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Which is a site devoted showing "opportunities" for what they really are -- or aren't. the material presented here is reprinted from the songshark website and is used with permission. in the next couple of months, we will highlight additional music "opportunities" which you may want to think twice about. note that none of it is illegal, and the final decision is always yours to make, but you need to know how to weed through the smokescreens to see clearly what you're deciding on. remember, in most cases, a writer or artist is not the one who should be bearing the expenses of being given a genuine "opportunity" .bill pere, director of special projects, csa. vocal contests this is very similar to the "in the business" scam. "so and so agency" is holding a contest in the local holiday inn. it cost the contestant a few bucks to enter. no big deal, but winners are chosen by audience poll response. each audience member is charged -10 to attend. of course, each contestant gets as many family members and friends to show up and support them so he can win and move on to the next tier contest. the most basic and common prizes seems to be some free studio time and or a "record contract." the studio time is usually just enough to get hooked into buying more studio time getting a small amount of studio time is really not enough to finish a song -- so of course you need to pay for more ; . one of the more impressive opportunities includes the chance to play the grand ole opry. amazingly enough, the winner actually does do this. when these winners come off stage, there is a "producer" who gives out the "i see something special in you darlin' " pitch. the producer is affiliated with a studio just like the "in the business" scam. he makes a big deal out of picking songs for you, some of which were actually written by noted writers.of which there's no shortage of in nashville. you're hooked up with an expensive studio as well as players, an engineering staff, and a producer.all of which cost you money. , 000 or so later, it's over. you're paying for a recording and nothing more. a real publishing deal will pay for all the costs of demos -- if you're paying, do it with you eyes open and don't believe that someone is giving you an 'opportunity'. let them be honest enough to say that they want you to buy studio time. ; "you look like you're in the music business" some people just scream for attention. they think if they play music, they need to dress a certain way and hang out at certain places. the people who buy into this are just waiting to get ripped off and it happens all the time with a few choice words and a little ego stroking. this problem is especially bad in industry cities such as new york, nashville, or los angeles, but it can happen and does happen ; anywhere. there is no such thing as an overnight success, but some people still believe it and those people are great targets. the scene is nashville at the shoney's off of music row. billy bob conroy has just hopped off the greyhound from bf, kentucky. guitar in hand, billy bob is just stopping in for lunch before a busy day of getting turned away from record and publishing companies. he's determined to make it and has brought along his life savings to make sure it happens.
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Pose? our serial key does not require a driver, but i have not seen a serial connector on a mac in years. macrovision is a major company whose flexlm product is used to manage most floating license products including ours. but they also do not provide a license manager for use in mac os x booted up at 64-bits. they look at the market and conclude, hmmm, the 32-bit version of photoshop, illustrator, oracle, and all those other mac applications, which have only a few percent of the market, run just as fast at 32 bits as they would at 64 bits so what's the hurry? they also know that a single 32-bit based mac os x or windows computer on a network could serve up licenses to all the other macs running the 64-bit version of mac os x. mac os x 10.4.x can be booted up as 32-bit or 64-bit from the same drive, but it's more convenient to use 2 drives. install your 32-bit mac os x on drive and the 64-bit version on another. then reboot and install tntmips under both versions. the new installer vise program for the mac will automatically detect these different os versions and install the correct version of tntmips. the drive format is the same for both versions of your mac os, so however you boot up, you can access and use both drives for data. using this approach all your 32-bit legacy equipment and applications can be reliably used by a reboot and the results shared via the common hard drive format. gradually, however, to force the issue apple's own software is going to deliberately lack functionality when run under 32-bit until eventually it will not get any further upgrades, so you will need to continue to back-boot to use their applications. ultimately, you have to give up. i have now discarded all microimages and personal devices that would only run under classic mac 9.x since they have little support from their original vendors. linux amd. linux users are oriented toward solving or finding someone to solve the problems that occur in an open approach. a switch to a 64-bit linux is simply another incremental step in the gradual, constant evolution of a linux based installation. as a result every linux installation is unique, which makes every linux installation of tntmips unique. however, with patience they all eventually get going. we have recently posted a 64-bit version of the tnt products for various flavors of linux using 64-bit amd chips. if anyone using it can show it's faster than the 32-bit version. i'll be happy to eat crow. linux already tastes like crow to me anyway. sun solaris sparc. sun users are running a few dedicated applications so if the key application, such as oracle, a web server, or tntmips, has already been checked out at 64-bit, then a switch to 64-bit solaris is in order. solaris 64-bit has been around for quite some time and can reliably run most 32-bit applications. furthermore, a much smaller selection of dedicated, targeted hardware is available for use with solaris sparc based workstations. as a result, any hardware deprecation that would result from a switch to solaris 64-bit operation is well known. the 64-bit current version of solaris sparc is the only operating system installed on new sparc workstations. a tntmips purchased for use with solaris sparc is supplied with a serial software authorization key and no software driver are required. since you may be running a 32-bit version of solaris on an older solaris sparc workstation, both 32-bit and 64-bit versions of the tnt products are supplied. either can be run with the 64-bit version of solaris sparc with the serial key. Everything about it is appalling august, 1994: i was sitting with my writing partner darrell vickers in jerry's deli, in studio city, california. we were in a window booth, eating with a well-known director and a well known actor, and all four of us were bitching about the shows we were on. the actor hated the tantrumthrowing star of his prime-time sitcom, the director hated the female lead of his top-ten comedy, and darrell and i hated three-fifths of the cast of the show we'd created and were running, most of the simpletons at the network, and the tv-viewing public whose taste, as expressed in the focus groups that had put this piece of dreck on the air, we spent every waking minute laboring to satisfy. the question arose: why were we, this energetic foursome, toiling to produce this crap, when all of us would rather have been hunched over a table somewhere with a bolex making award-winning claymation shorts? the answer, as i voiced it that day, was this: the director and i had big houses, in encino and studio city respectively, the actor had just lost a big house to an ex-wife in malibu the director would donate his, likewise, three years later ; , and darrell had lost nine-tenths of a house to the 1994 l.a. earthquake. we were doing jobs we hated, writing, performing and directing lines and scenes and business we found tediously stupid and unfunny because it was the only work we were being offered, and because between the four of us we owed nearly five million dollars. old houses need a lot of tender loving care. for two years darrell had been hiring painters and carpenters to finish his 1927 hillside manse. when i showed up for work and when i left they were there painting, grouting, sanding. i called his top floor the never-ending second story. darrell got talking one day with a painter and found out he was an actor. had he done anything darrell had heard of? yes, he was the fifth-billed lead in papillon, with dustin hoffman and steve mcqueen. so is this stipple pattern okay? ; in 1992 heavy rain had cracked the seventy-five-foot-long, ten-foothigh retaining wall holding up the hill on which darrell's house stood. he hired l.a. contractors to replace it. rather than do it a bit at a time, they removed the entire wall, took a long look at the 7, 500 square feet of suppurating mud now facing the street, and announced they couldn't tackle the job for insurance reasons. the great wall of mud shifted. other, more enterprising contractors were brought in and, after watching them sink and casino cards. Need a medium heavy game for two. 57 [bey01] h.-g. beyer and k. deb, "on self-adaptive features in real-parameter evolutionary algorithms, " ieee transactions on evolutionary computation, vol. 5, no. 3, 2001, pp. 250-270. h. j. bremermann, "optimization through evolution and recombination, " in self-organizing systems, m. c. yovits, g. t. jacobi, and g. d. goldstine eds. ; . washington, dc: spartan books, 1962, pp. 93-106. m. s. bright and t. arslan, "synthesis of low-power dsp systems using a genetic algorithm, " ieee transactions on evolutionary computation, vol. 5, no. 1, 2001, pp. 27-40. e. k. burke and j. p. newall, "a multistage evolutionary algorithm for the timetable problem, " ieee transactions on evolutionary computation, vol. 3, no. 1, 1999, pp. 63-74. t. bck and h.-p. schwefel, "evolutionary computation: an overview, " in proc. of ieee international conference on evolutionary computation, nagoya, japan, 1996, pp. 20-29. t. bck, evolutionary algorithms in theory and practice, evolution strategies, evolutionary programming, genetic algorithms. new york, ny: oxford university press, 1996. t. bck, u. hammel, and h.-p. schwefel, "evolutionary computation: comments on the history and current state, " ieee transactions on evolutionary computation, vol. 1, no. 1, 1997, pp. 3-17. e. cant-paz, "markov chain models of parallel genetic algorithms, " ieee transactions on evolutionary computation, vol. 4, no 3, 2000, pp. 216-226. l. n. de castro and j. timmis, artificial immune systems: a new computational intelligence approach. london, uk: springer verlag, 2002. l. n. de castro and f. j. von zuben, "learning and optimization using the clonal selection principle, " ieee transactions on evolutionary computation, vol. 6, no. 3, 2002, pp. 239-251. 2006 ieee world congress on computational intelligence, [www page]. [cited 20 june 2006]. available at : wcci2006 . p. charbonneau, "genetic algorithms in astronomy and astrophysics, " the astrophysical journal supplement series, vol. 101, 1995, pp. 309334 and hotel casino. On problem gambling, urges parents not to be fooled into a false sense of security. "youth gambling may very well be an indicator of a lot of other risky behaviors to come, " says whyte. "based on youth gambling data, children who begin gambling in middle school might become inclined to seek bigger thrills with each passing year through higher stakes gambling, illicit drug use, underage drinking, and other highrisk activities."4 while a causal link has not been established, researchers do confirm a correlation among risky behaviors. 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