iPhones, iPads dominate enterprise activations in Q3 2015 – BetaNews

iPhones, iPads dominate enterprise activations in Q3 2015
When you look at which operating system powers most smartphones and tablets, it is Google's Android which comes out on top. Apple's iOS is a distant second in both cases, while Microsoft's Windows and Windows Phone are in even weaker positions.
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Apple's iPhone continues to dominate the business smartphone marketInquirer
Information Age –CNNMoney
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Google’s Plan To Accelerate The Mobile Web Will Go Live Early Next Year – TechCrunch

Google's Plan To Accelerate The Mobile Web Will Go Live Early Next Year
Google has plans to accelerate your web browsing on mobile devices, and we'll start seeing the results of those efforts as early as next year, the company says. According to a new update regarding Google's “AMP” project – or the “Accelerated Mobile
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The Next Big Phase of Google Search Is Coming Early Next YearWebProNews
Google's Plan to Speed Up Mobile Web Goes Live Next YearABC News
Android Headlines – Android News –CMSWire –Bidness ETC –WordPress.com
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Astor Piazzolla: a beginner’s guide


“Tango doesn’t exist,” declared Astor Piazzolla during one of his last interviews, given in 1989 in Chile. “It existed many years ago, until 1955, when Buenos Aires was a city that dressed tango, walked tango, breathed the perfume of tango in the air. The tango of today is a boring, nostalgic imitation of that era.”

One sign of a genuine innovator is that there’s a clear before and after when it comes to assessing their influence. In this respect, Piazzolla was a musical messiah. Adding elements of the classical fugue, counterpoint, dissonance, jazz syncopation and baroque passacaglia and performing and presenting tango with the seriousness and commitment of a concert pianist, he revolutionised the urban musical vernacular of his native Argentina. The sound he created is so distinctive that it has its own adjective: ‘piazzoleano.’

Piazzolla was a magisterial composer, an extraordinary bandoneón player – he always played standing up – and a bossy but brilliant bandleader. But he was also a consummate professional and totally open-minded; in this respect he had more in common with Handel or Mozart than with his tango-playing contemporaries.

From very early on, Piazzolla was destined to be a tanguero. Born in the coastal city of Mar del Plata in 1921, his family moved to New York when he was just four. Growing up on the Lower East Side, he heard big band, jazz and classical music on the radio but his dad, Italian-born but nostalgic for Argentina, bought his son a bandoneón – the button accordion of German origin that’s the quintessential tango instrument.

When Piazzolla was 13, Carlos Gardél, already a legend, arrived in Manhattan to make a film. The young bandoneón prodigy was too young to join Gardél and his band but got a bit part as a paper-boy in the film El Dia que me Quieras.

When he was 16, Piazzolla returned to Argentina. Tango was in its golden age, and the young musician got to play with several leading orchestras, including the one fronted by Aníbal Troilo. By 1946, Piazzolla had his own band but he was a perfectionist, and took classes with Argentinian composer Alberto Ginastera. Some early compositions such as ‘Inspiración,’ ‘Lo Que Vendrá’ and ‘Taconeando’ show an instinct for experimentation. In 1954-1955 Piazzolla won a grant to go to Paris and study with composition teacher Nadia Boulanger, who told him to stick to tango, his natural means of expression. He did exactly that, and soon his inner creative demon was working full tilt.

During the 60s and 70s, Piazzolla composed several pieces of music that have become classics, among them ‘Adiós Nonino,’ his affecting tribute to his late father, written in 1959. With 1961’s ‘Tres Minutos con la Realidad’ Piazzolla declared his intention to make tango modern, metropolitan, intellectual and Bartókian in its intensity. Nuevo tango was born. Soon after came the sophisticated first movements of his Porteña Seasons and the Angel sequence – both would become integral to Piazzolla’s touring repertoire.

During this formative period, not everyone approved of Piazzolla’s radical arrangements or his technical showiness. Conservative critics and musicians in Buenos Aires’ tango establishment regarded his style as just too experimental to be ‘proper’ tango. There were verbal attacks on the radio and, rumour has it, physical threats to the rising star.

Even as he polished standards, Piazzolla was always playing with form – jazz improv, electric guitar, classical arrangements – and formations, moving through many quintets, at least two octets, a nonet and a sextet. He spent time in New York and Italy, imbibing jazz, jazz-fusion, blues, rock and pop.

Always keen to collaborate with non-tango artists, Piazzolla recorded memorable albums with saxophonist Gerry Mulligan and vibraphone virtuoso Gary Burton. His work with tango’s finest poet, Horacio Ferrer, produced some of the greatest songs in the genre, including the surreal ‘Balada Para un Loco’ – which must have sounded as leftfield as Pink Floyd when it was released in 1969 – and the beautiful ‘Yo Soy María’ motif-song from the brilliant mini-opera María de Buenos Aires. He also wrote 40-odd film scores – outstanding among these are the soundtracks for Pino Solana’s Sur and Marco Bellocchio’s Enrico IV (which contains the popular ‘Oblivion’).

Piazzolla won international fame with his last Quinteto Nuevo during the 80s, travelling to Europe, the US and Japan. Two recordings from this decade, Zero Hour and La Camorra produced by Kip Hanrahan for the Nonesuch label, were among the best of his career.

He died in 1992 but his influence is widespread and enduring. From Grace Jones’ adaptation of ‘Libertango’ for 1981’s ‘I’ve Seen That Face Before’ to numerous electronic tango versions of ‘Vuelvo al Sur’ to the latest Volvo advert (‘Libertango’ again), his music is part of popular culture. Homages paid by stellar classical musicians such as Yo-Yo Ma and Daniel Barenboim, as well as tangophiles like Richard Galliano and countless young orchestras in Buenos Aires, Tokyo, London and Helsinki keep winning new audiences for Piazzolla’s music.

Where other tango greats such as bandleader Julio de Caro, pianist Osvaldo Pugliese and Troilo only nudged tango towards modernity, Piazzolla redefined the essence of the music and, in a sense, stole it from the dancehall and from Buenos Aires. As a global superstar of the genre, only Gardél comes close, but even he is something of a special interest these days.

In classical and jazz circles, Piazzolla was always a genius on the fringes. In the world of tango, he was the troesma (maestro in Buenos Aires backslang) and ‘el tigre del bandoneón.’ These days all serious tango musicians have to include him in their repertoire to get gigs. Then, if they hope to be original, they have to find something else to offer that doesn’t sound like watered-down Piazzolla. It’s not easy. Listen to veterans such as Rodolfo Mederos and Pablo Ziegler, or young orchestras like La Camorra. Piazzolla’s spirit is there – whether named in the credits or in a certain astringency in the timbre, or a giddy pluck of the violin strings or in a sudden moment of fugal filigree.

If he’d been born in the US, Piazzolla would have been a contemporary – and rival – of Leonard Bernstein. But, as he was born in the ‘culo del mundo’ – arsehole of the world, as Argentinians lovingly call their county – his status remains that of a rebel from the margins. His legacy might be better off for that.

Piazzolla’s epitaph on tango, as declared in Chile, was ironic. When asked about his own art, Piazzolla was equally self-assured, stating: ‘Mi tango sí es de hoy’ (My Tango is of today, for sure). He was right, of course, and, for the moment, it’s also the tango of tomorrow – because no one has even come close to his achievements this past half-century. Tango, if it is alive at all, is alive in a piazzoleano way.

Best Albums

piazzolla-Maria-de-Buenos-AiresMaría de Buenos Aires

(Sony, 1968)

Piazzolla and Horacio Ferrer collaborated on a range of projects, but this operita (little opera) is their most complete and most satisfying lyrical venture.






piazzolla-Suite-TroileanaSuite Troileana

(Trova, 1975)

Written shortly after the death of Aníbal Troilo, this pensive album, recorded with the Conjunto Electronico, is recognised by Piazzolla aficonados as a landmark in the evolution of nuevo tango. A stand-out track is the haunting ‘Soledad,’ composed for the Jeanne Moreau film Lumiere.



piazzolla-zero-hourZero Hour

(Nonesuch, 1986)

The best of Piazzolla’s three late albums recorded for the American label with producer Kip Hanrahan. This one features sublime versions of ‘Milonga del Angel’ and ‘Tanguedia III.’ It was a Classic Album in #16.





piazzolla-la-camorraLa Camorra: The Solitude of Passionate Provocation

(Nonesuch, 1989)

The less famous second album of the Kip Hanrahan sessions. Subtler than Zero Hour, it contains a stirring version of ‘Soledad’ and the three-song ‘La Camorra’ sequence.





piazzolla-Live-at-the-BBCLive at the BBC

(Intuition, 1989)

This fantastic live show featuring many of the classics was recorded at the Whiteladies Road studios in Bristol by Tony Staveacre. It was to be Piazzolla’s last gig with the New Tango Sextet. At the end of it, Piazzolla said: “Sometimes music can make what the diplomats never will – love between Britain and Argentina.”

Microsoft’s Windows 10 November update screwed up some users’ privacy settings – PCWorld

Microsoft's Windows 10 November update screwed up some users' privacy settings
People who updated to the latest Windows 10 update may want to double-check their settings. Microsoft revealed Tuesday that it took the previous update (which was released on November 12) down from the Internet the day before because of a problem that …
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Typical Wednesday morning traffic vs. pre-Thanksgiving getaway traffic – Washington Post

Washington Post
Typical Wednesday morning traffic vs. pre-Thanksgiving getaway traffic
Washington Post
My, how different a Wednesday morning view of Washington-area traffic can look. A quick look at Google's traffic maps shows little traffic and few major hiccups Wednesday — typically known as the busiest travel day for the Thanksgiving Day holiday.
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​Dell in hot water again as second ‘Superfish’ root certificate surfaces – ZDNet

​Dell in hot water again as second 'Superfish' root certificate surfaces
​How to remove Dell's 'Superfish 2.0' root certificate – permanently · Read More. Dell customers have turned up a second root certificate installed on some Dell machines, which could make them easy prey on public Wi-Fi networks. The second problematic …
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This Year Likely to be Warmest on Record, UN Says – Wall Street Journal

Wall Street Journal
This Year Likely to be Warmest on Record, UN Says
Wall Street Journal
ZURICH—2015 is on course to be the warmest year on record, a U.N. agency warned on Thursday, the latest evidence of man-made global warming and the effect it's having on extreme weather conditions around the world. The global average surface …
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NFL: St. Louis Rams WR Stedman Bailey Shot Twice In The Head

Late last night, St. Louis Rams wide receiver Stedman Bailey was shot twice in the head while he sat in a car with family in Miami Gardens, FL. According to reports, an unknown shooter approached the vehicle and fired shots, striking Bailey and his cousin, the driver, who was hit several times suffering life threatening injuries.

Bailey is currently in a Miami hospital, in critical but stable condition. He is said to be cooperating with police as an investigation is currently underway. The wide out is scheduled to undergo surgery today (November 25).

The St. Louis Rams issued a statement late Tuesday as the news broke.

We are aware Stedman Bailey was involved in an incident this evening. We have spoken with Stedman and he is in the hospital in critical, but stable, condition. We are gathering facts about the situation and will provide updates as we learn more.

Drafted as the 92nd pick in the 2013 NFL draft out of West Virginia, Bailey is currently serving a 4 game suspension for violating the league’s substance abuse policy.

Rokia Traoré to release new album in February


Photo by Danny Willems

Rokia Traoré will release a new album, Né So, on Nonesuch Records on February 12

The Malian singer-songwriter Rokia Traoré announced that she will be releasing her sixth album, Né So, this February. The album sees the return of John Parish as producer after his role on her 2013 album Beautiful Africa, and features a wide range of guest performances from former Led Zeppelin bassist John Paul Jones and Nobel Prize-winning novelist Toni Morrison, to Ivorian bassist Mathieu N’guessan and fellow labelmate Devendra Banhart.

The album features ten original songs and a cover of Billie Holiday’s ‘Strange Fruit’. It is available to preorder at iTunes

Rokia will also headline London’s Roundhouse on February 6 as part of the venue’s new In the Round concert series. Tickets are available now. For more information, visit Traoré’s official website and Nonesuch Records.

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