teachers and choreographers spot talent because some students you just can't help but watch. There is a magnetism present. Many teachers instruct students to project out to the audience what does that mean? I would say to a student performer, just completely do what you are doing if you are dancing Giselle, it is your whole world while you are doing it. In other words, you are not a dancer in front of an audience, you are totally Giselle, where she is. You are completely young, naive, and defenseless with this sophisticated prince, and you can't hide it. You create this anew, every time, and the audience is enthralled. If you are dancing an abstract part say like the corps de ballet in Balanchine's Serenade you can dance the steps like everyone else but you can also give yourself a story who are these ladies dancing behind the leads and why are you with them? You are physically not going to do anything different, but what you are thinking and being while you are there, your intensity and focus on that, is magnetic. Everyday when you go into class, you work as hard as you can, and the teacher sees a student working hard. But, just as an example, if you are thinking as you work "Giselle, Swan Queen, Coppelia", or "Siegfried, Romeo" (etc. etc.) "all are inside of me just waiting to get out!" the teacher is looking at something else besides you but she/he doesn't know what it is, it's that "extra" thing. You are building up an energy and an intention, and one day the situation will be able to accommodate it. Ambition may be present, but this is something else. This may sounds like it's confidence I'm describing, but I'm not. If confidence is present, it's still more than that. (and many gifted students lack confidence). It's an energy in you that you almost have to restrain, until you get into one of those big roles. The audience, and an experienced director knows exactly what they're looking at when they see it. If you are not physically capable of becoming technically adept to do the roles that your talent, or gift, can accommodate, you should go into a field of performance where you do not need that technique. Why waste yourself? I trained with two students who each had an almost perfect body for ballet. Flexible, long legs, nice arches and all that. One was spotted as a prima ballerina when she was 12, it was so obvious. The other was capable, and became a soloist after a few years, but didn't really shine. She was well trained and could do everything, but not special. A few years before she retired she decided to take acting lessons. After that she came out on stage and everything disappeared but her, when she danced her solo. She just stole the scene, so to speak. Something "got out" that she had not been able to release before. I don't know how she would describe it, but that's what I saw. I thought then, that if she had been able to do that as a child, she would have become a principal dancer before she retired. She learned how to "be more" and let the audience in on it. It's something that an audience feels. "She was just electric". "He is mystical". The more you feel, the more the audience feels. If you feel SO MUCH that you restrain it, the audience feels that too. And they love it. Because they know about the "reserve", they have it too. And they have to restrain it sometimes too. But they experience its expression through you, the dancer. That's the reason someone will pay $200 a seat for the ballet. You allow them to experience themselves. Even in a non dramatic role. Because we are all "more" but someone working in a non creative field can't express it, or thinks he/she can't. Of course there are those who are uniquely creative in a perceived non creative line of business. They are known as "the talents", or "the giants". If you stop for a few seconds before every class and just think about this, it is going to start becoming more visible. You don't have to push it. "She's just got this thing about her". Isn't that what people say? "He's got IT". There is no word for it, so we call it talent. People who don't have that much ability or opportunity, love the arts and will do something on an amateur level their whole life. They are expressing themselves, though they may make their living doing something else. How to define talent will continue as an ongoing discussion with those who have a requirement to describe it and measure it and link it to artists' prosperity (and their own). But knowing yourself and knowing your own talent is your private sphere. 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I've hiked a lot of NC and I thought it was a pretty tough trail. The views along the trail come mostly when the switchbacks cross under the power line to the top. There's a glade about 2/3 the way up where you can see Clingman Peak to the west. Of course, the view from the observation deck is excellent on a clear day. Going up took me 3:12, coming down 2:46. You still have to pick your way relatively carefully coming down. Those 6 hours on the mountain were all I wanted to do. I will probably be back to do Deep Gap in a couple of weeks. Beautiful views! There are several trails at this state park just off the Blue Ridge Parkway. The trail that leads from the picnic area (Deep Gap trail)climbs to the second highest peak in NC (Mt. Craig). Don't kid yourself, this trail is rough and very steep. 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And the group just got a $48,000 grant to plant hundreds more trees throughout the 44 square mile watershed, an area that stretches from the entrance of Herring Run Park in Northeast Baltimore to county communities including Towson and Rosedale. Meanwhile, the city completed repairs to nearby pipes in the sewage system, helping to avert spills. The result is that these days, the water at Herring Run is often so clear that passers by can see the pebbles at the bottom. "These people have worked on shoestrings to get the citizens involved. They've spent evenings and weekends trying to keep the stewardship of Herring Run alive," said David O'Neill, executive director of the Chesapeake Bay Trust, which gave the watershed association its tree planting grant. "When they set out to do something, they get it accomplished." It would have been easy for Herring Run to slip away, like so many trash strewn Baltimore streams. In a city often consumed by crime and poverty woes, environmental advocates have long had trouble raising money and rallying support for local waterways. Though Johns Hopkins once had a summer home in nearby Clifton Park, the neighborhoods around Herring Run Park are now mostly working and middle class not exactly full of the deep pocket donors that often help the Chesapeake Bay Foundation or the Nature Conservancy. Yet the watershed group has raised $20,000 from neighbors much of it in small amounts to help pay for a rowhouse watershed center at Belair Road and Pelham Avenue. The association has increased its operating budget from $70,000 three years ago to more than $300,000 today, allowing for a staff of four. Part of the drive, O'Neill and others say, comes from Mary Sloan Roby, who became the group's executive director in 2003. It was a gloomy time for the organization, which was grappling with major sewage spills that had so fouled the stream that many of its regular walkers stopped coming. The city had been upgrading manholes and pipes at Herring Run when two back to back storms hit, causing 35 million gallons of sewage to flow into the stream. Since the problem was fixed three years ago, there have only been a few minor spills in the area, said Baltimore public works spokesman Kurt Kocher. Roby turned the group's focus, in part, to raising funds for education and outreach. She took on the task of building the watershed center in the worn, 3,000 square foot building that once housed the Pelham Bakery. Plans call for a roof made out of native plants and an innovative storm water runoff system that will reduce the amount of pollution flowing into area waterways. Roby is also guiding plans for a geothermal heating system, a composting toilet and solar panels features that will put costs for the finished product in the neighborhood of $500,000, more than half of which has been raised. "You can't be a watershed group without embracing all these great things," Roby said. "When this is finished, we will be the only truly urban environmental center in Baltimore." Roby plans some displays but said visitors should not expect the Maryland Science Center. Instead, the point will be to get people to plant trees in neighborhoods such as Albert Lawson's. Lawson, a retired furniture deliveryman, has lived for nine years on Chesterfield Avenue, a tidy street lined with brick houses in Baltimore's Belair Edison neighborhood. This year, Herring Run volunteers planted a beautiful green ash in front of his house. But a few weeks ago, a well intentioned gardener poured weed killer onto the sidewalk, and it got into the tree, which has been barren ever since, Lawson told Roby and Herring Run watershed program manager Darin Crew when they walked by recently. "It was nice to have it. The birds came on it. And just now, the woodpecker was there," Lawson said. "It was just planted in February of last year." Before he left, Crew scraped the tree with his pocketknife and found that it was still green on the inside. It might come back in the spring. If it doesn't, Crew said, he will get help planting another one. In the park, Roby and Crew have planted more saplings. Even after a big party the weekend before, the park remained fairly clean, in part because the regulars pitch in. Nike Air Jordan 6 VI Retro Olympic White Black Moon Hi I know they made this already before but the thread was expired so here it is. While installing the hp psc 1315 it was detected as a 1310 but the thing goes farther than installing problems: I have looked behind where the label is and it actually says that is a 1310, (although the the panel control with the buttons that has the sticker, says 1315 and the box also says 1315, so whats the deal?? I have had my unit for several months now and I am pleased with the performance etc. However I am a bit confused regarding the USB2 situatation, I have a high speed usb card in my PC, with a usb 2 cable plugged into my printer yet when I hit the print button in the menu it states USB001. I don't have anything else pluged into the usb2 card only the printer at the moment, as I have a seperate usb1 card for my other bits and pieces that are usb1 only.
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