This site is dedicated to all things I see and that I think are interesting to publish almost always are other very smart people.

Archive for February 15, 2010

Karin Krog – I Remember You

 RFCCBH2/14/10 2:33 PMrfccbhfemale vocal bass Red Mitchell Karin Krog jazz Warne March vocal jazz

Label: Meantime
Styles: Vocal Jazz
Original Release Date: 1981
Quality/Bitrate: eac-flac.cue.log
Size: 311MB(recovery 5%)



Norway’s exceptional jazz singer Karin Krog accepts no limits to the use of her voice as a jazz instrument. With a highly personal style, she is equally at home with classic pop standards as well as exploring the depths of avant-garde and free jazz. This all-encompassing approach to the music has taken her into the studio with a wide gamut of artists representing different segments of the music, including John Surman and Archie Shepp on the free jazz side to bop players Dexter Gordon and Kenny Drew. Here she hooks up with cool tenor sax player Warne Marsh and consummate bass player Red Mitchell for a session that straddles both schools of jazz. The play list includes both jazz and pop standards. More to the point, regardless of the nature of the tunes, these three reconstruct them with a modern jazz feel. Marsh opens “I Remember You” on an improvisational line with virtually no reference to the melody. Krog rounds out the exploration of vocal jazz styles with vocalese on “Moody’s Mood for Love.” Further evidence that this is no ordinary vocal album is found in the length of several of the cuts. Some tracks run more than seven minutes as Krog, Marsh, and Mitchell delve deeply into the heart and soul of these tunes. The presence of Mitchell as one of the two instrumentalists is consistent with Krog’s partiality to top-flight bass players. She would later join Mitchell again on record in a duo session, and has collaborated with such other top bass players as Niels-Henning Ørsted Pedersen, Arild Andersen, and Steve Swallow. I Remember You is another memorable chapter in the artistic life of a consummate jazz performer and is recommended.

I Remember You    5:39         
Trane    7:19         
Lester’S Happy    3:06         
Moody’S Mood For Love    4:47         
It’S You Or No-One     5:03         
Loverman    7:20         
Speak Low     5:38         
That Old Feeling     6:15         
It’S You Or No-One (Alternative Take)    5:05         
Speak Low (Alternative Take)    5:49         
That Old Feeling (Alternative Take)    6:07    

KARIN KROG : Vocal
WARNE MARCH : Tenor sax
RED MITCHELL : double bass

  I Remember You  :  PART1 + PART2 + PART3 + PART4

Jorge Alberto Mussuto





Torun Eriksen – Prayers and Observations

 RFCCBH2/15/10 11:28 AMrfccbhfemale vocal jazz Torun Eriksen vocal jazz

Label: Jazzland Recordings
Styles: Vocal Jazz
Original Release Date: 2006
Quality/Bitrate: flac
Size: 270 MB(recovery 5%) 

1. Joy
2. My Boys
3. Way to Go (Live Video)
4. Song of Sadness
5. Featuring Youth
6. The Sky From Where I Live
7. Stories
8. This is Real
9. Tired
10. Saviour

“Prayers & Observations” (Jazzland 2006) is the second album by jazz composer and vocalist Torun Eriksen. In ten new songs written by Eriksen, she is once again joined by Kjetil Dalland (bass), Torstein Lofthus (drums), David Wallumrød (keyboards) and Frøydis Grorud (saxophone and flute), with the addition of Ole Jørn Myklebust (trumpet, Flugelhorn) and André Berg (guitar), as well as strings. As her first release “Glittercard” (Jazzland 2003) was produced by Bugge Wesseltoft, he again applies his trademark production to this album. The album has a sense of experimentation yet is presented in a clearly focused direction. “Prayers & Observations” is a search for Eriksen’s own personalized expression. She states: “Each song is (about)a story. My musical goal is to be a strong songwriter and an interpreter of interest. This album is about creating great songs that are good to have around.” Clearly we can hear the focus on songwriting in this new album, together with a sense of variation, which combines into something quite special, citing one reviewer to write, “The voice of the year in jazz.” (Dagsavisen). 
“The arrangements are more sophisticated, and we took much more time to consider all the finer details of the recording than we did previously,” says Eriksen. Many of the songs were written during her first pregnancy and after the process of birthing, all important influences on the lyrics. “The lyrics reflect this extra dimension in my life.”
”Shining” and ”An extraordinary vocal talent” are just some of the superlatives that Norwegian music critics have used to described the amber-voiced talent of Torun Eriksen’s first release. Her debut album ”Glittercard” garnered considerable accolades from the Norwegian press, and opened the door to the international performance stage. In the past two years she has extensively toured Europe and performed at the major festivals. “It’s been a fantastic experience performing for an international audience. Getting the feedback from different audiences in different countries has given me a new understanding, because each country tends to reacts slightly different. It’s given me a deeper understanding of my own music, and I feel privileged to experience this.”
Torun Eriksen began her musical talents as a music student in High School in Norway. Beginning at the age of six, she sang in various gospel choirs, and by the age of 19 became a featured soloist. A background steeped in soul, jazz and pop, it was through her choral experience that she began writing her first compositions, influenced by the world of jazz standards via the Real Book. After moving to Oslo in 1997, she enrolled into the Norwegian Institute for Stage and Studio (NISS). It was there she met other musicians and formed the band Licorice, primarily a cover band.
She also recorded with other bands, such as Palace of Pleasure on their ”Popoganda” (1999) album and as a guest vocalist on Mulens Portland Combo’s ”Mulens Femte” (2001), and with Knut Halmrast’s ”Little Pillow” (2003). With Mulens Portland Combo she also performed at festivals, the Salvation Army’s charity Christmas concert, and in various national television programs in Norway.
With the band Chipahua, she filled Sissel Endresen’s place as vocalist from 2002 to 2003, and appearing at various prestigious jazz festivals such as the Molde International Jazz Festival and Bergen Nattjazz. Sissel Endresen has been an integral source of guidance and support for Torun.
She is a favored vocalist for use on many other artist’s recordings, and it came as no surprise that her release concert for “Glittercard” at the club Blå was sold out. ”Torun Eriksen brings us a debut which in amazingly short time has established her as a force to be reckoned with”, wrote the Norwegian newspaper Dagbladet. 
”Norway gives birth to yet another exceptional vocal talent in jazz” wrote VG about her. PULS wrote, ”…her music is without exception melodic and beautiful”, and that Torun “most certainly has the potential for international success.” Indeed, 2003’s release of “Glittercard” dazzled listeners with Torun’s dark amber-like voice, sensual and with a hint of huskiness, and most certainly an enticing musicality.
Returning with “Prayers & Observations”, Torun Eriksen again further strengthens her stance as one of the most interesting singers to have emerged from Scandinavia in recent years. 
In ten lyrically contemplative songs, with an extended palette of influences and styles, Torun Eriksen opens her world of observations to us. “Song of Sadness” is dedicated to the deceased saxophonist Sigurd Køhn, written during Christmas of 2004, and features a duet with Paal Flaata (Midnight Choir). With country music flavorings, the song is a lament to a friend and fellow musician who lost his life to the tsunami in Thailand. It is an example of the musical influence added, but never overstepping Eriksen’s clearly established musical universe.
In widening the boundaries of vocal-based jazz, Torun Eriksen is now even more firmly geared towards an international audience. An album of nuances and colors, of shadings and understatement, we become privileged to join her prayers and observations. 

Prayers and Observations : PART1 * PART2 * PART3

Jorge Alberto Mussuto





Carnival 2010

 The Big Picture2/15/10 10:05 AM
Once more, it is Carnival Season in many countries around the world with a Roman Catholic heritage. Celebrations and parades are put on just prior to the observance of Lent. Over the past few weeks parades and celebrations have taken place throughout Europe, the Caribbean and South America. An estimated 730,000 foreign tourists, many fleeing snowy winter conditions in Europe and the United States, traveled to Rio de Janeiro, Brazil for this year’s celebrations. Collected here are a handful of images from some of the elaborate celebrations of this Carnival season. (39 photos total)

A young woman participates in the Red Cross Children’s Carnival competition at the Queen’s Park Savannah in Port of Spain, Trinidad and Tobago on February 6, 2010. (REUTERS/Andres De Silva)

Jorge Alberto Mussuto





Libera espacio en tu Mac sin gastar ni borrar

 AppleWeblog2/15/10 11:00 AMDavid Lima CohenSoftware Disco Disco Duro espacio limpiar Limpieza Mac Mantenimiento

A medida que instalamos aplicaciones y descargamos contenidos en nuestra Mac, el espacio en disco se vuelve un recurso preciado. Muchas personas recurren a discos externos para poder mantener sus archivos sin tener que desinstalar ni borrar nada. Sin embargo existen variassoluciones que nos permiten liberar espacio en el disco de nuestra Mac, muy fácilmente y sin tener que resignar nada de lo que usamos habitualmente.

Identificando el problema

Antes de actuar es importante saber contra qué nos enfrentamos, osea en qué estamos ocupando la gran parte de nuestro espacio en disco. Existen varias aplicaciones dedicadas casi exclusivamente a esta tarea, entre las alternativas gratuitas se destacan Disk Inventory X,GrandPerspective y OmniDiskSweeper. También tenemos a DaiskyDisk que cuesta USD$19.95 y a cambio de ofrece una mejor interfaz que sus competidores.
Con esta información podremos tomar conciencia de cuánto nos cuesta tener determinada aplicación o colección de archivos, y enfocar nuestros esfuerzos donde más espacio se desperdicia.

Desinstalando sin desinstalar

Todos sabemos que desinstalar una aplicación en Mac OS es una tarea sencilla, con arrastrar el ícono de la misma a la papelera es suficiente para hacerla desaparecer. Sin embargo, la mayoría de las aplicaciones dejan además un rastro de archivos que no son borrados si utilizamos solamente este método. Para lograr desinstalar por completo una aplicación, incluyendo los archivos que deja desparramados en nuestro disco, debemos utilizar una utilidad específica para esta tarea como AppCleanerTrashApp, o alternativas pagas como AppZapper yAppDelete.

Perdido en la traducción

La mayoría de las aplicaciones para Mac pueden ser usadas en diferentes idiomas sin necesidad de descargar paquetes distintos. Sin embargo esta ventaja hacia la comodidad implica que cada aplicación puede contener en sí misma un gran número de idiomas que nunca vamos a utilizar, pero que aumentan el espacio que esta ocupa. Para resolver esto existen aplicaciones como Monolingual o Youpi Optimizer que nos permiten seleccionar los idiomas que queremos mantener, y eliminar el resto para ahorrar espacio. Advertencia: siempre es recomendable hacer una copia de seguridad de las aplicaciones que vayamos a modificar con este método.

Arriba lo nuevo, abajo el núcleo

Desde que Apple introdujo los procesadores Intel en sus líneas de computadoras allá por 2006, los desarrolladores empezaron a distribuir sus aplicaciones conteniendo código para ser utilizado en ambas arquitecturas, la nueva (Intel) y la vieja (PowerPC). Esta clase de aplicaciones fue catalogada como Universal Binary y gracias a esto, poseen un alto grado de compatibilidad frente a cualquier computadora de Apple. Sin embargo, desde el punto de vista del usuario, generalmente usaremos la aplicación sobre una sola arquitectura que dependerá del modelo de nuestra Mac, y el resto del código quedará sin utilidad, sólo ocupando espacio. Gracias aXslimmer (USD$14.95) o su alternativa gratuita XsTrimmer Lite podremos erradicar dicho código, dejando sólo lo que cada aplicación necesita para funcionar correctamente en nuestro sistema. Advertencia: nuevamente, este método modifica nuestras aplicaciones y se recomienda aplicarlo con discreción y realizando copias de seguridad antes.

Una imágen pesa más que mil palabras

Quizás no literalmente. Pero la mayoría de las imágenes que guardamos en nuestro disco sonfotos de gran tamaño que podrían ser optimizadas sin perder calidad, y así ganar más espacio libre. Para esto podemos recurrir a dos herramientas gratuitas: ImageOptim que nos servirá para archivos JPEG y PNG, y PNGenie que como su nombre lo indica nos servirá únicamente para PNG. Ambas son aplicaciones muy intuitivas y fáciles de usar.

Dos por uno

A veces por descuido o producto de alguna aplicación, terminamos con varios archivos iguales desparramados en todo nuestro disco. Para remediar la situación podemos recurrir aSingular, una aplicación dedicada exclusivamente a encontrar estos archivos idénticos y permitirnos eliminar las copias que no nos sirvan. Actualmente está en estado de Beta por lo que podremos usarla libremente, pero el sitio nos informa que luego habrá que pagar por la licencia.

Para los menos aventureros

También existen aplicaciones que se encargarán de hacerlo todo por nosotros, este es el caso de CleanMyMac por ejemplo, una aplicación que podrá realizar en conjunto casi todas las tareas que describimos anteriormente y más, ahorrándonos tiempo además de espacio en disco. Lo malo: no es gratis, la licencia cuesta USD$14.85 por 6 meses, pero también pueden usar la versión demostración que se limita a limpiar un máximo de 200MB. Una alternativa gratuita pero más compleja es Onyx, una excelente utilidad para mantener el sistema funcionando correctamente.

Fotos: i use this on os x

Jorge Alberto Mussuto





Anthony Braxton – 2 Compositions – Ensemble Braxtonia (1996)

AvaxHome RSS:/music/avant_garde2/15/10 4:58 AMbasa005Music, Lossless (wav, ape, flac …), +Classical, 90s, Avant-Garde, 1950 – 2000 Contemporary

Anthony Braxton – 2 Compositions – Ensemble Braxtonia (1996)
EAC RIP | APE + CUE + LOG | COVER+BOOK | RAR FILES (3% recovery)| 257 Mb
Classical | Leo Records LR233

Jorge Alberto Mussuto





Diana Krall – A Night In Paris

AvaxHome RSS:/music/jazz2/15/10 3:49 AMOceandropMusic, Lossless (wav, ape, flac …), +Jazz, 2000s, Classic Jazz, English

Diana Krall – A Night In Paris
Jazz | EAC | FLAC (Seperated Tracks), CUE, LOG, Bonus Video from CD, Rapidshare, 5 parts, 474 MB. total
Complete Scans: Unmodified (8,79 MB.) & Modified (19,0 MB.)
WinRar Archive with 5% recovery record included
Audio CD (January 7, 2003), Label: Universal Import, Original Release Date: May 20, 2003, 1 CD

Diana Krall (vocals, piano, Fender Rhodes) with; Anthony Wilson (guitar), John Clayton (bass), Jeff Hamilton (drums),
Alan Broadbent (music director & conductor), Orchestre Symphonique Europeen, John Pisano (acoustic guitar),
Paulinho Da Costa (percussion), Michael Brecker (tenor sax.), Rob Mounsey (additional keyboards), 
Christian McBride (bass), Lewis Nash (drums), Luis Quintero (percussion), Ron Eschete (guitar), 
and The Clayton – Hamilton Jazz Orchestra.

Jorge Alberto Mussuto





Stefano Battaglia & Michele Rabbia: Pastorale

AvaxHome RSS:/music/jazz2/15/10 7:58 AMRommeoMusic, +Jazz, Lossy HQ (320 Kbps CBR), YEAR 2010

Stefano Battaglia & Michele Rabbia: Pastorale
Jazz | MP3 320k | 148 Mb | Time 61:17
Released 2010 | Label ECM 2120 | Full scan

In this beautiful duo album by two of Italy’s most creative musicians, roles are frequently overturned, as lyrical percussion shades into electronics and texture turns to melody. Stefano Battaglia reminds us that the piano is also a percussion instrument and Michele Rabbia is sensitive to all the tonal implications of drums and cymbals. The musicians play with and without scores in material that is variously open-form, tightly-controlled, inspired by folk idioms, by liturgical music and by art installations. Battaglia allows beautiful themes to ripple through the work, and sounds are given room to blossom. Duets for piano and percussion have long represented an important zone in the work of Stefano Battaglia (in the early 1990s, he collaborated with both Tony Oxley and Pierre Favre). Since 2000, Michele Rabbia has been Battaglia’s principal percussionist, appearing on both of his previous ECM releases – “Raccolto” and “Re: Pasolini” – as an ensemble member and fellow improviser. On “Pastorale” the musicians shape the music together.

Jorge Alberto Mussuto





Il Vento E El Onde 25 Anni Di Jazzin’ Serdegna (2007)

AvaxHome RSS:/music/jazz2/15/10 12:33 PMSyraNNoMusic, Concerts, +Jazz, +Rock, YEAR 2007, +Music videos, English, Italian

Il Vento E El Onde 25 Anni Di Jazzin’ Serdegna (2007)
DVD5 | PAL 4:3 720×576 | Italian MPEG1 48000Hz, 16 bit, 2 channels | duration: 1h 17min
DVD5 Image (.ISO) = 2.44 GB | 100MB RARs | RS

In 2007 the magazine “Musica Jazz” attached to its tenth number, a valuable DVD in which the organizers of “Jazz in Sardinia” retrace the efforts made over the years for the success of the event, giving way to understand the evolution over time of this appointment. The movie also tells the many stories that lurk behind every concert of jazz.

Jorge Alberto Mussuto





Otomo Yoshihide & John Butcher, Barcelona, 2010-02-13

 rest in bits2/14/10 5:02 PMBernie2010 Otomo Yoshihide John Butcher


© Elena Márquez (from her flickr)

Auditorio Caja Madrid, Barcelona, Spain
Festival Hurta Cordel

Otomo Yoshihide: Turntable, electro-acoustics, electronics, guitar
John Butcher: Tenor sax, Soprano sax & electronics

Sound quality: A

1) Improvisations (55:02)



Interesting links
Otomo Yoshihide Homepage.
John Butcher Homepage

Jorge Alberto Mussuto





Card Speaker

 Design Milk2/15/10 11:00 AMEleanorTechnology audio

Designed by IDEA International, this $75 portable speaker for your iPod or phone is the size of a credit card, and “as thick as a blister pack of chewing gum.” The speaker operates for approximately five hours on a two-hour charge, but the jury is still out on sound quality.

[via BLTD]

Jorge Alberto Mussuto





Wien AUSTRIA

Download now or preview on posterous

Kaiserstadt.pdf (3501 KB)

Jorge Alberto Mussuto
jmussuto@gmail.com


Why we NEED to change our packaging

Why we NEED to change our packaging

Sorry for the rant but here’s exactly how it is.

This entry was posted in Uncategorized. Bookmark the permalink. Post a comment or leave a trackback: Trackback URL.

41 Comments

  1. jorge alberto mussut
    Posted February 15, 2010 at 1:16 pm | Permalink

    I apologize, but my dog ate and destroy the two boxes of my wallet Rapture & Sunrise:)

  • Gregg Sgarlata
    Posted February 15, 2010 at 11:20 am | Permalink

    Well, Interesting topic.. The 8 wallets I received from you, when not being used, are kept in the exact boxes they were shipped in. Yes, this includes the shredded Cardboard as well.. I like them.. As wierd as this may sound, I like the smell of the leather and the cardboard when the box is opened. If you want to make a change, I would look at ones made of tin/aluminum/steel etc with a nice custom Braithwaite design for each wallet. My guess is that it would probably cost more, maybe not, but if it does, I don’t my paying the extra money because your products are awesome and worth it…

    • CMColeman
      Posted February 15, 2010 at 12:17 pm | Permalink

      Hi Gregg,

      Wow, 8 wallets! Good to know that the boxes have such great reusability for you.

      One of the considerations we have, like you mentioned, is cost in production, but also in shipping.

  • Hunter
    Posted February 15, 2010 at 11:13 am | Permalink

    I agree that the box is nice, but I always end up throwing them away. What if the wallet came in a type of pouch? You could use a recycled fabric or even some sort of hemp material. I think pouches tend to be kept and used more. Think about how many Crown Royal bags you’ve found a use for in the past…

    • CMColeman
      Posted February 15, 2010 at 12:14 pm | Permalink

      Hi Hunter,

      Thanks for the suggestion! A recycled or earth friendly material is a great idea, and certainly fits in with Connor’s desire to reduce environmental impact with the packaging.

  • Brent
    Posted February 15, 2010 at 11:06 am | Permalink

    I think your packaging is OK, but you could make a nice cloth holder, or a wooden box that could hold wallet, keys, etc. (nightstand tray). Just a thought.

    And a guy who is just getting started in watchmaking (I have no association other than a satisfied customer) has some really good packaging:

    http://www.magrette.com/index.php

    If you buy their basic watch, it comes in a simple wooden box with a canvas watch roll with a leather tie, or you can spend extra and get a rare (sustainable wood) box that is suitable for display. This guys packaging is first rate. He may be up for a quick discussion if you so desire?

    • CMColeman
      Posted February 15, 2010 at 12:13 pm | Permalink

      Hi Brent,

      Thanks for the link and suggestion! A wooden box could definitely have longer term use.

  • Mike
    Posted February 15, 2010 at 10:37 am | Permalink

    I know I love the outdoors, and wouldn’t take a nice wallet out with me when hiking rafting, skiing etc. Might be good to send the wallet in a sleeve that would protect the wallet. Maybe a new twist on the waterproof bag that I have seen for cameras, ID cards etc

    • CMColeman
      Posted February 15, 2010 at 12:09 pm | Permalink

      Hi Mike,

      Your suggestion certainly has merit – extra care should be taken to protect the high quality leather from extreme elements, like water or snow.

  • HR
    Posted February 15, 2010 at 10:21 am | Permalink

    Could also do an origami fold-up flat with nice paper, like this:
    http://www.metacafe.com/fplayer/936732/easy_cd_case_no_glue_for_everybody.swf

    Fabric pull-string bag out of the same fabric you do the lining in would be cool and cohesive. Small tag on string with product info/serial nos. (I could do without the serial number stuff…).

  • Jorge Alberto Mussuto





    Cómo se dividen las ganancias de un disco vendido

    La piratería en internet es algo que ha estado sobre la mesa desde hace varios años, siempre que se habla del tema hay personas que están a favor y en contra de las descargas, pero yo creo que se suelen confundir dos aspectos diferentes.

    Una cosa es la descarga que cualquiera de nosotros realiza para consumo propio; otra cosa es la descarga de material para grabarlo en discos y venderlo.

    El sentido común de la mayoría dirá que lo primero está bien y lo segundo no, de hecho la ley también lo ve así en la mayoría de los países.

    A esto también hay que sumarle el bombardeo antipiratería de los medios, muchas veces amarillista, otras veces provocado para que la gente se asuste y deje de usar programas P2P: “La piratería mata a la música”, “Los músicos nos quedamos sin trabajo”, “Multa de 45 mil dólares por bajar 7 canciones de internet”, “No robes mis canciones” llegó a decir alguna vez un reconocido artista español.

    ¿Cuánta verdad hay en todo esto?, es difícil saberlo… pero todos sabemos que la mayor parte del pastel se la llevan las empresas y el pedazo más chico queda para el músico.

    En la siguiente imagen que me encontré en Jagelado, originalmente publicada en kn.com.au, se muestra claramente cómo se dividen las ganancias de un disco vendido:

    La próxima vez que digan que las descargas están dañando a la gente creativa, enseñales esto

    Supongamos que el artista gana un dólar, si vende miles de discos ganará miles de dólares. Por lo tanto si sus discos se venden menos por culpa de las descargas en internet, lógicamente tendrá menos dinero para llevar a su hogar.

    Pero a esto hay que sumarle un factor muy importante y difícil de medir, gracias a internet¿cuánta gente -nueva- conoce su música?, además como se puede apreciar, el verdadero negocio es el de la Record Company que se lleva más del 50% de las ganancias…

    El tema también se discutió un par de veces en el foro, dejo el link para seguir por allí.

    Fuente: Spamloco


    Malos habitos con las contraseñas

    Leo en The Register una nota sobre un estudio realizado a un base de datos de contraseñas ( 32 millones )que fueron expuestas en un ataque al sitio RockYou. Las passwords almacenadas en plaintext, revelaron que las mayores frecuencias estaban dadas por :
    1. 123456
    2. 12345
    3. 123456789
    4. Password
    5. iloveyou
    6. princess
    7. rockyou
    8. 1234567
    9. 12345678
    10. abc123

    El estudio revelo que el 50% (16 millones !!! ) de las passwords, utilizaban nombres, slangs ( una especie de lunfardo ), palabras del diccionario y series consecutivas de letras y números.

    Mas alla de la seguridad de las passwords, una vez mas vemos como también es peligroso utilizar la misma contraseñas en diferentes sitios. Quien tenia la misma contraseña en el sitio RockYou que en su cuenta de Gmail/Hotmail/Yahoo, quedo expuesto a problemas catastróficos, si además utilizaba estas cuentas para recuperar las passwords de otros sitios.

    El sitio CXO realizo un excelente grafico utilizando la herramienta de Gmail que mide que tan “segura” es la password ingresada.
    ¿Recuerdan este pot sobre el tamaño de las contraseñas?
    Me tomé el trabajo de hacer lo mismo con la herramienta de Microsoft.


    ¿Sorprendente no?

    ¿GMail otorga una falsa sensación de seguridad o Microsoft es demasiado rígido?

    En los ejmplos, Google crea una falsa sensacion de seguridad, al menos con passwords como “enzoferrari” al declararla como “buena”.
    Por otro lado debo decir que el validador de Google otorga a “enzoferrar” un valor de “strong” y le quita fortaleza al encontrar el nombre completo….

    En la página de pruebas de passwords MS recomienda :

    A strong password should appear to be a random row of characters. It should be at least 14 characters long. It should include a combination of uppercase and lowercase letters, numbers, punctuation, and symbols.

    Por otro lado los tips de seguridad de Google :

    Tips for creating a secure password:
    Include punctuation marks and/or numbers.
    Mix capital and lowercase letters.
    Include similar looking substitutions, such as the number zero for the letter ‘O’ or ‘$’ for the letter ‘S’.
    Create a unique acronym.
    Include phonetic replacements, such as ‘Luv 2 Laf’ for ‘Love to Laugh’.

    Things to avoid:
    Don’t use a password that is listed as an example of how to pick a good password.
    Don’t use a password that contains personal information (name, birth date, etc.)
    Don’t use words or acronyms that can be found in a dictionary.
    Don’t use keyboard patterns (asdf) or sequential numbers (1234).
    Don’t make your password all numbers, uppercase letters or lowercase letters.
    Don’t use repeating characters (aa11).

    La mayor diferencia esta en el largo de las passwords.

    Resulta interesante notar que para Microsoft la password :
    abcd1234 tiene una seguridad MEDIUM y para Google resulta en WEAK.

    En cambio, en la empresa de Redmond:

    dethknight55 resulta en una password WEAK y para Google la password es STRONG

    Fuente: Deny All


    Dave Holland Announces New Album, Band, Internet


     NPR Blogs: A Blog Supreme2/8/10 5:10 PM
    by Patrick Jarenwattananon

    Dave Holland: bassist, composer … Internet pioneer? (Drew Goren)

    New music from Dave Holland is always good news. But today’s revelations are great news. Not only is the veteran bassist and composer announcing a new album, Pathways, with a previously unrecorded band, the Dave Holland Octet — he’s also launching a new daveholland.com Web site built with Topspin, a direct-to-fan music marketing and distribution service. In addition to the standard artist information — a blog, concert itinerary, biographical and discographical notes — his team also compiled many videos of previous shows, and created a new home for his publishing company (Lojac Music), which also sells his sheet music and bass solo transcriptions.
    The Web site also now houses Holland’s own Dare2 Records, which is trying something new with this release. If you pre-order the physical CD of Pathways from the site — which also comes in a deluxe limited edition if you desire — you’ll get an immediate download of the whole album (MP3 or even CD-quality, if you like). And for this week only, you can also download an album’s worth of Dave Holland Quintet live recordings, circa 2007, for $1; he’ll be periodically rolling out more music from his own archives through the site.
    So how’s the music? Well, you can hear three tracks from the album with the embeddable widget below, after the jump.

    Those who know Holland’s previous recordings as a leader, especially for quintet and/or big band, will recognize the multiple intersecting lines backed by fluid rhythm sections. This ensemble is basically the quintet +3: Holland, Robin Eubanks on trombone, Steve Nelson on vibes, Nate Smith on drums and blastmaster Chris Potter on tenor and soprano saxes, joined by Antonio Hart (alto sax), Alex Sipiagin (trumpet) and Gary Smulyan (bari sax). It’s more fleshed-out than the quintet, more lithe than the big band. Lots of balls-out solos, as one might expect. But you know, don’t just take our word on it when the man is giving out so much to check out. [Dave Holland: daveholland.com]
    —–
    Dave Holland’s Pathways, recorded live at New York’s Birdland club, comes out Mar. 23, 2010 on his own Dare2 Records.


    Microtonal Memorial-A Celebration of the Life of Joe Maneri

    <nyt_kicker>MUSIC REVIEW</nyt_kicker>

    <nyt_headline type=” ” version=”1.0″>A Master Improviser Is Remembered With Masterly Improvisation</nyt_headline>

    Angela Jimenez for The New York Times
    A Celebration of the Life of Joe Maneri Joe Karten, left, and Matt Moran, were among the performers at Irondale Center in Brooklyn.
    <nyt_reprints_form>

    </nyt_reprints_form>

    <nyt_byline type=” ” version=”1.0″>

    </nyt_byline>

    Published: February 11, 2010
    <nyt_text>Joe Maneri, who died last August, was the sort of musician who leaves a deep and tangled impression. During his 37-year teaching career at the New England Conservatory in Boston — and a longer but more intermittent run as a multireedist and composer — he put his stamp on generations of improvisers, along with some perplexedly enchanted audiences.

    Blog

    ArtsBeat
    The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion.

    White-bearded and jovial, he had a demeanor that fell somewhere between wizardly and impish. He could make any performance feel strange and special, unrepeatable.
    That’s probably a reason for the sting of his absence, still, among those who knew him well. It was surely a reason for the poignancy of a three-hour tribute at the Irondale Center in Brooklyn on Tuesday night, what would have been his 83rd birthday.
    It was a family affair. Mr. Maneri’s widow, Sonja, spoke touchingly, and each of his three sons made musical contributions. Sal, the oldest, sang “A Prelude to a Kiss” in a disarming baritone croon; Abe, the youngest, played a broken hymn on electric piano. (We’ll get to Mat.)
    There were testimonials from former students and fellow players, most of them recalling the moment they met Mr. Maneri as if relating a conversion narrative.
    Mr. Maneri was a pioneer of microtonal theory, specializing in a pitch spectrum ungoverned by the tempered scale. Much of the evening’s music reflected that conviction.
    Mat Maneri, a violist, had a lot to do with this: he was the person who worked most with his father, often with the bassist Ed Schuller and the drummer Randy Peterson, who both joined him for a tantalizingly brief improvisation, and later served as a house rhythm section.
    Mat Maneri took part in a few other potent groupings, including one —with the clarinetist David Rothenberg, the cellist Daniel Levin and the bassist Barre Phillips — that distantly evoked his father’s early experience in klezmer bands. Another grouping melded his viola with Katt Hernandez’s violin, as Craig Taborn rummaged in a lower register at the piano. And yet another, more dronelike and rhythmic, had Mike Rivard on sintir, Tom Halter on trumpet, John Medeski on melodica and Keith Yaun on guitar.
    Microtonality can sound warped and uneasy, like a record left out in the sun. The tenor saxophonist Tony Malaby got at this feeling, with some meticulously bleary playing. So did the trumpeter Joe Karten, in a duet with the vibraphonist Matt Moran, and the pianist Matthew Shipp, rumbling in conjunction with Mr. Peterson.
    But the shining example came courtesy of “Osanj,” a Joe Maneri composition for solo viola. As played by James Bergin, it was slow-moving and engrossing, like a shifting of cloud patterns. (Mr. Bergin is the executive director of the Boston Microtonal Society, which Mr. Maneri established, and which received the evening’s proceeds.)
    What about Mr. Maneri’s singular oddness? There were traces in a home recording he made, which had him speaking in tongues. (He used to do this onstage too.)
    And at the concert’s close, there was the rustle of an ad hoc ensemble as Abe Maneri, reciting a poem, kept invoking “my miracle-man dad.” Mat Maneri drew a bow across his viola then, producing a ghostly high note that shot through the haze, like a headlight’s beam.</nyt_text>


    Lítill Terarriums

     Design Milk2/8/10 4:00 PMJaimeHome Furnishings planter tabletop


    I love terrariums. These terrariums by Lítill are the most beautiful ones I’ve ever seen.









    ©2010 Design Milk | Posted by Jaime in Home Furnishings | Permalink | 6 comments | Tweet This | Share on Facebook

    Molecover

     Design Milk2/11/10 2:00 PMJaimeArt Style & Fashion gifts


    A simple cover for your moleskine — use and reuse it each time you get a new one. Nice gift idea. I want a white one.





    ©2010 Design Milk | Posted by Jaime in ArtStyle & Fashion | Permalink | 2 comments | Tweet This | Share on Facebook

    The “Real” Flaming Lips’ Bathroom

     Design Milk2/12/10 2:00 PMAnnieFeatured Interior Design bathroom Music & Design residential



    Do you remember the last Beat Boxed post I did a few weeks back with the Flaming Lips inspired bathroom? Well I was pretty sad when I found out I wouldn’t be seeing The Flaming Lips playing at this year’s Coachella. But I was ecstatic when I was contacted by FitzSimmons Architects, the masterminds and architects behind the renovation of The Flaming Lip’s Oklahoma residence featuring the “real” Flaming Lips inspired bathroom pod. This bathroom is just incredible! As Mr. Wayne Coyne says, “now you are entering into the, drug damaged, artist element of our home.”







    Wayne Coyne’s imagination is constantly running wild and this space definitely does not try to stop it. As Wayne says, he can get up in the morning and go from his “strange, artistic bedroom” and into his ’”strange, futuristic bathroom.” His dreaming doesn’t have to end when he gets out of bed.











    I cannot even tell you how inspired I am by FitzSimmons Architects and the Flaming Lips. This unique space truly captures the spirit of The Flaming Lips and then some. Just like any other artistic expression that Wayne Coyne is involved in, this is visually magical. When you combine this talent with an architecture firm that “approaches architecture as a form of art, creating built forms and spaces that both inspire and serve as meaningful places of purpose” you end up with a masterpiece.
    Wayne’s Wayne’s wife, Michelle Martin-Coyne, was also very involved in the process of developing this space. A gifted artist herself, she is responsible for the majority of The Flaming Lips photography and has published a book of her photographs titled Placebo Head Wound that documents life with the Flaming Lips.
    Check out this video and let Wayne Coyne inspire you as he takes you on a little tour of the “compound” and the renovation:

    Framing for the pod:



    Photography by Joe Mills Photography.

    ©2010 Design Milk | Posted by Annie in FeaturedInterior Design | Permalink | 5 comments | Tweet This | Share on Facebook

    Ventricle Vessel by Eva Milinkovic

     Design Milk2/12/10 4:00 PMCatrinaHome Furnishings vase



    Normally, I wouldn’t wouldn’t consider the human heart a very attractive thing, but this vase by Eva Milinkovic of Tsunami Glassworks is inspired by its structure and I think it’s it’s beautiful. This is definitely a heart you wouldn’t wouldn’t want to break.
    Happy ridiculously commercialized made-up holiday, er, Valentine’s Valentine’s Day. We might be cynical, but we do love us some Red Hots!

    Follow

    Get every new post delivered to your Inbox.

    Join 2,520 other followers