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How to Share a Child Poem

River Wharfe - Wharfedale

For a child, poems are very abstract. They do not have the flashy colors, vibrant energy or loud explosions of Saturday morning cartoons and display little of the exciting, adventurous tones of a particularly engaging comic book. However, to a child, poems that strike the right cord are not impossible to find. You just need to find the right child poem. A child poem is not very much unlike a normal poem. It is however, written and directed towards children, offering details that they would enjoy.

Poetry is a fickle art form with millions of examples; many of them brilliant, many of them awful, and a great deal of them quite dull or too complicated for a child. To strike the right note early on with a child, poems that are simple and interesting are vital. They also serve to create a growing interest in reading at a young age.

What to look for in a Child Poem

Children's poetry in the 20th century has a very unique flavor to it, having been developed and institutionalized by writers like Dr. Seuss and Shel Silverstein. However, they were not the first to write child poems and should not be the last place a parent looks when trying to find the perfect one. With that in mind, what exactly should those parents look for?

A child poem should be lighthearted

A compelling storyline is also a great selling point for a child poem.

Abstract emotion and metaphor will bore a child.

Child Poems should not create unwanted situations with awkward, touchy subjects.

A child poem should be written to entertain, not solely teach. A good combination is always good though.

Who to turn to for Child Poem

Many of the great writers of children's literature also wrote poetry during their lives. Lewis Carroll is a great example. Famous for Alice in Wonderland and Through the Looking Glass, Carroll's poetry is equally as compelling. Jabberwocky is a great, funny nonsense child poem from those books:

'Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

"Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!

Beware the Jubjub bird, and shun

The frumious Bandersnatch! "

Rudyard Kipling also wrote his fair share of poetry alongside his novels. Famous for his work on The Jungle Book among many other adventurous children's stories, Kipling wrote poems like Gunga Din, long story driven pieces that were both funny and compelling for young children.

Louisa May Alcott, the famous author of Little Women and Little Men and an almost essential writer in the canon of American literature wrote her own share of goofy child poems as well. Poems such as "The Rock and the Bubble" and "A Song from the Suds" are funny, entertaining distractions for children. Her poems especially strike at the curiosity of a child, the most important target for any literary work, lest that child grows bored too quickly

The Purpose of the Science Fiction Novel


Where fantasy goes into uncharted territory, the kind of story that could not exist, science fiction, a term made famous by the likes of Philip K. Dick, Isaac Asimov, and Robert Heinlein, goes into charted territory. Let's make sense of that last statement: Science fiction is based on truths, questions of reality, and questions of survival. Its purpose is to go where other fiction can not. Unlike horror, it tells something far more dangerous because it could happen. Unlike mystery, there is not always someone at the other end of the gun, maybe "something" instead. Like mainstream work, it proposes fascinating philosophies on mankind in the past, present, and future.

When reporters talked of space stations maybe they were onto something. When Star Trek characters could talk to each other on small, hand-held phones, most thought it was too good to be true. Now we have cell phones, computers that can talk, computers that can think in some ways, and a variety of other ideas that were often suggested in science fiction.

But the science fiction novel has its own place outside of the realm of Star Trek and Star Wars. For one, the legend must be created in words, not film or TV images. Second, the writers behind it are often as much philosophers as authors. Lastly, science fiction is its own frontier, a place for free thinking.

The thesis for all this would be that the science fiction novel engages a reader in a "This is how it could happen." The purpose is, as in all writing, to say something different. Long before "War of the Worlds" and even longer before Star Trek and Star Wars, people looked to the skies with hope, emboldening their legends with all kinds of flying creatures-angels, demons, sometimes aliens-who could do things they could not . That is exactly the purpose of the modern science fiction novel-it says we, the human race, can do something that right now we can not.

The final purpose of the science fiction novel is always to make a mark on society. Star Trek could only go so far. When one looks at a science fiction novel, however, sometimes it seemsingly is a race to the finish instead of a treat on life in the future. Something is always happening; it happens fast. Take Philip K. Dick, for example, who once wrote 11 novels in 2 years (he used various drugs, much like Hunter Thompson, to improve writing speed). However, there is nothing superficial about the science fiction novel. This is because even films have a hard time capturing the legion of ideas presented in the classics, like "The Man In the High Castle," Philip K. Dick's best novel. If any film does capture the purpose of science fiction, it's "Blade Runner," considered to be one of the best films of all time, based on the Philip K. Dick story "Do Andods Dream of Electric Sheep?"

Where it can be hard to pin down the modern science fiction novel, it can easily be seen that writing one can be a lucid ride into the unexplored. One of the best in recent memory is "Hyperion," a science fiction novel that won the famous Hugo award. Here, Simmons explored what is real, much like Philip K. Dick, and did it as though he was poet, forming a tale of seven pilgrims to a far away world, much like "The Canterbury Tales."

Some of the finest novels of the 20th century were labeled "junk" because they explored taboo subjects or had sexually revealing covers. Without the likes of Philip K. Dick, Isaac Asimov, Robert Heinlein, and the hundreds of other talents, maybe there would have been no Star Trek, Star Wars, or Battlestar Galactica. Without the junk science fiction novel bought for a nickel in the 1940s and 50s maybe mankind would never have dreamed of stepping on the moon in the 1960s.

Rectification Of Accounting Errors


Accountants prepare trial balance to check the correctness of accounts. If total of debit balances does not agree with the total of credit balances, it is a clear-cut indication that certain errors have been committed while recording the transactions in the books of original entry or subsidiary books. It is our utmost duty to locate these errors and rectify them, only then we should proceed for preparing final accounts. We also know that all types of errors are not revealed by trial balance as some of the errors do not effect the total of trial balance. So these cannot be located with the help of trial balance. An accountant should invest his energy to locate both types of errors and rectify them before preparing trading, profit and loss account and balance sheet. Because if these are prepared before rectification these will not give us the correct result and profit and loss disclosed by them, shall not be the actual profit or loss.

All errors of accounting procedure can be classified as follows:

1. Errors of Principle

When a transaction is recorded against the fundamental principles of accounting, it is an error of principle. For example, if revenue expenditure is treated as capital expenditure or vice versa.

2. Clerical Errors

These errors can again be sub-divided as follows:

(i) Errors of omission

When a transaction is either wholly or partially not recorded in the books, it is an error of omission. It may be with regard to omission to enter a transaction in the books of original entry or with regard to omission to post a transaction from the books of original entry to the account concerned in the ledger.

(ii) Errors of commission

When an entry is incorrectly recorded either wholly or partially-incorrect posting, calculation, casting or balancing. Some of the errors of commission effect the trial balance whereas others do not. Errors effecting the trial balance can be revealed by preparing a trial balance.

(iii) Compensating errors

Sometimes an error is counter-balanced by another error in such a way that it is not disclosed by the trial balance. Such errors are called compensating errors.

From the point of view of rectification of the errors, these can be divided into two groups :

(a) Errors affecting one account only, and

(b) Errors affecting two or more accounts.

Errors affecting one account

Errors which affect can be :

(a) Casting errors;

(b) error of posting;

(c) carry forward;

(d) balancing; and

(e) omission from trial balance.

Such errors should, first of all, be located and rectified. These are rectified either with the help of journal entry or by giving an explanatory note in the account concerned.


Stages of correction of accounting errors

All types of errors in accounts can be rectified at two stages:

(i) before the preparation of the final accounts; and

(ii) after the preparation of final accounts.

Errors rectified within the accounting period

The proper method of correction of an error is to pass journal entry in such a way that it corrects the mistake that has been committed and also gives effect to the entry that should have been passed. But while errors are being rectified before the preparation of final accounts, in certain cases the correction can’t be done with the help of journal entry because the errors have been such. Normally, the procedure of rectification, if being done, before the preparation of final accounts is as follows:

(a) Correction of errors affecting one side of one account Such errors do not let the trial balance agree as they effect only one side of one account so these can’t be corrected with the help of journal entry, if correction is required before the preparation of final accounts. So required amount is put on debit or credit side of the concerned account, as the case maybe. For example:

(i) Sales book under cast by Rs. 500 in the month of January. The error is only in sales account, in order to correct the sales account, we should record on the credit side of sales account ‘By under casting of. sales book for the month of January Rs. 500″.I’Explanation:As sales book was under cast by Rs. 500, it means all accounts other than sales account are correct, only credit balance of sales account is less by Rs. 500. So Rs. 500 have been credited in sales account.

(ii) Discount allowed to Marshall Rs. 50, not posted to discount account. It means that the amount of Rs. 50 which should have been debited in discount account has not been debited, so the debit side of discount account has been reduced by the same amount. We should debit Rs. 50 in discount account now, which was omitted previously and the discount account shall be corrected.

(iil) Goods sold to X wrongly debited in sales account. This error is effecting only sales account as the amount which should have been posted on the credit side has been wrongly placed on debit side of the same account. For rectifying it, we should put double the amount of transaction on the credit side of sales account by writing “By sales to X wrongly debited previously.”

(iv) Amount of Rs. 500 paid to Y, not debited to his personal account. This error of effecting the personal account of Y only and its debit side is less by Rs. 500 because of omission to post the amount paid. We shall now write on its debit side. “To cash (omitted to be posted) Rs. 500.

Correction of errors affecting two sides of two or more accounts

As these errors affect two or more accounts, rectification of such errors, if being done before the preparation of final accounts can often be done with the help of a journal entry. While correcting these errors the amount is debited in one account/accounts whereas similar amount is credited to some other account/ accounts.

Correction of errors in next accounting period

As stated earlier, that it is advisable to locate and rectify the errors before preparing the final accounts for the year. But in certain cases when after considerable search, the accountant fails to locate the errors and he is in a hurry to prepare the final accounts, of the business for filing the return for sales tax or income tax purposes, he transfers the amount of difference of trial balance to a newly opened ‘Suspense Account’. In the next accounting period, as and when the errors are located these are corrected with reference to suspense account. When all the errors are discovered and rectified the suspense account shall be closed automatically. We should not forget here that only those errors which effect the totals of trial balance can be corrected with the help of suspense account. Those errors which do not effect the trial balance can’t be corrected with the help of suspense account. For example, if it is found that debit total of trial balance was less by Rs. 500 for the reason that Wilson’s account was not debited with Rs. 500, the following rectifying entry is required to be passed.

Difference in trial balance

Trial balance is affected by only errors which are rectified with the help of the suspense account. Therefore, in order to calculate the difference in suspense account a table will be prepared. If the suspense account is debited in’ the rectification entry the amount will be put on the debit side of the table. On the other hand, if the suspense account is credited, the amount will be put on the credit side of the table. In the end, the balance is calculated and is reversed in the suspense account. If the credit side exceeds, the difference would be put on the debit side of the suspense account. Effect of Errors of Final Accounts

1. Errors effecting profit and loss account

It is important to note the effect that an en-or shall have on net profit of the firm. One point to remember here is that only those accounts which are transferred to trading and profit and loss account at the time of preparation of final accounts effect the net profit. It means that only mistakes in nominal accounts and goods account will effect the net profit. Error in the these accounts will either increase or decrease the net profit.

How the errors or their rectification effect the profit-following rules are helpful in understanding it :

(i) If because of an error a nominal account has been given some debit the profit will decrease or losses will increase, and when it is rectified the profits will increase and the losses will decrease. For example, machinery is overhauled for Rs. 10,000 but the amount debited to machinery repairs account -this error will reduce the profit. In rectifying entry the amount shall be transferred to machinery account from machinery repairs account, and it will increase the profits.

(il) If because of an error the amount is omitted from recording on the debit side of a nominal account-it results in increase of profits or decrease in losses. The rectification of this error shall have reverse effect, which means the profit will be reduced and losses will be increased. For example, rent paid to landlord but the amount has been debited to personal account of landlord-it will increase the profit as the expense on rent is reduced. When the error is rectified, we will post the necessary amount in rent account which will increase the expenditure on rent and so profits will be reduced.

(iil) Profit will increase or losses will decrease if a nominal account is wrongly credited. With the rectification of this error, the profits will decrease and losses will increase. For example, investments were sold and the amount was credited to sales account. This error will increase profits (or reduce losses) when the same error is rectified the amount shall be transferred from sales account to investments account due to which sales will be reduced which will result in decrease in profits (or increase in losses).

(iv) Profit will decrease or losses will increase if an account is omitted from posting in the credit side of a nominal or goods account. When the same will be rectified it will increase the profit or reduce the losses. For example, commission received is omitted to be posted to the credit of commission account. This error will decrease profits ( or increase losses) as an income is not credited to profit and loss account. When the error will be rectified, it will have reverse effect on profit and loss as an additional income will be credited to profit and loss account so the profit will increase ( or the losses will decrease). If due to any error the profit or losses are effected, it will have its effect on capital account also because profits are credited and losses are debited in the capital account and so the capital shall also increase or decrease. As capital is shown on the liabilities side of balance sheet so any error in nominal account will effect balance sheet as well. So we can say that an error in nominal account or goods account effects profit and loss account as well as balance sheet.

2. Errors effecting balance sheet only

If an error is committed in a real or personal account, it will effect assets, liabilities, debtors or creditors of the firm and as a result it will have its impact on balance sheet alone. because these items are shown in balance sheet only and balance sheet is prepared after the profit and loss account has been prepared. So if there is any error in cash account, bank account, asset or liability account it will effect only balance sheet.

Online Writing Contest – Competition Tips – How to Win Every Contest You Enter

the lonely tree

So you’ve stumbled across an online writing competition / contest, or perhaps your favourite brand of cereal is offering you a chance to win a holiday around the world. All you have to do is tell them in 25 words or less why you want it. And you want to win, right?

Well believe it or not there are a small number of easy steps you can take to dramatically increase the odds in your favor. And here they are, free of charge just because I’m such a nice guy…

No Sob Stories!

This tip goes first on the list, because it is the most important. For some reason the first thing that seems to come to people’s minds with these contests and competitions is “how can I get them to pity me?” It sounds like a great plan as an entrant, but speaking from personal experience as a judge in these contests, I can tell you that it’s a complete turnoff.

Nonetheless people will try ever trick in the book…

We can’t pay the rent… our house burnt down… everybody in my family has cancer… I need 16 operations so that my dog stops being depressed and I can have my leg re-attached then pay the rent and burn the house down… well you get the point.

Let me make it very clear – this tactic does not work, even if you are telling the truth, because:

1. Judges can’t verify your claims, so anyone can make up any story they like.

2. After a while these entries become so numerous and laborious that they don’t stand out.

All that you will do is send the judge into a depression spiral. More to the point, you will end up highlighting your competitors’ entries because theirs are more enjoyable to read.

Be Creative and Make it Fun to Read

Depending on the number of entrants, judges can often have a lot of text to read. As their head slumps closer and closer to the desk and the coffee starts to wear off, your entry is going to need to have something special about it to get noticed. The best thing you can do is get creative. And I mean really thinking outside of the box (if you are thinking poetry right now, you are not thinking hard enough).

My advice to you here is simple. If you come up with something different and make it really stand out, and MAKE IT FUNNY, you will win. When I hear a fellow judge burst out into laughter at his or her desk, 9 times out of 10 he or she is reading the winner. I can usually even tell which entry they are reading because I had the same reaction when I first read it.

If you can manufacture a reaction like this, chances are you are on a winner. I suggest using your friends and family as test dummies here. If they end up in a ball rolling around the floor you’ve done your job. If the best you get is “not bad”, “(chuckle) very good” or even “looks good to me”, then you need to go back to the drawing board.

Now that’s not to say every winner will be comical or humorous, but your entry needs to stand out as somehow being impressive or interesting.

Stick to the Rules and Stay on Topic

If I had a penny for every time a “words or less” entry broke the rules, I would currently be Bahamas and you would be on your own with this one. Take the time to read the rules, terms and conditions before entering. And if you are provided with a quick-start guide to entering a competition, read it over at least 3 times and make sure you take the advice onboard.

In general, you should always:

· Stay within the word limit

· Write in direct response to the competition’s question or topic (really important!)

· Avoid coarse language

· Submit your entry in the language requested

Short, Sharp, Shiny

Just because you are allowed to use 25 words doesn’t mean you should. If your entry says what you want it to say, don’t fill up the rest of your word limit by repeating yourself or adding useless details. All you end up doing is diluting your message.

Polish It!

So it took you 5 minutes (or maybe 2 days) to create your entry. Would another 5 minutes of proofreading kill you? No, of course not, but it will definitely help you win. Check your grammar, check your punctuation, check your capitalization and check your spelling. Presentation makes your entry easier to read, and will greatly improve your chances.

Submit It

It sounds obvious, doesn’t it? But how many times have you seen a competition you would like to enter, only to let the due date slip by? As the saying goes, you’ve got to be in it to win it. And if you use the advice I’ve just given you, your chances of coming out on top will greatly improve.

So what are you waiting for?

A Brief History of Rock and Pop Music

Untitled (c.1969) - José Rodrigues (1936 - 2018)

You may be wondering when exactly did rock/pop music begin? There’s no clear answer to this. Some might say that it started with the advent of rock n roll with Bill Haley and the Comets in 1952. Others would say Elvis, although not the first but surely the original truly global superstar. Yet none of these were really the first. Rock n roll has its roots in blues which has its roots back to the 19th century with black immigrants trying to escape from their slave driven lives. Fast forward to the early 20th. century and some of the earliest recordings on 78 began to appear. Players from this time such as Bobby Jo and Robert Johnson helped to form the structure of early blues

Robert Johnson had recorded only thirty songs during his short life as he was prevented from achieving true fame while alive by being poisoned by a jealous husband. He died shortly before he was being sought to appear at the ‘Spirituals To Swing’ concert in 1938 by record producer John Hammond. As a result, his reputation only took off after Hammond released an album of his recordings for Columbia in the early sixties. Later blues exponents like Muddy Waters and Eric Clapton admitted borrowing heavily from these early stalwarts.

In the 50’s, artists took the basic blues style and used electric guitars, drums and double bass for the first time creating early rock n roll, later known as rockabilly. Stalwarts like Chuck Berry, Buddy Hollie and Jerry Lee Lewis were the most famous protagonists here. Later Elvis in the US and to a lesser extent, Cliff Richard (later leading the Shadows) in the UK brought rock n roll to a truly worldwide audience. This paved the way for the 60’s beat era which could be considered the true beginning of pop music as we know it today, certainly as far as bands were concerned.

In the 50’s and early 60’s, it was mostly lead solo artists with just a backing band. With the advent of the beat era, bands dominated with The Beatles, The Rolling Stones and the Beach Boys from the US taking the world by storm. Even so, The Beatles later admitted being heavily influenced by those earlier rock n roll and blues artists. They mostly played rock n roll and blues covers at their pre-fame Hamburg concerts. in the early 60’s. The Beatles however, were the first band to successfully blend classical music textures with rock n roll to form perfectly crafted pop songs. While bands like The Rolling Stones continued with the mainly rock n roll theme,

The Beatles took their finely crafted style further in the seminal album ‘Sgt. Pepper’s Lonely Hearts Club Band’ in 1967 by utilizing new studio techniques and instruments never used before. They used a new instrument called ‘the Melotron’ This was basically a keyboard which played looped tape recordings. of real instruments. The most famous sound from this was probably the flute used on the ‘Strawberry Fields’ single recorded at the same time but later dropped from the album. The Melotron though, was cumbersome and unreliable and had a rather grainy sound. Even so It was regarded as the forerunner of the electronic sampler, invented nearly 20 years later. Infinitely more flexible than the Melotron, the sampler helped build the framework for modern pop,dance and R&B music.

The Beatles ‘Sgt.. Pepper’ album with its groundbreaking recording techniques was preceded the year before by their ‘Revolver’ album. These LP’s helped popularize a new wave in music known as psychedelic or acid rock, named after the mind bending effects of LSD drugs. Pink Floyd also recorded their debut album ‘Piper at the Gates of Dawn’ in the studio next door at the same time that The Beatles recorded Sgt. Pepper. It was reported that Pink Floyd were a direct influence to The Beatles as a result. This new style incorporated new guitar effects like Fuzz, flanger anger and delays. These were used along side the earliest portable synthesizers such as the therein and mini Moog. invented by Bob Moog.

In America, the Beach boys responded with the ‘Pet sounds’ LP in 1966 and later that year released the first big psychedelic hit ‘Good Vibrations’. About this time, the band ‘Jefferson Airplane’ recorded their debut album which was also the first LP to come out of the new San Franciscan music scene. This got the record industry’s attention and they had two of the earliest psychedelic hits ‘White Rabbit’ and ‘Somebody to Love’ in 1967.

Meanwhile in Los Angeles, Jim Morrison joined with members of The Psychedelic Rangers and Rick and the Ravens to form ‘The Doors’ They were initially turned down by Columbia but were signed to Electra Records and released their self titled debut LP in 1967. The album included the 7 minute long hit single ‘Light my Fire’ one of the first to break the typical three minute pop and rock song barrier.

Back in Britain, radio broadcasting was very limited because the BBC were the only organization allowed to broadcast on the mainland and had just two pop music shows The Saturday club and Easy Beat Radio Luxembourg partially filled the gap but it was left to pirate radio, broadcast from ships out at sea with DJ John Peel’ which enabled the new style to reach a mass audience, often eclipsing the BBC in popularity. The BBC responded in the end with the advent of Radio 1 in June 1967. With the existing labor government making pirate radio illegal in Britain several months later, Du’s like John Peel rather than risk arrest joined radio 1 which had a much more informal and relaxed style as opposed to the staid and conservative approach favored by the BBC until then. This perfectly suited psychedelic pop and rock and John Peel championed this in his late night shows. playing new genres of music and introducing new and unsigned bands in the Peel sessions. He did this for nearly four decades until his death in 2004.

By the end of the 60’s after the break up of the beatles, mainstream music was about to change direction yet again both in style and fashion.

The Top Ten Psychics in the World

Puerta en Macharaviaya (Málaga)

There are quite a few very famous contemporary psychics in a world, but here are the top ten and in no particular order as each as their own particular set of strengths and gifts.

Sylvia Browne

Sylvia Browne is an internationally recognized psychic who communicates with the dead. She claims to have inherited her psychic gift. She has been running the Nirvana Foundation for Psychic Research since 1973. She is one of those psychics who helps the police find killers and solve crimes. She has authored numerous books on psychic subjects, including Contacting Your Spirit Guide and Past Lives, Future Healing: A Psychic Reveals the Secrets to Good Health, and Great Relationships.

Allison Dubois

Allison Dubois is a psychic who channels the souls of dead pet and people. She has written many books, including Secrets of the Monarch, which is about understanding the caterpillar to butterfly nature of soul freedom. The television series Medium starring Patricia Marquette is supposedly based on the talents of Allison Dubois.

Lisa Williams

This celebrity medium and clairvoyant stars in a show on Lifetime called Lisa Williams: Life Among the Dead. The show follows Williams on a typical day, as she communicates with the dead, investigates haunted houses, and does readings. Williams channels many dead famous people including Bob Hope, Princess Diana, Natalie Wood, Marilyn Monroe, and Ray Charles.

John Edwards

Edwards, not to be mistaken for the U.S. Senator with the same name, is an author and television personality. He is best known for his television shows, Crossing Over with John Edward and John Edward Cross Country. On both shows, Edwards attempts to communicate with the spirits of the audience members’ deceased relatives.

Colin Fry

Colin Fry is one of the best-known psychics and spiritualist mediums in Britain. He has hosted many television programs about the Supernatural, including Most Haunted, Psychic Private Eyes, and 6ixth Sense with Colin Fry, produced by Living TV.

Derek Acorah

Derek Acorah is a controversial psychic medium and television personality in the United Kingdom, who is possessed by the dead spirits he channels through his spirit guide s Sam. He is very well known for his appearances on. Derek Acorah’s Ghost Towns and Yvette Fielding’s show Most Haunted.

James Van Praagh

James Van Praagh is a best-selling psychic and medium. He has written several books dealing with spirituality and spirit communication and 2002 to 2003, he hosted a syndicated daytime talk show entitled “Beyond With James Van Praagh.” He is currently the co-Executive Producer of the television series Ghost Whisperer on CBS.

Rosemary Altea

Rosemary Altea is a psychic and author. She has appeared on various programs, including Larry King Live and The Oprah Winfrey Show (with Michael Shermer in 1995).

Doreen Virtue

Dr. Doreen Virtue has appeared on many television shows such as Oprah, Good Morning America, The View, and CNN, revealing how psychic angels can help you heal your life. One of her most famous book, Give the Gift of Healing: A Concise Guide to Spiritual Healing, which was published in 2005.

Gillian Kemp

If you are into Tarot, then you are going to like Gillian Kemp. She is author of The Good Spell Book and recently designed a very interesting pack of Tarot Cards called Tree Magick in which there are no negative cards. She talks to ghosts using techniques learned from her ancient Romanie past and her grandmother, grandfather, and aunt who were also clairvoyant. She uses the more old-fashioned divination techniques, such as teacup readings and crystal balls and is one of the most famous psychics in the United Kingdom.

Is Drinking a Pot of Coffee Yourself Bad?

Golden lane - Prague

As a coffee lover myself, I was hesitant to begin my research about the adverse affects of coffee. Though I was happy to learn that my two cups every morning are only considered a modest amount of coffee; a moderate amount would be three cups. However, if you are consuming a pot of coffee a day, we are talking about nearly ten cups of coffee. So, yes drinking a pot of coffee by yourself is bad. Here’s why:

The caffeine in coffee is a central nervous system stimulant. While it can increase alertness, reduce fatigue, improve mood, enhance reaction time, and improve performance, consuming too much can do more harm than good. The unpleasant side effects of a caffeine overdose include:

  • Jitters and trembling
  • Difficulties falling and staying asleep at night
  • Nervousness, dizziness; especially profound in those with panic or anxiety
  • Stomach discomfort and digestive upset
  • Extreme fatigue upon waking in the morning

Most likely, you did not wake up one day and drink a whole pot of coffee yourself. As your coffee habit took hold so did your body’s dependence on it, resulting in nothing short of an addiction. Caffeine mimics your body’s natural neurotransmitters which are responsible for the transmission of nerve impulses. Too much caffeine sends your nervous system into overdrive and your body responds by reducing its own production of neurotransmitters. The result is that your brain and nerves now depend on this external neurotransmitter source just to function normally.

Another theory suggests that caffeine becomes habit forming when your body crashes after its temporary heightened state of awareness and alertness. You may end up feeling more sluggish or fatigued than you did before you starting drinking your coffee, causing you to go back for more; and the cycle continues.

Ironically, your friend who enjoys one or two cups of coffee a day reaps the same benefits from coffee as your full pot provides you. Your body has built up a tolerance so you can handle more but you also require more. The good news is that with some work, you can cut back on your consumption. When you do, the moderate amount of three cups a day will satisfy you completely and your body will once again operate properly under its own steam.

Configure Exchange E-Mail Server Reverse DNS and MX Records Correctly


If DNS is setup incorrectly, over time your mail server IP will be added to blacklists. Nowadays most E-Mail servers have some kind of spam protection service which in turn means that all your inbound mail will be blocked if you do happen to be listed on a spam blacklist.

In this article I will describe how to correctly configure your MX and reverse DNS records for your mail server. This article is based on an Exchange 2003/2007 server but every other messaging server will follow the same principle.

Assigning an IP address

Starting from the bottom up the first thing you need to do is assign a static external IP address to the internal private address of your mail server. You will need to apply these rules on your firewall to port forward SMTP (port 25) and NAT an external IP address to the internal address of the server.

Something that a lot of administrators forget to do or check is to set the outgoing NAT rule to use the same external IP address created for the inbound rule to the mail server. If this isn’t set, Reverse DNS will not match and in turn your mail server will be listed on blacklists. If your firewall rules are setup correctly the IP address listed on this page should be the same IP address you mapped to the internal private IP address of the mail server.

Create the MX records for your mail server

For the purpose of this example, listed below are all the details of my mail server to help you understand what you need to do.

External IP:

E-Mail Domain: domain.com

You will need to be an administrative contact for your External DNS provider for your domain to make these changes. In most cases this can be done through an online control panel through your DNS provider. Failing that on the phone or via E-Mail.

1. The first thing we need to do is create an A record to point to the external IP address mapped on your firewall to the mail server. The host A record can be called any thing but is commonly called “mail”. In our example we will create “mail.domain.com” to point to IP address “”

2. Next we will create an MX record to point to the newly created A record of our mail server.

Within your DNS control panel select “add MX record”. Make sure that the host address is the root domain name in our case “domain.com”

Set the FQDN as the A record we just created which in our case is “mail.domain.com”.

The lowest property is the most preferred but in our example we will set the priority as 10.

Use NSlookup to check DNS and MX records are applied

It can take up to 48 hours for DNS to propagate but in most cases 12-24 hours. To check our DNS entries are applied and correct we can use nslookup.

1. Open a CMD prompt and type nslookup

2. Type set type=mx

3. Type the domain name which in our case is domain.com.

In our example the output should read as follows if correctly setup:

> domain.com

Non-authoritative answer:

domain.com MX preference = 10, mail exchanger = mail.domain.com

mail.domain.com internet address =

Configure Reverse DNS

Reverse DNS is used to verify that the mail server is who it says it is. The recipients mail server will do a reverse lookup to make sure that the IP address of the mail A or host record in DNS is the same as the IP address it is communicating with. Only 1 RDNS entry can be present per IP address.

To do this you will need to contact your ISP to make this entry. You will not be able to do this in your DNS control panel unless your ISP also host your DNS and give you the functionality to add your own RDNS records.

In our case we would contact our ISP and advise that we would like to create an RDNS entry for our IP address which would resolve too mail.domain.com.

Verify Reverse DNS

Again it can take up to 48 hours for DNS to propagate but in most cases 12-24 hours. To verify that the RDNS entries have been added and are correct do the following:

1. Open a CMD prompt.

2. Type Ping -a (This is the external IP address for your mail server. In our case we use our external IP address stated above)

If RDNS is configured correctly the following output will be shown:

C:UsersUser>ping -a

Pinging mail.domain.com [] with 32 bytes of data:

SMTP Banner

Every time a mail server establishes a connection with your mail server it shows its SMTP banner. This banner must be resolvable on the internet and best practice is to have it as your mail host/A record.

Configure SMTP banner Exchange 2003

1. Open Exchange system manager.

2. Expand your administrative group (“First administrative group” by default).

3. Expand Servers.

4. Expand YourServerName.

5. Expand Protocals container.

6. Select SMTP container.

7. On the right window, right click the Default SMTP virtual Server (Or the name you set your SMTP Server) and

select Properties.

8. Select the Delivery Tab.

9. Click the Advanced button.

10. Under the Fully-qualified domain name type mail.domain.com (The A/Host record you created in DNS for your mail server)

11. Click OK and OK again to accept the changes

Configure SMTP banner Exchange 2007/2010

1. Open the Exchange management console.

2. Select the Organisation Configuration container.

3. Select Hub Transport container.

4. On the right select the Send Connectors tab.

5. Right click your send connector and select properties.

6. On the General tab under the Set the FQDN this connector will… type the A record domain name you created. Which in our case is mail.domain.com. Click OK.

7. Under the Server Configuration container click the Hub Transport container.

8. In the Right window Select the properties of the Receive Connector under Receive Connectors tab.

9. On the General tab under the Set the FQDN this connector will… type the A record domain name you created. Which in our case is mail.domain.com. Click OK

To verify these changes we can use telnet to view the output upon establishing a connection on port 25 to our mail server. Use the following steps to do this:

1. Open a CMD prompt

2. Type Telnet mail.domain.com 25.

The output you see should look something like this and contain your A record of your mail server:

220 mail.domain.com Microsoft ESMTP MAIL Service ready at Sun, 28 Feb 2

010 17:51:20 +0000

If you use an edge server or a SPAM filter appliance like a Barracuda the SMTP banner will have to be set on this device/server.

Check to see if your mail server is on spam lists and/or an open relay

A great website to use to check your MX records, RDNS, check if your mail server is an open relay and check to see if you are listed on spam lists is www.mxtoolbox.com. This is a great site and one to keep in your favourites.

Following these guide lines will successfully and correctly configure mail routing to and from your mail server. The next step is too secure and ensure your mail server is not an open relay. I will be writing a separate article dedicated to this in the near future.

What Makes a Person Intelligent?

#My Cat does not Know of being a Cat

In traditional intelligence theories when one is asked the question “What makes a person intelligent?” the most common responses will often note a person’s ability to solve problems, utilize logic, and think critically. These typical traits of intelligence are sometimes grouped together under the heading “raw intelligence”. A person’s intelligence, traditionally speaking, is contained in their intellect. In other words, how we each understand, evaluate or respond to external stimuli, regardless as to whether it is a mathematical problem or anticipation of an opponent’s next move in a game, is our collective intelligence. Our intelligence therefore, is our individual, collective ability to act or react in a continually changing environment.

The principal problem in traditional intelligence theories is that they promote “fractured learning”. Many educational reformers have clearly stated that “taking tests merely shows that a student is skilled at taking tests”. At best, traditional tests focus on only about one tenth of an individual’s intellect. Note that Albert Einstein and Thomas Edison, two of history’s most famous examples of brilliant minds, were terrible at taking traditional tests, therefore terrible at “school” in general. Multiple Intelligences theory then, demonstrates that the ability to take traditional tests is almost entirely in the realm of the Logical – Mathematical

intelligence. This intelligence will be detailed later along with the Interpersonal intelligence, which imparts in some students the ability to second guess a teacher’s structuring of a test. Traditional IQ tests predict school performance with considerable accuracy, but they are only an indifferent predictor of performance in a profession after formal schooling.

In an interesting but controversial study conducted during the 1960’s by Biologist Marion Diamond, of the University of California at Berkeley, two sets of rats were raised in different environments; One set had toys to play with, playmates to romp with and a roomy box that was kept clean and fresh. The second set was put in solitary confinement; all alone in a much smaller cage with no toys to enjoy. After several weeks, Diamond measured the size of each rat’s cerebral cortex, the brain area which is responsible for higher nerve functions. The rats in the sociable, clean and stimulating environment grew brains bigger than the rats with the impoverished surroundings. “Does the enriched environment increase the dimensions of the brain, and does the impoverished environment decrease the dimensions of the brain?”, asked Diamond. “The answer, very clearly, is YES.” Similar results were replicated with cats, monkeys and later with humans. So a stimulating, enriched learning environment is crucial to mental development. If we likewise incorporate the varying student intelligences in our teaching activities, our success as well as our students success, will be markedly improved. That each of us possess all the intelligences, that they can each be developed further, that these multiple intelligences work together in a complex manner, and that there are, in fact, many different ways to be “intelligent” are inclusive in a study by Armstrong. Here briefly, in retrospect, are eight of the major intelligences of Howard Gardener’s theory and their relative traits:

Verbal-Linguistic Intelligence:

The capacity to use words effectively, either orally or in writing. It is highly developed in story-tellers, orators, politicians, poets, playwrights, editors, language teachers and journalists. Students with a high degree of this intelligence think in words; learn by listening, reading, and verbalizing. They enjoy writing, like books, records, and tapes, and have a good memory for verse, lyrics, or trivia. Getting into discussions, telling jokes and debating are also characteristics of this intelligence. Maya Angelou is strong in this intelligence.

Visual-Spatial Intelligence:

The ability to perceive the world accurately and to perform transformations upon one’s perceptions. This is highly developed in guides, interior designers, architects, artists, fashion designers and inventors. Students with a high degree of spatial intelligence think in images and pictures, like mazes and jigsaw puzzles. They like to draw and design things, and enjoy films, slides, videos, diagrams, maps, charts. The daydreamers and those who may have strong opinions about such things as colors that go together, textures that are appropriate and pleasing and decorating are included in this intelligence. Pablo Picasso was strong in this intelligence.

Musical – Rhythmic Intelligence: The capacity to perceive, discriminate, transform, and express musical forms is most highly developed in musical performers, music aficionados, and music critics. Students with a high degree of musical intelligence learn through rhythm and melody, play a musical instrument, or May need music to study. They notice nonverbal sounds in the environment: the chirp of a cricket, rain on the roof, varying traffic patterns, and usually learn things more easily if sung, tapped out, or whistled. These people love music and rhythmic patterns and can often reproduce a melody or rhythmic pattern after hearing it only once. Various sounds, tones, and rhythms may have a visible effect on them (that is, you can see a change in facial expressions, body movement, or emotional responses). They enjoy singing and listening to a wide variety of music, and are often quite skilled at mimicking sounds, language accents, and others’ speech patterns, and recognizing different musical instruments in a composition. Paul McCartney is strong in this intelligence.

Logical-Mathematical Intelligence:

The capacity to use numbers effectively and to reason well. This intelligence is highly developed in mathematicians, tax accountants, statisticians, scientists, computer programmers, and logicians. Students with a high degree of this intelligence often reason things out logically and clearly; look for abstract patterns and relationships; frequently like brain teasers, logical puzzles, and strategy games. They also like to use computers and to classify and categorize. These people think conceptually and abstractly and are able to see patterns and relationships that others often miss. They like to experiment, solve puzzles and other problems, ask cosmic questions and think. They love the challenge of complex problems to solve and always have a logical rationale or argument for what they are doing or thinking. Albert Einstein was strong in this intelligence.

Bodily-Kinesthetic Intelligence: Consists of expertise in using one’s whole body to express ideas and feelings, and facility in using ones hands to produce or transform things. A highly developed intelligence in actors, mimes, athletes, dancers, sculptors, mechanics, and surgeons. Students with a high degree of bodily-kinesthetic intelligence process knowledge through bodily sensations; move, twitch, tap, or fidget while sitting in a chair or at a desk and learn by touching, manipulating, and moving. They typically like role playing and creative movement and generally like physical games of all kinds and demonstrating how to do something. They communicate well through body language and other physical gestures. They can often perform a task only after seeing someone else do it. They find it difficult to sit still for a long time and are easily bored if they are not actively involved in what is going on around them. Michael Jordan is strong in this intelligence.

Interpersonal Intelligence:

The ability to perceive and make distinctions in the moods, intentions, motivations, and feelings of other people. This Intelligence can include sensitivity to facial expressions, voice, and gestures, as well as the ability to respond effectively to such cues. Students with a high degree of interpersonal intelligence understand and care about people; like to socialize; learn more easily by relating and cooperating and are good at teaching other students. These people learn through person-to-person interaction. They generally have lots of friends; show a great deal of empathy for other people and understanding of different points of view. They are skilled at drawing others out in a discussion, conflict resolution and mediation when people are in radical

opposition to each other. Mother Teresa and Mahatma Gandhi were strong in this intelligence.

Intra-personal Intelligence:

Self-knowledge and the ability to act adaptively on the basis of that knowledge define this group. This is an intelligence which can include having an accurate picture of one’s strengths and limitations, awareness of one’s moods and motivations, and the capacity for self-discipline. Students with a high degree of this intelligence seem to be self-motivating; need their own quiet space; may march to the beat of a different drummer and tend to learn more easily with independent study, self-paced instruction, individualized projects and games.

These people like to work alone and sometimes shy away from others. They are self-reflective and self-aware and thus tend to be in tune with their inner feelings, values, beliefs, and thinking processes. They are frequently bearers of creative wisdom and insight, are highly intuitive, and are inwardly motivated rather than needing external rewards to keep them going. They are often strong-willed, self-confident, and definite, well-thought-out opinions on almost any issue (although they are sometimes off-the-wall). Other people will often come to them for advice and counsel, but others will sometimes view them as distant or weird. Emily Dickinson and Stephen King are examples of this intelligence.

Naturalist Intelligence:

Environmental knowledge and the ability to identify and categorize plants, animals and nature on the basis of that knowledge. The Naturalist Intelligence can include having an accurate picture of the ambient environment, awareness of the interrelationship of natural elements, and the capacity for self-analysis of these elements. It is found most highly developed in archeologists, animal handlers, animal trainers, veterinarians, biologists, racehorse jockeys, zoologists, environmentalists, wilderness guides and naturalists. Students who have a high degree of the naturalist intelligence seem to be nature-oriented, seek to be outdoors or in the elements and learn more easily with nature-related study and environmental projects and activities. They like to collect items from nature, study them, and group them. They tend to be aware of subtleties in appearance, texture, and sounds that those weaker in this intelligence may not grasp. Charles Darwin, Jacques Cousteau, and John James Audubon were strong in this intelligence.

One of the great promises of Multiple Intelligences theory in education is that it will help us to find individual pathways into and out of our students’ minds. Recent advances in educational psychology and research in applied MI theory offer educators a real possibility of developing the potential of all students. Both educators and students should derive from Gardner’s Multiple Intelligence theory that all people are different and learn differently, and that we should respect, value, and nurture that diversity.

Reference Websites:

Reference website for multiple intelligences links and activities:


Exploring Multiple Intelligences: New Dimensions of Learning


Multiple Intelligences Resources


Basic MI Theory


Multiple Intelligence Theory: Principles


Multiple Intelligences: Theory and Practice in the K-12 Class


Task Card Overview/Multiple Intelligences


Association for the Promotion and Advancement of Science Education activities website – http://discoverlearning.com/forensic/docs/index.html

Naturalist Intelligence – Sea World / Busch Gardens website for students


Writing Your Own Music and Improvising

New York Palace

After you have learned some basic chords – in particular, the open chords – and can use them proficiently to play some songs, it's a good time to begin improving and writing songs on your own. Even if you think you do not have enough guitar knowledge to write very complicated songs yet, it's better to start writing your own material towards the beginning of your odyssey into the world of guitar playing so that you develop as a musician and exercise your creative mind.

Starting out, of course, it's best to come up with a song that makes use of just a few chords. Build on what you already know by trying out different combinations of the open chords and experimenting with the different melodies you can produce. Not only will you begin coming up with your own songs, but you're temporarily developing your ability to change chords quickly and are getting accustomed to common chord changes. Do not worry at all about the songs sounding simple. Some of the biggest hits in musical history make use of only three or four chords!

After you have played around with some chord combinations, ask your musical friends for guidance. Show them what you have come up with, and let them play along with you. They will probably be able to give you some points as to the direction into which you may consider taking a song. This will also give you the opportunity to use any knowledge of scales to improvise over a piece of music being played by someone else. When one guitarist is playing chords, the other may want to use the scales he or she knows to place melodies over the chords being played. In essence, you can create your own guitar solos alongside a rhythm guitarist! Take turns soloing and playing rhythm guitar with someone else. You will find yourself creating new melodies in no time.

Another way to tackle improvisation and writing your own music is to begin with some songs you already know and change up the melody. For example, let's say you really like listening to "Wild Thing," and you can play it easily. Try writing another verse to "Wild Thing" using chords that you already know. When you can do this with one song and can play your original melody consistently, start doing it with others.

Once you have gained some experience with these steps, the next milestone toward writing some of your own material is learning how to play barre chords and learning to play them well. Some of your guitar books for beginners will contain information about playing barre chords, and that's a great place to start. Combinations of barre chords and open chords will provide you with more versatility than you ever thought possible, and they can even lead you to experimentation with different styles. This is where may guitarists' tastes start changing as they begin learning to play songs they had never considered learning and collaborating with musicians with whatever they never thought they would play. It may not be what you expected to be playing in the beginning, but the path towards creating original music is an exciting one.