• Wrinkle Creams That Can Deliver On Their Claims

    wcsI cannot think of anything else that will please my mother for her upcoming birthday. The last time we talked, she was telling me how hard she was trying to find the best wrinkle cream. But because she is not acquainted with the internet, she had a hard time gathering information about trustworthy anti wrinkle products. She told me that she asked her friends and some of our relatives for any wrinkle cream brand that they can recommend but she found out that those brands are not competitive enough. Considering that I have access to the internet and I can easily find reviews about wrinkle creams, I took advantage of it for the sake of my mother. I know how much she really wants to do away with her wrinkles. Now, I already have in hand one of the best wrinkle creams in the market. According to product reviews, it’s one of the most coveted brands for it can really deliver what it claims. It can erase wrinkles in as fast as a couple of weeks. I am excited to present it to my mother. I am sure that she will regard it as the best gift she received for her special day.

    Loving Housewives Deserve the Best Wrinkle Cream

    My wife asked me to find the best wrinkle cream for her. I have been teasing her about the fine lines on her forehead, which are becoming more obvious whenever she gets mad. I always tell her that she should learn how to manage her anger for it is already making her look 10 years older. Now, she is obliging me to hunt for the best treatment that she can take on to remove these fine lines. I did not know that she would actually take my jokes seriously. Nevertheless, I really think she has to do something about her wrinkles. I have a feeling that one of the reasons why she’s always not in the mood is because she’s not happy with the way she looks. People say that one feels goods when he looks good. My wife is experiencing the other way around. She’s not happy because she’s not contented with her appearance. I have to help her get through this unwanted stage in her life. She has to start minding her appearance to improve her aura. I am willing to scout for the most excellent wrinkle cream just to make my wife better. She’s a loving woman and she deserves only the best.

  • Ending Your Snoring Problems

    Snoring is a problem that a large portion of today’s households face. Whether it is you or your spouse, snoring is a nuisance, and may lead to conditions that are more serious. Experts have studied that certain types of snoring might increase your chances of developing heart disease. Experts also mention that snoring can be one of the issues that lead to household and relationship problems. In need of an answer, a lot of people will ask, how do I stop snoring?

    Here are two simple snoring remedies that might cure your snoring problem. Some people snore due to the lack of hydration in their body. Without sufficient fluid flowing through their body, a person’s nose and the palate inside might get a little dry. This is turn will increase the chances of snoring. And if you are a smoker, chances are you snore due to your habit of smoking. Smoking causes your nasal passages, lungs and the airway to your lungs to get jammed up. There are many other ways how to stop snoring. You can try to search for snoring remedies on the Internet. If not, you can also set an appointment with your family doctor to get a medical checkup and find out what makes you snore.

    Causes of Snoring and Its Remedies

    Before you really know how to stop snoring, it would be better to know the causes or reasons for snoring. One of the reasons that people snore is going to be discussed in this article and researchers have proven that being overweight can cause a person to snore. Overweight people snore because they put extra pressure on their neck and airways when they sleep. They keep their neck in one position, which may also make the person uncomfortable from holding their neck in one position. Being uncomfortable and overweight are two reasons that people snore. Changing the way a person sleeps is a step toward the person stopping snoring and taking the pressure off the airways.

    Another way to stop the person from snoring is to gently roll them into another position such as rolling them from their back to their side, which will take the pressure off the airways. Taking the pressure off the airways is a way of easy the person’s breathing and will eventually make the person more comfortable to be able to go into a deeper sleep. Getting a deeper sleep will mean the person is relaxed and comfortable for the night. Getting a deeper sleep is a health benefit for the sleeper and a step toward good mental health.

    Are you wondering how to stop snoring? Read this article, find the reasons for snoring and then try to stop snoring.

    A person that drinks before they go to sleep to relax is much more likely to snore while they are sleeping than someone that does not drink at all. The use of alcohol and sedatives to get to sleep will help the person to relax, but the use of alcohol will reduce the resting tones in the back of your throat. Researchers have found out that anyone that drinks alcohol four to five hours before they go to sleep will be more like to snore than someone that does not drink at all. If we drink before going to bed, the demand for oxygen would go down while we sleep, but the resistance for getting the oxygen into the lungs goes up. Which means that as a person is sleeping especially someone that is prone to snoring; their lungs are having a hard time bringing the oxygen into the lungs. When the sleeper has to take a deep breath to get oxygen into their lungs, also means that the snore from that sleeper will also be much louder than a normal snore. The longer the pull for oxygen, the louder the snore from the person that has had alcohol before they go to sleep.

  • How to Stop Snoring For Dummies

    If you live alone, snoring might not be a disturbance for you; while snoring sometimes becomes a problem for couples, when one’s snoring troubles the others peaceful night. There are several ways you can consider to find out how to stop snoring, but before moving to them, here are some of the reasons why we snore. At nights, when muscles are all relaxed, human’s airways decrease in size and it results in a distortion of normal breathing. As a result, a human starts breathing via mouth and uvula tissue: if it is long and soft, produces the noise that is snoring.

    There are several ways how to stop snoring. One way is to consider herbal supplements and other vitamins that stimulate muscles and consequently put the overall sleep apnea causes out of commission. Inhalation of Japanese mint is one approved way to relax and clean up your airways. Drinking much coffee is not recommended for those who suffer snoring problems; caffeine negatively affects the healthiness of your airways. An easy way to stop snoring might be to change your sleeping position. It is always better to lay on one side, rather than sleeping on your back, because in this position tongue goes to the throat and pushes uvula tissue, which makes breathing even harder.

    Many people around the globe have the bad habit of snoring, or sleep apnea. This is not only an issue for men; women are no less likely to suffer from a snoring problem. For instance, in the USA approximately 35% of men snore while sleeping and around 30% of women experience sleep apnea symptoms at nights.

    Here are some simple ways of how to stop snoring; these tips will help you to avoid unpleasant disturbance of sleep and secure quiet and peaceful sleep for you and for your bed partner.
    Avoid taking heavy supper, coffee or cigarette before you go to bed, get rid of the habit of eating too much before sleeping can help you to stop snoring. On top of that eating much before going to bed has serious implications for your stomach health as well, so by controlling your diet you can catch two rabbits at the same time.

    Control your sleeping position; you may feel more comfortable sleeping on your back, however sleeping on the sides can significantly reduce the frequency and intensity of snoring. This is a small sacrifice that you can make to stop snoring and not to ruin your love relations. Consider different types of stimulation of your throat muscles before going to bed. You can simply sing or pronounce vowels loudly to make your airways more active. This is the most funny and effective answer to the question of how to stop snoring, it can make your evening life more amusing and sleep more relaxing.

    Most medicines cannot cure snoring. This is because all snoring is not caused by a single factor. The reasons for snoring varies from person to person. Age and gender difference can be a common factor for snoring. Once people reach their middle age, snoring usually seems to gradually form part of their sleep. It is also often noticed that men are more prone to snore than women are. Whatever be the reason for snoring, the right snoring remedies can help eradicate this issue in course of time.

    One of the best snoring remedies is enacting proper eating habits. A heavy dinner can be a surefire cause for snoring. So, be careful to have a light dinner as far as possible. Changing the sleep posture can also be of great help in reducing snores. Intake of alcohol is another common reason for snoring in sleep because it relaxes muscles and leads to the narrowing of the passage of air. Here it must be noted that though various things contribute to snoring, the root cause is always the narrowing of the air passage while breathing in sleep. When the passage is narrowed, air comes out with the audible sound. Therefore, snoring remedies focus on understanding what causes this narrowing in individuals and arrive at the specific lifestyle change that can make a definite difference.

    Snoring is quite often a habit that creeps into one’s life with the passage into middle age and onwards. Heredity, gender, and lifestyle also act as catalysts to bring about snores, which might develop into your partner’s nightmare. To treat snores you need two things – an understanding partner, to know your problem and carefully observe how and when you snore, and a little patience, to go through the gradual process of snoring remedies each day until the problem is solved.

    Lifestyle changes are the first set of snoring remedies that can truly set you free from snoring. This includes regular exercises and proper food habits. Since body weight and accumulation of fat cause the narrowing of the respiratory air passage, it is important to follow a daily set of exercises. Exercises also strengthen and tone your muscles, including the ones in your throat. Throat exercises and breathing exercises are in fact a must do for all who suffer from snoring. You can also check out stop snoring mouthpieces, which usually can help, if not eliminate the problem.

    Heavy meals about an hour or two before going to bed should be avoided. Thus, careful and diligent application of one or the other snoring remedies can surely be a means to having that “soundless” sleep that you always dreamed of.

  • Cable Networks Lose “Experimental Edge”

    The cable networks are right now in an experimental phase — they’re feeling around to determine how far they should go” in ponying up for the broadcast-network windows of theatricals, says Hal Vogel, a showbiz analyst for Cowen & Co.

    Vogel says the acid test for Turner could come when Warner Bros.’ expected summer blockbuster “Batman and Robin” becomes available to presale to networks. The price will depend on how well the movie does at the box office — Turner will almost certainly have to make the commitment to buy it before final returns are in. As “Batman & Robin” revenues from theaters start sailing well north of $100 million, the price to a cable network could shoot up into the $20 million stratosphere.

    Various sources say the average theatrical fetches between $4 million and $6 million in its first network window, whether broadcast or cable. And even at that price, the movies are loss leaders for a cable network, Turner says.

    Other sources say TNT and TBS will be lucky to gross half the average cost of an exclusive theatrical from advertising revenues, even with 12 runs of each title over the three- or four-year life of a contract, instead of the two runs to which a broadcast network usually agrees.

    But Turner says that because these movies will be showing up on TNT and TBS only three years after their theatrical run instead of the usual six-to-eight years, they’ll get better ratings, and thus allow the channels to jack up their advertising rates.

    Big picture

    “Turner is looking at the big picture,” says Tom Wolzien, a media analyst for Bernstein Research. “He wants to build the asset value of TBS and TNT” even if it means losing money in the short run by paying swollen prices to wrest movies away from the broadcasters.

    Pay TV networks are feeling the ripple effect of the Tamer movie grab. For example, HBO, according to sources, has always tried to prevent the major studios with which it has output deals — Warner Bros., 20th Fox, Columbia and Paramount — from selling their pictures to a basic cable network between the first and second pay windows.

    The first pay window kicks in about a year after a movie hits multiplexes, and typically extends to about 18 months. Then there’s a long period when a producer usually sells the picture to a broadcast network — not a cable channel — for two runs during a license term that stretches between three and four years, on average. The second pay window doesn’t open up until after the end of that broadcast window.

    HBO didn’t want a basic cable network horning in during the time span between the two pay windows because, sources say, HBO regarded basic cable as a more direct competitor to a pay web than a broadcast network; more than 30% of the broadcast nets’ viewers are not even hooked up to cable.

    But now that Turner has shoehorned TBS and TNT into the gap between the pay windows, all bets are off, says Steve Bell, president of the Encore Entertainment Group, which includes Starz, a network that owns the first pay window of the movies produced by Touchstone, Universal, Hollywood Pictures, New Line and Miramax.

    “With that one stroke, Ted Turner has singlehandedly changed the architecture of the business,” Bell says. The pay networks will no longer be able to enforce a provision that stops a studio from selling its movies to basic cable during the four years between the two pay windows.

    Sullied rights

    Starz is stocking up on Prozac, Bell says, because it has the pay rights to “Michael” based on an earlier deal with Turner Pictures.

    Now that Turner has told the world “Michael” is headed for TBS and TNT, Bell is afraid that John Travolta fans will figure they can wait until the movie shows up on a network that doesn’t charge a monthly fee rather than signing up for Starz.

    And the Hollywood production community is uneasy about TNT getting theatrical movies instead of, say, CBS, because “cable runs the sprockets out of a picture instead of scheduling it for a clean two runs over four years, the way a broadcast network would,” says one producer, who requested anonymity.

    Voracious appetite

    But Ed Bleier, president of Warner Bros. pay TV, cable and network features, says that’s unfair. “TNT and TBS are basically movie networks,” slotting more movies in one day than a broadcast network will ran in a week,” Bleier says.

    “And Turner allocates a lot more promotional resources to a movie” than a broadcast network, which has to steer its marketing budget to madefors that don’t have the presold name recognition of a theatrical.

    With Turner and Koplovitz bringing open checkbooks to the table for early window movies, producers may have to start getting used to the phenomenon of cable networks acing out their broadcast brethren. Still, Bell doesn’t see an Armageddon of synergy between producers and cable nets on the horizon.

    “There are so many movies out there, that I don’t think anybody should be unduly worried about these changes in the landscape,” Bell says. “Let’s face it — no one outlet, whether it’s a broadcast network or a cable network, can buy everything.”

  • Killing An Arthouse

    Theaters like these are dying fast.Break out the TV Guide; television is rapidly replacing art-house theaters as the only place to See classic films. The art-house circuit is shrinking–not just in the big Cities, but also at the college campuSeS where moviegoers once found regular acceSS to classic films, including foreign titles. Now, instead Of showing the works of such filmmakers as Federico Fellini, Ingmar Bergman, Charlie Chaplin (and the other mainStays of the Circuit), along with such revered chestnuts as Casablanca, The African Queen and even Marx Brothers comedies, many college film programs opt for third-run action pictures starring Steven Seagal and Arnold Schwarzenegger. (Daily Variety recently dead-panned, “Say the words French filmmaker to the average college kid these days, and he’s likely to think Jean-Claude Van Damme.”)

    So what’s wrong with this picture? For would-be Screenwriters, plenty.

    After all, if you don’t have a Sense of where movies have been, how do you know which direction to take them in? To understand the medium, and the craft of storytelling and Structure, you must go back in time.

    Trends are just that; moviegoers will eventually tire of Quentin Tarantino-inspired screenplays in the same way they’ve tired of car crashes and explosions. But, as I’ve said in previous columns, good stories never go out of style. And more than anything else, the classic movies abound in solid storytelling-along with distinct (and sometimes highly original) filmmaking.

    If you don’t get the American Movie Classics channel or Turner Classic Movies or some other cable network that specializes in golden oldies, you’re missing out on important screenwriting lessons.

    Of course, when watching classic titles you must suspend modern sensibilities when it comes to delivery and technical advancement.

    A few years ago when I was working for Fox Television, I co-produced a regular segment on an entertainment news show about the making of classic scenes from classic movies. For one segment we rounded up the director and editor of 1952′s High Noon, the Oscar-winning western about a marshal who, on his wedding day, must appeal for help when he learns that a gunman and his gang are headed for town-on the train due at noon.

    In weaving together the filmmakers’ recollections with scenes from the movie, one thing became readily apparent: It took that train an awfully long time to chug into town. And Gary Cooper’s laconic walk down those dusty streets to the climactic showdown seemed to go on and on. Moreover, compared to shootouts in some recent westerns (such as Tombstone), the gunplay seemed on the creaky side. In order to make our TV segment move, we used especially snappy editing. Our segment moved so quickly that we joked about bringing the train in at 11:35.

    One thing we never poked fun at, though, was the story–all about a crisis of conscience, in which the cowardly townsfolk abandon the marshal and allow him to face his enemies alone. The uncompromising movie ends with him throwing his badge on the ground and riding off with his bride. Few films today are as compelling–or as daring.

    Years ago, I was lucky enough to see High Noon on a big screen as (yes) part of a college-film program. At the time, the movie was also a staple of the numerous film retrospective houses in Los Angeles. Sadly, there are now but a handful of such houses, even in the film capital of the world.

    Yet if movie art houses are on the wane, both off and on campus, the number of cable channels are growing, creating new venues for classic movies. Would-be screenwriters should take advantage of them. The screen may be small, but that doesn’t diminish the art of storytelling. Plus, the popcorn’s cheaper.

  • TV And Literacy – A Link?

    My own introduction to the set of circumstances recognized by Hesse and codified by McLuhan took place in the early 1970s when I was asked by NBC television to consider writing a documentary about what was then known as “the energy crisis.” The network had gone to no small trouble or expense to collect nineteen hours of handsome film–footage of Arab oil sheiks and American politicians, of tankers riding at anchor in New York Harbor or streaming through the Strait of Hormuz, long lines of cars at California gas stations–but nobody knew what the pictures were supposed to mean. Until the producers decided what it was they wanted to say–bad Arabs, good Americans; good Arabs, bad Americans; oil reserves plentiful and cheap; oil reserves expensive and scarce–they might as well have been staring at nineteen hours of empty sky. Because none of the people in the room knew anything about the oil business other than what they had read on the front page of the New York Times, I could foresee a long series of meetings likely to lead nowhere except back to the front page of the New York Times, and I wondered why the network didn’t borrow the practice of David Hockney–cut the paper into little pieces, paste up the words on a studio wall, and film the collage from six angles over the top of Edwin Newman’s head.

    Although I declined the NBC proposition, some years later I accepted an offer from a British production company to write a six-hour television documentary about America’s wars in the twentieth century and in the course of doing so I discovered what McLuhan meant by the phrase “The medium is the message.” Allotted forty-three seconds and seventy-eight words in which to explain the origins of the Second World War, while at the same time providing a transition from still photographs of Neville Chamberlain at the Munich Peace Conference in 1938 to newsreel footage of the German Luftwaffe bombing Poland in September 1939, I understood that television bears more of a resemblance to symbolist poetry than it does even to newspaper prose. The camera looks but doesn’t see, and the necessary compression forces both the words and the images to become less literal and more figurative.

    Twenty-three years after the late President Richard M. Nixon was frog-marched out of the White House, the single word “Watergate” brings to mind not only the burglaries at the building of that name but also a film montage intercutting scenes of the Vietnam War with the face of Sam Irvin superimposed on the faces of H. R. Haldeman and Archibald Cox, Henry Kissinger’s voice mixed with the sound of incoming artillery at Danang, clouds of tear gas drifting across college lawns and the steps of the Pentagon, Nixon himself waving good-bye from the door of the helicopter on the White House lawn.

    The Watergate metaphor replaced the Camelot metaphor (another trope made to the specifications of the electronic media), and by the winter of 1975 what was once a land of orchards and sweet-running streams had become a desert inhabited by foul and crawling things. Before Watergate, most politicians were presumed trustworthy until proven guilty of fraud or discovered with a Maha kingpin in a Baltimore hotel. Maybe not all of them were as handsome as Jack Kennedy or as earnest as Jimmy Stewart in Mr. Smith Goes to Washington, but it was thought that they were not the kind of people who accepted money from Chinese arms merchants or licked a prostitute’s toes.

    The towers of Camelot and the ruin of Watergate serve as the two sovereign metaphors for the political history of the United States over the last quarter of a century. Each president subsequent to Kennedy and Nixon has attempted to ally his administration with the glory of the former (behold, another knight come to the Round Table) and sentence his opponent (treacherous friend to the traitor Mordred) to the dungeons of the latter. Every scandal worthy of the name aspires to the ignominy of the suffix “gate” (Irangate, Troopergate, etc.), and on the sunnier side of the proposition, the writers of political ad copy strive for phrases that will restore to government the charm of musical comedy–”Morning in America,” “A thousand points of light,” “A place called Hope.”

    Although the tropes seldom accomplish all they intend, they conform to the rules of Hesse’s Das Glasperlenspiel and meet the requirements of the electronic media. Instead of narrative we have montage, and our perceptions being tuned to the surfaces of film rather than to the structures of print, we tell one another stories not by lining up rows of words but by making connections (sometimes synchronous, sometimes in juxtaposition) between the film loops stored in our heads. Words define themselves not as signs of a specific meaning but as symbols bearing lesser or greater weights of cinematic association, and history becomes a form of film criticism.

    Although not yet as densely imprinted as the word “Watergate,” the runes “O.J.,” “Disney,” “Lincoln bedroom,” “Microsoft,” “Greenspan,” and “Bork” all evoke a series of images from which I could construct–as if from a strand of DNA–the whole of America’s recent social, political, and economic history. Aligned with images of both Rodney and Martin Luther King (one of them prostrate on a Los Angeles freeway, the other standing before a crowd on the Washington Mall), O.J. signifies black; set in the context of the NFL (another not inconsiderable trope), O.J. connotes talent; matched with Heidi Fleiss, O.J. conjugates as decadence, Hollywood celebrity, or the vagaries of California jurisprudence. “Microsoft” and “Lincoln bedroom” lend themselves to similar sets of changes, similar to those improvised by a jazz musician taking liberties with a standard melody, or Hesse’s Magister Ludi setting up beads in the Academy at Castalia.

    No wonder the historian finds it hard to tell a straight story. The prospective readers think in circles. Conversant with the wandering paths through cyberspace (click on genetics, go to Pleistocene) and accustomed to the dissolving images seen on the eleven o’clock news or in the movies of Oliver Stone, the audience imprisoned within the walls of the electronic media inhabits the illusion of a once-upon-a-time in which Eva Peron is a model for Yves St. Laurent and a friend of Andrew Lloyd Webber, and Jane Austen is forever riding in a carriage on the road to Bath.

    How then to salvage from the past any meaning that doesn’t instantly collapse into surrealist fantasy, a collage by David Hockney, or, together with The English Patient, an epic television commercial for a perfume yet to be named? By the historians whom I’ve read in the last several years, the question seems to me best answered by Evan Connell in Son of the Morning Star. The book takes up the subject of what is now known as the Battle of the Little Bighorn, where, on June 25, 1876, General George A. Custer led five companies of the 7th Cavalry into an armed mob of yipping and barking Unkpapa Sioux, who promptly made his name a synonym for glory. But instead of trying to reconstruct a patriotic melodrama, Connell deconstructs one of the more elaborate metaphors in the syllabus of American myth. He proceeds by digression and conducts an interrogation of the surviving facts. Curious about all facets of that unfortunate afternoon and careful to distinguish between what is known and what can be surmised, Connell inquires about everything–Custer’s horse, Dandy, the prior service records of Major Reno and Captain Benteen, Sioux burial scaffolds, steamboat navigation on the Yellowstone River, the practice of taking scalps, the rate of fire expected of a .44 caliber Remington revolver, buffalo skulls, Crazy Horse preparing himself for battle by painting white hailstones on his body and tying a brown pebble behind one ear. As the details accumulate, they extend and compound one another, and the reader who stays the course of Connell’s curiosity comes away with the sense of a weightless flag having been grounded on the field of human experience and clearly marked on the map of time.

    Were I to teach history either to grammar-school or college students I would borrow from the example of Connell and address a year’s course to a cross section of time as brief as a week but under no circumstances longer than six months. Making a foreground of a single set of events–let’s say the Constitutional Convention assembled in Philadelphia in the summer of 1187–I would begin with Benjamin Franklin, a benevolent gentleman of eighty-one known for his gargantuan sexual appetite as well as for his wisdom, seated between Alexander Hamilton and James Madison for the occasion of the convention’s opening on June 15, on a little platform raised one short step above the chairs arranged for the other fifty-odd delegates gathered in the statehouse to draw the blueprint of a republic for which, as Madison informed the company, “there had been no precedent in the whole of history.” Madison kept careful notes of the proceedings of the next three months, and to the text in hand I would add concentric rings of historical circumstance–first the size and condition of the city of Philadelphia, understood at the time as a sink of iniquity and a capital of dissipation, its sidewalks and gutters paved with brick but reeking with the stench of horse and human excrement, the Quaker drawing rooms crowded with card tables and crystal bowls of rum, pigs rooting through the quagmire of the streets for spoiled vegetables and rotted oysters, fashionable ladies followed on their afternoon walks by black slave boys carrying their toilet cases and bonbon boxes.

    The convention took place in secret, behind windows stuffed with felt and no word of the arguments among the uniformly prosperous delegates (forty of them owed money by the Congress and fifteen owning slaves) released to the rabble-rousing press. The gentlemen in fine broadcloth and brocade had come to arrange the political affairs of the new nation in ways convenient to their own economic interests, and by describing the nature of those interests, I could extend the circles of reference into Virginia and Massachusetts, and then, by again widening the lens but still in the summer of 1787, to the Indian frontier in western Pennsylvania and the tennis court at Versailles, or possibly as far as Russia, where Catherine the Great was making her tour of Potemkin’s artificial villages (not so different from the ones imagined by Hillary Rodham Clinton on her travels through the American Midwest), or to Prague, where Mozart that year conducted the first performance of Don Giovanni.

    If at the end of the term the students at least had learned that the parade floats marched across the screen of the news go nowhere except around in circles, I would count the course a success. Because the camera seems to impart meaning where no meaning exists, too often I meet people who think it sufficient merely to recognize the name and shape of Tom Cruise or Newt Gingrich, and that by stringing their symbols like beads on a therapeutic thread of private reverie, they have said something both public and profound. Apparently it never occurs to them that they speak a language of prerecorded experience and ready-made cliche, geared to the specifications of a machine in a magic kingdom where, in Simone Weil’s apt but bleak phrase, “It is the thing that thinks, and the man who is reduced to the state of the thing.”