London Theatre Breaks are a Fantastic Way to Spend your Weekend

December 6th, 2009
andrew.regan.2006@googlemail.com asked:


As it becomes increasingly easier and cheaper to travel from one area to another, people in today’s modern world have started taking a number of weekend breaks to various parts of the country. Individuals and couples, both young and old, have begun travelling more often through a variety of mediums - be it by train, coach or aeroplane; many people these days are just as likely to spend a weekend in Rome or Madrid as they are in Blackpool or Cornwall. However, as weekend break locations have evolved, they have also become more imaginative; a rising number of people are taking mini-cruise breaks, weekend golf breaks, and even weekend theme park breaks.

One form of weekend break which is rapidly gaining popularity is the theatre break. More and more frequently, travel agents and travel companies are offering theatre break packages to London, Edinburgh, Stratford-upon-Avon and even Paris. The London theatre scene is flourishing at the moment and is perhaps the best location in Britain if you’re thinking about taking a weekend theatre break. From the long running musical of Disney’s The Lion King to the 2006 stage adaptation of the Oscar-winning movie Dirty Dancing, people keen on theatre breaks in London have more than a few excellent options to choose from on the West End stage.

The Lion King is current playing at London’s Lyceum Theatre; seen by over 30 million people at over 18,000 performances world wide, the show contains over 232 puppets which represent 25 species of animals. While The Lion King remains one of the most popular shows in London’s West End, many of the shows currently playing have a similarly enduring appeal. Billy Elliot, for example, is currently being shown at the Victoria palace Theatre and has been a popular musical in the capital for many years. We Will Rock You, a musical by Queen and Ben Elton, followed hot on the heels of the success of Mamma Mia and continues to play to packed crowds at the Dominion Theatre in Tottenham Court.

Other popular musicals playing in London’s West End include Les Miserables at the Queen’s Theatre, Mary Poppins at Prince Edward Theatre, Guys and Dolls at the Piccadilly Theatre and Andrew Lloyd Webber’s all time classic, The Phantom of the Opera, playing at Her Majesty’s Theatre. You can find fantastic deals on London theatre breaks from a variety of sources, including travel agents and transport providers like National Express. Theatre buffs looking for exciting weekend breaks will also enjoy Shakespeare theatre breaks in Stratford upon Avon, the bard’s home town. You can also take delight in Edinburgh’s vibrant theatre scene, where you’ll be able to enjoy some excellent classic and modern productions at the Royal Lyceum Theatre, the Edinburgh Festival Theatre and the Brunton Theatre, among many others.

Andrew Regan is a freelance online journalist.



Management Level Music Business Jobs

December 5th, 2009
Paul Shellem asked:


You may dream of one day holding a management level job in the music businesses. If that is the case, here are the different music jobs that you can choose from.

Personal Manager or Agent

A personal manager or agent works with an individual artist or band and basically manages every aspect of their career. This ranges from their finances, booking their gigs, and advertising and promoting them. Most personal managers will only take on one to three clients at time, depending on how large the clients are and what level the clients are at. The main job of a personal manager is to see the band or artist succeed and make it to the top of the charts.

Retail Sales Management

Maybe you dream of working in a music store or owning your own music store eventually. One of the best music businesses jobs in the retail industry is the management position. Your main job is to operate the music store and oversee every aspect of the store. This may include promotions, training, supervising other employees, ordering products, and customer service.

Business Manager

A business manager will handle all the financial affairs for an artist or band. To be a business manager you should pursue a degree in business administration, and accounting and finance. This is one type of music business jobs that will require a college degree, as you have to know how to accurately handle the business and finances. As a business manager, you will be negotiating payments, doing taxes, and handling investments.

These are just a few of the many different music business jobs that are on a management level. There are other jobs, some being with music labels while others may be with advertising and public relation companies. Management level jobs do require experience and you may have to work at a lower job for several years before you can take on these management level music business jobs.

For More Details Visit: http://www.music-career-help.com/



Artificial Intelligence

December 4th, 2009
Mehta Ankit Chandrakant asked:


AI is the science of making machines do things that would require intelligence if done by men. It includes reasoning, learning, planning, speech recognition, vision, and language understanding. These machines are being used today in a wide variety of applications, such as monitoring credit card fraud, making autonomous decisions on space missions, watching for attacks from computer network hackers, diagnosing faults in aircraft, enabling human–machine speech interfaces, and making the characters in a video game behave in a more human-like way.

The main unifying theme is the idea of an intelligent agent. We define the AI as the study of agents that receive percepts from the environment and perform actions. Each such agent implements a function that maps percepts sequences to actions, and we cover different ways to represent these functions, such as real-time conditional planners, neural networks, and decision theoretic systems. We treat robotics and vision as occurring in the service of achieving goals.

Eliza, the program was able to converse about any subject, because it stored subject information in data banks.

Keywords: Turing test – Intelligent agents - Neural Networks – Genetic Programming – Planning – Fuzzy Logic – Robotics – Pattern recognition - Natural language processing – Deep blue - Eliza - video clip.

Index:

Introduction

Turing test

Classification

Intelligent agents

What belongs to AI?

Applications

Chess and AI

Computer Vs. Human Brain

Fuzzy-Logic and AI

Eliza

Conclusion (AI present & future)

References

1. Introduction

After WWII, a number of people independently started to work on intelligent machines. The English mathematician Alan Turing gave a lecture on it in 1947. I would compare attempts to create AI with man’s historical attempts at flight.

2. Turing test (Article of Computational Intelligence: 1950)

He argued that if the machine could successfully pretend to be human to a knowledgeable observer then you certainly should consider it intelligent. The observer could interact with the machine and a human by teletype (to avoid requiring that the machine imitate the appearance or voice of the person), and the human would try to persuade the observer that it was human and the machine would try to fool the observer.

3. Classification

This is a discipline with two strands: science and engineering. The scientific strand attempts to understand the requirements for, and mechanisms enabling, intelligence of various kinds in humans, other animals and information processing machines and robots. The engineering strand attempts to apply such knowledge in designing useful new kinds of machines and helping us to deal more effectively with natural intelligence, e.g. in education and therapy.

Bottom-up theorists believe the best way to achieve artificial intelligence is to build electronic replicas of the human brain’s complex network of neurons, while the top-down approach attempts to mimic the brain’s behavior with computer programs. Moreover there is a lot of difference between the AI simulated system and a program with the large database. This is discussed later on under the topic of chess-AI.

4. Intelligent Agents

An agent is anything that can be viewed as perceiving its environment through sensors and acting upon that environment through actuators. An agent’s percept sequence is the complete history of everything the agent has ever perceived.

A rational agent is one that does the right thing. A Performance measures embodies the criterion of a success of an agent’s behavior. When an agent is plunked down in an environment, it generates a sequence of actions according to the percepts it receives.

The Nature Of Environments

Specifying environment (PEAS – Performance, Environment, Actuators, Sensors) under the heading of the task environment we group the performance measure, the environment, and the agent’s actuators and sensors.

E.g., an automated taxi driver.

Agent Type Performance

Measure Environment Actuators Sensors

Taxi driver Safe, fast, legal, comfortable trip, maximize profits Roads, other traffic, pedestrians, customers Steering, accelerator, brake, signal, horn, display Cameras, sonar, speedometer, GPS, odometer, accelerometer, engine sensors, keyboard

It is better to design performance measures according to what one wants in the environment, rather than according to how one think the agent should behave

More specifically, the learning ability needs to be autonomous, goal-directed, and highly adaptive:

Autonomous — Learning occurs both automatically, through exposure to sense data (unsupervised), and through bi-directional interaction with the environment, including exploration/ experimentation (self-supervised).

Goal-directed – Learning is directed (autonomously) towards achieving varying and novel goals and sub-goals — be they ‘hard-wired’, externally specified, or self-generated. Goal-directedness also implies very selective learning and data acquisition (from a massively data-rich, noisy, complex environment).

Adaptive – Learning is cumulative, integrative, and contextual and adjusts to changing goals and environments. General adaptivity not only copes with gradual changes, but also seeds and facilitates the acquisition of totally novel abilities.

5. What Belongs to Artificial Intelligence

Neural Networks

Artificial Neural Networks, often just called Neural Networks (NN), are modelled on the human brain. The internal structure of the network, composed of a small number of artificial neurons, implies that the information learnt is not perfect. Artificial Neural Networks have been used successfully in visual pattern recognition, even human faces and complex industrial components can be differentiated. Artificial Neural Networks have been used in speech recognition system to decipher audible language.The technique used is that of a highly parallel network of simple processing elements. Each element has some similarity with animal nerve or brain cells called neurons

Genetic Programming

Genetic programming is an excellent way of evolving algorithms that will map data to a given result when no set formula is known. Mathematicians/programmers could normally find algorithms to deal with a problem with 5 or so variables, but when the problem increases to 10, 20, 50 variables the problem becomes close to impossible to solve. Briefly, how a GP-powered program works is that a series of randomly generated expression trees are generated that represent various formulas. These trees are then tested against the data, poor ones discarded, good ones kept and breed. Mutation, crossover, and all of the elements in genetic algorithms are used to breed the ‘highest-fitness’ tree for the given problem. At best, this will perfectly match the variables to the answer, other times it will generate an answer very close to the wanted answer.

Planning, problem solving, automatic design:

Planning involves finding a sequence of actions that can lead from the current state, to the goal state. Given a complex problem and a collection of resources, constraints and evaluation criteria create a solution which meets the constraints and does well or is optimal according to the criteria, or if that cannot be done propose some good alternatives.

Machine Learning

Machine learning is becoming increasingly popular, and equally important. People realise that it is theoretically much easier to get a machine to learn something from facts, rather than have to spend time teaching it explicitly. The quality of the learning algorithm is of course a major factor!

Constraint Satisfaction

Here, the problem is modeled as a set of variables, which can be assigned particular values. Different types of constraints are set-up on these variables (equality, numerical constraints), in order to specify the requirements for the problem. A search is then performed on the variables, in order to find the potential solutions. There are many nifty tricks involved to partly resolve constraints in order to guide the search more efficiently (this is called a heuristic search). The problems solved can also be a combinatorial optimisation, where a particular solution has a better value than another, and the best needs to be found. The class of problems usually solved is NP-complete, where the complexity increases exponentially as the problem size increases linearly.

Search and Optimization

There are many kinds of searches, the simplest of which involve trying out all the solutions in a particular order. The entire set of possible solutions is called the search space.

Decision Tree Learning

A decision tree is a structure that allows learning of opinions (e.g. good or bad) about objects based on their attributes (length, colour…). Given a series of examples, the learning algorithm can build a decision tree that will be able of classifying new examples. If the new examples are handled correctly, nothing is done. Otherwise, the structure of the tree is modified until the correct results are displayed. The challenge is getting the algorithm to perform well on very large sets of data, handling errors in values (noise), and determining the optimal fit of the tree to the training and test data.

Data Mining

This is the process of extracting useful rules from very large sets of data. Data Mining is a term used to describe the process whereby software tools examine a company data base in order to locate information which may have complex parameter connectivity. Such information would normally be inaccessible to the human expert due to the enormous quantity of data and combinatorial tests which would have to be performed. A simple example may be a data base of company products and parameters which describe their applicability to various sectors of the market.

Bayesian Networks

Bayesian Networks models the relationship between variables. This is called conditional dependence: a state of a variable may depend on many others. This can be represented as a graph, and there’s a clever algorithm to estimate the probability of unknown events given existing knowledge. Admittedly, one common complaint against this approach relates to the design; it can be very tedious to model such networks. As such, learning the structure and the inference between variables seems like an appealing option.

Artificial Life

Artificial Life (A-Life) is the study of artificial or computer based systems, which exhibit life like behavior. Computer simulations of individual agents or populations of agents can be used to investigate many of the properties of living systems. In some cases, mechanically constructed agents are provided with basic functionality and allowed to interact with real environments. This is a very popular aspect of Artificial Intelligence, which involves modeling and mimicking living systems. This includes anthills, wasp nests, larger forests, towns and cities. To date, very complex and interesting systems have been created by a multitude of very simple entities. For example many ants programmed by very small programs would potentially create an entire system with signs of emergent intelligence.

6. Applications

Robotics

The main aspect of robotics today is mobility. This can be done by learning the task in a virtual simulation, and then applying it to the real robot. If specific conditions of training are respected, the problem has a high probability of working in real life, but this is no guarantee. In practice when moving robotic arms, the arm has a few movement possibilities: the shoulder allows rotations according to two axes, and the elbow also allows two basic rotations. Each of these possibilities is called one degree of freedom. Usually, one controller is assigned to provide movement for one DOF. The task at hand is to learn the optimal combination of controllers, where they can successfully cooperate to perform a given task.

Pattern Recognition

Pattern recognition involves determining the characteristics in specific samples and sorting them into classes; a process called classification. This is usually done with Machine Learning techniques, allowing the system to adapt to the data given to it. It can be applied to detecting single words in speech, recognizing voices, sorting scanned objects by type and filtering out unwanted pictures (among many others). In practice, a way of doing this is to represent the sample as a set of features (e.g. for a sound: pitch, volume, timbre, smoothness). A training set is then created: i.e. a set of samples where the result is known (e.g. for ****** recognition: Fred has green eyes and brown hair, Henry has blue eyes and blond hair). The learning mechanism can then learn to associate the features with the known types of sound or image. Depending on the representation, more or less samples are required. With symbolic representations, small numbers of examples are usually required, whereas for fuzzy learning (in neural networks for example) larger training sets are needed.

Natural language processing

It includes production and interpretation of spoken and written language, whether hand-written, printed, or electronic throughout (e.g. email). One of the first approaches was symbolic, assigning semantic meaning to each word (verb, noun, adjective). The basic structure of valid sentences would have to be defined manually, and a search would be performed to match the template with the current sentence. A lot of time needed to be spent resolving ambiguous sentences, and getting the person and tenses of the verbs to match. If the programmer spends enough time creating the sentence templates, the results would be fairly encouraging. But this monotonous task needs to be repeated for new sentence constructs and new languages all together.

A very recent approach is to use statistical analysis of the text. In essence, large parts of books are processed and learning algorithms attempt to extract the rules and patterns. This requires a smarter approach, taking more time to design, but it results in a more flexible program.

Frames

On method that many programs use to represent knowledge are frames. Pioneered by Marvin Minsky, frame theory revolves around packets of information. For example, say the situation was a birthday party. A computer could call on its birthday frame, and use the information contained in the frame, to apply to the situation. The computer knows that there is usually cake and presents because of the information contained in the knowledge frame. Frames can also overlap, or contain sub-frames. The use of frames also allows the computer to add knowledge. Although not embraced by all AI developers, frames have been used in comprehension programs such as Sam.

AI in medicine, including interpretation of medical images, diagnosis, expert systems to aid GPs, monitoring and control in intensive care units, design of prosthetics, design of drugs, intelligent tutoring systems for various aspects of medicine.

AI in many aspects of engineering: fault diagnosis, intelligent control systems, intelligent manufacturing systems, intelligent design aids, integrated systems for sales, design, production, maintenance, expert configuration tools (e.g. ensuring sales staff don’t sell system that won’t work). AI in software engineering includes work on program synthesis, verification, debugging, testing and monitoring of software.

AI in education: including various kinds of intelligent tutoring systems and student management systems. Particular applications might include diagnosis of a student’s knowledge gaps, various kinds of drill and practice tutors, automatic marking of programming assignments and essays, etc.

AI in entertainment: increasingly AI is being used in computer games and in systems for generating and controlling synthetic characters either for textual interaction or generating films with cartoon characters or interactive avatars in virtual worlds.

AI in biology: there are many hard problems in biology where more or less intelligent computer-based systems are being developed, e.g. analysis of DNA, prediction of folded structure of complex molecules, prediction, modeling many biological processes, evolution, development of embryos, behaviors of various organisms.

Architecture, urban design, traffic management: tools to help solve design problems involving multiple constraints, helping to predict the behaviors of people in new environments, tools to analyze patterns in observed phenomena.

Literature, art and music: identification of authors, modeling of processes of generation and appreciation, teaching applications.

Crime prevention and detection: e.g. detection of forgeries, learning to detect evidence of crooked police officers, software to monitor internet transactions, helping to plan police operations, searching police databases for evidence that crimes are committed by the same person, etc.

Space: control of space vehicles and autonomous robots too far from earth to be directly manipulated by humans on earth, because of transmission delays.

Military activities: Various paradigms in AI have been successfully applied in the military field. For example, using an EA (evolutionary algorithm) to evolve algorithms to detect targets given radar/FLIR data, or neural networks differentiating between mines and rocks given sonar data in a submarine.

7. Chess and AI

Deep Blue does not use AI. Then how is AI – deep blue related?

AI-based game playing programs combine intelligence with entertainment. World-champion chess playing programs can see ahead twenty plus moves in advance for each move they make. In addition, the programs have an ability to get progressably better over time because of the ability to learn. Chess programs do not play chess as humans do. In three minutes, Deep Thought (a master program) considers 126 million moves, while human chessmaster on average considers less than 2 moves. The next move comes from exhaustive searches into all moves, and the consequences of the moves based on prior learning. Chess programs, running on Cray super computers have attained a rating of 2600 (senior master), in the range of Gary Kasparov, the Russian world champion.

DEEP BLUE: First of all, this year Deep Blue will be running on a faster system - the latest version of the SP -, which uses 30 P2SC or Power Two Super Chip processors. Last year, Deep Blue averaged about 100 million chess positions per second. This year Deep Blue will work about twice as quickly - that is, 200 million chess positions per second. Incidentally, Garry Kasparov can evaluate approximately three positions per second.

8. Fuzzy Logic and AI

It is often said that computers are too logical and that they can only deal in true or false, yes or no etc. However, Fuzzy Logic allows a computer to deal in everyday human language and actually process terms such as probably, unlikely, quite near etc. Such terms can take their place in computations, allowing the computer to arrive at verifiable results from fuzzy inputs. Another type of fuzzy information is stored in the famous Neural Networks. This is known as a neuro-fuzziness. The information inside an artificial neural network is usually imprecise, due to the weighted connection between neurons (called synapses).

Fuzzy representations have increased in popularity, due to the increased capabilities of computers: more processing power is usually required to create such rules, and interpreting them generally also requires a bit more time. The preferred languages for this type of representation are usually procedural like C, C++ or Pascal.

9. Brain Vs. Computer

A collection of simple cells can lead to thought, action, and consciousness or, in other words, that brains cause minds. Even thought a computer is a million times faster in raw switching speed, the brain ends up being 100,000 times faster at what it does.

Computer Human brain

Computational units 1 CPU, 108 gates 1011 neurons

Storage units 1010 BITS RAM 1011 neurons

1011 bits disk 1014 synapses

Cycle time 10-9 sec 10-3 sec

Bandwidth 1010 bits/sec 1014 bits/sec

Memory updates/sec 109 1014

10. ELIZA

Eliza, Joseph Wiezbaum’s result of trying to make a program converse in English amazed people when it appeared in mid 1960’s. The program was able to converse about any subject, because it stored subject information in data banks. Another feature of Eliza was its ability it picked up speech patterns

Conclusions:

Finally, we come up with many conclusions with regards to future and present of Artificial Intelligence. AI is fascinating, and intelligent computers are clearly more useful than unintelligent computers, so why worry? AI has made possible new applications such as speech recognition systems, inventory control systems, surveillance systems, robots and search engines.

Finally, it seems likely that a large-scale success in AI—the creation of human-level intelligence and beyond—would change the lives of majority of the humankind. The very nature of our work and play would be altered, as would our view of intelligence, consciousness, and the future of destiny of the human race. At this level, AI systems could pose a more direct threat to human autonomy, freedom, and even survival. After all silicon is cheaper than human life.

In conclusion, we see that AI has made great progress in its short history, but the final sentence of Alan Turing’s essay on Computing Machinery and Intelligence is still valid today:

“We can see only a short distance ahead, but we can see that much remains to be done.”

.



Management Level Music Business Jobs

December 4th, 2009
gregory van duyse asked:


ream of one day holding a management level job in the music businesses. If that is the case, here are the different music jobs that you can choose from. Personal Manager or Agent A personal manager or agent works with an individual artist or band and basically manages every aspect of their career. This ranges from their finances, booking their gigs, and advertising and promoting them. Most personal managers will only take on one to three clients at time, depending on how large the clients are and what level the clients are at. The main job of a personal manager is to see the band or artist succeed and make it to the top of the charts. Retail Sales Management Maybe you dream of working in a music store or owning your own music store eventually. One of the best music businesses jobs in the retail industry is the management position. Your main job is to operate the music store and oversee every aspect of the store. This may include promotions, training, supervising other employees, ordering products, and customer service. Business Manager A business manager will handle all the financial affairs for an artist or band. To be a business manager you should pursue a degree in business administration, and accounting and finance. This is one type of music business jobs that will require a college degree, as you have to know how to accurately handle the business and finances. As a business manager, you will be negotiating payments, doing taxes, and handling investments. These are just a few of the many different music business jobs that are on a management level. There are other jobs, some being with music labels while others may be with advertising and public relation companies. Management level jobs do require experience and you may have to work at a lower job for several years before you can take on these management level music business jobs.

What You Should Know About Music Business Books

December 3rd, 2009
Robert B. asked:


Have you ever tried to find music business books?  Its hard, but you know how important it is to educate yourself about this part of the business.  If you are reading this article you are probably a very serious artist, producer or manager who has their head on straight.  You are probably very talented as well or you would not be taking this step. 

In my experience, if you don’t have the business end of your career under control, things are sure to fall apart at some point.  Most musicians need to spend the majority of their off stage time rehearsing, but there are some other areas that need to be dealt with.  Booking performances is important whether you do this yourself or work with an agent and it takes some of your time.  You must also promote yourself (sometimes this is the fun part of your job), and this takes a large part of your schedule.  Your time is limited, but you still need to educate yourself and if you could find some good music business books, you could study in any time you have left.

An advantage that we have these days is that there are instant downloads and templates available on the internet that will greatly reduce the time that it takes for you to get material and to educate yourself.  With all of the demands on your schedule you will appreciate the time savings.  Some products are oriented to specific areas of the business, but still contain information that is relative to other areas.

What is something that you can learn from music business books?  You can learn about how to present the music business as a normal business model.  You need to look at your business just as a normal business person looks at their business.  It is only after you do this that you will have more control over your destiny and you won’t just be dreaming about “the big deal”, you will be seriously working towards it.



Music Industry Careers That Fit Your Talents

December 1st, 2009
Paul Shellem asked:


Believe it or not, there are hundreds of different music industry careers to choose from. So, how do you know which one you should pursue? The best way to find the best career in the music industry for you is to learn about the many different career choices that are in front of you.

Do you love to sing? Do you love to be in front of an audience and perform? Or maybe you can play the guitar or drums like no other. Whatever musical talent that you have, you should definitely pursue it if that is what you want to do in life. There are several career choices for a singer, such as a background singer, a musical theater actor or actress, an opera singer, or a jingle singer. If you are unable to make it as a main act singer or band member, then you can pursue some of these other entertainment jobs to show off your talents.

On the other hand, maybe you can’t sing a note or play any instrument, but you love music. There are plenty of music industry careers that have nothing to do with performing or musical talent. Maybe you are awesome at marketing or public relations. You can easily pursue a career at a record label or entertainment advertising agency. You could even go the independent route and get your own clients as a personal agent.

Everybody has different talents. Some people are musically inclined and are natural performers, while others may be great at technical things like sound recordings. The key to success in the music industry is to use your talents to your advantage and find the best suited job for you. The music industry has tons of careers to offer, if you are willing to put in time and dedication, then there is a career for you.

For More Details Visit: http://www.music-career-help.com/



Why Nu Skool Vinyl Records Have Enjoyed A Hands On Performance

December 1st, 2009
T. Barnaby Milne asked:


Nu skool vinyl records have a relatively small audience, being a sub-genre of a sub-genre, but this has in no way stopped their success. For one thing, the very fact that nu skool music has made it to vinyl may be a mark of its success. Perhaps that statement surprised you - after all, surely making it to vinyl is working backwards? Isn’t everyone now trying to make it to CD or make it to MP3? The answer is certainly not, because in the hottest clubs, the most popular dance venues and the biggest gigs it’s rarely MP3s you’ll see the DJ throwing about. How many top DJs do you know who’d shuffle up to their podium and plug their iPod in?

There are several good reasons why not only do DJs not use an iPod for their music playing, and choose vinyl instead, but why nu skool or breakbeat music should be pleased to be treated to the vinyl excursion. First and foremost, if you’re on vinyl, you’re being played by the DJs, given airtime in the nightclubs and receiving much wider exposure. But there’s more to it than that.

Let’s think about nu skool, which is largely a sub genre of breakbeat music, itself a breakaway from the traditional dance and techno tracks being played in the clubs. Breakbeat is all about breaking the step, breaking the rhythm up and using the drums and percussion to create a jolting, arrhythmic pace that makes you listen, rather than letting the music slide over you. It’s infectious, and extremely foot tapping. It’s no wonder that fans of break music are so keen on the style - it’s definitely the kind to make you want to get up and dance. Nu skool itself is very much of the breakbeat genre, but is rather darker in tone, with much heavier, darker bass lines and a heavier rhythm.

So it’s understandable to see why a sub-genre of a sub genre with dark, heavy overtones moving further away from the clubs should be pleased to see the vinyl world embracing it. What is it about vinyl which adds so much to music? The answer is, perhaps, in the very essence of what breakbeat music is all about - breaking the rhythm,  deliberately moving away from predictability, static rhythm, computerized, digitized perfection and immutability. It’s about real life - which is never perfect and far from predictable.

Vinyl has always had a place in music fans’ hearts because of the life and soul it brings to music. Without a real life performer sitting in front of you any musical performance lacks a little something - that spontaneity, the feeling that things might not always be exactly the same. With modern digitized forms of music such as MP3s and compact disks there is also a sense that the music has been sprayed with some sort of cleaning agent, wiped of anything less than perfection, all its individuality wiped clean so that it can stand bold and shining and exactly the same as every other piece of music.

Look at the binary ones and zeros of all the songs every recorded - and there’s nothing to tell them apart. Now look at vinyl records. From the feel of them, the smell of them, the grooves and ridges that reveal the changes in volume and tone, you can see the music, touch it, and hear the individuality of the recording every time you play it.

Of course, for DJs nu skool vinyl records add a great deal of flexibility, and as they often include lengthier track introductions and rhythm fadeouts they can allow for better mixes, more dynamic mixes and more creative mixing by the top DJs. Vinyl can allow for individual creative performances by DJs, with scratching, mixing and compositing all adding to the show. This just isn’t possible with compact disks or MP3s.

Oh, certainly the techno wizards will say that’s rubbish, and that you can mix, scratch and play around with your music digitally even more than with vinyl, but there’s a difference between clicking a button and having a computer create a fabricated distortion which is perfect and exact to at least twenty decimal places, and the feel of your hand on a gently grooved vinyl record as you push, pull, twist and spin the disk. You’re involved with the performance, a part of the show, and it is for this reason as much as any other that nu skool vinyl records have seen a growth in popularity and a more active and dynamic role within more mainstream clubs and dance venues.



What is an A&R and Why Do I Want To Meet One?

December 1st, 2009
Linda Lane asked:


Artist and Repertoire, goes all the way back to the good old days of vinyl records. Back then we had singles (called 45’s) and LP’s, Albums ( or 33’s). Go back further and we had 78’s, but we don’t need to go back that far. Nowadays you will be happy with CD’s and downloadable music. Be happy you missed the cassette and 8-track days. But 8 tracks were really cool.

The A&R folks are the talent scouts, the first step on your road to discovery. They are in high demand; always being sought out, and generally will not even peek in your direction unless somehow you have aroused their interest. So how do you attract the interest of an A&R Rep? Well let’s assume first that you have done your exhaustive homework, and truly isolated the record companies that would be a fit for your type of music. Frankly speaking, trying to interest a record company who specializes in heavy metal brain splitting rock in your bluegrass opera would be a waste of time for everyone. Research the companies that fit your brand of music and you will have a better chance of getting in the door and maybe even getting a cup of coffee.

Ok you have done your homework, you know the company you are targeting, and you even know the name of the person to whom you wish to meet with. How did you find the actual name? You looked on the Internet, spoke with other bands, visited the company’s website or even got on the phone and schmoozed the receptionist. Remember, the receptionist knows everyone in the building, and being her new best friend can not only help you get to the right person quicker, but gives you a friendly ally inside. And once you find all the people within the company that you need to know, ask another question.

Do they accept unsolicited material?

If the answer is no, then you should probably move on at this point unless you really have some heavy credentials in your press kit. If you played a White House birthday party that might be enough to get in to see someone without an agent. But odds are, the A&R people want to deal with talent that has representation, and unless you are also a bonafide agent, you will fall into the unsolicited material category.

This Information is Brought to You By “EZ Record Deal”, the ultimate guide to getting a record deal. Visit EZ Record Deal now by going to http://www.EZRecordDeal.com



The Main Reasons You Are Not Getting A Record Deal

December 1st, 2009
ShonnyBoy asked:


For mostly stupid reasons, a lot of unsigned artist might feel that getting a record deal with a major or independent label is easy to do, and with a contract success will be guaranteed. And to do this, they feel that all they have to do is send out a few demos and BAM there it is like magic, but thats not the case cause over a million artist send in demos every year and over a million are rejected. So I will give you the major reasons why.

Reason Number 1 - Sending Unsolicited Recordings

Sending Unsolicited Recordings before you send out any demo packages you must always call, email, mail or fax the record label and ask permission to send in your demo package, cause most record companies do not accept demos just sent out of no where, just for the simple fact that you can send them your demo, and then a month later an artist comes out with a song similar to yours, and then you would be able to sue cause you could say that they got the idea from the demo that you send in, so for the record companies protection they keep track of whos demo CDs that they listen to, just to protect them from a lawsuit (note that all unsolicited demos will be returned without being opened) so dont waste your money on mailing the CD.

Reason Number 2 - The packaging

The next reason has to do with demo packaging cause 50% of all the demos sent out to record labels, look cheap with tape all over the envelope, or some messy hand writing with graffiti of their Rap group on the front and back, and the envelope without a return address are some of the main symptoms of poor packaging, but an overall poor quality in the packaging of the demo and the package will not be opened regardless of the music, cause they feel that if the package is of poor quality then the music and the artist are also of that same type of quality.

Reason Number 3 - Your press kit is weak

This one has to do with the contents of the package, as far the press kit it self cause this is what they look at first, before playing your demo. The press kit must include a biography, an 8×10 photo of the artist or group, and a demo cd, the first parts of the press kit are the most crucial to getting your song played, and the first of the two which is the picture and this needs to be of a good quality as far as the look of the picture and the quality of the paper.

(Please do not use a picture printed from your computer, Which may cause automatic rejection)

And the other part is the bio and after glancing at your picture and only if the picture is acceptable they will then begin to look at your bio and this should be a good look into the people behind the music, including where they came from, how they started in music, what they have done, in music and where they plan on going with their music.

(Please do not hand write your bio, For which may cause automatic rejection)

A failure to make a quality press kit will definitely hurt your chances of getting your cd played, and that is only half the battle, so it would be advised that you duplicate a good cd with printed labels.

(Please no handwriting on the cd)

Reason Number 4 - No Contact Information

No Contact Information on any thing. All material sent out must include the same contact information as far as your name, address, email, and phone number on the bottom of your bio, place this information on the bottom of the picture and on the demo CD, plus try to include a business card as well. Basically saying that, if the record labels do not know how to reach you, then they wont reach you. So it would just be a waste to even listen to the CD if they cant call you back.

Reason Number 5 - Your demo is wack

Now that we have gotten the A&Rs attention it now boils down to the demo CD, and first of all if your demo is wack then thats just it you are totally wack dont get mad or complain just accept it and move on to a new career, but if you are not wack and just misunderstood then the next few reasons should help you out of a slump.

Reason Number 6 - Poorly Recorded Material

Number 6 is a reason that sometimes is beyond an artists control, and it has to do with the quality of the recording of the CD, and its due to the fact that the recording industry is like the car industry, where the more you pay for a car then the better the car functions, but all cars not matter how much you pay do the same thing, Drive! And thats the same in music with studios where the expensive ones function better than the garage studios, but they basically do the same job.

So the main ways to record good music no matter where you record, is to first remember sound levels, please do not record your vocals or the beat to loud into your computer and do not burn the CD with the songs very loud, cause it would be better to turn up the volume on a low volume song than it is to turn down a song where the sound is to distorted from being burn on the CD to loud, and another sure fire way get a good sound is to find a good engineer to mix down your music. Plus it is always a plus to consider some digital mastering which would in turn make your CD ready for radio or video play.

Next in this section I want to talk about the format of the songs and how the vocals were recorded. Like 3-4 double and ad-lib tracks covering the main vocals of the song so the listener can barely understand, another bad thing is to have to long of an intro into the song where the beat is just playing or the artist is just talking for more than 8 bars. Then you need to cut that out of all your songs (demo wise) and get straight to the point weather you put a hook first or you start with a verse, do not let the intro go on for more than 4 bars.

Reason Number 7 - Picking the wrong type of songs

Reason number 7 has to do with you picking the Wrong type of songs to put on your demo CD, and the worst type of song off the top is a slow song. Unless you are vocalist and your main focus is to sing slow songs or ballads for the market that your are trying to sell records in, then it is best to be avoided especially if you plan on entering the mainstream market of record sales, cause in this business of music a majority of the time, it is accustomed to record singles for radio play, cause lots of radio play equals a high number of record sales for that album, and if an A&R cannot envision your music on the radio or playing in the club.

They would not be able to see you as an artist that can sell records. Now just try to think about how many slow songs are big on the radio right now. Not to many huh? Another thing to consider when choosing the songs for your demo is to eliminate to explicit lyrics from the music cause it kills all chances of it being played on the radio. I even remember an instance where a certain well know A&R took a demo he received to a club the same night he got it and had the Dj play the song to watch the crowd react to the music, and the response was so good that he signed the artist to a major label deal two days later. So you need to be ready.

Reason Number 8 - To many songs

Now we are at number 8, and it is to have too much material, just remember that a demo CD is not an album, so you do not need to put any skits on your demo or long shot outs to your crew and then do not put To much material on your demo, just because you and your friends think that all the songs are equally good, please dont fool your self, cause when you put to many songs, you start to test the patience of the A&R and it first shows a lack of professionalism and more of a desire to have your music heard than it is a desire to sell records.

Believe me that there is a big difference between the two. So try to understand that record companies are working hard to sell records and they are not here to share the art of music with the world. So just try to limit it to 3 or 4 songs and nothing over 5 minutes long.

Reason Number 9 - Sending The Wrong Music To The Wrong Label

Now we have reason number 9 and this one happens quite a lot and its when an artist sends their demo to any record labels and it has to do with reason number 1 where you need to call the labels and find out if they produce your type of music. Cause wouldnt it be a waste of time for a country singer to send her demo to def jam records. Where there will be a very high chance that she will be rejected due to the fact that this certain record company might not produce or even know how to market and sell that certain type of music. But then again the major labels can handle pretty much anything.

Still it is advised that you do your research by going on the companies websites and check the rosters of artist that have already signed to the labels and see if your style of music fits in or if there is any room for you being a new artist. Where you might see 7 rappers out of 8 artists on a certain label, then that company may not be looking to sign any rappers at the moment until they can release the artist they already have. But then again if you are that good then other artist will not stand in your way, where the label might release your album first. You can never tell.

Reason Number 10 - You are just not what they want

You must remember that this industry is ran by people and not a machine that always makes the right choice, and you can actually have a all the bases covered and came with a damn near perfect demo package and still the A&R wasnt feeling it. Then dont be discouraged cause the person you gave your demo to could have been having problems at home, or about to be fired from that company or thinking about leaving, and they just couldnt hear that good marketable music, or they had already signed enough artist for the year.

And a few major reasons is a lack of development in the image, sound, and star quality of the artist, no experience in live performances or ever selling records as well as a lack of team players like a manager, agent and entertainment lawyer, cause it is always a major plus for a record company to see other professionals believing in your project as much as you do, to where it helps the record company believe in you as much.



Panama (Prison Break)

November 30th, 2009
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The plot summary in this article is too long or detailed compared to the rest of the content. Please edit the article to focus on discussing the work rather than merely reiterating the plot. (May 2008)

anama

Prison Break episode

Episodeno.

Season2Episode20

Written by

Zack Estrin

Directed by

Vincent Misiano

Productionno.

2AKJ20

Originalairdate

March 19, 2007

Episode chronology

?Previous

Next?

“Sweet Caroline”

“Fin Del Camino”

List of Prison Break episodes

“Panama” is the 42nd episode of the American television series Prison Break and is the 20th episode of its second season. The episode aired on March 19, 2007. The plot features the protagonists’ escape to Panama while subplots include that of Sara Tancredi, Brad Bellick, Fernando Sucre, Theodore “T-Bag” Bagwell, Alexander Mahone and Benjamin Miles “C-Note” Franklin. Regarding the casting of this episode, Paul Adelstein (who plays Paul Kellerman) does not appear in this episode. This is Benjamin Miles “C-Note” Franklin’s last appearance in the plot and series altogether.

Summary

The bag containing Charles Westmoreland’s millions is passed from hand to hand at the Mexico City International Airport. The chain of custody ends with T-Bag (Robert Knepper). When the airport employee asks T-Bag about the contents of the bag, T-Bag simply gives him a 20 dollar bill and tells him it’s none of his business.

Fernando Sucre (Amaury Nolasco) and Brad Bellick (Wade Williams) are also in the airport. When the three cross paths, T-Bag runs, takes a taxi cab, and rides away. Sucre runs after the cab and tells T-Bag that he really needs the money. Sucre is able to grab the luggage tags, while T-Bag tells the driver to drive faster.

When Bellick balks at the luggage tags being shown to him by Sucre and threatens his freedom, Sucre grabs Bellick’s gun. Bellick replies that he has Maricruz in a hiding place, with enough food to last for only three weeks. Although he accuses Bellick of bluffing, Bellick produces Maricruz’ rosary as proof, and Sucre realizes that he has no choice but to work for Bellick.

Bellick and Sucre go to the Mexico City Department of Tourist building. The man at the desk insists that there is no record of Erik Stammel. Sucre tells the agent in Spanish that he does not like “that gringo” (Bellick) either, but if he cannot find Stammel, then a loved one will die. The man at the desk appears to agree to apprise Sucre of any updates to T-Bag’s whereabouts. He later calls Bellick’s cell phone, who passes the phone to Sucre. Sucre informs Bellick that T-Bag is en route to Panama City.

A maid later enters T-Bag’s hotel room, picks up the wig with a look of disgust on her face. T-Bag is on his way out of the hotel with his money, but is spotted by a Mexican police officer. He attempts to escape.

FBI Internal Affairs Agent Richard Sullins (Kim Coates) is an interrogation room with Agent Wheeler (Jason Davis) Sullins presents a deal to C-Note (Rockmond Dunbar); his eighteen year sentence (his original sentence in addition to penalties related to the escape) would become eighteen months.

C-Note balks at the offer, noting that the last time an offer was made to him, there was a string attached which he was to be hung at the end of. He further reasons that with Mahone’s connections, he would not last eighteen days in custody and holds firm on his demand of being a free man. As C-Note calls for the guard to take him back to his cell, Sullins then offers no jail time, in addition to Witness Protection Program coverage for him and his family. C-Note agrees.

C-Note is later taken out of his cell, where he meets Kacee, Dede, and Richard Sullins. Sullins hands C-Note an envelope containing information pertaining to his new identity, as he advises C-Note to stay out of trouble and to attend the court dates. C-Note leaves the Cook County Correctional Facility with his wife and daughter.

Michael Scofield (Wentworth Miller) and Lincoln Burrows (Dominic Purcell) are aboard a freighter docked in Chicago, Illinois bound for Panama.

Sara Tancredi (Sarah Wayne Callies) is en route to the docks, as she hears about President Caroline Reynolds’ resignation on the radio. Michael calls her, and they conclude it is best to disappear as he had originally planned.

FBI Agent Lang (Barbara Eve Harris) is tailing Sara, and informs Agent Alexander Mahone (William Fichtner) of their location. Mahone replies that he will be right there.

Sara realizes that she is being tailed by the authorities. Unwilling to lead them to Michael and Lincoln, Sara tells Michael by telephone that she is already aboard the ship and that she loves him. She then stops her car, and approaches Agent…(and so on) To get More information , you can visit some products about , . The Polyester Cotton Denim Fabric products should be show more here!