text:
Key Considerations: Indigenous Peoples in COVID-19 Response and Recovery
Indigenous peoples have experienced heightened vulnerability during the COVID-19 pandemic and face disproportionately high COVID-19 mortality. To better address these vulnerabilities, it is critical to adapt COVID-19 programmes to the particular needs of indigenous peoples, as articulated by indigenous voices. It is also vital to link up with responses already ongoing and led by indigenous… Read more
Innovation and achievement: the work of four not-for-profit school groups
This report examines four not-for-profit school chains, run by non-governmental organisations in low-income contexts. These are Fe y Alegría, the Bangladesh Rural Advancement Committee (better known by its acronym BRAC), Gyan Shala and Zambia Open Community Schools. These school chains have succeeded in reaching marginalised students and expanding access to hard-to-reach groups. The evidence also… Read more
achievement, Innovation, non-profit, not-for-profit school groups
Networking in eHealth – A learning evaluation of the IDRC Strengthening Equity through Applied Research Capacity building in eHealth (SEARCH) programme
In 2017 the Canadian IDRC concluded a six-year programme supporting research organisations in Bangladesh, Burkina Faso, Ethiopia, Kenya, Lebanon, Peru and Vietnam in the development and testing of solutions to strengthen health systems through information technology. The programme under the title 'Strengthening Equity through Applied Research Capacity building in eHealth' (SEARCH) set out four objectives:… Read more
eHealth, health equity
Lessons learned from youth employment programmes in developing countries
Youth employment programmes are varied but meta-analysis and systematic reviews of impact assessments of these programmes indicate that some interventions have an overall positive effect on employment and earnings. Assessments of programmes which support youth job creation in the private sector find that larger businesses are more likely to generate jobs than micro-enterprises. In general,… Read more
Children and Youth, Work and Labour, Youth Employment
Sustainability Assessment of Rural Water Service Delivery Models: Findings of a Multi-Country Review
With 2.1 billion people – mostly in rural areas – lacking safely managed drinking water and reported low rural water supply functionality rates, the Sustainable Development Goals pose a triple challenge: to reach unserved mostly rural population groups, to raise service levels, and to sustain existing and future services. This assessment uses a multi-country case… Read more
WASH, Water Policy, Water Resources
Vending machines used for contraceptives in developing countries
The evidence found for this report shows that vending machines have been used to make contraceptives available to vulnerable groups in low and middle income countries in a number of programmes. Examples from different parts of the world include: A six-year HIV prevention pilot programme started in 2009, which plans to install 100 CVMs using… Read more
Children's reactions to the 2010 Chilean earthquake: the role of trauma exposure, family context, and school-based mental health programming
Theoretically derived factors (preexisting child characteristics, trauma exposure, caregiver– child relationship, and school-based mental health programming) were examined as potential correlates of distress in children residing in the region closest to the epicenter of the 2010 Chilean earthquake. One year before the earthquake, 2nd-grade students who attended 9 schools that provide government-run mental health intervention… Read more
chile, Education in emergencies, Natural Disasters
Opportunities for change: education innovation and reform during and after conflict
Conflict and displacement create distinctive challenges for education practitioners. However, opportunities for reform and positive change within the sector also arise simultaneously during and after conflict. This book explores some of the prospects for positive transformation. A series of 10 case studies presents specific examples of how positive change has been implemented in the education… Read more
conflict-affected states, education policy, education reform, education systems, Innovation, post-conflict settings
Education and internally displaced persons
Drawing on research from a diverse set of countries, including the USA, Somalia, Colombia, Pakistan, Sri Lanka, and Bosnia and Herzegovina, the contributors of this volume consider the relationship between education and internally displaced persons. The case studies presented raise fundamental questions regarding the barriers to education and some unexpected benefits for displaced children. The dynamics… Read more
Access to education, conflict-affected states, Education in emergencies, quality education
Why health systems must change: addressing the needs of ageing populations in low- and middle-income countries
The world's population is ageing rapidly, with the over-60 population growing fastest. Since 2000, there have been more people aged 60 or over than children under 5. A rapidly ageing population presents large and unique challenges. This briefing discusses the results of pilot healthcare programmes in four countries, Cambodia, Mozambique, Peru and Tanzania. The findings… Read more
Ageing, health systems, Human Development, social development
Diversified secondary education and development: evidence from Colombia and Tanzania
Secondary schools that offer pre-vocational courses in conjunction with traditional ones have flourished over the past decade in many developing countries. In fact, interest in these "diversified" schools seems to be growing because more and more governments are seeking assistance to establish diversified curricula. Although the World Bank has been investing heavily in these educational… Read more
Colombia, diversified education, Secondary Education, secondary school, Tanzania
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The work allows the user to navigate the vast archive of artworks on the soundtoys.net site. Each piece of content is tagged with a number of different tags and the user is able to choose as many of these tags as they like. Content most relevant to the selected tags is positioned towards the edge of the scope with less relevant content sitting closer to the centre. A soundtrack is generated based on the tags chosen and the artworks that are relevant to those tags.
Commissioned by Stanza for soundtoys.net. Thanks to the Arts Council Of England, The Watershed Media Center.
Adam Hoyle is an award winning developer of interactive soundtoys amongst other things and makes things work. Julian Baker has different awards and makes things look pretty. They have begun working together on a series of interactive audio collaborations, of which this is one of the first.


You would have attended typing classes in school or learned as you went and still you keep writing or gaming or coding with the mistake or problem. But even you are working in a computer all the time; you may still not know to use touch typing. Touch typing is an easiest technique to increase your typing productivity and efficiency, thereby becoming a fast typist as most communication is done through the keyboard. While it is simple to understand, in general there are thousands or even millions of people who yet depend on sight for working in their computers. If you have ever come across a young child pushing single key at a time with just one or two fingers, you would have experienced someone who has not yet learned the ability of touch typing.
There are various reasons why it is worth learning touch typing exercises. For beginners, while learning to type without looking at keys, you are training your brain to keep in mind the locations of keys. This indicates you don't get distracted by having to glance down on your hands to ensure you press the right keys. What that means is that the better you learn touch typing, the fewer distracts you will experience overall. You can be able to pay more attention to what you really want to focus on, be it your gaming or that three page paper that your teacher assigned you to do last week. Next, touch typing increases your speed. This method of typing will help you have better typing, gaming and overall computer experienced.
One of the most significant things to take into account no matter how harder you type is typing accurately. Inquire anyone who has ever played multi player game online and they will explain you how important it is to be capable of typing accurately and quickly. None can able to override you when your typing skills are very impressive. While you improve your typing speed from say about thirty words per minute to sixty, you have halved the time efficiently what it might take you to carry out the same amount of work. Typing is both physically and mentally exhausting to do for longer duration of time. Learning touch typing appropriately reduces both physical and mental fatigue. It keeps you from the need to focus on multiple things at a time mentally. All you need to bother about is your output, not able to find out the individual keys. It keeps you from having to bend you head over keyword to know the next couple of keystrokes and this helps your physically.
As a whole, touch typing exercises is considered better for health. You are not bent over looking at the keys and making use of all your fingers typically decreases the risk for repeating stress injuries. Most people who are working with computers or on keyboards all the day are at a greater risk of these frequent stress injuries.
It is very impressive content and technology for writers as Touch typing. Touch typing is typing without using the sense of eyesight to find the keys. It can be great tool for the all writers to enhance their typing speed and profession. I am also an academic writer at Quality Dissertation where I have been providing assignment writing assistance - http://www.qualitydissertation.co.uk/assignment-writing-help/ to needy students. And there are so many writers who are doing their profession by writing daily so many content. So I would love to suggest them learn touch typing exercises.
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text:
Q: javascript inheritance using the prototype property I'm trying to do inheritance in javascript. First of all, looking on the web I found this
function A() {}
function B(){}
B.prototype = new A() ;
B.prototype.constructor = B ;

This works, however when I use the prototype property of B it doesn't work anymore ( http://jsfiddle.net/jeanluca/eQBUx/ )
function A() {}
A.prototype.bar = function(){ return 'A'; }

function B() {}
B.prototype.bar = function(){ return 'B'; }

I realize you could do
function B(){ this.bar = function(){ ... } } ;

But I think this is definitely slower than defining it using the prototype. So how could I do inheritance in the second situation ?
Thnx

A: Using this to assign properties breaks the prototype chain. It's very inefficient and you can't use it to get inheritance. So .. don't?

A: You're creating a property on a the prototype object which you completely replace afterwards. Do it the other way round, create the bar method on the new object. And don't use new!
function B() {}
// first create the prototype object
B.prototype = Object.create(A.prototype);
// then assign properties on it
B.prototype.bar = function(){ return 'B'; }

A: Here's your code:
function A() {}
A.prototype.bar = function(){ return 'A';}

function B() {}
B.prototype.bar = function(){ return 'B'; }
B.prototype = new A() ; // replaces B's "bar" with A's "bar

var b = new B ;
console.log(b.bar());

As you can see the problem is in your 6th line. You're first setting B.prototype.bar to a function in line 5 and then you immediately set B.prototype to new A in line 6 (effectively undoing what you did in line 5). The solution is to put line 6 before line 5:
function A() {}
A.prototype.bar = function(){ return 'A';}

function B() {}
B.prototype = new A() ; // now it will work
B.prototype.bar = function(){ return 'B'; }

var b = new B ;
console.log(b.bar());

See the demo for yourself: http://jsfiddle.net/eQBUx/1/
In addition I agree with Bergi: Stop using the new keyword.

Update: After reading your comment and understanding your problem in greater detail I would recommend you use my augment library for inheritance:
var A = Object.augment(function () {
    this.constructor = function () {};

    this.bar = function () {
        return "A";
    };
});

var B = A.augment(function (base) {
    this.constructor = function () {};

    this.bar = function () {
        return "B" + base.bar.call(this);
    };
});

var b = new B;

console.log(b.bar());

See the demo: http://jsfiddle.net/eQBUx/2/

redpajama_set_name: RedPajamaStackExchange


text:
Q: Adding Panels to a Form in C# during execution I've been diving into C# for the first time by trying to recreate a screensaver that I made in Java comprised of a grid of panels which change color randomly.  So far, I've gotten the code for the panels to work, and now I'm trying to add them to a Form to prototype the layout.  I plan to determine the number of panels to be displayed at runtime (so that 16:9, 4:3, 16:10, etc. can all make the screensaver look good), but the only ways that I've found from searching the internet to add elements to a Form involve using Visual Studio's design tools.  Therefore, I have a few questions:
How can I set up the layout of the Form in something akin to Java's GridLayout?
What's the code needed to add elements to a Form?
Is there a better thing for me to be using instead of a Form?

A: You can add panels to a form at runtime the same way the designer does - construct the Panel, and add it to the form (via this.Controls.Add(thePanel);).
The easiest way to see the appropriate code is to add a panel to the form using the designer, then open up the "YourForm.designer.cs" file.  The designer just generates the required code for you - but you can see the exact code required to duplicate what the designer would create.
As for the layout, I'd recommend watching the Layout Techniques for Windows Forms Developers video.  It may give you some good clues as to the various options available for layout.  There is nothing exactly like Java's GridLayout, though there are some open source projects that attempt to duplicate this functionality.

A: You definitely are gong to need to create a form application to get this to work. In addition, every control you see in the designer, can be added programmatically.
You could have a method that cranks out new panels as needed....
Here is the code that will create a new panel:
 Panel panel1 = new Panel();

Once it is declared, you can access all the properties.
To add the panel to the form you would do something like this....
 myform.controls.add(panel1);

So knowing that, you can create a method that will format your panel and return or add it tor the form....

A: You'll want to use TableLayoutPanel or something along those lines.  Then you can use the Controls property to add panels to it.


text:
"""
@file comm_ethernet.py
"""

##
# @addtogroup ethernet ethernet
# @brief This is ethernet component
# @{
# @addtogroup comm_ethernet comm_ethernet
# @brief This is comm_ethernet module
# @{
##

import time
import os
import string
from oeqa.oetest import oeRuntimeTest
from oeqa.utils.helper import shell_cmd_timeout
from oeqa.utils.decorators import tag

@tag(TestType="EFT")
class CommEthernet(oeRuntimeTest):
    """
    @class CommEthernet
    """
    def get_ipv6(self):
        """
        @fn get_ipv6
        @param self
        @return
        """
        time.sleep(1)
        # Check ip address by ifconfig command
        interface = "nothing"
        (status, interface) = self.target.run("ifconfig | grep '^enp' | awk '{print $1}'")
        (status, output) = self.target.run("ifconfig %s | grep 'inet6 addr:' | awk '{print $3}'" % interface)
        if output.split('%')[0] == '':
            assertEqual(status, 0, msg="Target ipv6 address get fail: %s" % output)
        else:
            return output.split('%')[0]

    def get_ipv4(self):
        """
        @fn get_ipv4
        @param self
        @return
        """
        time.sleep(1)
        # Check ip address by ifconfig command
        interface = "nothing"
        (status, interface) = self.target.run("ifconfig | grep '^enp' | awk '{print $1}'")
        (status, output) = self.target.run("ifconfig %s | grep 'inet addr:' | awk '{print $2}'" % interface)
        if output.split(':')[1] == '':
            assertEqual(status, 0, msg="Target ipv4 address get fail: %s" % output)
        else:
            return output.split(':')[1]

    def get_interface(self):
        """
        @fn get_interface
        @param self
        @return
        """
        # if user takes -s option, it is host's IP, directly use it
        if '192.168.7.1' == self.target.server_ip:
            # Get target ip address prefix of LAN, for example, 192.168.8.100 is 192.168.8
            ipv4 = self.get_ipv4().split('.')
            prefix = "%s.%s.%s" % (ipv4[0], ipv4[1], ipv4[2])
        else:
            prefix = self.target.server_ip
        # Use this prefix to get corresponding interface of the host
        (status, ifconfig) = shell_cmd_timeout('ifconfig')
        for line in ifconfig.splitlines():
            if type(line) is bytes:
                linetemp = line.decode('ascii')
            if "inet addr:%s" % prefix in linetemp:
                index = ifconfig.splitlines().index(line)
                interface = ifconfig.splitlines()[index - 1]
                if type(interface) is bytes:
                    interface = interface.decode('ascii')
                return interface.split()[0]

        # if above return is not OK, there might be error, return Blank
        self.assertEqual(1, 0, msg="Host interface with %s is not found" % prefix)

    @tag(FeatureID="IOTOS-489")
    def test_ethernet_ipv6_ping(self):
        '''Ping other device via ipv6 address of the ethernet
        @fn test_ethernet_ipv6_ping
        @param self
        @return
        '''
        # Get target ipv6 address
        ip6_address = self.get_ipv6()
        # ping6 needs host's ethernet interface by -I,
        # because default gateway is only for ipv4
        host_eth = self.get_interface()
        if type(host_eth) is bytes:
            host_eth = host_eth.decode("ascii")
        cmd = "ping6 -I %s %s -c 1" % (host_eth, ip6_address)
        status, output = shell_cmd_timeout(cmd, timeout=60)
        ##
        # TESTPOINT: #1, test_ethernet_ipv6_ping
        #
        self.assertEqual(status, 0, msg="Error messages: %s" % output)

    @tag(FeatureID="IOTOS-489")
    def test_ethernet_ipv6_ssh(self):
        '''SSH other device via ipv6 address of the ethernet
        @fn test_ethernet_ipv6_ssh
        @param self
        @return
        '''
        # Get target ipv6 address
        ip6_address = self.get_ipv6()
        # Same as ping6, ssh with ipv6 also need host's ethernet interface
        # ssh root@<ipv6 address>%<eth>
        host_eth = self.get_interface()
        if type(host_eth) is bytes:
            host_eth = host_eth.decode("ascii")
        exp = os.path.join(os.path.dirname(__file__), "files/ipv6_ssh.exp")
        cmd = "expect %s %s %s %s" % (exp, ip6_address, "ostro", host_eth)
        status, output = shell_cmd_timeout(cmd, timeout=60)
        if type(output) is bytes:
            output = output.decode("ascii")
        # In expect, it will input yes and password while login. And do 'ls /'
        # If see /home folder, it will return 2 as successful status.
        ##
        # TESTPOINT: #1, test_ethernet_ipv6_ssh
        #
        self.assertEqual(status, 2, msg="Error messages: %s" % output)

##
# @}
# @}
##

redpajama_set_name: RedPajamaGithub


text:
Mission City Outlaws
Pacific Junior Hockey League
Classsifieds
Mission Official Visitor Guide
As We Age
Business Track
Poll finds most Canadians want Huawei barred from the country's 5G networks
77 per cent agreed that Canada should prohibit Chinese investment in sensitive industries
A new survey says Canadian public opinion is solidly against allowing Huawei as a supplier for the new generation of ultra-fast wireless networks that are being built by the country's telecommunications companies.
An Angus Reid online poll published Wednesday says 69 per cent of respondents were against the federal government allowing the Chinese telecom equipment maker from being involved in Canada's fifth-generation wireless networks.
"Canadians are relatively united in this view, with two-thirds of supporters of each major federal party saying that Canada should not allow Huawei to be involved in 5G network production," the non-profit survey company said.
The November online survey of 1,499 respondents also found 77 per cent of respondents agreed or strongly agreed that Canada should prohibit Chinese investment in sensitive industries such as finance and telecommunications.
The poll comes as the United States continues long-standing efforts to convince its allies such as Canada to bar Huawei as a threat to national security because of the influence of the Chinese government.
The U.S. warns that China could require the company to gather sensitive information flowing through its equipment, an allegation that Huawei says is unproven and against the company's business interests.
ALSO READ: Huawei moving US research centre to Canada
Although Trump administration officials have warned repeatedly that inclusion of Huawei equipment in 5G networks could threaten its information sharing with allies, the Trudeau government has yet to announce a decision.
Canada's relationship with China has been strained since Huawei executive Meng Wanzhou, daughter of the company's founder, was arrested on Dec. 1, 2018 in Vancouver at the request of the United States. She remains under house arrest at one of her two Vancouver homes while fighting a court battle alleging an abuse of process.
Canadians Michael Kovrig and Michael Spavor, apparently arrested in retaliation for Meng's arrest, have been in custody in China for a year without seeing their families or a lawyer. On Tuesday, a Chinese foreign ministry spokeswoman said the cases have been sent "for investigation and prosecution" on national security allegations.
A commentary with the Angus Reid survey, conducted Nov. 16 to 20, said that Canadians have grown more frustrated with China but also more divided about the government's handling of the Meng saga.
It says 51 per cent of respondents in the latest poll said Canada should have resisted the U.S. request to arrest the Huawei executive, while 49 per cent said it made the right decision.
The survey also found that 66 per cent of respondents had a negative view of China, up from 51 per cent in 2018.
According to the polling industry's generally accepted standards, online surveys cannot be assigned a margin of error because they do not randomly sample the population.
Ethics law forbids ex-minister Philpott from paid work for First Nation
High death rate at Abbotsford Regional Hospital
Body discovered in vehicle at bottom of ravine, Mission RCMP investigating
Mission's Walker signed by B.C. Lions
Former Roadrunner, Langley Ram standout signed by CFL club
Time capsule discovered, opened at Mission elementary school
Capsule opened in front of students from West Heights Community School
Explore Mission City Record
Mission News
Mission Weather
Mission Classifieds
© 2020, Mission City Record and Black Press Group Ltd.

redpajama_set_name: RedPajamaCommonCrawl


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L-choline bitartrate coated is a white crystalline powder produced through a chemical synthesis process.
Choline is naturally found in foods such as salmon, eggs, liver, wheat germ, peanuts and soy products. Dietary choline from all sources is absorbed by the intestine, most of which is converted to lecithin which is a major component of mammalian cell membranes.
In liver cells choline is converted to betaine. This is essential due to its role in the donation of methyl groups to homocysteine to form the essential amino acid methionine. This lowers the levels of homocysteine in the blood, high levels of which are associated with chronic diseases and conditions including cardiovascular disease, cognitive decline and bone fractures.
In pregnancy, adequate choline intake along with folic acid is necessary to prevent neural tube defects.
Choline is also considered to be a nootropic and is often used in supplements aimed at brain health and cognitive function.
L-choline bitartrate coated is suitable for use in capsules, tablets and blends for post-workout formulations.


text:
MAGISTER TEMPLI: "We want to sound underground"
Posted on August 25, 2015 by leifkringen
The statistics really speak for themselves. So far I've done something like a hundred interviews for Metal Squadron, and Magister Templi is only the second one conducted with a Norwegian band. Okay, so a real traditional metal scene never existed in this country, apart from a few bands during the eighties, but seeing how our neighbours in Sweden produce one great band after the other, its really a mystery why something decent can't come out of Norway anymore. Magister Templi has already shown a lot of promise with their first few releases, the EP "Iao Sabao!" and the full length "Lucifer Leviathan Logos", but their brand new one "Into Duat" is definitely a step up in my opinion.
Gone are most of the doom influences, and what is left must can only be considered as the form of music we love more than anything else…Pure heavy metal! I managed to catch singer Abraxas D' Ruckus late one evening after band practice, and simply bombarded him with most of the questions I could come up with. Enjoy reading our conversation!
The first lineup of Magister Templi consisted of bass, violin, vocals and drums, but no guitarist? What was the idea behind this constellation?
– I am am not sure that there really was one. It was mainly me and the bass player, now guitarist, that wanted to start a band, and we sort of grabbed the people we had around us and tried to make something of it. The violin gave us a nice folky feeling to things. We are both great fans of Jethro Tull, Fairport Convention and those kind of bands, and in another life maybe we will do something like that.
Even though the music was different, the lyrical concept apparently more or less the same though. Is that's why you didn't bother changing the name with the new musical direction?
– Yeah, that is pretty much it. The lyrics have been concerned with Western occultism from the start. We had the band name since the first public thing we did anyway, and never made any actual demos with the first lineup, that was sort of Mark II where we had a different drummer and guitarist and our current guitarist played bass while I sang.
Did you use your psevodnyms already in the beginning?
-Yes, I think so. At least the two, Baphomet and Abraxas were used from the start.
What was the idea behind those two?
-Well, you would have to ask Baphomet about his one, but Baphomet and Abraxas are in many ways the same mythological figure, just in different mythologies. They both represent a sort of divine and diabolical version of man. And that concept has always intrigued me. Of course they are also mythological figures that we know people have related to in some way, but apart from later Masonic and occult interpretations of them, we don't actually now how they related to them or what they represented. That intrigues me, to have a mythological figure that we don't know everything about. Except some form of man as a deity.
I took something like four years for Magister Templi to get a proper lineup, and I ask Abraxas to describe how the band slowly turned into a heavy metal act…
– We sort of opened up to the doom stuff pretty early. Me and the guitarist, then bassist, started making more doomy songs, like the song "Lucifer" from "Lucifer Leviathan Logos". This is a song that I have had with me from even before Magister Templi. We then started writing songs like "The Innsmouth Look" and "Leviathan" and those more doomy things first, and when we introduced the new members, one by one actually, even though the three of them played in the same band at the time. They were used to playing black metal, so it took quite a lot of work to get them to play slow enough to play doom. That made things go faster I think, and turn everything slowly into old school heavy metal. Of course we all really enjoy all these types of music, and we try never to have any rules when we write music. We just write and and just let it develop, and then afterwards we take a closer look at what style the song is. Sometimes we end up with a riff that sounds almost like power metal, then we try to play around with it, and ask: What happens if we introduce some really tribal, doomy drums to this one? Or perhaps an almost Tom Araya-like thrashy vocals. We try to keep an open mind when we write music. To be honest, I don't know what genre we are in as a band right now, but it's probably some sort of epic doom/heavy metal or something like that.
This translation from folk to heavy sounds a bit strange, seen from the outside. Can you explain what was the driving force behind it?
– I think it was probably the fact that during this period, we both got very enthusiastic about a band like Pagan Altar. They're actually the perfect example, because they have some sort of seventies progish feel about them. Rather undefined though, but it's definitely there. They also have folklore inspiration in the lyrics and stuff like that. The doom was probably there from the start, but we also had some distinct folk rock songs which we have since dropped. And yes, they may resurface at some other point, I don't know. We have some songs that we played back then, that we simply can't play now, because they're too far away from what we do.
Talking about Pagans Altar, they were pretty much a late discovery for most people here in Norway. Did Abraxas and his Companions also discover the band at the Metal Merchants festival in Oslo in 2009, when they were one of the highlights along with Beehler and Warning?
– No, I missed that one. I was on holiday, I think. It broke my heart, because I really wanted to see them. I never got around to go to Metal Merchants, and that sucks, because some of my favourite bands ever played at the festival. Fortunately we got to play with both Pagan Altar and Slough Feg later, so I at least I got to see their shows then. In fact, Slough Feg I saw a lot of times.
Isn't it unbelieveable that a band like Pagan Altar can go almost unnoticed for decades before people discover them?
– Yeah, but it is like that with many of those bands, you know. Pentagram is probably the most famous example, but also a band like Trouble. To think that "Manic Frustration" is their most selling album, while no one took note of "Psalm 9" or "The Skull" is almost unbelievable. It doesn't make any sense whatsoever.
Abraxas was very sad when he learnt about the death of Terry Jones, the frontman of Pagan Altar.
– He was an important man to this underground metal scene. I've only met him once, but he struck me as a very warm and welcoming fellow. I have never tried to sing like him, but I like the way he sings. He has this very strange voice that many people don't like. I think it works perfect. Its beautiful!
His voice was a strong trademark for Pagan's Altar, do you try to use your voice in a way that make people regognize yourself and Magister Templi in a similar way?
– I don't think so. I just sing, and try to improve with each record. I try to learn some new tricks along the way, but this is pretty much what I sound like.
These days it seems important to have a solid concept, a bond between the music and the lyrics and not only a few songs dealing with different topics strung strung together. Was this something you were aware of when the Magister Templi-concept came up?
– I don't know really, because I am not sure it was so important back then. We have always been inspired by the whole progressive rock movement from the seventies, that's sort of where I come from, and for sure the concept album thing is really close to my heart. Besides, I need to write lyrics about something I know, and Western occultism happens to be something I know.
You have even studied some of this stuff?
– Yeah, I wrote a masters thesis about renaissance magic, and I wanted to do a PhD as well, but to be honest, I don't think people is that interested in renaissance magic.
Did you think back then that you could use the things your read about to develop lyrics for certain songs?
– I think I already had written a couple of songs about occultism without having any band to play them in. It's more that I write about the stuff that I am enthusiastic about at the moment. I write other songs as well that don't really fit into Magister Templi, about different things really.
Abraxas is confident that the kind of enthusiasm he's referring to helps improve his lyrics.
– Yeah, I think that good lyrics, and please note that I won't claim to write good lyrics, as English is my second language, should be a combination of being able to write well enough, to care about what you're writing about and finally to know stuff about what you write about. If you have enough of each of those, good lyrics come out at the other end. I should probably specify that I am talking about the lyrics now, because generally speaking I only do the lyrics and the melody lines, like the vocal lines, while the rest is made by other people in the band.
Back in 2010 you released your first demo. Although I don't think a lot of people heard it, do you feel that you set the direction for Magister Templi with that demo?
– To some extent I feel we did, even though we sounded a bit more proto doom back then. Unfortunately we didn't know anything about anything at the time, so the recording stuck around for a while until we finally posted it on YouTube. That's when things started rolling, but that was some time later, just before the first EP came out, I believe.
Abraxas thinks that the fact that the five guys in the band have backgrounds from other kinds of music makes the sound of Magister Templi different compared to what it would have been if the members had only been performing and listening to heavy metal throughout their lives.
– It makes us more free when we write the music. I also think Baphomet's rhythm trickery comes from other kinds of music, and also the semi-Arabic scales stem from mostly seventies hard rock, which was pretty much what we had in common when we started, along with the heavy metal and the doom metal of course.
The vinyl version of "Iao Sabao", released on the small Norwegian label Freshtea, should be a real collector items by now, pressed in 200 copies and the majority of them sold in Norway. When the interview was conducted, neither Abraxas nor I had checked Discogs lately, but when I do so a few days after the interview, I find a copy listed for 500 Euro. Plain stupidity of course, no chance that it will be sold a that price, but Abraxas agrees that this will probably turn into a real collector's item.
– Yeah, I think this release is something people would pay money for in the future. I only have one copy myself.
Shortly after the EP was released you hooked up with Enrico and his label, Cruz Del Sur. Did you know him from before?
– Not really. We were great fans of Slough Feg and Pagan Altar, who were both on Cruz at the time. When Enrico contacted us, we got really enthusisastic mainly because of those two acts. He's been very nice to us. In many ways I think that a band of our moderate size, or should I say "a smaller band", isbetter off with a guy like him, because he cares about the music and his bands. He releases only stuff that he likes himself, and tries to help out in every way he can. I've never heard anyone else complaining about him either. He is sort of patron of the arts.
Do you have a deal with them for further albums, or is "Into Duat" the last one?
– We have made contracts for one album at a time.
Back when we did the first interview, you told me that you had quite a lot of songs written before you got a stable lineup. Were these songs the foundation for the first full length?
– Yes, they were. Most of the was. I think I am not mistaken, "Tipareth" and "Vitriol" are the only new songs, the rest is stuff that we already had.
Abraxas denies being tired of the songs even if the band had lived with them for quite a while when they were recorded.
– I think a song like "Lucifer" has been with me for about ten years now, so I might be a bit tired of that one. But in general I wasn't tired of the material, not when we recorded it. The songs changed a lot over the years as well, up to the actual recording. A track like "Master Of The Temple" from the debut took forever to find its final form. It took about three years of adjusting before we ended up with something we were satisfied with.
Were these smaller adjustments or more fundamental changes?
– There were some quite big changes on that one. We always heard that there was something there that we liked, but we had to keep adjusting it, because there was something we didn't like as well. "Master Of The Temple" was probably adjusted more than any other song on the album.
Is that the way usually work, not making definitive versions, but evaluating and adjusting them along the way?
– Yeah, I think so. Usually either Patriark or Baphomet comes up with some riffs, and I have som lyrics and ideas for vocals lines, and we try to work them "into" each other. Of course, it can be a little different depending on who's writing the song, but that's sort of the general way in which we are working. We work out a skeleton together, just two of us usually, and present it to the band and discuss it, adjust it, and arrange it. We have a whole arranging process with the full band. Sometimes it just works out of course, but usually it takes a bit of time working on the details.
How do you view your debut album today? Are you still satisfied with it, or were there elements you really wanted to improve on this new one?
– Yeah, there are definitely lots of things we wanted to improve. "Lucifer Leviathan Logos" has a lot of beginner's mistakes…
What kind of mistakes are you referring to?
– There are some sound things for instance. It's hard to do this, without trash talking the first album, or the people involved. Maybe some of the things we did on the first album were sort of spot on, that was the way we wanted to do it then. For example we'd always recorded the band live and added solos and vocals afterwards. What we tried to do on the new album, was to spend less on the studio, so we had more time to work on the recordings. I think that worked out great, and I don't think you can hear that we recorded in cheaper studios. Quite the opposite, it sounds a bit more professional. Then it's hard to try to get a more professional sound without ruining the sort of organic and dynamic qualities of that album. We want to sound underground!
At the time, when the album was fresh, you said it was a big step forward from the EP, mainly because you got to work with people that knew what they were doing.
-Yeah…maybe. The main difference was probably the studio though. We actually recorded in a proper studio, and we had gotten more used to record as well, and knew the process better, so we didn't get quite as nervous as the first time around. For every album we also know a bit better what we want ourselves, but maybe the major improvement with "Into Duat" is that we haven't been too full of ourselves. This time we have given the technicians a bit more room to work and be professional without us interfering with them all the time.
Are you some kind of control freaks?
– Yeah, we are. Definitely! We never leave them alone, but we let them do their jobs to a bigger extent this time. However, there's never a day where at least two of us aren't in the studio when the people are mixing and mastering. We tend to visit and listen to the stuff every day.
– Mainly that it will sound too polished. Too nice!
So that's the worst thing that can happen?
– Yeah, during the mixing and mastering that is. During the recording, worse things can surely happen. We are also afraid of losing the guitar- or drum sound we have been working to achieve. That someone will misunderstand and do something that would sound great for another type of band, but not for Magister Templi.
About a year ago, in August 2014 Magister Templi performed a very special accoustic set….
– Haha! Yeah. That was funny. It all has to do with one of us working at the museum of national history in Oslo. They were giving an exibition of fossils that were named after punk and metal legends. One was named after King Diamond, another one after Lemmy, so of course we had to include a cover of "Stone Dead Forever" by Motörhead in that set, along with our own songs. It was a fun concert to play, especially because of the acoustics in the museum. I enjoyed singing there.
And I guess there were people there that normally wouldn't show up at a Magister Templi-concert?
– Yeah, it was like families and stuff. We don't do many family shows. Haha!
Your vocals, while being one of the trade marks of the band, seem to divide people, at least on the first album. Have you tried to improve certain things for the new album, or were you satisfied with what you did on "Lucifer Leviathan Logos"?
– I am never satisfied…
Not with your performance on the new album either?
– The new one is reasonably good I think. On the first one I sound a bit too straight. I took some singing lessons and got a few pointers, which I have been working with on my own. The main thing was just to relax more when I sing. That is also a lot about not wearing on my voice already on the first two days on tour.
Has it helped you?
– Yeah, I think so. I get a bit more volume and depth to my voice, but of course it's not like a magic potion. Its something that I have to keep working on and improving all the time
Although they didn't release an album, 2014 was a pretty busy year for Magister Templi. The band supported Slough Feg on some European dates, did some gigs on their own, and also released a vinyl single…
– We had written this song that we knew wouldn't really fit into our next album, and we was to release that, then we also wanted to give a bit of a preview of things to come. The A-side of the single is an exclusive track, "Nyarlathotep", really sort of Egyptian too, while the B-side, "Anubis" is also featured on the new album, but in a different version. We also wanted to bring something new with us on tour.
It's already been pointed out in interviews, that here is a shift in the lyrical theme on the new album, but Abraxas agrees that there is some continuity as well.
– Yeah, I would say. The theme of the last album is Western occultism, and the theme of the new one is Egyptian mythology. And Egyptian mythology has a very special place in Western occultism. Especially the British occultism from the 1880s or up to contemporary occultism. Egyptian mythology was a very hot and popular take at the end of the 19th century. I tried probably more to capture that spirit, than to actually write coherent and correct sons about Egyptian mythology. I really tried to capture this sort of romantic spirit of Western occultism romantizising abut Egyptian mythology. I just spun onwards on that.
H.P. Lovecraft is one author you have borrowed from in your lyrics. Why does his work fit so well with what you are doing?
– I think its mainly because he was the one who introduced psychology to horror. That's what fascinates people about Lovecraft. His monsters are sort of undefined and almost out of view at most times, just lurking under the surface and influencing people in ways they couldn't expect. At least that's what fascinates me. He also flirts with the occult a lot, which makes it appealing. In the case of the last album, the song "The Innsmouth Look" could have been about anything really, but I wanted some sort of song about the monster within. I like Lovecraft's "The Shadow Over Innsmouth", because the monster within the main character slowly manifests through the whole short story, until he sort of surrenders to his monsters nature in the end. I think that's a more interesting way looking at it than a werewolf or something like that.
For people who haven't got the interest or knowledge to investigate the lyrics, do you think there is still something to get out of Magister Templi?
– I hope so. I excpect that most people don't listen to the lyrics at all, so I would really be disappointed if people were only in it for the lyrics. Haha! I think the riffing is great and that the lyrical content may not be as important as the feeling we try to create, and sometimes even manage to create. The words themselves express very little compared with the whole package.
I think you said in a recent interview, that you expected the album to be a grower more than a record that people would appreciate immediately. Why is that?
– I don't know, but I tend to think about music that way. I guess because we heard it a lot from different people that it's the kind of music that grows on them. We have a bit of weirdness to us I think. I don't think were that radical, but were not trying to be easy either.
For me it was the opposite. The first album I found a bit hard to get into, while the new clicked with me almost immediately. I found the songs more accessible than on the first one.
– On the last album, we had some songs that we could tell almost instanstly that they have some sort of hit quality, not like top ten-songs of course, but some qualities that could make the song a hit with some people. On this album, I honestly wasn't sure that any of the songs had something of that. I don't know why, because other people seem to find that in this new material as well.
You have recorded drums, bass and the rhythm guitar live. Why is this organic sound you are after so important for you?
– I think it makes the music sound more alive. For us, the communication between us when we play, is pretty important. I consider us mainly a live band really, and I don't think we could recreate the same feeling, without actually playing together.
Abraxas does the hard task of trying to come up with albums with the perfect organic sound.
– We have several. A lot of seventies stuff, but also the early Pentagram recordings have a lot of that to them. Also a lot of the proto doom stuff, like the early Trouble albums. They have a very distinct sound to them as well, but I really have no idea how they recorded those albums. It definitely sounds like five guys playing together though.
There are a lot of tempo changes in your music, where does that come from?
– I really don't know. We think its fun, and it makes the music more interesting to perform. It would probably be the perfect question for our guitarist Baphomet, because that's were they come from. But I enjoy them a lot, as they make it possible to express a lot of different feelings with the same song. At least they make the music a lot more dynamic, and I like that type of songs.
Also, if you don't know the material that well, these kind of changes often make a strong impression on the audience. Especially those not that familiar with the material.
– Yeah, I think it works pretty well live, because most of our audiences have been unfamiliar with our music so far, more or less. You never get a chance to relax, and that's good.
With the new album the band has finally gotten rid of their old, some might say, amateurish logo. According to Abraxas, there was not a lot of drama involved.
– We have never been that attached to the logo. Our original thought was to do an Electric Wizard-thing where we just made different logos for everything. We actually have another logo too, on our backdrop. We made t-shirts and stuff of that as well. I think we would like to have a lot of different logos. We don't see our logo as a brand or something. We haven't thought about it that way, we just want different expressions.
Apparently you had a very creative period writing a lot of new stuff earlier this year. Can you try to describe the working environment within the band when you have these kind of periods?
– Usually the creative periods are marked by regular band practice, first of all. Inspired band practice, I should say, where people turn up with new stuff all the time. It don't really end at any time either, because I am at home writing my things, while the other guys play guitars or bass and try to figure out something that we couldn't decide on at practice. So, when we're in a creative period like that, it feels like the band is a part of you that never let's og. You're always in touch with it. Like when I ride my bicycle to work, I have to stop to record a vocal line on my phone, in order not to forget it. We all get like that, and those periods are really nice. It's mainly that you feel an attachment to the band at all times. Sometimes like now, when were doing interviews and googling for reviews all the time, while preparing to go on tour, I also get that feeling. Melody lines just pop up into my head, because I am sort of wired in.
The studio work for "Into Duat" went fine for most of the time, but Abraxas himself was set back due to a strong allergic reaction..
– I ate some noodles with some nuts, some nuts that looked like something else. I had an anaphylactic shock and had to spend the night at the emergency room. It was very unpleasant and delayed us a lot. I couldn't sing for a week. It only happened to me once before since I was a kid. Then I ate som fish, probably disguised as something else. But that was the only major incident this time.
I am sure I also read something about some problems during the mastering process as well?
– Yeah, we had some trouble with one song, but fortunately Tom at Strype audio is a magician, and figured it out for us. There was something that we missed during the mix, that almost ruined one of the songs, but fortunately he was able to save our asses.
Looking at the feedback on the internet, it seems a lot of people are very impressed by the cover art. Abraxas explains how the band ended up using "Back To The Deep Lands II" by Stefan Bleyl as the artwork for "Into Duat".
– Our original idea was to let the guy that did the coverart for our first album do the art for all our albums, but then there was a change of mind, and we wanted to try something completely different. Then we decided that we didn't want anything explicitly Egyptian, we wanted the expression to be sort of epic doom heavy metal, even though the theme is Egyptian. Everything else should say "epic doom heavy" or something like that. Then Baphomet went into some sort of internet frenzy that lasted for a couple of weeks, where he kept sending us all these great pictures he found, every day. We had lots of different ideas, but this one just stood out. It expresses so many of the same things we wanted to express with the album, even though it wasn't about the pyramids or sphinxes. Personally I had never seen it before, and fortunately the artist seemed to like our music as well. He seemed to be a bit of a metal head.
In my opinion, Magister Tëmpli is a pretty unusual band to come out of Norway.
Sure. You can almost count relevant traditional heavy metal bands from Norway during the last decades on one hand. Why are there so few?
– I really don't know. There should be more, I guess. It's strange, because in Sweden you can't spit without hitting a heavy metal band. That goes for all of Sweden. Maybe it have to do with the popularity of Norwegian extreme metal. If you could put Norwegian black metal on your sticker, for a long time that would help you a lot, whereas performing Norwegian blues doom probably wouldn't. I also think perhaps, that extreme metal suits the Norwegian temper better, the more sort of introvert type of music. Heavy metal is very friendly and extrovert in many ways. Of course we had TNT and Witchhamer, but that was it.
You did a small tour with Slough Feg in the past. It should be possible to pick up some tricks from what might be one of the very best live bands on the circuit?
– Well, I think touring should probably be done the way Angelo (Tringali), their guitarist does it. We were sort of crawling out of bed every day, completely fucked up. When we found him, he had usually been up for a while. He had taken a walk, had a shower and breakfast and was drinking a cup of coffee and reading a newspaper. I also think that everything Mike (Scalzi) do on stage is pure brilliance. We have very different expressions, but we discovered during the tour that we both like to run around in the audience a lot.
You have an European tour with Christian Mistress coming up along with a gig at No Sleep Til Dublin. Do you feel part of the rising European heavy metal movement?
– Yeah, to some extent. Its definitely some sort of brotherhood feeling to it. I really enjoy all those one man driven festivals happening everywhere. Like Metal Magic. We also played at Up The Hammers in Greece in March. That was really great. No Sleep Til Dublin is a perfect example of that as well, it's just one guy who tries to get a lot of bands he like together to do a one day festival. Everyone are sort of friends by default. You have to be because there are so few people into this stuff. So yeah, more and more we feel part of that.
Magister Templi on Facebook
This entry was posted in Long Distance Runners and tagged Abraxas d'Ruckus, Cruz Del Sur, Into Duat, Magister Templi, Norway, Oslo by leifkringen. Bookmark the permalink.


The SuperWiper® 8" NVMe + SATA Portable unit is extremely fast data erase unit with 2 NVMe ports, 2 SATA ports, 5 e-SATA ports, 8 USB3.1 ports, and one Thunderbolt 3.0 port that can erase and wipe data from Hard Disk Drives, Solid State drives, and USB storage devices. The unit is very compact and easy to carry. The unit top performances of speed are: 28GB/min Erase Solid State Drive(Samsung Pro SATA SSD), 10GB/min Erase Hard Disk Drives(1TB WD), and 93.7GB/min with NVMe SSD (Samsung MZVPV512HDGL). The unit built-in with 8" Touchscreen color LCD display, 2 NVMe ports, 2 SATA-3 ports, 8 USB3.1 ports, 1GbE port, 5 e-SATA ports, DP port, and TB3.0 port. (SAS 4 ports is optional). The SuperWiper erase application is very efficiently under Linux OS and it very easy to use, and with a few clicks the user is up and running.
Support DoD 5220-22M (ECE) (7 write passes, and 1 read-verify pass), DoD Lite 5220-223M (E) (3 write passes, and 1 read-verify pass), Security Erase, Enhanced Security Erase, Sanitize(3 Types for SAS SSD), User Erase Mode, and NVMe Format(3 Types) protocols. It designed to run a very efficiently in a continues erase mode operation, where each port is acting and performing separately.
Support three S.M.A.R.T. drive tests and one Read-Verify test. The user can select to run: S.M.A.R.T. Short Test (2-5 minutes), S.M.A.R.T. Extended Full Test, S.M.A.R.T. Conveyance Test, to evaluate the "health" condition of the drive before the erase operation. In addition, the user can select to run Read-Verify test to identify any bad sectors or "weak media" on the drive.
The unit supports erase of up to 17 storage devices, in a simultaneous parallel erase operations.
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Drive Diagnostics with S.M.A.R.T. drive tests(SATA only) and Read-Verify test(All Media): If the user intends to erase drive for re-use purpose, it would be recommended to to run some "Health test" on the drive before the erasing process. There are 4 available diagnostics tests: Three S.M.A.R.T. drive tests such as S.M.A.R.T. Short Test (2-5 minutes) which scan random area on the drive, S.M.A.R.T. Extended Full Test (Can take hours) that scan the entire drive, or S.M.A.R.T. Conveyance Test that identify damage incurred during transporting of the drive, to evaluate the "health" condition of the drive prior to the erasing operation.
•	Multiple Session Operations: The user can run multiple efficient parallel operations using any available ports, or combine more than one port/storage devices in the same sessions. Also, the user can mix different type of operations, and each operation is set as a new independent session. An example of operations: Erase data fro one drive plug in one of the unit' port using the DoD protocol, Full Format another drive using the second unit' port, while performing the user-erase protocol on other drives that plugged in the unit's on the remaining ports.
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Drive Erase Protocols: DoD 5220-22M (ECE) with 7 write passes and 1 verification, DoD Lite 5220-22M (E) with 3 write passes and 1 verification, Security Erase, Enhanced Security Erase, Sanitize(for some SAS SSD), NVMe Format (3 types), or a User-Defined the Final Data Filling Pattern, and the number of erase iterations. All the erase protocols are NIST 800-88 compliance if they are running with a full verify pass.
Thunderbolt 3.0 to Thunderbolt 2.0 with 1394 adapter: It plugs directly to the main unit's TB 3.0 port , and enables the user to connect to 1394 drives or to a Mac internal drive via the Mac' TB 2.0 port or 1394 port (when the Mac is booted in a target mode).


text:
Manuel Sanchís Hontiyuelo (; born 23 May 1965) is a Spanish retired footballer who played as a sweeper.

A part of the famous La Quinta del Buitre which stemmed from the Real Madrid youth academy, he was the only of its five members to spend his entire career with the club. His father, Manuel Sanchís, also played for Real Madrid, and both were Spanish internationals.

Sanchís appeared in more than 700 competitive matches for his only club, and represented the national team in one World Cup and one European Championship.

Club career
A product of Real Madrid's prolific youth system, Madrid-born Sanchís made his debut with the first team on 4 December 1983, scoring the game's only goal at Real Murcia and finishing his debut season with a further 17 appearances (and two goals) for the main squad.

During the following 15 years, Sanchís only appeared in less than 30 matches in two, and was instrumental in the team's several conquests, including six La Liga championships, two UEFA Champions League and two UEFA Cups. In the 1999–2000 campaign he featured sparingly, but still helped to their eighth European Cup, playing 11 minutes in the final against fellow Spanish side Valencia in a 3–0 win.

Sanchís retired in 2001 at the age of 36, having played 710 overall games for his only club – 523 of those in the league – while also captaining it during 13 years.

International career
After excelling with the Spanish under-21s, with which he won the 1986 UEFA European Championship, Sanchís made his senior debut on 12 November of that year in a UEFA Euro 1988 qualifier against Romania (1–0 win). He went on to earn 48 full caps, appearing at both Euro 1988 and the 1990 FIFA World Cup.

Sanchís' last match was a friendly with the United States, on 11 March 1992.

Style of play
As a central defender, Sanchís stood out for his defensive composure, placement and agility. He set a new standard within his club due to both his sporting and human skills. An aggressive yet fair player, he was also noted for his tactical intelligence and positional sense, and usually played as a sweeper.

Career statistics

Club

Notes

International

Honours

Club
Real Madrid Castilla
Segunda División: 1983–84

Real Madrid
La Liga: 1985–86, 1986–87, 1987–88, 1988–89, 1989–90, 1994–95, 1996–97, 2000–01
Copa del Rey: 1988–89, 1992–93
Copa de la Liga: 1985
Supercopa de España: 1988, 1989, 1990, 1993, 1997
UEFA Champions League: 1997–98, 1999–2000
UEFA Cup: 1984–85, 1985–86
Intercontinental Cup: 1998

International
Spain
UEFA European Under-21 Championship: 1986

Individual
Spanish Footballer of the Year (El País): 1989–90

See also
 List of La Liga players (400+ appearances)
List of one-club men in association football
 List of Real Madrid CF records and statistics

References

External links

 Real Madrid biography

1965 births
Living people
Footballers from Madrid
Spanish footballers
Association football defenders
La Liga players
Segunda División players
Real Madrid Castilla footballers
Real Madrid CF players
UEFA Champions League winning players
UEFA Cup winning players
Spain youth international footballers
Spain under-21 international footballers
Spain under-23 international footballers
Spain international footballers
UEFA Euro 1988 players
1990 FIFA World Cup players
Spanish association football commentators

redpajama_set_name: RedPajamaWikipedia


text:
Yousef Al-Askari (born 25 March 1994) is a Kuwaiti swimmer. He competed in the 200 m butterfly event at the 2012 Summer Olympics and was eliminated during the heats; he was also the youngest swimmer to complete in the 2012 Olympics.

Al-Askari was a member of the Kuwaiti team that won a silver medal at the 2011 Pan Arab Games in the medley relay.

References

1994 births
Living people
Male butterfly swimmers
Georgia Bulldogs men's swimmers
Kuwaiti male swimmers
Olympic swimmers of Kuwait
Swimmers at the 2012 Summer Olympics
Sportspeople from Kuwait City


Football Federation Australia CEO Ben Buckley today congratulated Brisbane Roar on their record breaking 36 match unbeaten run following a dominant 4-nil win against Perth Glory in Brisbane last night.
Brisbane Roar have now gone 36 matches unbeaten, a stretch that includes 23 wins and 13 draws, overtaking the 74 year old Eastern Suburbs Rugby League record of 35 matches unbeaten.
"This is a remarkable sporting achievement by any standards and will firmly place Brisbane Roar in the record books for a long time to come," said FFA CEO Ben Buckley.
"Brisbane Roar have raised the bar for the Hyundai A-League with their high paced, attacking football and this is exciting for both fans and neutrals.
"It has been a remarkable turnaround for the club with Ange Postecoglou at the helm - they-ve not only gone through a period of transition with their squad and club culture but also their ownership.
"When you consider the salary cap conditions that we have in place this truly is an outstanding achievement in modern sport.
Brisbane Roar will attempt to continue their record run next weekend in Kogarah when they face Sydney FC at WIN Jubilee Oval on Sunday, 4 December.


Why should you claim your business on Google My Business?
As well as being a search engine, a web browser, and a cellphone-maker, Google is the largest review site in the world. It is usually the first place customers will be looking for your business.
It stands to reason that you should claim your business on Google and make sure that any information about your business is correct and up to date.
Once you claim your Google listing, you will be able to get Google reviews and respond to your online reviews.
Google My Business is an online dashboard designed to streamline the management of business information across multiple Google services. This is used to create and manage your Google business listings.
Google My Business is a central portal created to help streamline your business information across multiple Google services. This information is used to create and manage your Google business listings, your ad words, your reviews and any posts about your business.
Step 1. Head to https://www.google.com/business/ and sign in (make sure you sign into your business account) or create a Google business account.
Step 2. After you have logged in, search for your business name or address.
Your search results should appear on a map as well as in a list, from here you should pick the business you are trying to claim.
If your business is not yet listed, click "Add Your Business" or head to https://business.google.com/create. You will then be asked to pick a business type, brand and service area.
Step 3. Now you need to verify that you own your business.
Google won't just give ownership of your business to anyone who claims it, they will need proof of address. They do this by posting a verification code to the address you have provided (so make sure it is correct!) - this takes a week or two.
After receiving and entering your verification code, you will be able to start managing your business on Google.
Now that you are listed on Google My Business, your business will show up in Google search results and on Google maps. This will allow your customers to leave reviews and potential customers will be able to read positive reviews from your happy customers.
As you have access to the Google My Business dashboard, you will be able to respond directly to all of the customer reviews left on your listings.


Teaching kids to handle setbacks with grit and perseverance is more valuable than trying to help them avoid ever failing at anything.
Are you raising kids who can cope with setbacks? Does your child respond to obstacles by persevering—or by calling it quits?
Lately, it may seem as if the concepts of grit and failure—specifically, how to have more of the former and deal productively with the latter—are everywhere, making them the buzzy parenting concepts of the moment. It's hard to escape the headlines and books about the perils of allowing kids to grow up without failing.
But as these ideas have entered the zeitgeist, it's easy for them to assume a bumper sticker-like simplicity (Failure is great! Go grit!), cautions Richard Rende, Ph.D., and co-author of Raising Can-Do Kids: Giving Kids the Tools to Thrive in a Fast-Changing World.
The reality is a bit more complicated. It's not that failure is good; there is no need to root for your children to flounder and fail to achieve goals. But failure is inevitable; if you've lived, you've experienced setbacks and disappointments. That goes for everyone: Even our century's big success stories, such as J.K. Rowling, Simone Biles, and Steve Jobs, have histories littered with rejection letters, torpedoed projects, bad reviews, and missed medals. And because failure is ever present, it's important for you child to be able to respond appropriately. "Kids need practice failing so they can learn how to deal with it in both a practical and emotional way, and know how to move on from failures," says Ami Schwab, Ph.D., who specializes in child psychology and teaches parenting classes.
Carol Dweck, Ph.D., the author of Mindset: The New Psychology of Success, is known for her groundbreaking research into what she calls "fixed" and "growth" mindsets. In a fixed mindset, abilities and intelligence are set: Tanisha is so smart; Abby has a natural talent for math; Arjun is better at music than writing; Sean is a real artist! In this framework, failure becomes an endpoint. If you see yourself as "good" at math, a poor grade on an algebra test can feel devastating, as though you've reached the end of your abilities in math. Or, if you've always thought of yourself as "bad at math," a poor grade acts as reinforcement.
In a growth mindset, on the other hand, abilities are framed as something that can, well, grow—this transforms failure from debilitating to a "what's next" moment. In this mindset, a poor grade indicates the need to study more or to seek tutoring. To foster a growth concept, align feedback toward effort: Tanisha studied hard for her math test; Connor's not good at drawing realistic people yet; Abby's practice before the piano recital paid off—she went from three missed notes last year to just two this year.
Throughout your child's life, there will be setbacks. Many times, the scale may seem small, especially for young kids—a missed goal; a broken toy; a poor grade in a topic that doesn't come naturally—but from a developmental perspective, these moments are hugely important. The way you respond to these events, and, in turn, how your child processes them, will play an outsized role in your child's personality and response to setbacks over a lifetime.
Phrase feedback right (and be cautious with your compliments).
Given Dr. Dweck's research, it's clear that the way we speak to kids about their successes and failures has a huge impact in whether they view themselves as having core abilities, or whether they're focused on effort and improvement. "Compliments can be negative for your child's internal motivation and self-esteem," says Dr. Schwab, a Bronx resident. Praise feels good, but when it's for fixed qualities, it doesn't foster your child's esteem or sense of worth. Instead of saying, "Good job!" Dr. Schwab advises, ask your child, "Are you proud of yourself?" This allows kids to think through how they feel—proud or determined to do even better next time.
Resist the temptation to smooth things over. Here's a classic scene: A wheel has fallen off your child's small truck, and she is wailing in dismay as a result. For parents, it can be tempting to fix the truck. After all, for us, that's easy (and stops the tears handily). But doing so might not be doing your child any favors. "Remember who owns the problem, and try to avoid bailing your child out," Dr. Schwab says. Instead, offer empathy (Isn't it frustrating that the wheel fell off!) and ask helpful questions geared toward your child's age and understanding (What do you want to do? How can we fix this? Do you think that wheel can be reattached?) "This strategy gives kids the confidence and ability to fix problems on their own and encourages them to think for themselves," Dr. Schwab says.
Don't keep your own failures hidden.
Think about how you share stories of your own life with your children. Do you talk only about your successes? Here, as in every other area of your life, be a role model to your children: Share your triumphs in work and life, but don't shield your child from the process—the successful meeting that was the result of devoting a full weekend to creating and practicing a presentation, for instance. Share the negative feedback and disappointments as well, along with how you overcame those challenges.
Encourage kids to be intelligent risk takers.
Dr. Rende recommends parents "let kids do things where they might not be the stars" and encourage kids to take risks. Doing this helps inculcate a growth mindset in your child—and encourages them to not settle for only doing tasks where they'll perform well. "Failure is an important part of the learning process," Dr. Schwab says. He recommends parents get in the habit of tacking on the word "yet" to negative statements. If your child is crying that he can't fix that truck's wheel, you might subtly inspire him by responding, "You can't fix that truck's wheel—yet!" Practice and perseverance alone can't make a person run as fast as Usain Bolt, Dr. Schwab points out, but that doesn't mean it won't lead to improvements. In everyday life—unlike the Olympics—there's more value to trying and improving than to chasing after the gold medal.
In a child's world, there are a lot of definitive moments of evaluation: grades, competitions, sports victories, and defeats. Perhaps more than adults, children have to deal with rankings and concrete feedback. Dr. Rende describes all of these evaluations as being a statement in a moment of time, and encourages parents to keep kids focused on the process, instead of the result. "We really want to eliminate the word failure, but we also want to eliminate the word success. It's best for kids to focus on process and being in control of their learning," he says. Ask children to think about what they learned from the experience, and encourage them to be open to feedback beyond the grade.
As parents, it can be painful to think of your child experiencing pain, frustration, or failure. But research tells us allowing your child to fail—and then helping them think through how to respond to this setback—allows kids to build the framework they need to learn from the moment, and get insight into how to move on from failure in the future.


This fab new Tea Caddy is the perfect plastic free option to buy your tea, this one is filled with Apple Loves Mint, A layered flavour of sweet apple and papaya, followed by a subtle rose hint and finally fresh mint. Plus you can keep your Suki Tea fresh with these brand new embossed Tea caddies, you can pop these on your shelf and refill them up again and again!
This tin tea caddy is filled with 125g of Apple Loves Mint. This fruit tea is a beautiful tea on the eye, complete with rose buds (so cute). This mint based tea has Apple and playful papaya sweetness, a subtle hint of rose blossom, then a fresh mint finish. Caffeine Free & a well known favourite at Suki HQ! We're so proud of these tins - how pretty are they going to look in your home! Plus it's your plastic-free, refillable option! Under the pretty label, these brand new embossed tea caddies have our iconic sketches on them, perfect to pop up on your shelf and top up again and again, yes please!
Have you got your KeepCup yet?
Service rating : Service was very fast and efficient .
The product arrived promptly and was in perfect order.
Service rating : Always a prompt and reliable service. Have bought from them on various occasions and the service is always good.Plus the tea is great!
Product : Very nice looking tea caddy, but having the lid in two sections that have to be taken off every time to get to the tea is a bit of a... Service rating : Always a prompt and reliable service. Have bought from them on various occasions and the service is always good.Plus the tea is great!
Product : Very nice looking tea caddy, but having the lid in two sections that have to be taken off every time to get to the tea is a bit of a fiddle and the handle on the inner lid sometimes comes off.
Service rating : Really efficient service, as always.
An incorrect product was accidentally sent with the order [there were quite a few different teas ordered]. Mistakes happen and I was impressed in the way that the issue was sorted out quickly and efficiently.
Very happy with the service... Service rating : Really efficient service, as always.
Very happy with the service and the product.
Product : Great way to store this tea. It is in the cupboard inpride of place.
Service rating : everything from ease of ordering to prompt delivery .
i am soon requesting another order.
Product : tea caddies were a gift for my daughter she loved them.


A Sri Lankan air force plane has crashed near the capital, Colombo, killing four people and injuring one.
Air force officials said the plane crashed in bad weather early Friday in Authrugiriya.
Four bodies were recovered from the crash site and an injured survivor has been admitted to a hospital.
There were no reports of injuries on the ground.


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Active - 1945 - 1972 | Born - Sep 29, 1922 in Scranton, PA | Died - Jan 31, 2015 in Los Angeles, CA | Genres - Drama, Crime, Romance, Thriller | Height: 5' 7"
Lizabeth Scott was born Emma Matzo on September 29, 1922 in Scranton, Pennsylvania, the oldest of six children of Mary (Pennock) and John Matzo, who were Bohemian immigrants. Scott attended Marywood Seminary and the Alvienne School of the Theatre in New York City, where she adopted the stage name of "Elizabeth Scott." After doing a national tour of Hellzapoppin, she was discovered by Broadway producer Michael Myerberg in 1942. Scott was the understudy for Tallulah Bankhead in the original Broadway production of "The Skin of Our Teeth." Later in 1943, a Warner Brothers producer, Hal B. Wallis, discovered Scott at her 21st birthday party held at the Stork Club in New York. Wallis scheduled an interview with Scott the following day, but Scott canceled it when a telegram asked her to replace Miriam Hopkins at the Boston production of The Skin of Our Teeth.
In 1944, Scott was invited to Los Angeles by agent Charles K. Feldman, who saw her photos in "Harpers Bazaar." After failed screen tests at Universal, International, then Warner Brothers, Scott again met Wallis, who said he would hire her if he had the power. Scott mistakenly believed that Wallis was as powerful as Jack L. Warner, and did not believe him. The day Scott left for New York, she read in Variety that Wallis resigned from Warner and formed his own production company, releasing films primarily through Paramount. A few months later, she returned from New York and was finally signed to Paramount. Scott appeared in 21 films between 1945 and 1957, though loaned out for half of her films to United Artists, RKO and Columbia. When Scott was introduced to the public in 1945, Paramount publicity releases, exaggerating her background, claimed Scott was a debutante, that her grocer father was an English-born, New York banker, and that her mother was a White Russian aristocrat.
Scott's first film was You Came Along (1945), with Robert Cummings as the leading man. This Ayn Rand scripted film introduced the 23-year old smoky blonde to the American public. In a role originally intended for Barbara Stanwyck, Scott played a US Treasury PR flack that falls in love with an Army Air Force officer, who tries to hide his terminal leukemia. Despite Scott's difficulties with director John Farrow, who lobbied for Teresa Wright, the film remains one Scott's favorites.
On the strength of her first performance, Wallis starred Scott in The Strange Love of Martha Ivers (1946) over Stanwyck's protests. Scott ended up in third place at the top behind Stanwyck and Van Heflin, with Kirk Douglas, in his film debut, billed below the three stars. The film is actually two in one, with Stanwyck and Scott inhabiting two parallel worlds, both linked by Heflin. The female leads have only one brief scene together. The director, Lewis Milestone, swore never to work with Wallis again, who wanted to re-shoot all of Scott's scenes, which Wallis had to do personally. The film boasts an Oscar nominated screenplay by screenplay by Robert Rossen, music by Miklós Rózsa, art direction by Hans Dreier, and costumes by Edith Head.
In Scott's third film, she is cast with Humphrey Bogart in Dead Reckoning (1947). It is Scott's first crack as the archetypal femme fatale. In Dead Reckoning she lures Bogart into a web of lies, and deceit. As is typical in the noir genre, her power is rooted in her beauty and sexual allure. In a departure from his tough guy roles, Bogart plays a wronged man (a noir hero), who struggles to learn the fate of a missing army buddy. Scott is the ex-girlfriend who knows more than she lets on. To keep Bogart from learning the truth about his lost friend and his mysterious double life, Scott seduces him into believing she loves him.
In her fourth film, Scott appeared in the second noir to be shot in color, Desert Fury (1947), a coming-of-age story scripted again by Robert Rossen, based on the novel "Desert Town" by Ramona Stewart. Mary Astor is Fritzi Haller, a casino and bordello owner who runs the corrupt town of Chuckawalla, Nevada. She controls everyone in town, including the judge and sheriff's office. The only one who dares defy Fritzi is her rebellious daughter Paula (Scott), who returns home after being expelled from another private school. When John Hodiak, a professional gambler, comes to town, Paula falls in love with him and trouble ensues. Then newcomers Burt Lancaster and Wendell Corey also appear.
In 1947, Scott was again cast with Lancaster and Kirk Douglas in I Walk Alone (1948), a story of betrayal and vengeance. Scott plays a nightclub singer who provides sympathy and support to Lancaster, recently released from prison to collect a debt, but is double-crossed by the Douglas character. Scott rises above it all and is completely convincing in her portrayal. Scott's character provides a degree of romanticism and humanism usually lacking in film noir.
Film number seven was Pitfall (1948). Dick Powell played a middle-level insurance investigator, married to his high school sweetheart, Jane Wyatt. They living out a comfortable but boring existence in a post-war Los Angeles suburb. Powell is restless and unfulfilled ("I feel like a wheel within a wheel within a wheel") when he receives what at first seems like a routine assignment to recover goods that have been bought with stolen money, a claim paid off by Powell's firm. The items are traced to Mona Stevens (Scott), a model living in Marina Del Rey. Powell is attracted to her, and what starts out as innocent flirtation ends up in a passionate love affair. Powell's journey into a daydream turns into a nightmare as he becomes a prisoner in his own home and kills an assailant, who has been set on his trail by a jealous private investigator, played by Raymond Burr. Meanwhile, the Burr character also blackmails Mona into doing private "fashion shows."
In Too Late for Tears (1949), Scott played an avaricious Jane Palmer, a wife who goes to any length to keep $60,000 that is accidentally thrown in the back of her husband's car. She eventually leaves behind a string of bodies in an effort to keep the money. This film is widely regarded by critics and viewers alike as Scott's best performance and film. Don DeFore, Arthur Kennedy and Kristine Miller also star.
Also of interest is 1949's Easy Living (1949), an intelligent, well-written film about an aging football star, played by Victor Mature, who struggles to adjust to his impending retirement, as well as the pressures brought on by an ambitious and defiant wife (Scott). Lucille Ball is commendable as the sympathetic team secretary and director Jacques Tourneur is first-rate. One of Scott's finest roles, it is a favorite of many of her fans.
By the end of 1949 Scott appeared in nine films, but did not achieved the level of stardom and clout that was needed to maintain her popularity at the box-office. From 1950 on, she and Hal Wallis passed up numerous opportunities to maintain her stardom. Wallis passed up a chance to star Scott in Lillian Hellman's Broadway play "Another Part of the Forest" (1946), later to made into the 1948 film. Scott herself passed up the lead in "The Rose Tattoo (19955), a decision she publicly regretted. She continued to make films such as Dark City (1950), Red Mountain (1951), Two of a Kind (1951), Scared Stiff (1953) and Bad for Each Other (1953). In February 1954, Scott did not renew her contract with Paramount and became a freelancer. She went on to make the western noir Silver Lode (1954) and The Weapon (1956).
In 1957 she retired from the big screen by starring with Elvis Presley in Loving You (1957), Presley's second film. Also starring is newcomer Dolores Hart and veteran Wendell Corey. Since 1957 Scott appeared on a few television shows in the 1960s, during which time she attended the University of Southern California. She eventually became involved in real estate projects. Her legacy lives on however in the growing popularity of classic movies sparked by DVDs and movie channels such as AMC (American Movie Classics) and TCM (Turner Classic Movies).
Early in her career critics claimed she was imitating Tullulah Bankhead and Lauren Bacall.
Was considered for the female leads in Love Letters (1945) and The Affairs of Susan (1945).
Out of all the films she appeared in she considered her favorite film to have been You Came Along (1945).
Asked in a 1996 interview why film noir had become so popular, Scott said: "The films that I had seen growing up were always, 'Boy meets girl, boy ends up marrying girl, and together, they go off into the sunset' - and suddenly in the 1940s, psychology was taking a grasp on society in America. That's when 'they' got into these psychological, emotional things that people feel. That was the feeling of film noir. ... It was a new realm, something very exiting, because you were coming closer and closer to reality".
In the 1948 film "Pitfall" - she performed in the role of a fashion model that a married man and insurance investigator, starring actor Dick Powell, could not resist. And in the 1949 film "Too Late for Tears," also starring Dan Duryea, Scott killed not one but two husbands. The film advertising poster for that movie proclaims, "She got what she wanted ... with lies ... with kisses ... with murder!".
In 1957, the sensuous star released an album of torch songs and romantic ballads titled "Lizabeth".
"In the 1948 film "Pitfall" - she performed in the role of a fashion model that a married man and insurance investigator, starring actor Dick Powell, could not resist. And in the 1949 film "Too Late for Tears," also starring Dan Duryea, Scott killed not one but two husbands. The film advertising poster for that movie proclaims, "She got what she wanted ... with lies ... with kisses ... with murder!".
"When you say ambition to me - that's when you get me started! My greatest ambition is to be the whoppingest best actress in Hollywood. You can't blame a girl for trying! I don't want to be classed as a 'personality'. Something to stare at. I want to have my talents respected, not only by the public but by myself."
"There's no point putting your heart and soul into a part when you know in advance it isn't worth the trouble. I'm not speaking as a dedicated actress. Enthusiasm and hard work are requisites for any job a person undertakes. I tried working just for money once and it made me almost physically ill."


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Photonis sponsors "Photonis Ultimate Forces Challenge"
Photonis sponsors new program "Photonis Ultimate Forces Challenge"
BORDEAUX, FRANCE – Beginning the 18th of April a new extreme sports military-style television program will be broadcast, titled "Photonis Ultimate Forces Challenge". This program contains a mix of extreme sports at a military level produced and broadcast by INSIGHT TV. Photonis is world leader in providing night vision technology for defence and security applications and is the main sponsor of the Ultimate Forces Challenge.
Photonis Ultimate Forces Challenge
The Photonis Ultimate Forces Challenge is an extreme sports competition between teams from different countries consisting of athletes with various defence and security backgrounds. In the competition are seven teams of three men and three women from different countries. The participating teams are from the USA, the Netherlands, Belgium, South Africa, Australia and Canada.
In a period of 10 days, the teams compete against themselves and the other teams. This competition consists of a mix of extreme sports on a military level and the imposing elements of nature. Two episodes were filmed in the middle of the night, where the teams have to use Photonis high performance night vision technology to be able to compete. To film this episode the film crew also mounted Photonis tubes onto their cameras. Filming Recording this way provides the viewer of the Ultimate Forces Challenge (UFC) the inside experience of night vision on the field . The UFC is closely followed by a camera team and is shot in 4k Ultra HD which results in an exciting television program with fifteen episodes combining team spirit, extreme sports battles and the risk of being eliminated from the competition. This television program will be broadcast worldwide through the internet channel of INSIGHT TV, on Astra Satellite and through Vodafone Portugal, Vodafone Spain, Swisscom and Tricolor.
About INSIGHT TV
INSIGHT TV has over 200 hours of UHD content and reaches millions of homes in Europe, Eastern Europe, Asia and the USA. Committed to pushing the boundaries of linear and non-linear broadcasting INSIGHT's content stretches from Adventure Travel, Inspiring Science and Technology and Extreme sports, all shot in UHD. INSIGHT TV's range of programming demonstrates the best of Ultra HD, 4K and HDR. INSIGHT TV's range of programming demonstrates the best of Ultra HD, 4K and HDR. Photonis Ultimate Forces Challenge will be broadcast on television in UK (SKY 664), Germany (HD+ , Waipu and Media Broadcast), Russia (TriColor), Switzerland (Swisscom), Portugal (Vodafone), Spain (Vodafone), South Korea (SKB), India (Reliance Jio), UAB, (Etisalat) and on the website insight.tv.
Photonis will exhibit at SOFINS 2017


For much of its history, artificial intelligence (AI) technologies of all kinds have been relegated to computer science laboratories and arcane academic papers. As discussed many times in this space, only recently has the technology, specifically machine learning techniques, advanced to a state where developers at large can experiment with it without requiring a PhD in computer science.
Johannes Kepler (1571–1630) was, to say the least, a pretty smart guy... in fact, some say he was almost as smart as me. Without the aid of even a dollar-store calculator, he established the physical laws that describe the motion of planets through the heavens. His work predated and inspired Isaac Newton's development of the theory of universal gravitation.
Quick note: this is the final segment to this series. If you haven't seen all the posts click here to start with the first one. There will be a round-up/reflection post up on MIT's blog soon. I'll keep ya updated.
At AndPlus, we're pretty excited about recent advances in artificial intelligence, machine learning, and robotics. That's hardly surprising, considering that we're a pretty nerdy bunch that digs that sort of thing.... and it's literally our job. Of course, as software engineers, we expect to be designing, developing, and using these technologies in new and creative ways.
Science fiction is littered with sentient, omnipresent computers that respond to voice commands. From the fatally flawed HAL 9000 of 2001: A Space Odyssey to the cool, confident Starship Enterprise computer to the snarky, easily distracted Heart of Gold computer in The Hitchhiker's Guide to the Galaxy, humans have imagined anthropomorphic computers that hear all, know all and control all.
What is the "AI Winter"?
As a society, we have grown accustomed to straight-line trajectories for technology: from concept to practical application, relentless performance improvement, and finally to maturity. The internal-combustion engine, personal computer, and smartphone have all followed this path, and have consistently lived up to whatever hype has been generated around them. It's so common that we forget that not every technology follows this trajectory.


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Welcome to Zee Hindustan Live, a blog dedicated to news and current affairs in India. Our aim is to provide our readers with the latest and most accurate information about what is happening in India, and to do so in a fair and unbiased manner.
What is Zee Hindustan Live?
Zee Hindustan Live is a one-stop destination for all the latest news and updates from India and the world. It is a part of the Zee Media Corporation Ltd, which is one of the largest media groups in India. The channel covers a wide range of topics including politics, sports, business, entertainment, and more.
On October 10, 2016, Zee Hindustan Live was launched. This channel is available on all major cable and DTH platforms in India.
The channel has a team of experienced journalists who report from across the country. The channel also has a strong focus on citizen journalism, and encourages people to share their news and views on the channel.
Zee Hindustan Live is committed. To providing accurate and unbiased news coverage. The channel has won several awards for its journalism, including the Indian Television Academy Award for Best News Channel.
So if you're looking for a channel that will keep you updated on all the latest news and developments from India and the world, then Zee Hindustans Live is the perfect choice for you!
Why is Zee Hindustan Live Important?
Zee Hindustan Live is important for many reasons. It is a leading news channel in India that provides breaking news, latest happenings and exclusive interviews. The channel has a team of experienced journalists who cover all the important aspects of a story. Zee Hindustan Live also has a wide reach and is available in all parts of the country. The channel is known for its unbiased coverage. And has won many awards for its journalism.
Zee Hindustan Live is also important because it is one of the few news channels that is available in both Hindi and English. This makes it accessible to a wider audience.
The channel has a website that provides all the latest news and updates. The website is user-friendly and provides a lot of information about the channel.
Zee Hindustans Live is important because it is a leading news channel in India that provides breaking news, latest happenings and exclusive interviews.
What are the Key Features of Zee Hindustan Live?
Zee Hindustans Live is a Hindi language news channel launched by Zee Media Corporation on 28 February 2017. Channel is available on all major distribution platforms in India.
Channel is one of the leading Hindi news channels with a focus on delivering unbiased and impartial news. Viewers can expect accurate and timely information from Channel's team of experienced journalists.
Channel offers a mix of news, current affairs, and features. The channel covers a wide range of topics including politics, business, sports, entertainment, and more.
The key features of Zee Hindustan Live include:
Team of experienced journalists who deliver unbiased and impartial news
A mix of news, current affairs, and features
A wide range of topics covered
Availability on all major distribution platforms in India
How to Use Zee Hindustan Live?
Zee Hindustan Live is one of the most popular live streaming platforms in India. It is a subsidiary of the Zee Group, which is one of the largest media conglomerates in the country. Zee Hindustans Live was launched in 2016 and offers a wide variety of content, including news, sports, entertainment, and more. It is available on smartphones, tablets, laptops, and desktop computers. Users can access the platform through the website, mobile app, and TV app.
Zee Hindustans Live offers a variety of features that make it a great choice for live streaming. The platform has a simple and user-friendly interface that makes it easy to navigate. Additionally, the platform offers a variety of content that is suitable for all age groups.
Zee Hindustan Live is a great choice for those who are looking for a live streaming platform that offers a variety of content and is easy to use.
Zee Hindustan Live is the perfect destination for you. The channel's experienced team of journalists, strong focus on citizen journalism, and commitment to accuracy and unbiased reporting make it the ideal source for news from India and the world.
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But I am not certain that the euphoria about at this time's stock market is totally justified. You would largely use spare money to buy back your stock and would bide your time until the loot flowed in from rising prices. Investing heavily in firm inventory might seem like a great thing when your company and its inventory are doing nicely.
An analysis by Cash As we speak of the highest 30 firms in keeping with their present market capitalisation which underwent inventory splits throughout January 2001 to Might 2010 reveals that precisely half of them gave constructive return through the oneyear interval from the date of stock split.