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<DIV>In a message dated 3/7/05 6:17:39 P.M. Central Standard Time,
hgreeley@stanford.edu writes:</DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=
=2>Concert
work is a crap shoot, no matter how good/bad one might individually be as =
a
technician. You/one/_anyone_ is only as good as your/their last
tuning...period. Further, survival is not at all necessarily reserve=
d
for the most fit. There is a very simple bottom line which must be
addressed before getting too deep into concert work (beyond the point of i=
t
being a relatively occasional service for the local MTA/whatever); and, th=
at
is, just how thick is your/anyone's skin? Doing "real" concert work =
is
brutal...not at all the way it is seemingly idealized by so many. On=
e
either learns to live with the inevitable slings and arrows, or, wisely, o=
ne
chooses to leave the field to those whose egos either need and/or can
withstand the onslaught.<BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>Horace</DIV>
<DIV> </DIV>
<DIV>Thank you for your advice. This is the one area of concert work that I =
need
to develop. (creating a thick skin). As far as I know, this is not&nbs=
p;a
class I have not seen offered at any convention. <IMG
src="http://cdn-cf.aol.com/se/smi/0201d20638/13"></DIV>
<DIV> </DIV>
<DIV>Wim </DIV></FONT></BODY></HTML>