Bone marrow fat (BMF) is abundant in bone marrow cavity, however, the importance of bone marrow adipocytes have been ignored for a long time. 'Filling' was previously regarded as the main function of BMF. Although both white adipose tissue and bone have been accepted as endocrine organs, there are few concerns about BMF.
Recently, more and more researchers have tried to unravel the long-neglected role of BMF. Like the white adipose tissue, BMF could be a highly active endocrine organ. In addition, region-specific variations of BMF are demonstrated in rat, mouse and human. The distal 'constitutive' BMF (cBMF) is much more abundant and remains stable upon challenges. In contrast, the proximal 'regulated' BMF (rBMF) is much more active and could disappear in some condition. In addition to bone metabolism, BMF is also involved in energy balance, bone metastasis and hematopoiesis.
One of the most attractive functions of BMF is to act as an endocrine organ to regulate the functions of other tissues and organs. Fatty acids, adipokines such as adiponectin and leptin, as well as inflammatory factors such as TNF-α and IL-6 derived from bone marrow adipocytes may exert systemic effects. Studies have shown that patients with type 2 diabetes mellitus (T2DM) have higher levels of saturated fat in the bone marrow cavities. Patients with anorexia nervosa (AN) have lower serum leptin and insulin-like growth factor-1 (IGF1), and higher adiponectin and preadipocyte factor-1 (Pref1), but the relationship with BMF remains to be explored. The role of BMF in metabolic diseases should be systematically analyzed to better understand the endocrine functions of BMF in different pathophysiological environment.
The relationship between BMF and bone metastasis seems to be novel and interesting. Bone metastasis is frequently occurred in breast, prostate and lung cancer. So far, the mechanism is still poorly understood. 'Seed and soil' is traditionally used to explain this phenomenon. Breast, prostate and lung cancer cells (seeds) preferentially metastasize to bone (soils) instead of other organs and tissues. Bone acts as fertile 'soils' for these tumor cells. Although previous studies revealed numerous genes and cytokines related to bone metastasis, many factors are focused on the "seeds" but not the 'soils'. Actually, BMF is the important component of the fertile 'soils' for tumor cells. Under the influence of lipid mobilizing factors released by the 'seeds', BMF releases free fatty acid and thus provides enough energy for "seeds". More importantly, BMF could secret a series of adipokines (adiponectin and leptin, etc.) and inflammatory factors (IL-6,TFN-α, etc.) to enhance cell proliferation and inhibit apoptosis of tumor cells. In this way, BMF could support tumor cells to adhere, colonize and invade bone tissue in bone marrow microenvironment.
In this Research Topic, we welcome original articles, reviews, perspectives, method articles, case reports and hypotheses. The aim of the topic is to explore the novel endocrine functions of BMF and to deepen our understanding of BMF in energy balance, bone remodeling, bone metastasis, hematopoiesis and other endocrine aspects.


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Posted: March 21, 2011 in Play, Review
Tags: Adrian Schiller, Colin Morgan, drama, Our Private Life, Royal Court, Theatre upstairs
Our Private Life by Colombian playwright Pedro Miguel Rozo, is the first play in the Royal Court's International Playwrights Season. Developed in part at their International Residency, Our Private Life or Nuestras Vidas Privadas has been produced in Colombia but appears here in a translation by Simon Scardifield. Set in a traditional Colombian village with dreams of being a town (they've got a shopping centre now and everything.), the story follows a single family who try desperately to appear respectable to those around them, while all the time rumours and secrets are damaging their reputations and home life. As the rumour mill begins it's work, long buried secrets in the family come to the fore, and accusations fly from all angles as the family try to figure out who is telling the truth.
The claustrophobia of home and village life is palpable here, and is pressed on the audience by having characters turn to the audience and reveal their thoughts aloud. This sometimes took the form of comical asides, other times as extended rants. —This was an amusing device at first, the interruptions skillfully incorporated into the action without losing any of the pace or tension, though as the story progressed the device became quite limiting in more dramatic moments.
Our Private Life is an interesting examination of private persona vs. public reputation, though there are flaws. The portrayal of child abuse here is too simplistic, and the idea that there was something to blame for Carlos being gay made me feel a little uncomfortable. (I understand that this was a source of humour for the most part, but it still felt like an odd angle.) The writing was interesting overall, and had some good ideas, though some of the ideas put forward could have been explored in more detail – particularly with regards to the aspect of class, which seemed like more of an issue at the end than it did at the beginning. Despite these little niggles, though, I found the writing snappy and smart, and would definitely like to see more work from Rozo.
The set is a traditional Colombian kitchen, though seems a little superfluous. I couldn't help but think that a simpler set would have been welcome in the confined studio space and would not have hindered the performances in any way.
The characters were all somewhat distorted, to both comic and tragic effect. Relationships changed rapidly, and characters twisted themselves in secrets and lies as the fast paced story raced towards its conclusion. There were fine performances from all involved, most notably Anthony O Donnell's forlorn and uncommunicative father, around whom the drama unfolds, and Colin Morgan as the gay, bi-polar, compulsive fantasist, Carlos. Morgan, in particular, had some stand out moments, and certainly hasn't lost any of his edge since his 2008 appearances at the Young Vic.
Perhaps the funniest scene in the play is when Carlos returns to a family dinner upset about some long buried memories. As his family argue loudly around him, he starts crying in the most dramatic and hysterical way possible. He then proceeds to attempt suicide using the nearest piece of cutlery, which happens to be a butter knife. It is simultaneously hilarious and shocking, which perhaps sums up the whole play.
Our Private Life is a darkly funny little piece, and I'm sure if I have seen this show three or four years ago I would have hailed it as revolutionary, edgy, and unsettling. However, I can't help but be reminded of a quote from the inimitable Tony Kushner. "It's something you learn after your second theme party: it's all been done before."
Frankenstein @ National Theatre
Tags: Benedict Cumberbatch, Danny Boyle, Frankenstein, Jonny Lee Miller, National, Nick Dear, Olivier, theatre
Jonny Lee Miller as The Creature
Benedict Cumberbatch as Frankenstein
Walking into the Olivier Theatre we were greeted by a sonorous bell clanging harshly above us – on stage, a circular womb moved slowly around the revolve, something unseen shifting slowly inside. Above us, hundreds of light bulbs gently pulsed, growing brighter and dimmer in a gentle rhythm. This is the world Danny Boyle has created, and it's immediately compelling.
Jonny Lee Millers performance as the Creature is a revelation. His painful entry into the world is nothing short of astonishing as he bursts, completely naked, from his vertical 'womb'. The following 15 minutes is simply the Creature learning how to use his newfound body. His spastic convulsions, leading slowly to his first, joyous, stuttering steps is incredible to watch. The childlike laugh as he walks proudly around the stage for the first time was replicated by many audience members. We were with him by that point – we saw his innocence, and his childish glee at the beauty of the world around him, and almost dreaded what was to come.
Both actors give an outstanding performance. Having only seen it in this configuration, I cannot comment on Cumberbatch as the Creature, but Miller seemed to fill the role with equal menace and naïvety, while Cumberbatch as Frankenstein was a cold and calculating creation – completely devoid of sentiment or love. Cumberbatch and Miller seem to complement each other perfectly – both creating one warped whole as the servant and the master
I was in the rare position for this show, coming to the show with next to no knowledge of the plot. It was a blind spot I can't explain – all I knew of Frankenstein was the very basics. Mad doctor creates a monster from spare body parts. I had no idea the story would pack such a punch. Nick Dear's adaptation of Mary Shelley's story has come under scrutiny in other reviews, with many seeing it as too schmalzy – I agree to a point (the "what is love?" question did make me wince), but overall I found this script intelligent, witty and humane. My only criticism is that the eponymous Frankenstein wasn't in it nearly enough. The decision to pursue perfection in the Bride is fascinating, and made me miss the initial creation of the Creature; more focus on Frankenstein's god complex wouldn't have been out of place.
As it is, the script suggested that the creature could have represented all that was good in the Doctor, but circumstance warped him into a cruel misrepresentation. Boyle and Dear appear to constantly pose a question to the audience – who is the real monster? The disfigured, frightening creature, or Doctor Frankenstein, who forgoes love and life in favour of creating perfection, or perhaps it is the society that shuns the Creature. The issue is not really resolved – though by the end it doesn't matter. Boyle created a 'shiver down the spine' moment to close on, as the monster, now fully in control of his patched-together body, marches proudly into the snowy wasteland, while Frankenstein, physically and mentally exhausted, crawls slowly behind, chasing him to the bitter end. It is a wonderful change of fortunes, and one that stays with you long after leaving the theatre.
Journey's End @ Oxford Playhouse
Posted: March 15, 2011 in Play
Tags: Journey's End, Oxford Playhouse, R C Sherriff
After a successful run in the West End in 2007, David Grindley has revived his Olivier-nominated, Tony and Drama Desk award winning production production of Journey's End for a 9 month UK tour.
Written by R.C. Sherriff in 1928, Journey's End is an honest and heartbreaking story of life in the trenches based on Sherriff's own experiences during the First World War. The story follows the young officer Raleigh, newly arrived on the front line in the days leading up to the last great German offensive of the First World War. Eager to please his fellow officers and new comrades, he meets Osborne, Hibbert, and his childhood friend and hero Stanhope. After three years on the front, and having lost everyone he knew during that time, Stanhope is teetering on the edge of a breakdown.
This production was impeccable. The set and lighting allow the audience to be sucked into what life was like for these men. The one room we saw was kitted out to the exact dimensions of an officers trench, while the lighting was dim, flickering, and gloomy. The sound, something so easily ignored under normal circumstances, provided moments of theatrical wonder as we heard the dull thud of bombs above us, followed by the distant patter of gunfire. This constant but distant presence was an incredible feat, and meant the louder more dramatic moments came as even more of a shock.
The acting was the real star of the show here. R C Sherriff has created a fascinating dynamic between the characters, brought vividly to life by this incredible cast. I could go into detail about each performance in this show, but there is little point. Suffice to say that each member of the cast gives an incredible performance. Truly incredible. The juxtaposition of comedy and tragedy is as gripping as it is realistic, and there isn't a single weak link in the cast, however there were two stand outs. Dominic Mafham's Osborne is portrayed with quiet dignity, and provides moments of wonderful pathos – most notably when speaking with Stanhope in the hours leading up to suicidal raid on the enemy trench. Even in this, the moment of is inevitable death, his main thoughts lie with his new comrade, the 18 year old Raleigh "There's no need to tell him, it's murder." he says almost genially. It sends a shiver down the spine.
I cannot talk about this show, however, without singling out James Norton. His Captain Stanhope teeters on the brink of sanity in a way I just hadn't imagined when reading the play (something I have done many, many times.) Clinging to the vaguest sense of himself, Stanhope struggles with his demons with a quiet intensity that is almost painful to watch. The whiskey he drinks is now the only thing that makes his existence tolerable, and as he tries desperately to appear unaffected to his comrades, we see heartbreaking moments of revelation as Stanhope cannot help but show how much three years of war has affected him. It is a stunning and beautiful performance, and one that will stay with me for a very long time.
Those who know the script will know the heart-breaking and tragic end to this play, but David Grindley's vision gives the final scene a raw intensity that will leave audience members stunned. I have never experienced leaving a theatre, with six-hundred people around me, in complete silence, every person stunned and awed by what they had seen.
The script is still as relevant as it ever was and, sadly, still has a valid message about the futility of war. If you only see one production this year, make it this one.

redpajama_set_name: RedPajamaCommonCrawl


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First and foremost, thanks to Ed Victor for believing.
To David, Jan, Sergei, Jacob, Alex, Carley, Sara, Fikhirini, Rene, Paulo, and Jiang for the translations.
To Dr. Zane and his team for their field research.
To James "The Colonel" Lofton for his strategic perspective.
To Professor Sommers for the data.
To Sir Ian for the use of his library.
To Red and Steve for their help with the cartography.
To Manfred for a look through an old museum's basement.
To Artiom for your honesty and courage.
To "Joseph" and "Mary" for making a stranger feel welcome in their country.
To Chandara, Yusef, Hernan, Taylor, and Moishe for the photographs.
To Avi for the transcripts.
To Mason for the footage.
To M.W. for his illustrations.
To Tatsumi for his time and patience.
To Josene for the tour.
To Captain Ashley and the crew of theSau Tome for proving the point.
To Alice, Pyotr, Hugh, Telly, Antonio, Hideki, and Dr. Singh for the interviews.
To Annik for her brilliance with pen and sword.
And, of course, to all those who have asked to remain anonymous. The lives you have helped to save will be your greatest credit.
The dead walk among us. Zombies, ghouls—no matter what their label—these somnambulists are the greatest threat to humanity, other than humanity itself. To call them predators and us prey would be inaccurate. They are a plague, and the human race their host. The lucky victims are devoured, their bones scraped clean, their flesh consumed. Those not so fortunate join the ranks of their attackers, transformed into putrid, carnivorous monsters. Conventional warfare is useless against these creatures, as is conventional thought. The science of ending life, developed and perfected since the beginning of our existence, cannot protect us from an enemy that has no "life" to end.
Does this mean the living dead are invincible? No. Can these creatures be stopped? Yes. Ignorance is the undead's strongest ally, knowledge their deadliest enemy. That is why this book was written: to provide the knowledge necessary for survival against these subhuman beasts.
Survival is the key word to remember—not victory, not conquest, just survival. This book will not teach you to become a professional zombie hunter. Anyone wishing to devote their life to such a profession must seek training elsewhere. This book was not written for the police, military, or any government agency. These organizations, if they choose to recognize and prepare for the threat, will have access to resources far beyond those of private citizens. It is for them that this survival guide was written—private citizens, people with limited time and resources who nonetheless have refused to be victimized.
Naturally, many other skills—wilderness survival, leadership, even basic first aid—will be necessary in any encounter with the living dead. These were not included in this work, as they can be found in conventional texts. Common sense will dictate what else should be studied to complement this manual. Subsequently, all subjects not directly related to the living dead have been omitted.
From this book, you will learn to recognize your enemy, to choose the right weapons, about killing techniques, and about preparation and improvisation when on the defense, on the run, or on the attack. It will also discuss the possibility of a doomsday scenario, in which the living dead have replaced humanity as the planet's dominant species.
Do not discount any section of this book as hypothetical drama. Every ounce of knowledge was accumulated by hard-won research and experience. Historical data, laboratory experiments, field research, and eyewitness accounts (including those of the author) have all served to create this work. Even the doomsday scenario is an extrapolation of true-life events. Many actual occurrences are chronicled in the chapter of recorded outbreaks. Studying them will prove that every lesson in this book is rooted in historical fact.
That said, knowledge is only part of the fight for survival. The rest must come from you. Personal choice, the will to live, must be paramount when the dead begin to rise. Without it, nothing will protect you. On the last page of this book, ask yourself one question: What will you do—end your existence in passive acceptance, or stand up and shout, "I will not be their victim! I will survive!" The choice is yours.
He comes from the grave, his body a home of worms and filth. No life in his eyes, no warmth of his skin, no beating of his breast. His soul, as empty and dark as the night sky. He laughs at the blade, spits at the arrow, for they will not harm his flesh. For eternity, he will walk the earth, smelling the sweet blood of the living, feasting upon the bones of the damned. Beware, for he is the living dead.
What is a zombie? How are they created? What are their strengths and weaknesses? What are their needs, their desires? Why are they hostile to humanity? Before discussing any survival techniques, you must first learn what you are trying to survive.
We must begin by separating fact from fiction. The walking dead are neither a work of "black magic" nor any other supernatural force. Their origin stems from a virus known as Solanum, a Latin word used by Jan Vanderhaven, who first "discovered" the disease.
Solanum works by traveling through the bloodstream, from the initial point of entry to the brain. Through means not yet fully understood, the virus uses the cells of the frontal lobe for replication, destroying them in the process. During this period, all bodily functions cease. By stopping the heart, the infected subject is rendered "dead." The brain, however, remains alive but dormant, while the virus mutates its cells into a completely new organ. The most critical trait of this new organ is its independence from oxygen. By removing the need for this all-important resource, the undead brain can utilize, but is in no way dependent upon, the complex support mechanism of the human body. Once mutation is complete, this new organ reanimates the body into a form that bears little resemblance (physiologically speaking) to the original corpse. Some bodily functions remain constant, others operate in a modified capacity, and the remainder shut down completely. This new organism is a zombie, a member of the living dead.
Unfortunately, extensive research has yet to find an isolated example of Solanum in nature. Water, air, and soil in all ecosystems, from all parts of the world, have turned up negative, as have their accompanying flora and fauna. At the time of this writing, the search continues.
The timetable below outlines the process of an infected human (give or take several hours, depending on the individual).
Hour 5: Fever (99–103 degrees F), chills, slight dementia, vomiting, acute pain in the joints.
Hour 8: Numbing of extremities and infected area, increased fever (103–106 degrees F), increased dementia, loss of muscular coordination.
Solanum is 100 percent communicable and 100 percent fatal. Fortunately for the human race, the virus is neither waterborne nor airborne. Humans have never been known to contract the virus from elements in nature. Infection can occur only through direct fluidic contact. A zombie bite, although by far the most recognizable means of transference, is by no means the only one. Humans have been infected by brushing their open wounds against those of a zombie or by being splattered by its remains after an explosion. Ingestion of infected flesh (provided the person has no open mouth sores), however, results in permanent death rather than infection. Infected flesh has proven to be highly toxic.
No information—historical, experimental, or otherwise—has surfaced regarding the results of sexual relations with an undead specimen, but as previously noted, the nature of Solanum suggests a high danger of infection. Warning against such an act would be useless, as the only people deranged enough to try would be unconcerned for their own safety. Many have argued that, given the congealed nature of undead bodily fluids, the chances of infection from a non-bite contact should be low. However, it must be remembered that even one organism is enough to begin the cycle.
Solanum is fatal to all living creatures, regardless of size, species, or ecosystem. Reanimation, however, takes place only in humans. Studies have shown that Solanum infecting a non-human brain will die within hours of the death of its host, making the carcass safe to handle. Infected animals expire before the virus can replicate throughout their bodies. Infection from insect bites such as from mosquitoes can also be discounted. Experiments have proven that all parasitic insects can sense and will reject an infected host 100 percent of the time.
It has been suggested that fresh human corpses could reanimate if Solanum were introduced after their demise. This is a fallacy. Zombies ignore necrotic flesh and therefore could not transfer the virus. Experiments conducted during and after World War II (see "Recorded Attacks") have proven that injecting Solanum into a cadaver would be futile because a stagnant bloodstream could not transport the virus to the brain. Injection directly into a dead brain would be equally useless, as the expired cells could not respond to the virus. Solanum doesnot create life—it alters it.
its disposal. It cannot create new ones out of thin air. But it can, as you will see, use these tools in unconventional combinations, or push their durability beyond normal human limits.
The eyes of a zombie are no different than those of a normal human. While still capable (given their rate of decomposition) of transmitting visual signals to the brain, how the brain interprets these signals is another matter. Studies are inconclusive regarding the undead's visual abilities. They can spot prey at distances comparable to a human, but whether they can distinguish a human from one of their own is still up for debate. One theory suggests that the movements made by humans, which are quicker and smoother than those of the undead, is what causes them to stand out to the zombie eye. Experiments have been done in which humans have attempted to confuse approaching ghouls by mimicking their motions and adopting a shambling, awkward limp. To date, none of these attempts have succeeded. It has been suggested that zombies possess night vision, a fact that explains their skill at nocturnal hunting. This theory has been debunked by the fact that all zombies are expert night feeders, even those without eyes.
There is no question that zombies have excellent hearing. Not only can they detect sound—they can determine its direction. The basic range appears to be the same as that for humans. Experiments with extreme high and low frequencies have yielded negative results. Tests have also shown that zombies are attracted by any sounds, not just those made by living creatures. It has been recorded that ghouls will notice sounds ignored by living humans. The most likely, if unproven, explanation is that zombies depend on all their senses equally. Humans are sight-oriented from birth, depending on other senses only if the primary one is lost. Perhaps this is not a handicap shared by the walking dead. If so, it would explain their ability to hunt, fight, and feed in total darkness.


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U.S. Team
Matt Gulizia
Program Manager, France
mgulizia@studiesabroad.com
Associate Director, Enrollment Management
Originally from Omaha, NE, Matt earned his B.S. in International Business, B.A. in French, and M.Ed. in Higher Educational Administration from the University of Nebraska - Lincoln. He studied in Paris through ISA as an undergraduate, which sparked his passion for education abroad and the French language and culture. In his spare time, he likes practicing yoga, baking, and exploring different coffee shops in whichever city he finds himself. Matt finds study abroad to be one of the best ways to contribute to personal growth and loves being a part of that for his students.
PARIS TEAM
Annamaria Antonopoulos
Resident Director, France
Resident Director
A longtime resident of Paris, Annamaria Antonopoulos is an ideal Resident Director. From personal experience, education, and professional background, she is keenly familiar with all aspects of the study abroad experience. Her degrees include a Bachelors in French Literature and a Masters in French For Foreigners. Before joining ISA, Annamaria did similar work, teaching French Language, Culture, and History to Hungarian and Romanian professors and American students living in Paris. Her current position allows her to further demonstrate her ability to work with people by coordinating a meaningful ISA program. When interacting with students, her characteristics shine through: passionate, organized, methodic, hardworking, enthusiastic, easy-going, fun, and always smiling!
Gabriel Antonopoulos
Assistant Director, France
Gabriel Antonopoulos Originally joined ISA Paris team in 2003 to assist with technical operations and coordinate Customized Programs.Today he's Assistant Director, Director of Student Services, Paris Customized Programs Manager and also in charge of the administrative tasks.He have a Master's degree in Mathematical Sciences and Data Processing from the University of Paris with an undergraduate degree in Business and he have taught Computer Science courses in vocational training programs. Prior to joining ISA he was Director of Marketing and Commerce for High Tech Solutions. Gabriel he's a French citizen fluent in French and Greek with working knowledge of English.He traveled throughout several countries and he is in Paris since 1973.
Delphine Lechevalier
Homestay & Student Services Coordinator, France
Homestay & Student Services Coordinator
Delphine was born and raised in the Parisian region. At Panthéon-Sorbonne University, she studied Art History and Tourism. As an intern, she had the opportunity to be a guide, and now she is very happy helping students discover Paris. She loves Paris and is very excited to be able to share the French culture and patrimony with her students. She also plays the flute in an orchestra, and she is always happy to bring students to musical concerts or cultural activities -especially the ballet at the Paris Opéra Hall!


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Die Österreichische Auflagenkontrolle (ÖAK) ist ein auf freiwilliger Mitgliedschaft beruhender Verein bestehend aus Werbeagenturen und Printmedien. Ziel ist es, vergleichbare, objektiv ermittelte Unterlagen über die Verbreitung von Printmedien und anderen Werbeträgern zu beschaffen, bereitzustellen und zu veröffentlichen. Aufgabe ist die Veröffentlichung und Prüfung der Auflagen von Printtiteln, jedoch nicht die Bewertung oder Beurteilung von Daten.

Die ÖAK bietet Informationen über die detaillierte Auflagenstruktur eines Printmediums. Sie liefert exakte Messzahlen auch für Medien, die nicht im Rahmen anderer Erhebungen wie der Österreichischen Media-Analyse erfasst werden. Mediale Entwicklungen können durch die halbjährliche Veröffentlichung der Auflagedaten aufgegriffen werden.

Geschichte
Von 1956 bis 1994 an wurden die Auflagenzahlen – nur die Druckauflage – durch den Verband österreichischer Zeitungsverleger (VÖZ) und den Zeitschriftenverband kontrolliert, im Rahmen der konstituierenden Generalversammlung im Jahr 1994 wurde die ÖAK gegründet. Gründungsmitglieder waren zehn Tageszeitungen, neun Wochenzeitungen, zehn Zeitschriften und Magazine und sechs Agenturen. Im Jahr 1994 gab es insgesamt 35 Mitglieder mit 29 Titeln, die sich einer Prüfung durch die ÖAK unterzogen.

Im Jahr 2000 sind die Titel Neue Kronen Zeitung und Kurier der Österreichischen Auflagenkontrolle beigetreten. In der ÖAK-Reform 2003/2004 gab es eine Neuordnung des Vertriebs. Im Jahr 2007 begann nach dem Austritt der Mediaprint aus der ÖAK der Erneuerungsprozess. 2008 wurden die Richtlinien 6.0 beschlossen, dies führte zum Wiedereintritt der Verlagsgruppe News und der Mediaprint. Im Jahr 2013 fand eine Auflagenstrukturstraffung statt. Die ÖAK hat nach 20-jährigem Bestehen im Jahr 2014 insgesamt 134 Mitglieder mit 487 Titel.

Gremien
Präsidentin des Vereins ist Marcela Atria, Vorsitzender des Beirats Silvia Lieb (Schlüssel Verlag J.S.Moser GmbH). Vizepräsidenten sind Thomas Kralinger (Kurier Zeitungsverlag und Druckerei GmbH), Robert Langenberger (Styria Medienhaus Lifestyle GmbH & Co KG) und Erwin Vaskovich (Publicis Media Austria GmbH).

Verfahren
Basis für die Erhebung der ÖAK-Auflagedaten sind die ÖAK-Richtlinien. Ziel der ÖAK ist es, die unterschiedlichen Vertriebswege differenziert darzustellen. Die ÖAK erfasst Tageszeitungen, Sonntags-/Feiertagszeitungen, Beilagen, Wochenzeitungen und Magazine, Mitglieder- und Kundenzeitschriften, Fachzeitschriften, Gratiszeitungen sowie Jahrbücher.

Die Verlage der teilnehmenden Medien melden der ÖAK halbjährlich ihre durchschnittlichen Auflagenzahlen. Jeder Titel wird einmal im Jahr einer Prüfung der Daten durch ein unabhängiges Wirtschaftsprüfungsinstitut unterzogen. Die Kontrolle der Auflagenzahlen erfolgt durch Grant Thornton Austria GmbH Wirtschaftsprüfungs- und Steuerberatungsgesellschaft und Mazars Austria GmbH.

10 % der Titel werden für eine zweite Prüfung gelost. Geprüft werden die gemeldeten Zahlen. Nur nachweisbare Verbreitungen und Verkäufe dürfen in der ÖAK berücksichtigt werden. Nach abgeschlossener Prüfung gibt es einen Bericht über das Ergebnis der Prüfung. Dieser Bericht wird durch den Verlag unterfertigt und an die ÖAK-Geschäftsstelle übermittelt. Kommt es zu Abweichungen oder Interpretationsfragen mit dem Verlag, tagt der Prüfausschuss.

Erst nach Veröffentlichung der Daten werden diese durch das Wirtschaftsprüfungsinstitut geprüft. Werden Abweichungen zu den bereits veröffentlichten Daten festgestellt, werden die Korrekturen in der Korrekturliste veröffentlicht.

Reformen
Nach einem ca. ein Jahr dauernden Ernerungsprozess sind per 2008 neue Richtlinien in Kraft getreten. Die markantesten Änderungen sind der Wegfall der Summe Verbreitete Auflage, bei der Verkauften Auflage gibt es eine Differenzierung in Anteil Großverkauf 17,5 % oder 35 %, beim Großverkauf gibt es eine getrennte Vertriebs- und Erlösaufteilung, bei den Meldekategorien wird eine Trennung von Kauf- und Gratiszeitungen eingeführt, ebenso ist der Zielgruppenversand neu. Beim Gratisvertrieb wird in adressiert, unadressiert, Gratisentnahme und Gratisverteilung unterteilt.

Durch diese Reform soll der werbenden Wirtschaft ein qualitativ differenziertes Bild vermittelt werden, ob der jeweilige Leser für die Inhalte bezahlt, oder sie als Geschenk bekommt. Damit soll dem willkürlichen Erhöhen von Auflagezahlen durch Verteil-Aktionen Einhalt geboten werden. Weiters wurde der Erscheinungsrhythmus der Zahlen von viertel- auf halbjährlich umgestellt.

Im Jahr 2013 gibt es eine Auflagenstrukturstraffung (Richtlinien 7.0).

Wegfall:
 Summe Direktverkauf
 Summe Großverkauf (Erlösaufteilung Großverkauf, GV Einzelausgaben adressiert, GV Einzelausgaben unadressiert)
 Zielgruppenversand
 Gratisvertrieb: unadressiert an Haushalte und Gratisverteilung

Neu:
 Vertrieb aus Remissionen als eigene Auflagenkategorie: Die Meldung dieser Auflagenkategorie ist ausschließlich Monatstiteln vorbehalten und darf nur bis zu einem Monat nach Einholung weiterverbreitet werden. Es erfolgt keine Erlösprüfung
 Verbreitete Auflage: Druckauflage abzüglich Restauflage und Ausland
 Bord-, Lesezirkel und Hotelexemplare: sind nicht mehr in die Verkaufte Auflage einzubeziehen, es erfolgt keine Erlösprüfung
 Verwendung des Begriffes "Verkaufte Auflage hiervon Großverkauf max. 35 %" wird eingeführt.

Mit 1. Jänner 2014 treten die Richtlinien 7.1 in Kraft. Diese stellen eine redaktionelle Überarbeitung dar.

ePaper
Nachdem im 1. Halbjahr 2014 der Pilot ePaper in der ÖAK abgeschlossen werden konnte, werden ab dem 2. Halbjahr 2014 erstmals verkaufte E-Paper Exemplare und Unique Clients ausgewiesen. Mit dem Hinweis "davon ePaper" wird die Verkaufte und Verbreitete Auflage der ePaper-Ausgabe dargestellt. Die Unique Clients werden vorerst in einer gesonderten Zeile ausgewiesen. Mit dem 1. Halbjahr 2015 gibt es geringe Änderungen in der Auflagenstruktur: Einzelverkauf inkl. ePaper, Großverkauf adressiert inkl. ePaper, Großverkauf unadressiert inkl. ePaper.

Mit dem 1. Halbjahr 2017 gibt es eine Änderung in der Darstellung Großverkauf adressiert inkl. ePaper. Es wird nun Großverkauf unadressiert "davon ePaper" dargestellt. Weiters werden nun die Gratisexemplare von ePaper in die Printauflage eingerechnet.

Ab dem 1. Halbjahr 2019 erfolgt eine weitere Differenzierung: Analog zu Abonnements, Großverkauf und Gratisvertrieb erfolgt eine transparente Ausweisung der ePaper Exemplare auch in der Kategorie Einzelverkauf (Einzelverkauf davon ePaper).

Großverkauf adressiert inkl. ePaper und Großverkauf unadressiert davon ePaper werden zu einer transparenten Summe zusammengefasst. Zusätzlich gibt es nun die Sonstige bezahlte Auflage davon ePaper. Auch wird eine zusätzliche Summe ausgewiesen, die die im Ausland verbreiteten Exemplare inkludiert (Verbreitete Auflage inkl. Ausland davon ePaper).

Paid Content (bezahlte Nutzungsrechte)
Das Meldeverfahren Paid Content dient der Feststellung der Verbreitung kostenpflichtig digitaler Nutzungsrechte von Apps und Werbeangeboten, die als Werbeträger vermarktet werden.
Die ÖAK veröffentlicht die gemeldeten Paid-Content-Produkte halbjährlich – erstmals ab dem 2. Halbjahr 2020 – wobei keine Summierungen mit Print/ePaper-Zahlen durchgeführt oder beworben werden dürfen. Die Ausweisung sind auf der ÖAK-Website unter Paid Content/Bezahlte Nutzungsrechte zu finden.

Definitionen
Die ÖAK unterscheidet ferner zwischen:

 Druckauflage – Stückanzahl der gedruckten Exemplare abzüglich der Druckmakulatur
 Einzelverkauf – Exemplare, die zu einem Preis von nicht weniger als 30 % des regulären Verkaufspreises an Endbezieher verkauft werden, wobei es drei Erlösgruppen (80 – 100 %, 51 – 79 %, 30 – 50 %) gibt.
 Abonnierte Exemplare – alle Exemplare, die zu einem Abonnementpreis von nicht weniger als 30 % des regulären Abopreises an feste Einzelbezieher (max. 5 Exemplare je Zahler) geliefert werden, Unterscheidung in drei Erlösgruppen. Zugaben, Prämien, Naturalrabatte werden Rabatten gleichgestellt.
 Großverkauf adressiert bzw. unadressiert – Für die Abgrenzung adressiert bzw. unadressiert gilt die Grenze von fünf Exemplaren je Lieferadresse
 Gratisvertrieb – alle Gratis vertriebenen Exemplare, gestaffelt nach Untergruppen (Gratis adressiert, Gratisentnahme, Sonstiger Gratisvertrieb)
 Sonstige bezahlte Auflage – alle gegen Entgelt verbreitete Exemplare, die weder dem Direktverkauf, dem Großverkauf, dem SB-Verkauf oder den Mitglieder-, Kundenexemplaren zuzurechnen sind; dies sind Verkäufe, für die weniger als 30 % des regulären Einzelverkaufs- bzw. Abonnementpreises erlöst werden
 Verkaufte Auflage – Summe Abonnements, Einzelverkauf und Großverkauf adressiert, Großverkauf unadressiert und SB-Sonntag, wenn der Anteil des Großverkaufes an oben angeführter Summe nicht größer ist als 35 %
 Verbreitete Auflage – Druckauflage minus Auslands- minus Restauflage
 ePaper – Digitale Ausgabe eines Printmediums, die eine abgeschlossene Einheit darstellt und für die mindestens die gültige Anzeigenbelegungseinheit des Printtitels gilt.
 ePaper Unique Client – mobiles Endgerät bzw. Browser, mit dem der technische Zugriff auf ePaper Ausgaben erfolgt. Die technische Zählung erfolgt durch die Österreichische Webanalyse.

Kritik
Ein Hauptkritikpunkt, der gegen die Glaubwürdigkeit und Aussagekraft der ÖAK-Daten bis 2007 vorgebracht wurde, ist die mangelnde Bereitschaft österreichischer Medien, an ihr teilzunehmen. Das macht sich vor allem am Markt der Wochenzeitungen bemerkbar. Da die gesamte NEWS-Gruppe inklusive Profil und Trend aufgrund von Streitigkeiten bezüglich der Prüfung nicht mehr Mitglied bei der ÖAK waren, wurden diese Titel nicht gelistet. Damit war eine Vergleichbarkeit für die Werbewirtschaft nicht gegeben. Im März 2007 kündigte die Mediaprint (vertreibt u. a. Kronen-Zeitung und Kurier) an, aus der ÖAK auszusteigen und eine neue Auflagenkontrollorganisation aufzubauen.
Nach dem Austritt der Mediaprint im Frühjahr 2007 wurde ein Erneuerungsprozess innerhalb der ÖAK gestartet. Dieser konnte nach monatelangen Verhandlungen 2008 erfolgreich abgeschlossen werden und die Verlagsgruppe NEWS sowie auch die Mediaprint kehrten wieder in die ÖAK zurück. Die beiden Verlagshäuser weisen somit ihre Zahlen wieder in der ÖAK aus.

Eine weitere Kritik betrifft die grundsätzliche Parteilichkeit eines Auflagenkontrollorgans, das sich ausschließlich aus Medien und den Werbeagenturen zusammensetzt. Da sowohl Medien als auch Werbeagenturen dasselbe Ziel verfolgen, sind sie nicht geeignet sich gegenseitig zu kontrollieren. Die Medienhäuser wollen möglichst hohe Verkaufszahlen gelistet wissen, aber auch die Werbeagenturen sind daran interessiert, dass jene Medien, hohe Auflagen- und Verkaufszahlen liefern, in denen sie für ihre Kunden Inserate buchen. Denn das kommt einer Legitimation ihrer Arbeit gleich. Dass zusätzlich die Werbeagenturen für das Buchen von Inseraten nicht nur durch die Kunden bezahlt werden, sondern auch von den jeweiligen Medien 20 % Provision erhalten, verschärft die schiefe Optik. Dieses Faktum kann Korruption erleichtern. Diese problematische Doppelbindung der Werbeagenturen könnte man zumindest in der ÖAK aufheben, wenn auch die Werbekunden innerhalb der ÖAK Mandate belegen dürften. Schließlich sind sie die Hauptadressaten der Auflagenkontrolle.

IFABC
Die International Federation of Audit Bureaux of Circulations ist der internationale Dachverband der nationalen Auflagen-Kontroll-Institutionen. Die ÖAK wurde unmittelbar nach ihrer Gründung in die IFABC aufgenommen. Ziel der IFABC ist die Weiterentwicklung der Kontrollmechanismen für die Auflagenkontrolle und der internationale Erfahrungsaustausch unter den Mitgliedern. In zweijährigem Rhythmus tritt die Generalversammlung zusammen. Zusätzlich treffen sich das europäische sowie das asiatisch-pazifische Chapter der IFABC zu jährlichen Meetings. Präsident der IFABC ist Jerry Wright (ABC UK & Ireland).

Seit dem Jahr 2004 werden die administrativen Agenden der IFABC von dem in Malaysia befindlichen Sekretariat betreut. Dieses IFABC-Büro stellt die erste Anlaufstation für IFABC-Mitglieder dar und steht für Anfragen natürlich auch den ÖAK-Mitgliedern jederzeit zur Verfügung.

Siehe auch
 Liste österreichischer Zeitungen
 Österreichische Media-Analyse
 Österreichische Webanalyse
 Radiotest
 TELETEST
 Verband Österreichischer Zeitungen

Weblinks
 OEAK Website mit Daten-Veröffentlichung

Einzelnachweise

Auflagenkontrolle
Verein (Österreich)

redpajama_set_name: RedPajamaWikipedia


text:
package de.fischer.lesson02.permCheck;

import java.util.HashSet;

public class Solution {
    public int solution(int[] A) {

        int expectedSum = 0;
        int actualSum = 0;
        HashSet<Integer> usedNums = new HashSet<>();

        for (int i = 0; i < A.length; i++) {
            int num = A[i];
            expectedSum = expectedSum + (i+1);
            actualSum = actualSum + num;

            if (usedNums.contains(num)) {
                return 0;
            } else {
                usedNums.add(num);
            }
        }

        if (actualSum == expectedSum) {
            return 1;
        } else {
            return 0;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Change to field name of gpkg layer not retained using ogr I am trying to update the names of the fields in a gpkg layer using the ogr Python package. I have gotten most of the way using this answer to another question on the subject using SetName on the fieldDefn:
    gpkg_layer = gpkg_src.GetLayerByName(layer_name)
    layer_defn = gpkg_layer.GetLayerDefn()
    for i in range(layer_defn.GetFieldCount()):
        fieldDefn = layer_defn.GetFieldDefn(i)
        fieldName = slugify(fieldDefn.GetName(), separator='_')
        fieldDefn.SetName(fieldName)

However, after updating the fields the changes are not retained if I reopen the gpkg - the names have reverted back to what they were before.
I am opening the file with update=True. I also tried to call SyncToDisk on the Layer.

A: GeoPackage is a SQLite database and renaming columns in SQLite is not trivial. Traditionally it required to do all this (from https://www.sqlitetutorial.net/sqlite-rename-column/)

First, start a transaction.
Second, create a new table whose structure
is the same as the original one except for the column that you want to rename.
Third, copy data from the original table to the new table.
Fourth, drop the original table.
Fifth, rename the new table to the original table. Finally, commit the transaction.

GDAL has for some time had an own SQL function to help with renaming and SQLite itself has now native support for standard SQL way of ALTER TABLE ... RENAME COLUMN ... TO ...
You can find Python code for renaming from https://github.com/OSGeo/gdal/blob/master/autotest/ogr/ogr_gpkg.py
Essential lines:
ogr.Open(dbname, update=1)
    ds.ExecuteSQL('ALTER TABLE "weird2\'layer""name" RENAME COLUMN "foo" TO "bar"')

Some changes to SQLite schema may get so complicated that it is faster and at least easier to avoid errors by creating a new GeoPackage with desired structure instead of making manual fixes. See the diagram with 11 steps in https://www.sqlitetutorial.net/sqlite-alter-table/.

redpajama_set_name: RedPajamaStackExchange


MoMIE project aims at measuring, analyzing, and modeling the mobile Internet ecosystem in Finland. The underlying purpose is to better understand and exploit the increasing value of quantitative usage data accumulated by the market parties. The focus of the project is in the Finnish consumer mobile market and emerging mobile Internet services and applications. The project takes a multidisciplinary approach connecting technical, economic, and human aspects.
to produce high-quality scientific journal articles and topical applied research papers.
The project is managed by the Network Economics research team of the Department of Communications and Networking, at Aalto University of Finland.


text:
Taken By the Quickness
This last week the annual Summer Games Done Quick (SGDQ) charity marathon was held. As we noted in our coverage of the winter fest, Awesome Games Done Quick 2019 you're not familiar, Games Done Quick is a charity organization raising funds a couple (or more) times a year for various good causes. AGDQ is held every January in support of the Prevent Cancer Foundation while the summer iteration, Summer Games Done Quick (SGDQ), has been supporting Doctors Without Borders since 2013. There have also been a number of smaller marathons such as Japan Relief Done Quick, Harvey Relief Done Quick, and Games Done Quick Express (GDQX).
The regularly held marathons stretch for just over a week each and feature many of the top speed-runners from around the world. The gamers will show up, setup their equipment, and play their hearts out for the good causes, running the games they love as fast as they can. It's always a treat to watch these marathons, and to do so while supporting solid charities makes the marathons even better.
Since we've already broken the seal on covering these kinds of events, it felt only right to come back this year and comer the Summer games. With a format in place now, we're going to look back at the true highlights of this year's AGDQ.
And remember, even if you missed out SGDQ this year, you can always catch the next one in January of 2020 over at the Games Done Quick website. The entire archive of past marathons is also available on YouTube (although note that the first couple of years' worth of videos are stored over on the Speed Demos Archive channel). Plus, of course, remember to go support Prevent Cancer Foundation and Doctors Without Borders, because that's really what this is all about.
Turtle Power: Teenage Mutant Ninja Turtles III: The Manhattan Project and Teenage Mutant Ninja Turtles IV: Turtles in Time
It was early in the marathon when PJ and Mecha Richter blasted through this game, and dang did they help kick off this marathon properly. Although I'm not a huge fan of beat-em up games normally, I (like so many children of the 1980s) have a special place in my heart for the TMNT games. I spent countless hours on TMNT III: The Arcade Game and TMNT IV: Turtles in Time on my NES and SNES. Oddly, I didn't spend nearly as much time in the threequel, The Manhattan Project. I'd already played the hell out of the previous NES game and, despite some improvements in the third title, it just didn't have enough new stuff in it to keep my interest.
Having watched this run, though, I feel like I didn't give the game a fair shake. The way PJ and Mecha tear through it, working together to set a blistering, World Record co-op pace, is staggering. It certainly puts my own play-throughs of the classic games to shame, but unlike it most cases where I feel like the players are doing things I could never dream of, this is the kind of run I think I could pick up and, maybe with some practice, start getting into the realm of being competitive. It looks hard, but a fair kind of difficult.
This is also the kind of speed run I like. While it's not glitchless -- the guys use a "Ghost Turtle" glitch to confuse many of the enemies -- the guys never go out of bounds or skip stages. This is a full run that just so happens to use some logic flaws in the game to speed up battles. Plus, to keep the glitch going, the guys have to play carefully. It's a speed run that really shows off their skill at playing the game itself.
PJ and Mecha Richter are two runners I love watching, and this run shows why. It's fast, fun, and features great commentary from Klaige and Murphagator. It's everything you want from a speed-run marathon event.
Later in the marathon we also had a fantastic Any% Co-Op Hard run of TMNT IV: Turtles in Time. As I noted I played this game a lot, both on the SNES and in its arcade edition, TMNT IIThis is a favorite of mine, the one I would say, hands down, is the best Turtles brawling game. The game was tightly made, both with great graphics and solid controls, and it added enough new mechanics (slam throws, screen throws, extra power moves) to gives players a variety of ways to fight the foot and feel like ninja gods.
Of course, at the controls we certainly had two ninja gods. Runners GeneralAndrews and Dospostmann lead the crowd through a rip-roaring run of the SNES title, destroying waves of the Foot as if they were nothing. As with the TMNT III run, it's impressive how the runners have so much of the game memorized, able to know where the foot are coming from, what they're going to do, and be ready to kill them as soon as they can )often before the enemies have even spawned in on screen). And, yes, this run does use a bit of a glitch to make it more manageable for the players, although nothing like the "Ghost Turtle" glitch from the previous run. Here, the players are able to confuse the game so that, by the mid point, they will each have control of a Raph, the strongest turtle in the game. This isn't something you are supposed to be able to do, but via a death glitch/quick wrong warp, the players end up with their turtles and unleash the heat.
Overall I'm so happy with the amount of turtle love shown at the event this year. These games are all fantastic (yes, even the little loved first NES title), and as these runs show, whether you're a casual or a speed gamer, you can have fun with these awesome brawling games.
Perchance to Dream (of Bananas): Super Mario Bros. 2 All Stages and Donkey Kong Country 2: Diddy's Kong Quest Any% All Stages
Last time, in our AGDQ 2019 article, we discussed Doki Doki Panic, so it seems only fitting to then cover the US NES release of that game, Super Mario Bros. 2. While the two games look similar enough, their runs are different enough that anyone familiar with one will see all the differences in the other. The key change is that while in DDP you played only as Papa (as he's the fastest there), this game uses all the heroes, but most especially Toad and Luigi. It's interesting to see the tech at play and to get to see how each character, when used, is optimal for their area.
The all stages run by cool-kid might not have been perfect, but it was still very strong. The runner put in a great time and showcased a lot of the skips and trick that make this run so much fun. Plus, the commentary by BJW helped to highlight many of the skips, what was needed to do them, and how everything worked. I learned more about this game from this run than I ever knew before.
Unlocked during the SMB2 run we got a Donkey Kong Country 2: Diddy's Kong Quest any% all stages run. The DKC games are, honestly, quite broken, and this run makes good use of that. It's evident in the early stages of the game as the runner, MikeKanis, uses developer intended tricks, along with a few wrong warp barrels, to tear through the first two worlds of the game in under nine minutes. From there it's a master class in platforming prowess as he runs, jumps, swims, and dodges his way through all the stages, using all the tricks he can to do it as fast as possible. Although not a world record (although the runner does have the record), it's still a blistering pace for a game many of us have probably enjoyed (although, of course, we all did it much slower).
And shout-outs to the commentators -- DemonSmallz, Mrzerathemant, Greenmixtape, and Count Gooby -- who kept the game light and enjoyable. They spent plenty of time explaining all the tech of this broken game but still managed to keep it fast and fun. Despite a few troubles in the third world, this run was still solid over all, a great accomplishment for the runner.
Deep Into a Planet: Blaster Master Any% (JP) & Metroid Any%
From here we delve into the land of Metroidvanias. Our journey begins with a classic of the NES... I mean, of the Famicom as the run is of the Japanese version of Blaster Master. By this point you've probably watched just enough speed-runs to know that runners will pick whatever version of a game -- Japanese, U.S., or European -- that they can, all to shave a few seconds from slightly different versions of the game. Languages can affect a run as English is, generally, slower to display than Japanese (Kanji). Some newer games, with inclusions of French or Italian, even prove to be faster still. Blaster Master doesn't actually have any text boxes in the game to display, so all the time saves come from version differences -- the Famicom version came out first and a few minor glitches were seemingly patched out of the U.S. NES edition.
If you've watched a Blaster Master NES run before (and there are a few in the Games Done Quick YouTube archives), the initial sections of the game will seem similar in this any% Famicom run. However, while resetting the game (or taking too many deaths) would set you back at square one in the NES game, the Famicom edition is much more forgiving. This allows runner davidtkii to pick up some serious time saves since he doesn't have to traverse back out of a few areas, instead taking death warps (or simply reseting back to Zone 1) as needed. It's a fast, clean run that highlight the tight controls of the game as well as the fun, expansive environs. And, of course, the commentary crew of UraniumAchor and skavenger216 keep the run informative as well as entertaining.
Meanwhile, we continue adventuring through foreign worlds with Metroid. This NES classic helped to launch an entire genre, but, as you'll see from the any% run, it's also a pretty broken game. Most players will spend hours exploring each of the zones of the game to find the items they need to take on Mother Brain and escape the planet. Runner metroidmcfly, via a series of out of bounds jumps and glitchy tricks, is able to get through the entire game in under twelve minutes; in that same time I doubt I'd have even gotten through the first zone of the game. It's a staggering accomplishment, made all the more impressive as this was a deathless run (and this game is notoriously hard to run deathless).
There wasn't that much commentary from the couch -- metroidmcfly did the heavy lifting of explaining this game, stealing the thunder of -- apollo22237, MCAaronIce, and Cypherin -- but they were there to back him up and explain the elements he couldn't as he focused on the battle. A tense run, with good information, made for a thrilling time.
Thank You Dana: Solomon's Key Any% & Half-Minute Hero Any% Hero 30
Speaking of metroidmcfly, before his run through Metroid he took a breezy (read: blisteringly fast) jaunt through Solomon's Key. This is a Techmo NES title I hadn't even heard of before, and that's probably because this game is stupid hard. Although you wouldn't know it from this run through the puzzle platformer. A game that probably took other players months or years to beat he utterly destroys in 14 minutes flat.
What's impressive about this run isn't just the fact that he's pulling off tricks and jumps as if it's nothing, shuffling past enemies when, from the looks of it, they should have hit them (but their hit boxes are just thin enough. It's also not just the time, which, seriously, is stupidly fast. But it's also the fact that he did this deathless. A game like this, as hard as it clearly is, and he did the whole thing without dying. Quite the feat.
Plus, after this game you'll be shouting "Thank You, Dana" just like the couch commentators -- apollo22237, MCAaronIce, and RotDawg -- and the audience. It's infectious.
At the other end of the "gotta go fast" spectrum, we have an any% Hero 30 run of Half-Minute Hero. This game is really strange for first timers to watch: essentially it's a series of tiny RPGs, one after another, that the hero travels through. Each map is small, each adventure literally 30 seconds long (although sometimes time can be reset), meaning that the player has to know each tiny map and be able to plan out all their actions in quick order. It seems stressful, but runner dowolf takes the time to make it seem light and easy.
Half-Minute hero is a game that's featured pretty regularly at these events, and it's always a joy to watch. The runner and his commentator, the legendary Mike Uyama, bring this whole run together to make it fun, entertaining, and informative. And also very fast. Like, seriously, the commentary is a blur as they just keep talking. A really solid run all around.
Also, stick around to the end of the run for the bonus Three-Second Hero run as well. It's a trip.
With the Rise of the Moon: The Castlevania Block
Of course, one of my favorite times at the marathon is the Castlevania block. I do run a Castlevania website, The Inverted Dungeon, so any chance to watch some great vampire-hunting action is a chance I won't miss. The block unofficially started with an any% run of Timespinner from RiskyCB. Timespinner is a 2015 Metroidvania title that owes a lot of its design choices and overall feel to Castlevania: Symphony of the Night, although it does a few things that are differnt enough that it doesn't feel like a direct clone.
The most important mechanic of the game is the ability to freeze time. With just the push of a button, the player can literally freeze time, and this works on just about any creature in the game, from the lowest enemy to the end boss. Not only can you pause attacks but you can also use these enemies (and their attacks as well) as platforms, which is part of how RiskyCB is able to traverse the game so quickly (and do a number of maneuvers to get outside the linear logic of the game and shoot quickly ahead of the intended route. It's a fast and fun run, one that does give viewers a quick view of the mechanics of the game, although likely if you play it casually on your own you'll skip some of the harder tricks and just enjoy the game for its simpler pleasures.
From timespinner we get into the proper Castlevania block with a three-way any% race of the original title in the series. This is a hard game that's absolutely destroyed by the runners as they use any little skip they can to save time and get through this NES title as fast as possible. Runner 2snek and Komrade take a back and forth early lead in the race, battling for first, while freeland1787 brings up the rear with a still respectable time. Even in third place, bear in mind, the runner still is able to beat the entire game faster than I can probably get through the first stage, so there's nothing to be ashamed of here.
What's impressive about runs of the classic titles in the series is that it's the little tricks that end up saving time. When you consider that a speedrun of the first game in the series takes only fifteen minutes or so, any little time save can pay of big in comparison. A single damge boost through a platform, a quick kill against a boss, can spell the difference between a personal best or just another run. The fact that these runners can pull off so many of these tricks consistently and clealy just goes to show the high level of play in this game from these runners.
Following the classic title we had a visit into the classic-inspired recently release, Bloodstained: Curse of the Moon. As you may know, Curse of the Moon came as part of the Kickstarter for the main game, Bloodstained: Ritual of the Night (which itself only just came out). Curse of the Moon debuted last year and it already has a dedicated fanbase with multiple run times and a lot of seriously engaged players. Plus, the game is just a whole lot of fun.
In past GDQ events we had a few runs of this classic-inpsired game, although those runs used a lot of out-of-bounds tricks to traverse the game quickly. Runner strizer86 gave us something different this time around with an any% no oob ultimate (veteran) run of the game. Essentially, he played the game on the third mode (unlocked after playing through as main hero Zangetsu and killing the other heroes to steal their powers -- this is a very dark game) with harder difficulty settings enabled, and he did it with aplomb. His skill at navigating the game, using every little optimization and trick to get through it quickly while still remaining inside the game and playing it "properly", is amazing.
This run is a joy to watch, for no small reason that he, and his couch crew of GuyNextDoor717 and The Blacktastic, are having such a great time chatting and playing the game. Really a highlight of the block.
From here we, of course, get right into a run of Castlevania: Symphony of the Night. I say of course because Symphony is as much a fixture of these marathons as span class="tilt">Super Metroid and Kaizo Mario. To not have this game at the marathon would leave the whole event feeling just a little less complete. The run this time is something a little different from what we've seen before, an all bosses & relics, save Richter run of the XBox 360 rerelease of the game done with style by Dr4gonBlitz, which gives us one of the more complete (yet stille very broken) plays of this game at a marathon.
The thing about Symphony of the Night is that the game itself is very broken. While it's a fantastic game, and no one is going to debate that point, it's also not the best programmed title and there are a lot of glitches, out of bounds errors, and other things the runners can do to very quickly traverse the castle. Dr4gonBlitz uses every trick he can to absolutely tear through the game, destroying both castles in under 45 minutes, a feat considering how hard many of the basic mechanics of this game can be if you're trying to do them fast and consistently.
Watching Dr4gonBlitz play this game is like watching a master at work. His skill and finesse with the game is a sight to behold. Plus, he had a fantastic crew on guard with him, with other fabulous runners of the game, VB__, romscout, and The Blacktastic, giving commentary and sharing in the join of another run through the demon castle. There's a reason this game is brought back over and over again.
And then, finally, we closed out the block with another great Metroidvania title, Castlevania: Portrait of Ruin. Portrait is a game I enjoyed but never held up to the same level as some of the other games in the Castlevania series, but after watching the no oob run from VB__, I feel like I need to give the game a second chance. It's not only deep but also beautiful, like the best games in the series.
As this is an no out of bounds run, we once again get to experience the full breadth of the game properly (as, in any Metroidvania title of the series, the only proper ending is a good ending as far as speedruns are concerned). With this run, although not very much is collected, and a few big glitches are used (as explained, this game came out only seven months after its predecessor, and that doesn't leave a lot of time for QA), plenty of this game is still shown off, and what we get to see is great. This may be one of the gems of the series that many fans don't talk about, so if you have a chance, watch this run and then go experience the game for yourself.
Also, as an honorable mention: although it wasn't included in the Castlevania block, runner LoZCardsfan23 presented a fun, any% run of the DOS port of the original Castlevania. This game is awful (which is why it was in the "Awful Games" block), but it was still enjoyable to see someone fight the game as they tried to clear it quickly.
Catch a RIDE!: Borderlands 2 Co-Op All Quests
I'm an unabashed Borderlands fan, and I've always wanted to get into speedruns of the titles but, honestly, I have a hard time enjoying speedruns of shooter-type games. Most of these involve a lot of out of bounds glitches and I feel like that runs the flow of the game. I prefer experiencing more of a title so as to really enjoy everything on offer.
Thankfully, for gamers like me, we have a great co-op all quests run of Borderlands 2 from Amyrlinn, Shockwve, and TheFunCannon. This run gives you just about all you want from a speedrun of the game, completing every main quest in the game (no download content not prepackaged in the PC release, though) so quickly you might not even realize the quests are happening as they go.
The thing about the game is that the early releases had a large amount of glitches that could be exploited, and the runners do so. Using an older version of the game (before a number of patches and fixes went into effect), the runners are able to speed up two of the characters to warp speed, create infinite shields and health, and glitch out the critical hit damage so that every enemy dies in seconds. It's not a fair run, to be sure, but it's an enjoyable one to watch.
Plus, the three runners are joined on the phone by actual developers from the Borderlands studio, Gearbox, and their commentary is informative and funny. The runners talk the whole time, constantly explaining everything as they coordinating their moves, and you lear so much as they're going. This is one of the best shooter runs I've ever seen at these marathons.
Arcade Action: Slipstream and Punch-Out!
Speeding on ahead in the week (no pun intended considering our next game), we have a fun arcade-style racing game from a single developer. The title is Slipstream, and runners Konasumi and WhatIsCalvin compete in a Cannonball max settings race (with a solid movie reference for you 1970s action-comedy fans) that's fun to watch. This game looks deceptively easy, but as the run goes on and they track further and further into the 20 stages of the game (the Cannoball run is a cross-country affair that does one lap of each of the races in one continuous race) you realize just how hard this game can be. The run, like the game, is a labor of love, a fun time through a game that ramps up the more you enjoy it.
Speaking of arcade action, we then follow up with the original version of Punch-Out!. You may not realize that the first version of the game wasn't Mike Tyson's Punch-Out! for the NES (although that is certainly the most famous edition), but an arcade-exclusive version that is much harder (the runner was playing on the Switch E-Shop edition, which is an English translation of the Japanese release of the game -- the American release had slightly different bosses in some sections). Runner zallard1 took us on a journey through all the unique fights in the arcade original. This game is exceptionally difficult since it was an arcade game (and the goal was to suck quarters out of you as frequently as possible), but zallard, being a god at the Punch-Out! series, make it look easy as he destroyed fight after fight with little effort.
You get a real sense of just how much he's obliterating this game from the reactions of his couch crew -- Klaige, Mecha Richter, and Sinister1 -- as they stand in awe of his prowess at this difficult arcade title. The commentary is informative, ut there are plenty of moments where they just have to bow before him and his arcade stick abilities.
And speaking of zallard1 destroying Punch-Out!, he then followed up the Arcade run with a blindfolded run through the Wii edition in the series. If you think doing games blinfolded sounds impossible, you really should watch this run... as well as the two the runner did before as he's also done this feat with the NES game and the SNES sequel, Super Punch-Out!. Finishing the trilogy, zallard1 gives us an exception run with absolutely no losses and barely a stumble at all. He obliterates this game so hard he actually beats his blindfolder PB by 6 minutes. If the game had a proper blindfolded World Record (I checked and it's not an official run type just yet), I'm sure this run would own it.
Seriously, if you only watch one run from the marathon, this needs to be the one you watch. It's incredible
For the Glory of the Republic: Command and Conquer: Red Alert 3 Soviet Campaign Hard Mode Co-Op
I will admit that I didn't play much of the Command and Conquer series growing up. I was more of a Blizzard EntertainmentOnce an independent gaming company called "Silicon & Synapse", Blizzard Entertainment released a number of beloved cult games form various systems (including The Lost Vikings and Rock 'n Roll Racing) before going on to become one of the biggest game companies in the world thanks to a little title called Warcraft. fan, so naturally I played the Warcrafts instead. The closest I got to C&C was Dune (and, later, the remake, Dune 2000), a licesned precursor to the C&C series from Westwood Studios. That game was fun, and part of me wishes I'd gotten into all the fun games Westwood later put out.
That opinion holds true for the EA-managed threequel to spin-off C&C series, Red Alert. These games take place in an alternate universe where the Cold War not only never ended (and, thus, the Soviet Union never fell), but the war is very hot indeed. Runners Raelcun and Covert_Muffin took us through the whole Soviet campaign in hard mode co-op and they did it with style. Co-op mode, as they note, really wasn't meant for co-op, instead traditionally pairing the human with a computer-controlled back-up player. They means with two actual humans playing the campaign via LAN, they could really break the enemy AI and do things much faster, and more easily, than the game expected.
And yes, that means they absolutely rip apart their foes faster than most of us could probably clear a single map of the campaign. Since they know what each move of the computer will be on every map, they know when enemies will show up, what the forces will look like, and the best way to counter any attack while they work to destroy their foes at every turn. And they do it while laughing and cracking jokes the whole time. The run is absolutely infectious from start to finish and, most importantly, it really makes me want to track down the game and try it for myself.
Also, due to the donation incentive being met, the players watch every cut scene in the game. If you ever wanted to see an absolutely hammy Tim Curry give his best Russian Chancelor performance, this is the run for you. Watch it and enjoy every delightfully stupid minute.
Don't Shoot the Food: Gauntlet (NES) Any% Race
I love Gauntlet. The original arcade game was such a daunting, awesome beast, the first game I ever saw that had four-player controls. I spent hours at the game, running through dungeons, dying over and over again, and laughing the whole time. It's not an easy game, but the bar for play was low enough that even if you died over and over again (as waves of enemies beat against you) you were never angry about it. Naturally, then, I grabbed the NES version when it came out and sunk countless hours into that game as well.
The thing about the NES game, though, was that it was never really meant to be beaten by casual players. There's a nasty password system in the game that you hardly notice and, once you get to the end of the game you have to input said password (which you did find after collecting a bunch of random clues across the stages, right?) or you insta die, game over. I don't know of any casual player who ever figure out the passwords (which changed on each playthrough) and managed to get to the last dragon and win the game.
We're watching a speedrun tournament, though, so naturally the runners, digshake and Eunos (speedrunners who both run a variety of classic NES tiitles) were going to beat this game. Their any% race took out the whole game in under sixteen minutes, and yes, they both had the passwords they needed (although they used lookup sites online to find them as this was any%, not 100%). It's a fast-paced run that points out all the weird quirks of the NES title. It's also easy to see even from their speedy play, just how mean and evil this NES title was. Seriously, did any causal play ever beat this game.
It's great seeing two runners take this malicious title down. Now to get them to blast through the other three titles in the series.
Do the Mario: The Super Mario Block
Super Mario World: Kaizo Blind Relay Race
Super Mario runners are insane. NintendoSince 1983 (with the release of the Famicom gaming system in Japan), Nintendo has proven to be a gaming company dedicated to finding what gamers want, even when the gamers don't know it themselves. From dual-screen systems, to motion controls, to convertible home console/portable consoles, Nintendo regularly proves that the weirdest innovation is exactly what the gaming community needs. has made a series of games with super tight, responsive controls and the gamers that played these titles decided that what Nintendo created wasn't nearly hard enough. Thus the "kaizo" community was born, a collection of people making super-hard (like near impossibly hard) levels for other players to then blast through. Previous GDQ events hightlighted many of the kaizo levels, usually via Super Mario Maker but this time we had a collection of three different Super Mario World kaizo games.
The first run, and probably the most energetic as well, was the blind kaizo race between two teams of racers, One Title Men (Barbarian, Laserbelch, PangeaPanga, and Dode) vs Lunar Magicians (grandpoobear, juzcook, GlitchCat7, and NobleTOFU). This race was a real barn-burner, with the teams neck-and-neck in every single level (including the last one). It was hard to know who was gonna win at any given moment, that's the quality of player from these racers. Plus, the stages were all super creative, featuring all kinds of menchanics never meant for SMW that the level designers managed to hack in. It's awesome.
Following that we had the only traditional run of the Mario block, with an all forts race of Super Mario Bros. 3. Featuring four top names in SMB3 -- mitchflowerpower, grandpoobear, Lawso42, and TheHaxor, this race was close from start to finish. As you want with any good race, it all came down to the last world, last handful of stages, to decide the winner.
Also, credit to many of the runners as they were able to gran a hammer shell in World 5 and carry it (without getting hit once) all the way to the end of the game so they could insta-kill Bowser with the over-powered power-up, the first time anyone has managed to do that at a GDQ event. Congratulations to all the runners for that feat.
After that it was back to the SMW kaizo runs with a 100% dive from Dode through Invictus. This game is interesting in part because it only used to have an 100% category. That was right up until Dode started running it and, so far, is the only runner to be able to perform the skip necessary to ditch most of the game and get right to the end. Because of that they also had to make an any% category, but it's the 100% run that won out here at the marathon.
Invictus is a fun romhack, another of these games that adds in a bunch of new machanics for the players to use. Whjat's really neat about it, though, is that those mechanics will then come back later in the game, controls the player will have to use in more than just a single level (unlike a lot of kaizo hacks) if they want to clear the whole game. It's a layered romhack with a lot of interesting ideas, and it's taken down with relative ease by the mater, Dode.
Finally, mitchflowerpower jumped back in the hot seat for an any% good ending run of Grand Poo World 2. Honestly, before he started up this game for this event I didn't even realize mitch ran kaizo games, but considering he's the world record holder for SMB3, among otehr accolades, it makes sense that he'd have the skill to play these supepr tough levels. And, yes, this romhack is exceptionally tough. The designer was on the couch for the run and he noted that many of the levels often took players eight hours or more to clear. It's that kind of hard.
But, of course, mitch destroyed the game. In fact, for a while he was on PB pace until the console started having issues and they had to swap out carts. Despite that, he still put in an incredible time, almost twenty minutes under estimate. He saw the challenge of this super-hard sequel hack and said, "I've got this." Well done.
I Can't Shake 'Em: Star Fox 64 Red Line All Medals (Expert Mode)
Getting back into normal games, we move into another Nintendo franchise, Star Fox with the Nintendo 64 sequel. Honestly, this wasn't a game that hooked me when it came out. No doubt, the SNES original was revolutionary when it was published, but then the years went past and once the Nintendo 64 came out, what we got was a sequel that looked and played exactly like the SNES original. Oh, sure, there were probably more enemies on screen, more things to do, but the game didn't look that different from the SNES title that started it. It was a ho-hum sequel to an amazing original, and I tuned out.
That opinion in general isn't changed by the red line all medals (expert mode) speedrun of Star Fox 64 from LylatR. Don't get me wrong, his run is amazing and the couch commentary from DoctorSwellman, Zallard1, and Lennon Free is hilarious and informative. But the fact is that this game still seems ho-hum. By and large you're doing the exact same stuff in this game you did in the SNES original. You fly on-rails, you shoot, you kill, and then you proceed to the next star system, wrapping up your mission in seven stages. The specifics may be different here, but the basics of the games are the same.
It's sad, really, because the SNES almost got a very different sequel, one that was much more of an RTS-style game, with the cancelled Star Fox 2 (which was later released, finally, on the SNES Mini). THen, later, Nintendo tried to broaded the games with weird titles like Star Fox Adventures and Star Fox Zero, but nothing could ever have that revolutionary impact of the original title, cranking out chunky 3D graphics on the little SNES.
Watch this run because the run itself is great, but maybe don't go out and get the game afterwards.
Coverage Continues Onwards
As we did with the winter event, we'll update this article as we go through the SGDQ 2019 archive and get caught up on all the great runs and runners. Keep an eye on this article to see all the highlights, and remember to go watch the stream live to see all the great runs as they happen.
Articles about Speedrunning Marathons
2019 Marathons: Awesome Games Done Quick 2019, RPG Limit Break 2019, Summer Games Done Quick 2019, SpeedGaming Live 2019
Articles about the Borderlands series
Games: Borderlands, Borderlands: The Presequel, Borderlands 2 (Fight for Sanctuary) , Tales from the Borderlands, Borderlands 3
See Also: Mad Max 2: The Road Warrior Summer Games Done Quick 2019 Linearity in Role Playing Games
Articles about Nintendo
Musings: Fixing the Next WiiU, Nintendo's Online Play, The Console Wars, 2018 Edition, Summer Games Done Quick 2019
Articles about the Teenage Mutant Ninja Turtles
Classic Shows: Teenage Mutant Ninja Turtles (1987), Ninja Turtles: The Next Mutation, Teenage Mutant Ninja Turtles (2003)
Nick Shows: Teenage Mutant Ninja Turtles (2012), Rise of the Teenage Mutant Ninja Turtles
1990 Film Series: Teenage Mutant Ninja Turtles (1990), II: The Secret of the Ooze, III: Turtles in Time, TMNT (2007)
2014 Film Series: Teenage Mutant Ninja Turtles (2014) (Prev), Out of the Shadows
Other Films: Batman vs. the Teenage Mutant Ninja Turtles
Classic Series Games: Teenage Mutant Ninja Turtles (1989), II: The Arcade Game, Fall of the Foot Clan, Manhattan Missions, III: The Manhattan Project, II: Back from the Sewers, IV: Turtles in Time, The Hyperstone Heist, III: Radical Rescue, Tournament Fighters
Fan Games for the Classic Series: Rescue-Palooza
2003 TV Series Games: Teenage Mutant Ninja Turtles (2003), 2: Battle Nexus, 3: Mutant Nightmare, Mutant Melee
Additional TMNT Games: TMNT (2007), Smash-Up, Arcade Attack, Out of the Shadows, Teenage Mutant Ninja Turtles (2013), Teenage Mutant Ninja Turtles (2014), Danger of the Ooze Mutants in Manhattan,
Other Games: Injustice 2, Nickelodeon Kart Racers
See Also: Summer Games Done Quick 2019
Podcasts: (Not So) Episode 48
2019 Archive >
June 26, 2019: Gotta Be Quick


Welcome to the Rendcomb College's alumni section.
Here you can find details on a wide variety of information relevant to Rendcomb College alumni.
The Marketing Office is the main point of contact for alumni relations and works closely with the Old Rendcombian Society and The Friends of Rendcomb to build and nurture engagement with former pupils, parents and staff.
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Q: Sinusoidal functions I need to plot a graph of the following function for values time, $0≤t≤2π$ to $2π$ (radians).
$$y=5\sin\left(2t+\frac{π}{6}\right)$$
I need to describe and define the amplitude, periodic time and frequency. Can the formula be put into Excel somehow to plot the graph?
Thanks

A: Your function has an amplitude $A=5$, a period $T=\pi$ and a phase shift $\psi=\pi/6$.
You can use  a spread sheet to visualize the graph. A simple way is illustrated in the figures.

You can see the formula used in the column $C$, and in  $B3$ the formula is simply $=B2+\$A\$2$. Changing the step in $A2$ you can have les or more points in the graph.

A: For a sinusoid of the form $y = A\sin\left(Bx \pm C \right) \pm D$, $A$ represents the amplitude, $C$ gives the phase shift (how far it is shifted over to the left or to the right), and we get the period time by the relation $T = 2\pi/B$.
Since $A=5$, the amplitude is $\boxed{5}$. The period time is $T = 2\pi/2 = \boxed{\pi}$. Since it completes one period by $t = \pi$, then it completes two periods by $t = 2\pi$, so its frequency is $\boxed{2}$.


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Home News Costa de Almería Almeria province suffers outbreaks of Covid in 35 nursing homes
Almeria province suffers outbreaks of Covid in 35 nursing homes
15 January 2022 @ 00:56
Almeria province suffers outbreaks of Covid in 35 nursing homes. image: google maps
35 nursing homes in the province of Almeria have reported outbreaks of Covid-19
A high number of nursing homes in the province of Almeria have been confirmed on Friday, January 14, to already have 196 positive cases of Covid-19 among their residents and users. Three of these have had to be admitted to the hospital due to the worsening of their symptoms.
According to the latest report on the situation of residential centres, issued by the Andalucian Government, there are a total of 35 social health establishments affected by Covid-19 in the province. In total, there are 118 affected residents, and 78 confirmed cases among their respective staff.
Given the possibility of new cases of contagion, the residential centres have already placed 203 residents in preventive isolation, and another eight more are under close surveillance, having displayed symptoms compatible with the virus. Another 14 workers have also been placed under surveillance.
Among the residences most affected by the appearance of outbreaks with affected residents is the Virgen de la Esperanza Residence for the Elderly. This facility has 28 confirmed residents.
In the Rio Nacimiento de Abla residence, there are 26 positive residents, while the Mirasierra de Aguadulce residence for the elderly, has 22 residents with Covid-19, and three infected employees.
Only 12 of the 35 residential centres affected have cases of Covid-19 among their residents, which represents 9.3 per cent of the total in this situation in Andalucia, while in the rest, cases have only been identified among workers.
El Zapillo nursing home accounts for nine of the workers affected by coronavirus, along with eight residents, while in the Assisted Residence there are seven confined employees, and 18 residents with Covid-19, as reported by diariodealmeria.es.
Thank you for reading, and don't forget to check The Euro Weekly News for all your up-to-date local and international news stories, and remember, you can also follow us on Facebook and Instagram.
Chris was born in a small village in Wales, where he ran his own successful construction company for many years, before deciding in 1990, to swap the grey skies and rain for the sunshine and lifestyle of the Costa del Sol. Late last year he made the move to Southern Portugal, and is now residing on the Algarve. Having sung and played in a rock band back in Wales, he still likes to go out and entertain in his spare time, singing in restaurants and golf clubs. Interests are of course music, especially from the 60s and 70s, movies, nice restaurants, and he has a passion for graphic design and online marketing.


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I bought this product on 30th Aug 2018 after reading so many reviews and researching other tv's at this price range.
1. Picture quality is good even for SD channels(Comparatively better than MI in this price range).
2. Sound quality is not that great but ok.
3. Web touch remote is really great option.
4. By default it has apps like hotstar, youtube, facebook and netflix. Connecting to wifi is easy and there is no issue till now.
1. Poor Installation service. Installation person came after a week and he is not good at his service and he even didn't know much about the product and how to install it in the wall. He literally damaged the wall with multiple retries.
2. Casting(M-Cast and normal cast) is won't work with all the mobile devices. I have Moto G6 which can't be connected to this TV but Lenova mobiles are connecting easily. But it has Eshare which will connect your phone and TV and you have to install app in the phone.
3. Not all wireless USB and Keyboards are supported. You need to search for the specific wireless devices. I have Logitech Wireless(With Nano Receiver) mouse which is not connecting at all.
Note: They won't provide batteries for the remote.
Overall, it's good product at this price range. I will update here If I face any issues.
Had replaced a 32 inch smart tv by LG after it developed weird areas with white glow on screen.
This one has all the features and frankly is smarter. Installation was a breeze and the people who came for demo were helpful is telling about the features.
I was little bit confused before buying this tv.
But decided to try new brand.
This smart TV is excellent in this range for picture quality and other functions.
The installation technician seems to be newbie and hence was unable to install and mount properly on the wall.
He even does not have proper wire connection skills and in hit and trial process he burnt my set up box.
He finally left in incomplete installation process and without any demo.
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I called the customer care team but the number was always busy, waited for 15-20 min on line by but was not connected to the human customer executive and hence I finally disconnected the phone.
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4.0 out of 5 starsVery impressed.
Hi friends. I am reviewing this product after 4 months of usage. I am spending some time here to give my genuine experience with this product so that it would be useful for other people. Because I spend many hours, days to read all products reviews before purchasing a product. So I understand the pain.
Overall rating : For this price its a very good product. 3.5 is the correct rating for this but as the price is very low compared to all other brand, I gave it 4.
Good quality sound. No need of additional speaker.
Eshare app for Android and also an app for IOS. During power on it will show these app names. Dont use any other app to manage the TV, bcoz it wont work perfectly.
Using Eshare you can share your phone screen to TV and even to other mobile phones who are connected to the same wifi and Eshare screen mirroring. That means what ever you are doing in your phone will be viewed in TV and also in other mobiles who all are connected to same wifi and Eshare app.
You can even use the TV without Eshare app. Need only wifi connection and with your tv remote you can type and also have a mouse button in remote which will give you a mouse icon which you can move four side using the left-right-up-down buttons.
Playstore is available to install apps in TV. Not sure which all app will work.
Autoconnect wifi when its available. ( Same like phone. need one time connection with password and it will remember and autoconnect).
Day time picture quality is not good but when you think of price its ok. I am uploading some pics which I took from TV while playing quality videos in Youtube at night time.
1.0 out of 5 starsFaulty Motherboard. TV blanks out.
TV shut down in 9 days.
Purchased 40 inch Kevin LED Smart TV. It just stopped working while a program was on. This was on in mid December.
I am still following up with the complaints with the seller CLOUDTAIL and they keep asking for 48 hours for response.
The Engineer from Jeeves Service Centre visited and reported a Faulty Motherboard but TV is still to be replaced.


Computerized Multi-Head Mattress Embroidery Machine is mainly for sewing the embroidery on the mattress.
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3. Automatic thread trimmer, Automatic color change.
5. USB port makes the designs more efficient and liable.
6. Auto thread breakage detection through rotation wheel with light sensor.
7. Pre-sew design trace capable.
8. Memory capacity 16,000,000 stitches.
9. Personalised design of start and stop button.
10. Internet with computer makes the design transfer more convenient and faster.
11. Module design of the transmission box ensures stable driving and convenient maintenance.
12. Multiple noise reduction developments help create aquiet and pleasant working enviroment.
13. Multi languages available, such as: Chinese3, English, French, Portuguese, Turkish and so on.