Google Vs Bing ; Keep It Simple Smarty!!

Like a midnight owl, trying to keep my eyes open while browsing through the search engine index of web page results, something Clicked me.

While Google is my Best Friend forever and eternity, Microsoft has made an innovative come back with its latest Search Engine “Bing”. The day I heard about its launch on B.B.C  [British Broadcasting Corporation], I intuitively concluded that no matter how good it might be, it still won’t be able to grab the market from Google in full. This is the same principle that Microsoft had applied to its Products especially the Windows OS. The market of Apple has also been growing esp. in Europe and America yet Windows remain the most common household OS, as I would put it. Once people are accustomed to something, it takes a while to change their attitude, adaptation and attachment with something. It’s a huge Persuasion Game and Believe ME it’s Hard.

Still I find myself quite quick and sudden to make the leap to Bing in certain cases. My Love for Google hasn’t restricted me to explore and utilize other services like Bing. I am not sure if others agree with me on this though.

If I have to search for “Images” for instance, I would switch to Bing and prefer it over Google.  While searching for an article on Asp.net Routing on Google right now and not finding suitable results, I had a huge realization that I should try Bing instead for very solid and logical reasons. Though my reasons might seem to some as Blind psychology rather than logical, I would still stick to it.

Anything Microsoft, simply let Microsoft find it for you since it would index all its stuff properly and efficiently. My logical reasoning did prove correct when I was returned a number of results all matching my search criteria perfectly.

So, next time if I need to search for anything Microsoft, I would simple keep my love for Google aside for a while and try paying Microsoft’s Bing a Visit. However, in real time though it sure seems that both are competing neck to neck and producing nearly identical results.

Let me know what you think about this. Until that time…..Happy Visiting!!!

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…portami fortuna…
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Ecco i tanti click che Italia.it ( quella linea blu che si intravede appena in basso ) riceve confrontati, a caso, col blog di Beppe Grillo.

Guardate il video, confrontatelo col grafico di Alexa.com e fatevi due conti su come vengono spesi 58 milioni di euro( e si parla del 2008 quando venne chiuso all’insaputa di tutti e senza nessun avviso, quindi figuriamoci gli altri spesi per riaprirlo ora nel 2009 ) per un portale che dovrebbe essere l’immagine dell’Italia nel mondo.

PS: Ma con tutti i problemi che ha l’Italia perchè quei soldi non sono stati spesi per le infrastrutture, la scuola, la ricerca, associazioni di volontariato, assistenza sociale, disoccupazione, ecc ecc … ah, vero, pardon, mi ero dimenticato che il portale Italia.it come dice la Gelmini, serve perchè è visitato “assai” come lo si evince dal grafico e non come pensavo per riempire le tasche di … qualcuno. Che sciocco che sono a pensare queste cose.

Bem baranguinho, mas eu adoro esta parte do filme e adoro esta música. Confesso que chorei a primeira vez que vi.

When you’ve got to really get into the guts of a part, know it inside out, be able to mess with it and emote, there’s a certain degree of internalization you often have to go through.  There are a bunch of ways of getting more familiar with a part, and here are some ideas I’ve used in the past.  A lot of people I’m sure will work on something with a click, make sure they can play it really slowly, and make sure they can play it quite a bit faster than they’ll need to.  I think it’s useful and fun to go further than that.  Things like this also help with an old dilemma.  Do I work on new concepts to push my playing, or do I work on the stuff I need to get right for my work?  If you work on something you need to do well in some extreme ways, then you’re working on your agility with extreme concepts whilst all the time fortifying the music you need to nail.  Bargain.

Sing It

I get a lot from the Gary Chester books (The New Breed/The New Breed II), but one thing that they really opened up for me was the power of singing during practice.  It felt stupid at first, but I loved it after a while.  Basically, play whatever you’re playing whilst singing a click for the quarter-note out loud.  When you’re really good with that, switch to singing off-beats.  Then isolate each limb individually and sing what it’s doing as you’re playing everything together.  It really forces your ear to focus on what’s going on in one place and iron out any problems.  If you just try it, and get over the initial difficulty, this process is really worth it.  Check out the books for a detailed description.  You can extend the singing idea using some of the other techniques I’m going to mention here (like singing a cross-accent or displaced quarter note rather than the quarter note), and I’m sure you’ll come up with ideas of your own.

Displace the Click

Get your click running, but instead of hearing it on the beat (1-and-2-and-3-and-4-and), hear it off the beat (1-and-2-and-3-and-4-and).  Then you can push it a little futher and hear it displaced by a semiquaver (1-e-and-a-2-e-and-a…).  This lays the groundwork for the next idea.

Click in Cross-Rhythm

This is a great tool for developing your internal timing.  Anyone who’s messed with metric modulation (see Gary Chaffee’s “Rhythm and Meter Patterns” – my favourite book in the whole world – for a superb intro to this) will probably have ended-up doing this at some point.  The simplest example I can think of for this is hearing the metronome as a dotted crotched while playing in 3/4.  A more interesting example is hearing the metronome as dotted quavers over 4/4, so the metronome falls on 1 every 3 bars.  You can take this as far as you like, having the metronome on every 13th semiquaver etc. (the longer the spacing, the more your timing will be tested).  It really teases a great sense of the subdivisions out of you, and improves your click-awareness trememdously.

Rhythmic Devices

You can apply rhythmic devices to a phrase you’re internalizing to improve your ability to hear it over different rhythms, and to “switch gear” with your note rate.  A nice example is if you’re playing in a 3 feel, and you switch to hemiola (dot every note, so you “stretch” the phrase by 3/2).  There are a ton of examples of this in Randy Waldman’s arrangement of “My Favourite Things”.  Experiment with switching against a click, it’s fun and you’ll often land with displacements and things I’ve mentioned before.

Another rhythmic device which extends the previous idea is to phrase some polyrhythm using the part you’re learning.  If you’re working on an 8-quaver phrase, loop those 8 notes over the rhythm scale and you’ll wind up doing this against a whole load of polyrhythms.  I really haven’t explained this, but I’ll post a bout it (and some good books about it) very soon.

Click in Polyrhythm

This is very much akin to the click in cross-rhythm, but the click may not fall naturally into the subdivisions of the phrase you’re looking at.  A basic example is if your phrase is in 4/4, and you hear 3 clicks as a bar (so the click’s doing 3 beats against the 4 beats of your pulse).  This has a lot of applications in real playing too.  You’ll hear people fitting “4ish” phrases over 3 beats and “3ish” phrases over 4 beats (trickier) a lot.  You can get some really beautiful results from this, and working on click in polyrhythm should aid your ability to hear things in that way and throw them out at will.

Playing Over Different Time Signatures

In practice this will very often be the same as playing click in cross-rhythm.  If your phrase is 8 quavers and fits into 4/4 very nicely, try playing in 7/8.  The phrase will wander over the bar line and do interesting things.  You can loop your phrase, or use it as a fill between time playing passages.  See what you can get.

Dynamic Exaggeration

When the velocity of your strokes goes up, sometimes you’ll feel like you’re fighting not to speed up (well, that happens to me anyway).  To get your stuff down, mess with playing really loud, really quiet and everything in between against the click.  Once you’ve dont that, you can try isolating limbs (treat your body as a 4-channel mixing desk), fading one up in volume while keeping the others constant.  Things like this can be very difficult at first, but I can not stress enough how useful they are.  I used not to have any dynamic independence, if one limb was loud, all ha, whilst keeping thed to be loud.  When I started to break this dependence my playing really came to life.  I can make the simplest beat 100% cooler now than before using some dynamic interplay.  If you work on “Advanced Techniques for the Modern Drummer” by Jim Chapin, or “The Funky Beat” by David Garibaldi you can make a really good start on this.  Just pay attention to the accent lines as written (and in the Chapin book, maintain the ride accents described in the preamble), and make sure you’re truly getting it.  All of this stuff ties in nicely with the singing exercises I mentioned before.  If you’re fading a limb up, you’re listening to it like you’re singing it.

Accent Lines

You can gain a lot of control over some phrasing by introducing different accent lines.  If you check out “Accents and Rebounds” by G.L. Stone, you’ll see some simple examples straight away.  Playing paradiddles, and accenting every third semiquaver, for example.  These things are fun, easy to remember, and you can work on them away from the set.  I found getting to grips with accent lines accross 4-limbs helped me with some phrasing of the rhythms scale.  When I was learning to phrase a 15-note polyrhythm using the sticking RH-LF-LH-RF for example, I was struggling.  When playing a 15, I like to hear a triplet and subdivide with 5s.  So, once I got to grips with accenting every 5th note of the sticking (RH-LF-LH-RF-RH-LF-LH-RF-RH-LF-LH-RF-RH-LF-LH-RF-RH-LF-LH-RF), I could help me ear to hear the 3 by squeezing a little accent in on every fifth note (trying to be subtle with it).  Hearing 3 between clicks is easy, and helps me get an even spacing.

“As a boy growing up in the late 1940s, K. Barry Sharpless fell under the spell of the coelacanth. The lungfish-like creature was believed to have been extinct for 6 million years until researchers pulled one out of the waters off South Africa in 1938. Sharpless fished obsessively in the rivers of his native New Jersey and never found any archeologic creature. But in the end he did find virtual coelacanths–biochemical treasures that took nature eons to produce.

Sharpless has produced some of the most important breakthroughs of chemistry in the past 30 years. Scientists long knew that some medicinal molecules come in mirror-image forms, only one of which is effective or only one of which is safe. Sharpless discovered several reactions that could produce just the useful form, an innovation that won him the 2001 Nobel Prize in chemistry. That work led to mass-production of heart pills, antibiotics and pain medicines.”

Above quote from the articles in this month’s Forbes:

http://www.forbes.com/forbes/2009/1130/power-09-worlds-powerful-people-barry-sharpless-great-reaction.html

http://www.forbes.com/2009/11/10/cima-heath-chiang-leadership-power-09-innovators.html

Bănică se plimbă cu trotineta, iar micuţa Violeta se plimbă aproape în fiecare zi prin parc cu o tricicletă

Ştefan Bănică Junior a luat-o pe urmele fetiţei sale, Ana Violeta. El şi-a achiziţionat de curând un Segway, o „jucărie” care seamănă leit cu o trotinetă, cu care se plimbă prin faţa casei sale din cartierul Tei. Vecinii se uită ca la felul paişpe, fiind obişnuiţi să-l vadă pe solist numai în maşini de lux.

Deşi are garajul plin de BMW-uri, maşină a cărei imagine o reprezintă împreună cu Andreea Marin, soţia sa, Ştefan Bănică Junior are o nouă pasiune, plimbatul cu trotineta, ca şi fiica sa, Ana Violeta.

În timp ce micuţa în vârstă de aproape doi ani are un vehicul pe măsura ei cu care merge prin parc asistată de bonă, Ştefan a dat, cum s-ar spune, în mintea copiilor şi şi-a achiziţionat şi el, recent, o “trotinetă” electrică.

Fotoreporterii Click! l-au surprins, ieri, pe solist în timp ce dădea o raită pe aleile din faţa casei sale din cartierul Tei, conducând cu dibăcie revoluţionarul mijloc de transport, care nu are nevoie de combustibil şi al cărui preţ variază între 3.000 şi 7.000 de euro.

sursa: www.click.ro

One day we’re gonna live in Paris.

Der er ikke noget særlig dybt budskab med dette indlæg, jeg syntes bare, at tegningen var sjov.