Hard work is the only key to reach the success you dream for and one such example to prove this point is Journey of Tanmay Dubey's 'Just Six Evenings'. From rejection to getting picked by the giant of the industry, this book has a lot to say and achieve. Let's have a look at this phenomenal journey that inspires us all.
Summarizing my-self into a few short words has always proven somewhat difficult to pen down. The more I contemplate, the more sensibilities and abilities I discover in me; I am Spiritual, I am a runner, I am a cyclist, I am a Writer, I am fun loving, I love reading, I love watching films, I work in a reputed MNC, I am a loving husband and a doting father to a cute little girl.
Tell us something about your school and college life.
Most of my education has happened in cities like, Rewa, Satna and Jabalpur in Madhya Pradesh. Growing up in these cities influenced the person I am, my sensibilities and my characters. Life in school and college was fun-loving, easy and aimless.
How your life has been in the corporate world so far?
The life in corporate world so far has been very intense, challenging and competitive. I now realize why most of the MBA colleges make you work so hard, they are training you to be more competitive and be a winner when you will work in the corporate world. Every day is a new learning for me.
How did writing happen to you?
How was your journey of penning down a story and then getting it published?
I have undergone a tough time getting my book published. Publishing is a business and not many involved in this business are honest. With traditional publishers taking time to evaluate your manuscript, because of the sheer volume of scripts they receive, lot of self-publishing houses have come up offering printing services. Offering Self-Publishing is a money-making tool by the publishers where they charge for the cover design, for basic editing, for covering the print cost of the book and lot of hidden costs. I too had a tryst with one such Publisher, but I wasn't too happy with their end results, so although they got the book released in February 2014 it cost an exorbitant and unheard of Rs. 1000 and a few hundred copies. Letting them go, since the rights to the book were with me, I continued my quest for a good publisher and finally received a call from Rupa Publications. They liked my manuscript and post some editing in the second edition and with a brand new look; they were kind enough to publish it. So it was quite a roller coaster ride to get published first time. My advice to writers that want to get published would be this: Don't be impatient. If your writing is good and your efforts are honest, dreams do come true!
Who has been your inspiration throughout your journey so far?
Everyday life experiences are my source of inspiration. Be it my writing or be it my understanding of life. I have been inspired by countless writers, friends, and colleagues. Every human being has a quality in him or her. We have a tendency to find fault with anyone we meet. I look at positives in any person I meet and try to imbibe that quality into me.
Who is that one author you look up to and any such book you read for motivation?
What are your plans up the sleeve for your future?
I would love to see my books turning into blockbuster films. Given a chance I would like to write screenplay for films and direct a blockbuster film to win a filmfare award.
Any one such review that is very much close to you which you would like to share?
I am still awaiting the same.
Which character of 'just 6 evenings' is close to you and why?
Is your debut book 'just six evening' from any real life story?
The episodes and characters in the book are inspired by real life instances and characters in the modern corporate world.
Any message / suggestion from your end for your readers / friends / well wishers.
The motto of my life it to live in present, with as much awareness as you can. I do not expect anything from anybody as expectations lead to dissonance. I believe in being positive and creating positivity around myself in my talks, writing and among the people whom I meet. My suggestions to budding writers is to have patience. If your writing is good and efforts are honest dream do come true !
We wish great success to the author and would like to thank readers for dropping by. Thank You.


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Cape Town – In Lifetime's Love at Second Swipe Pabi Moloi and a team of experts help South Africans who are looking for love.
Based on TLC's Love at First Swipe, a style expert, makeup guru, hairdresser and a life coach to give people a makeover in an attempt to help them find love with their new look.
We chatted to Safta-winning presenter Pabi about the show, what viewers can expect and got some online dating tips.
Can you give us a teaser about the participants that are on the show?
They are really like you and me. People who are honest about their experiences. Most people, given the opportunity, will grab the chance at self-improvement. They take the feedback from the experts on the show and I honestly hope they do find love with their new and improved profiles and mind-sets.
The show is not just about the physical makeover what do you hope the participants and viewers take away from the show?
I believe that there is something in Love at Second Swipe for everyone. From Zenia's [life coach] incredible advice to improving your state of mind to Shaldon's [style expert] honest approach about your physical appearance. It's really not only for the participants of the show but for every person tuning in.
Who do you think will enjoy the show?
If you have tried online dating and have been unsuccessful the show will probably be an incredible eye opener for you. It may also encourage you to try again using the advice from the experts. Love at Second Swipe is also very entertaining so I think it will appeal to those seeking love online and viewers who enjoy reality TV.
I have yes. It can be fun. But it can be quite off putting. It's important to know why you are trying it out and to be careful and cautious always. I have, however, heard of a few success stories so I think there is a place for it.
Do you have any online dating tips?
Know why you are there. Is it serious, to have some fun or to get some dating experience.
Always be safe. Meet in public places. Make sure you are talking to who the person says he or she is.
Don't get too taken up with the person too early in the process. Get to know the person and take it slow.
Tune in to Love at Second Swipe Thursdays at 20:00 on Lifetime (DStv 131).


"I grew up a third-culture kid, and my whole life was filled with the desire to find meaning in the identity given to me by the place I was born in. I remember the first time I read a business book so vividly. I was 14 years old and my dad found me lying on the couch watching TV on what was supposed to be a lazy Sunday afternoon. He walked up to me and hovered by my head. I turned to look at him and he, without saying a word, stretched out his hand — in it was a copy of Rich Dad Poor Dad by Robert Kiyosaki. It was that experience that marked what I enjoy calling my "not-so-secret love affair" with business.
I travelled to Rwanda during my break between high school and university, and it was during that time that the first idea for what I wanted to do came to me. Immediately I returned to Botswana, I began the work to start my first company. I did everything a 17-year-old could with little-to-no knowledge and guidance. Despite the challenges, that business was a big first lesson for me. Two years into running it, I decided I wanted to begin laying the foundations for a truly global and timeless business. Upon a true and honest assessment of where I was and what I had to do to make it happen, I realised Rwanda was the place to begin this journey. So, in June 2012, at the end of my first year of university, I moved to Rwanda to launch Rwa Business Group. I knew what I wanted this business to be and that if I worked smart I could achieve it. On the 18th of July, 2012, Rwa Business Group was registered as domestic corporation limited by shares with 620,000 RWF (equivalent to $1,000 US at the time) as its start-up capital.


Clothing/Jewelry Description A red Chicago Bulls basketball jersey and denim shorts.
Distinguishing Characteristics Brown hair, brown eyes. Justin's nickname is Little Man. At the time of his disappearance, his hair was shaved on the sides and long on top.
Justin was last seen in Kaibab National Forest in Arizona on June 29, 2001. He and some three friends, who were all between the ages of 18 and 21, had gone into to an area a few miles south of Grand Canyon National Park and five miles west of Moqui Lodge (which has since been torn down). Authorities believe he had been partying and was under the influence of drugs, possibly methamphetamine.
Justin and his three friends got separated, and two of them got lost. Justin and another friend went to Tusayan, Arizona and asked another friend to help look for the missing pair. In the meantime, the two missing ones were located by Grand Canyon Railway employees south of Tusayan, Arizona, but Justin didn't know this.
Justin and another of his friends returned to the Kaibab National Forest, at a spot five miles from Tusayan and fifteen miles from where their friends had been found some time earlier. His companion went to sleep at 9:00 a.m. When he woke up at 5:00 p.m., Justin was gone.
He has never been heard from again. His father reported him missing on July 1. An extensive search of the area turned up no sign of him.
Justin had been to the area four times before he disappeared, and was very familiar with it; he'd never gotten lost before. Authorities aren't sure whether he did in fact lose track of his surroundings. He had run away from home once before, and it's possible he tried to do so again and was picked up hitchhiking by a passing motorist.
Investigators believe foul play is possible in Justin's case; they think he could have been killed in the forest shortly after his disappearance. If he did leave of his own accord, he may have tried to go to Chicago, Illinois to see his girlfriend.
Justin lived with his father in Tusayan at the time of his disappearance, and is described a popular teen with many friends. Investigators believe he'd been abusing drugs and alcohol for about a year prior to going missing. His case remains unsolved and foul play is suspected.
Updated 5 times since October 12, 2004. Last updated February 27, 2018; details of disappearance updated.


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Dr Suits and the Art of Isolation…
When Aotearoa entered the level 4 lock down as we faced the threat of Covid-19, many of us took to a daily walk within our bubbles, nominally for exercise, but if we are honest, as an escape from the confines of our homes, to remind ourselves that the world around us was still there.
Luckily for me, my suburban surroundings provided plenty of points of interest, and chief among them were the constantly expanding series of stickers and paste ups produced by the prolific Dr Suits.
Dr Suits' output over the last few years has shifted to a process-centric fixation with abstraction. As he has investigated materials and techniques, he has also grappled with the transference between street and studio. While he has produced a range of outdoor works (including commissioned murals and even a basketball court), the lock down period saw perhaps the most cohesive body of street work he has created. From small vinyl stickers to large-scale paste ups, sweeping textural waves and various geometric forms of flat colour were juxtaposed to create items of intrigue. To learn more about this flurry of creativity, we caught up with Dr Suits to talk about the inspiration and motivation for these (sub)urban additions and how extraordinary times have inspired his work…
The notable thing about this body of work was just how quickly it seemed to come to fruition and appear on the streets, was it something you had already considered, or were you specifically inspired by the lock down?
It was spontaneous really. I think a lot of my work happens like that, when I find a delicious tasting fruit, I feast on it, until there's no fruit left.
When we entered lock down, we just raided the studio for a bunch of materials and resources with no clear plan of what we were going to do with them. We just wanted to make sure we had stuff to work with at home. The stickers were great because they were small, and I could just mess around in the lounge.
The stickers led to the much larger paste ups, a form that you have a bit of experience with…
They were something that just came out of the stickers. It was a similar process, I just wanted to do the stickers bigger. I had the materials, the paint, the paper, the glue. The beauty of paste ups is that you can work on them at home, and then it only takes ten minutes to install them, which was great for lock down. It reminded me of the post-quake period, when I first started doing paste ups, but I adapted them to my present artistic approach.
A lot of your previous paste ups were illustrative. These works are a clear reflection of your more process-driven abstract direction of the last few years…
I thought of a few ideas to do some illustrative paste ups with more on-topic commentaries, but I couldn't find the motivation because I was too distracted with the process of making these stickers and just doing what seemed natural…
Do you connect these works in any outward sense to the Covid-19 pandemic?
I could probably think of something more specific if I wanted to, but they are a direct response to that situation because if I didn't have that situation they wouldn't have been created, so in some ways they are a direct response.
The paste ups and the stickers both use a collage technique, but they can be experienced very differently because of their materials and size. Were you interested in how people would respond to the different works?
It's more driven by the process of creation. I know people are going to respond to them in their own way and that's what I like about abstract art. People always see something that you don't see or think something that you don't think. Even though they use the same process, I wasn't really thinking about it. Obviously, the paste ups don't demand as much inspection because they're so big that you can see them from afar, you may or may not notice that it's collaged. I was just really enjoying the process of cutting the shapes and overlapping them and exploring different compositions. That is really similar to the way I previously would do it, but I would use Adobe Illustrator or something like that to play around with shapes and I would just pick the ones that I liked. But with the stickers, each one was a development, and I would just keep each one, it wasn't just picking the ones that I liked and then using those as a composition to make into an artwork…
When you're putting the paste ups on the wall, are they constructed with the final image in mind? I'm assuming they are applied on the wall in sequence…
Yeah that's right. With the stickers, I'd start with the background, with the brushy effect using the wide-tip Molotow marker, and then I would just cut shapes out of colorful vinyl, some which I'd spray painted first, and I'd play with compositions. Then I used those stickers to inform the larger paste ups.
Were you thinking about spots for paste ups in a different way to the stickers? I assume there was less planning around the stickers, whereas the paste ups would require some forethought…
There's an abundance of spots out in New Brighton, so it's not hard to find a spot. And during lock down it was so quiet, no one was around, I mean I could have painted them if I wanted to. At the time, I was more interested in the collage approach and finding those small imperfections where they are slightly offset and seeing the depth between the layers, the paper sticking on top of another layer which is on top of another layer and building up. The paper ripples and it creates little shadows and as it gets wet it shrinks and it might warp a bit, the stripe might move off to the side a little…
In terms of placement, what makes a perfect wall? It feels as if your works like to have room to breathe, but also it seems that geometry is an important consideration…
Definitely, I really like a wall to have similar or reflective elements that are going to make it relatable to the work. I like to have contrast, but I also like it to have some sort of unity. That balance is what I like in my work more generally anyway. You want it to stand out, but you want it to fit in, so I try to find texture or line or some shape or something in the composition of the space that's going to contribute to the overall composition on the wall, like a box or a down-pipe, a color or a paint change or a set of windows.
Do you feel this has taken your studio work in a new direction?
Definitely. The stickers started developing with more curves and softer lines and the collage approach to the process is something I'll take forward.
Your work seems to evolve in quite a fluid progression, with certain elements recurring and coming into focus, does it feel that way to you as you are working?
think with abstraction, it can be very sparse in terms of the elements you're working with, so the changes are noticeable really quickly when you do change an approach or technique or some process behind how you make an image. I can really latch on to something just by changing that one thing and that change becomes a solid basis and everything else around that can change but you are still kind of keeping a consistency within the work.
There's an anchor…
I like to have an anchor, especially with colour or shape or composition or texture. The anchor's a link, you could look at it two ways; it's a safety thing, I don't want to jump too far away from what I've been doing, possibly because of fear, but also it keeps it recognizable from previous work so you can see a progression, that connection between where you are going and where you've been.
Has this series made you think about the street/studio balance?
I'd like to do more of the paste ups. I've got lots of ideas for those, but I can see them influencing my paintings as well. I want to take that same process, just do a little collage sticker and then maybe do a paste up or a painting directly from that, maybe try to do both, and just push that image out in more than one way…
Follow Dr Suits on Instagram and find more of his work at Fiksate Gallery.
Reuben is an art historian, writer and curator. His PhD thesis explored graffiti and street art within post-earthquake Christchurch. He also serves as creative director and lead tour guide for Watch This Space. View all posts by Reuben Woods
Author Reuben WoodsPosted on June 8, 2020 June 10, 2020 Categories Guest writer, Photo EssayTags abstracts, Christchurch, Christchurch artist, christchurch street art, Collage, Dr Suits, Fiksate, Lockdown, paste ups, Post Graffiti, Slaps, stickers, Street Art, urban abstracts, urban art
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The new episode of Gaming Steve is out now. I haven't listened to it yet but I just thought I'd let you know.
The show includes a roundup of the gaming news, Spore stuff and the second part of the Oblivion preview, which includes some answers to listeners questions about the game.
are we ready for next gen?
can the revolution cause a revolution?


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The Iraq War
Topic: The Iraq War
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"The United States of America is a threat to world peace. Because what [America] is saying is that if you are afraid of a veto in the Security Council, you can go outside and take action and violate the sovereignty of other countries. That is the message they are sending to the world. That must be condemned in the strongest terms."
- Nelson Mandela
Reach the heart of a Conflict
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– Find a way that changes assumptions, that all sides can agree with, that works at the heart level.
What is the cause of the conflict? What are the grievances of the sides you oppose? What is the suffering of the side you oppose? What is good or true about the side that you oppose? What is the superficial problem? What is the underlying problem?
The goal is not to determine which side is right, or even to find a solution that satisfies the interests of each side. Instead, try to resolve the contradictions at the level at which they were created.
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The goal of this Visionary Topic is to help a person understand why the US government chose to start a costly war that would claim thousands of American lives, and hundreds of thousands, possibly as many as 1.5 million Iraqi deaths, according to sources. The complex war began with weapons of mass destruction which were never found, and culminated in the US paying Iraqi insurgents to switch sides and fight with the Americans.
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– Understand the grievances of the opposing side.
– Understand the suffering of the opposing side.
– Understand your own role in aggression.
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"Only mistake made in Iraq was leaving Iraq"
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Reach the Heart of a Perspective
Only mistake made in Iraq was leaving Iraq
In the Daily Telegraph in 2016, Bolton wrote that: "Iraq today suffers not from the 2003 invasion, but from the 2011 withdrawal of all US combat forces. What strengthened Iran's hand in Iraq was not the absence of Saddam [Hussein], but the absence of coalition troops with a writ to crush efforts by the ayatollahs to support and arm Shi'ite militias. When US forces left, the last possibility of Iraq succeeding as a multi-ethnic, multi-confessional state left with them. Don't blame Tony Blair and George W Bush for that failure. Blame their successors."
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Tim {name_l}
This is the opinion of John Bolton
"Links between Iraq and al Qaeda"
Links between Iraq and al Qaeda
Since we began after Sep. 11th, we do have solid evidence of the presence in Iraq of al Qaeda members, including some that have been in Baghdad. We have what we consider to be very reliable reporting of senior level contacts going back a decade, and of possible chemical and biological agent training. And when I say contacts, I mean between Iraq and al Qaeda. The reports of these contacts have been increasing since 1998. We have what we believe to be credible information that Iraq and al Qaeda have discussed safe haven opportunities in Iraq, reciprocal nonaggression discussions. We have what we consider to be credible evidence that al Qaeda leaders have sought contacts in Iraq who could help them acquire weapon of -- weapons of mass destruction capabilities. We do have -- I believe it's one report indicating that Iraq provided unspecified training relating to chemical and/or biological matters for al Qaeda members. There is, I'm told, also some other information of varying degrees of reliability that supports that conclusion of their cooperation."
This is the opinion of Donald Rumsfeld
"Dogs treated better than detainees in Iraq"
Dogs treated better than detainees in Iraq
If a dog were to be subjected to the type of treatment Iraqi prisoners receive at the hands of some U.S. contractors, the people responsible would be arrested. I was witness to this on a very personal level and ultimately, forced to erase the video footage from my television camera. I didn't feel like I was watching the actions of Americans, instead I thought of groups like the former KGB in the Soviet Union who were known torturers and sadistic government agents free of things like laws and court inquiries.
On this night, U.S. Army Intelligence was complicit in the illegal operations of the other kind of civilian soldier; one not in the military at all. They work for companies like Blackwater. The fact that I had to erase the video footage, in my opinion, amounts simply to a purging of evidence. Exactly where the lines of humanity and decency are drawn in this country appear to be largely unknown.
Tim King
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Recommended Resources (Review before voting)
Associated Press: Bush Announces Iraq Troop Surge - 2007
AP Archives: CIA man says no evidence yet of Iraqi WMDs
CSpan: President Bush Announces Start of Iraq War
Inside Iraq: What happens when a Nation Stops Paying its Former Enemies
Link: US 'got it so wrong' on Saddam Hussein, says CIA interrogator of the Iraq dictator
Will Worley: The Independent
Link: Tyrant, confused daydreamer… So who was Saddam, really?
Victor Argo: Your Middle East
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Politics, Pop, Books, Movies
Christopher Nolan: The Director's Cut
From the longer cut of my Christopher Nolan profile:—
MICHAEL MANN: "He works within the system here in a very commanding way. He has large ideas. He's a complete auteur. He invented the post-heroic superhero. He can come up with an idea for a science fiction heist inside the moving contours of a dreaming mind and he had the boldness and audacity to have that singular vision and make it happen. His work is very, very focused and it's truly his own. He operates very much in the present, in the now. We're living in a post-modern, post-industrial world with decaying infrastructure. Many feel disenfranchised. Seclusion is difficult. Privacy is impossible. Our lives are porous. We swim in a sea of interconnectedness and data. He directly deals with these intangible but very real anxieties. He's tuned into the reality of our lives, our imagination, our culture, how we think, how we try to live. The quest to understand that and to tell stories from there, that is a central motivator for him, I think."
ANNE HATHAWAY: "We see him very, very calm. You never really see him blow a gasket or get frustrated... usually by the time we come to set the puzzle is solved for him. For the both times I've worked with him, he's totally open to being surprised by things and discovering things on set and certainly he's always shown me amazing generosity as a director in terms of letting me find me, find my way through the part. Yeah, he has the whole film in his head before we start shooting. I remember when we were doing the scene in Batman where I pull my mask back and it becomes the cat ears for the first time. Chris came up to me before we shot the one and I guess we you're working a few weeks at that point, but we haven't, and we're having a great time but we were way more bonded at the end of experience than we were at the beginning. It's just kind of the way it goes. He came up to me and made a point of saying to me, "Now listen, I'm going to do a lot of takes on this one just because I have the way I want it to look in my head for so long I'm not going to be able to move on until I get exactly right. It's a complicated shot. There's a lot of things at work here. The camera has to go, the prop has to work, you're mask has to go up. He just took me through it, and he said, "So if I do it a lot of times, I don't want you to get discouraged, it's not you.' I just thought it showed a great emotional awareness, on his part. He didn't have to do that, it was so generous of him to make sure that I wouldn't take it personally."
ZACK SNYDER: "I think everyone wants their movies to be successful but I think there's sort of what Chris has been able to generate with the movies that he has made, including the Batman movies I think, is original work that doesn't rely on the whims of pop culture but in informs pop culture. Which I think is the real trick of any filmmakers not to be a slave to trends but to then create those trends. They look to you for their direction. The Batman movies came out of nowhere. That take, that tone, came out of nowhere. If I had told you it's going to be a super-serious Batman movie that treats Batman like this mythological figure that is completely based in reality. You'd be like, okay that sounds like I don't know if that's going to work."
NICOLAS ROEG: "His films have a magic to them. They're like incidents in one's life; some things happen swiftly and some things take a long time to reveal themselves. They're marvelously disguised. Memento has this backwards-running time scheme, and yet you automatically find yourself applying the situation to oneself, to one's daily life, which is very strange. The slipperiness of time, especially when it involves memory, that feeling of 'it's all true... but it wasn't like that', he's got that on film, somehow. It's a very rare thing. People talk about 'commercial art' and the term is usually self-negating; Nolan works in the commercial arena and yet there's something very poetic about his work."
MATTHEW MCCONAUGHEY: "Chris knew this was something different than he'd done before. It had all and more of the concept, scope and awe you may expect, yet it's about family, father's and daughters, genuine relatable challenges, with real humans rather than archetypes. Chris has always created an original world on screen as well as the rules within that world, but I think this story if more personal to him, more intimate, more flesh and blood. ...I'll never forget the days on the glacier in Iceland. Cold, sleet, snow, altitude, two helicopters, a vast desert of frozen earth and caverns, over a hundred crew members in action, the combined elements made for a tremendous affair that many people might have considered overwhelming and dire. Not Chris. Chris was in his element. He was on fire. His focus, his stamina, he was conquering something- I remember looking at him, he looked 20 years younger, his eyes were bluer, his hair blonder and standing taller, a Nordic soul emanating, like his feet were slightly off the ground in a state of levitation. On this glacier, in the most extreme natural and technical conditions you could imagine, it was as if he was some transmigrant incarnate — like he'd been there before."
"A master-class‑–immersive, detailed, meticulous, privileged inside-dope… Tom Shone is the king of critical cool." — Craig Raine
"An up-close and personal look at one of Hollywood's most successful directors…This erudite book is packed with extensive, expansive discussions about Nolan's films… insights into what he was trying to accomplish with each film; and the movies, directors, books, art, architecture, and music that influenced him…. Fans of Nolan's films will find this revealing book invaluable." — Kirkus, starred review
THE NOLAN VARIATIONS
"Shone is simply one of the most eloquent and acute film writers we have" — Teddy Jamieson, The Sunday Herald
"Shone is a clever film columnist who can also write a wise book: two attributes that don't often go together." — Clive James
"Is there anyone now writing about movies better than Tom Shone? I think not" — John Heilemann, New York magazine
1 The Irishman A
2. The Souvenir A
3. Marriage Story A-
4. Once Upon A Time in Hollywood A-
5. Apollo 11 A-
6. Parasite A-
7. Ford vs Ferrari
8. Toy Story 4 A-
9. Ad Astra B+
10. For Sama B+
R E V I E W S
"This level of discernment and tart dissent is an unexpected treat... Shone's prose has a beauty of it's own, abounding in nonchalantly exquisite turns of phrase" — Guy Lodge, The Observer
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Home › Knowledge › Overviews
Hip hop in Lesotho
6 Aug 2018 - 14:10
By Matseliso Motsoane
As in most areas of the world, the hip hop that has emerged from Lesotho boasts its own distinct characteristics and displays a unique take on the genre. This article provides a condensed look into the evolution of hip hop in Lesotho and some of its key proponents.
Kommanda Obbs.
There is uncertainty regarding exactly when hip hop first arrived in Lesotho and when it became an integral part of the country's youth and urban culture. There was wave of hip hop spearheaded by the likes of Papa Zee in the early 1990s, but it wasn't until the latter part of that decade that hip hop truly emerged and dominated contemporary culture in Lesotho[1].
In the early years, the country's hip hop culture was entirely influenced by the American hip hop scene. Every aspect of the culture was adopted, from the fashion sense to the mannerisms and behaviour. According to Nkati Tsotleho, to announce yourself as a true hip hop head (lehipi) in Lesotho at the time, "in addition to being able to spit a few bars, it was common to wear a bandana, baggy pants and fresh sneakers"[2].
The late-1990s and early-2000s can be considered the instrumental years in the rise of contemporary hip hop culture in Lesotho, informing much of what we know of it today. Many of hip hop's earliest proponents in Lesotho say that the culture began with small rap battles in schools and in the streets. Battles and cyphers (circular gatherings where hip hop artists would meet to jam with each other) were hosted at Lesotho High School around the early 2000s, and this is when some rappers, such as Sadon, remember falling in love with the genre. Sadon says that in this era, being a rapper was more about street cred than fame or fortune – and although he didn't previously have much interest in the culture or the music, describing himself as a 'pantsula', it was during this time that his passion for hip hop was cemented. He is now a popular recording artist with two albums under his belt[3].
Other hip hop proponents at the turn of the millennium, such as Thulo Monyake (T-Mech), Emcee Conundrum and others, agree that it was the cypher and battle scene that launched the culture of rapping in and around Lesotho's capital Maseru. Around the year 2000, local radio station PC FM hosted the Sprite Activity Jam, a talent-search competition where upcoming emcees would compete for the title of best rapper in town[4].
Tseliso Monaheng, an author and founding member of Corporate Nemiscis (CN), a popular crew at the time, characterises hip hop as a "safe space, a place where the non-archetypal could fit in". CN was founded in 2001 along with Mokhethi Rampeta and other "rap dudes who were dope". Monaheng, who sometimes goes by the pseudonym Core Wrekah, says hip hop in Lesotho is "no different to hip hop anywhere else. At the core it is an ego-centred form of expression, a quest to become and remain cool"[5].
Cliques and crews
With Maseru being the central hub and by far the most developed area of the country, rappers were drawn to the capital and often interacted with one another, which eventually led to collaborations. Crews emerged in Maseru from all parts of the country, each of them with a discernable aesthetic: a style and influence that helped them embody a specific identity[6].
Most rappers who form part of the current hip hop fraternity started off as members of a crew. They include the likes of Kislev, Skebza D, Sadon, Core Wrekah and T-Mech, who were influential in the emergence of crews such as Raw SAW and OGC. In 2001, the same year that CN was formed, Sehlabaka Rampeta, alongside Kislev and Charles Alvin, formed a crew known as Cuts on Raps.
When asked about the importance of being a member of a crew in those days, Rampeta says it was "just how things were at that time, and what the hip hop culture entailed". The crew came together to enter the Sprite Activity Jam, which Rampeta says was his first truly competitive encounter with hip hop in Lesotho. From there, Cuts on Raps took a sabbatical before evolving into a kind of a lifestyle movement, hosting hip hop events and selling T-shirts and other merchandise that made them an integral part of Maseru's street culture[7].
Other prominent hip hop crews of the time included Hipnotica, Anonica and Corybantics, which was a large collective of students from the National University of Lesotho. Some of these musicians – like Chocolate Soul, Pasco and Skebza D – continue to make music today. According to T-Mech, one of the founding members of Anonica, although the culture of crews and cliques has faded out with time, there are still remnants of this element in Lesotho hip hop. Most existing crews double as recording labels or media houses, such as T-Mech's Magic In Progress (MIP), Kommanda Obbs's D2AMAJOE, Penya Play and Jenuine Hype[8].
Beef: Hip hop rivalries
An intrinsically competitive genre, where ego and street credibility are necessary components of the artist's image, hip hop is often characterised by the phenomenon of 'beef', or high-profile, public feuds between artists who represent different aspects of the market. The hip hop scene in Lesotho is no different. In the early 2000s, there was tension between Cuts on Raps and Hypnotica, followed by more enmity between Cuts on Raps and Corybantics. Even Sehlabaka Rampeta is not sure what the exact cause of this 'beef' was, although he acknowledges there was a difference in the groups' style of rapping, with Hypnotica, for example, being more experimental in their lyrical content by dabbling in Sesotho rap[9].
The period from 2007 to the present (2018) can be considered another 'wave' of hip hop in Lesotho, with artists like L-Tore, Megahertz, Robocop, OG Skillz and Yemba Shungu dominating the scene[10]. This next generation of hip hop stars in Lesotho have also been involved in public spats. Some of these rappers have long-standing positions in the hip hop scene, having been members of the aforementioned crews, or winners of competitions like Vodacom Superstars. This has given rise to entertaining feuds in recent years, such as between Megahertz and Rifle 3, and more recently between Robocop and Megahertz[11].
Resources and citations:
[1] http://www.mahala.co.za/music/lesotho-hip-hop-from-the-ground-up-part-i
[2] Interview with Nkati Tsotleho (2017)
[3], [7] & [9] Interview (2017)
[4] http://www.okayafrica.com/maseru-lesotho-hip-hop-scene
[5] Interview with Tseliso Monaheng (2017)
[6] http://www.haveplentymusic.com/lesotho-hip-hop-the-rise-and-rise
[8] Interview with Thulo Monyake [T-Mech] (2017)
[10] https://africasacountry.com/2013/01/lesotho-hip-hop-the-new-breed
[11] http://www.kingdomtunez.co.ls/gloves-off-robocop-vs-megahertz
Disclaimer: Music In Africa's Overviews provide broad information about the music scenes in African countries. Music In Africa understands that the information in some of these texts could become outdated with time. If you would like to provide updated information or corrections to any of our Overview texts, please contact us at info@musicinafrica.net.
Editing by David Cornwell
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In recent days, the travel and tourism industry in Nepal has been flourishing and growing primarily because of its incomparable tourist attraction. Endowed with an unparalleled combination of natural, cultural, and historical attractions, Nepal has been one of the most popular tourist destinations for mountaineering, adventure or simply for trekking and cultural tours, jungle safari, wilderness trek and various others adventure sports and activities.
Construction of accommodation facilities started in Nepal ever since, it was first its door to the foreigners back in 1950s, even though in comparison with the developed countries, there are less hotels or accommodation facilities in Nepal however, there are every category of hotels available in different parts of the country. The range of star hotel including that of international standards star hotels to the budget hotels and lodges are available across major tourist areas including that of Everest, Annapurna, Langtang, Dhaulagiri, Pokhara, Chitwan, Kathmandu and so forth.
These above features show that finding a place to sleep is hardly ever a problem in Nepal, although only the established tourist?s centers offer much of a choice. The prices may vary considerably depending on where you stay either star hotel or simple budget hotels, or when you are staying. You can pay anything from a couple of dollars per night in trekking lodges to nearly 500 US dollar in Kathmandu, Chitwan, Pokhara or Everest region.?
Accommodation facilities are available at every part of country including in the high hills, mountains, and Terai the plain area. The majority of trekking routes have lodges or tea houses to accommodate tourists, while if you are travelling in the off the beaten trail, there are not available to hotels and lodges, therefore, you have to manage tent, alternative ways could be accommodating in the village areas. Especially during the spring and autumn season, the hotels are overbooked; sometimes it is even difficult to find the rooms. Therefore, we request you to book well in advance.
Most places have a range of rooms, from budget, shared-bathroom boxes to en suites with A/C and TVs. Single rooms are usually doubles offered at between half and two-thirds of the full price. Hotels and guesthouse take bookings, and reservation are often necessary in the busy seasons, during the local festivals or if you are arriving late at night.??
Discovery world trekking? has close relation and contacts with different categories hotels from non-star to the five star hotels across the country. We reserve the hotel as per your budget and requirements. Therefore, if you are looking for bookings, feel free to contact us prior to your visit, so that we can make comfortable and memorable your stay in Nepal.


Ah, yes, a morning in the park. In weather like we have had it is nice to have a morning to walk around a park and enjoy the dryness. To make it even better (for me that is) is to have a great couple to photograph and they were at that. We really had fun getting to know Kristina and Ronnie a little better while we walked around Hubbard Park in Meriden and think we got some awesome images of the two of them.
Love a little sassiness from time to time.
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My fav. a little infrared effect!


text:
Q: Powershell - Clustered DIsk Info - Duplicates I have the following little code which collects disk space info from standalone and clustered environments (MS SQL Servers):
Get-WMIObject -query "select * from Win32_Volume where DriveType=3 and not name like '%?%'" -computername $svr |select @{n="ServerName";e={$svr}},
Name, Label, FileSystem, @{e={($_.BlockSize /1KB) -as [int]};n="DskClusterSizeInKB"},  @{e={"{0:N2}" -f ($_.Capacity / 1GB)};n="DskTotalSizeInGB"},
@{e={"{0:N2}" -f ($_.Freespace /1GB)};n="DskFreeSpaceInGB"}, @{e={"{0:N2}" -f (($_.Capacity-$_.Freespace) /1GB)};n="DskUsedSpaceInGB"},
@{e={"{0:N2}" -f ($_.Freespace/$_.Capacity*100)};n="DskPctFreeSpace"}, @{n="DateAdded";e={$RunDt}}

If the $srv is a clustered network name then we have multiple times the same info collected for the disks
i.e Let's say i have two instances [Inst1\InstName, Inst2\InstName] (clustered) with drive letters and mountpoints and those instances are on the same physical node.
When the collection starts (looping though the list of servers) it will go through the $srv=Inst1 collect the info, which will include the disks for Inst2.
Then when $srv=Inst2 it will include the disks for Inst1
Any ideas how to work around this?
Regards,
demisco

redpajama_set_name: RedPajamaStackExchange


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Home Lifestyle Fashion These Lok Sabha elections themed jackets are the new rage!
These Lok Sabha Elections Themed Jackets Are The New Rage!
Lok Sabha polls are just around the corner and the magic of politics has already started flooding the local markets of India.
Days after Sarees featuring Prime Minister Narendra Modi, Priyanka Gandhi and Rahul Gandhi stormed the stores, Modi jackets and Rahul jackets have become the new trend among people.
Lok Sabha polls are just around the corner and the magic of politics has already started flooding the local markets of India. Days after Sarees featuring Prime Minister Narendra Modi, Priyanka Gandhi and Rahul Gandhi stormed the stores, Modi jackets and Rahul jackets have become the new trend among people. Fashion meets Politics, these Bandhgala jackets with PM Narendra Modi or Rahul Gandhi's face printed on them, have become the latest rage in Madhya Pradesh's Jabalpur market. Ahead of the upcoming elections, the jackets have become more than just a piece of garment. Among the local people of Jabalpur, these are seen as a political statement.
Speaking with ANI, Saral Jain, a local resident who loves to flaunt his Modi jacket, said, "We saw that PM Modi has illuminated the country's name throughout the world. We are wearing this jacket because we also want to cooperate with the Prime Minister."
Earlier this month, in Rajasthan's Bhilwara, which is known as the textile hub of India, women, as a gesture of extending support to the Indian Army, draped air strike themed sarees, replicating the strikes on terror launch pads in Pakistan's Balakot. The sarees featured the face of Prime Minister Narendra Modi, along with a group of armed Indian Army personnel, while another portion of the dress had imprints of fighter jets.
These plus 60 models set major fashion goals!


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The Wall Street Journal, citing people briefed on the crash investigation's preliminary findings, reported Tuesday night that the pilots hit the system-cutoff switches as Boeing had instructed after October's Lion Air MAX crash, but couldn't get the plane's nose back up. They then turned the system back on before the plane nose-dived into the ground.
It would suggest the emergency procedure that Boeing laid out for pilots worldwide after the Lion Air crash, and that the FAA alerted airlines to the next day, is wholly inadequate and failed the Ethiopian flight crew.
That old 737 pilot manual lays out a scenario where a much more elaborate pilot response is required than the one Boeing outlined in November and has reiterated ever since. This response outlined in a Boeing pilot manual nearly 40 years ago is no longer detailed in the current flight manual.
Just a week after the Oct. 29 Lion Air crash, Boeing sent out an urgent bulletin to all 737 MAX operators across the world cautioning them that a sensor failure could cause a new MAX flight-control system to automatically swivel upward the horizontal tail — also called the stabilizer — and push the jet's nose down.
Boeing's bulletin laid out a seemingly simple response: Hit a pair of cutoff switches to turn off electrical motor that moves the stabilizer, disabling the automatic system — known as the Maneuvering Characteristics Augmentation System, or MCAS. Then swivel the tail down manually by turning a large stabilizer trim wheel next to the pilot's seat that connects mechanically to the tail via cables.
Vice president Mike Sinnett repeatedly described the procedure as a "memory item," meaning a routine pilots may need to do quickly without consulting a manual and so must commit to memory.
As the jet's airspeed increases, and with nose down it will accelerate, these forces grow even stronger.
However, an analysis done by Bjorn Fehrm, a former jet-fighter pilot and an aeronautical engineer who is now an analyst with Leeham.net, backs up Lemme's theory about excessive forces on the stabilizer trim wheel.
A chilling video of how that simulator test played out was posted to YouTube and showed exactly the scenario envisaged in the analysis, advancing it from plausible theory to demonstrated possibility.
The Swedish pilot is a 737 flight instructor and training captain who hosts a popular YouTube channel called Mentour Pilot, where he communicates very well the intricate details of flying an airliner. To protect his employment, his name and the name of his airline are not revealed, but he is very clearly a 737 expert pilot.
In the test, the two European pilots in the 737 simulator set up a situation reflecting what happens when the pre-software fix MCAS is activated: They moved the stabilizer to push the nose down. They set the indicators to show disagreement over the air speed and followed normal procedures to address that, which increased airspeed.
After just a few minutes, with the plane still nose down, the Swedish 737 training pilot flying as Captain is exerting all his might to hold the control column, locking his upper arms around it. Meanwhile, on his right, the first officer tries vainly to turn the stabilizer wheel, barely able to budge it by the end.
Early Wednesday, the Swedish pilot had to remove the video when his airline demanded he take it down.
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The procedure Boeing recommended to airlines after the Lion Air crash, which was repeated in an Airworthiness Directive issued by the FAA, includes a line near the bottom that "higher control forces may be needed to overcome any stabilizer nose-down" position, and adds that the pilots can use the electric system to neutralize the forces on the control column before hitting the cut-out switches.
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The Joint Authorities Technical Review, chaired by former NTSB Chairman Chris Hart and including of experts from the FAA, NASA, and international aviation authorities will evaluate all aspects of MCAS, including its design and pilots' interaction with the system.


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Immediately shut off power to the basement.
Wet basements are a nightmare to deal with. The situation is even worse when you have to deal with them during a storm. There are many reasons why your basement is flooding during a rainstorm. If you find yourself in this situation, stay calm and apply these tips.
You may not have come across the term, but it is highly likely that you've come across it physically. If you've spotted a white powdery substance on your basement walls or floor, you have likely come across efflorescence.


Have you been looking for increased opportunities to give back? Or are you just looking for an excuse to get out on the links and work on your golf game? Either way, you should know that the Aga Khan Foundation USA is hosting its 8th Annual PartnershipsInAction Golf Tournament. This tournament will be held in five locations across the United States, and the Texas edition will be hosted at the Cowboys Golf Club in Grapevine on Thursday, April 2, 2015.
The tournament, named one of the top 20 largest tournaments in North Texas by The Dallas Business Journal, fundraises with the aim of ending global poverty. In 2014, Aga Khan Foundation USA raised $9 million for this noble cause. Sponsors for the tournament will be donating towards supporting loans for young entrepreneurs, providing drought resistant seeds to farmers, training village and farmer organization members to increase income, buying and installing water pumps in six villages, and covering the cost of emergency shelter and supplies for families.
Global Financial & Insurance Services is proud to announce that we will be sponsoring this tournament, with an aim to give back to our community and our world. We are dedicated to serving the people with whom we have the pleasure of interacting, but also want to expand our reach further. As a result, we are excited to be involved in the upcoming tournament.
You deserve to work with a team of insurance agents who is connected in your local community and understands its unique insurance needs. Contact Global Financial & Insurance Services in Irving for all of your insurance needs. Our dedicated, experienced team is here to help you get the coverage you deserve this year. Do not wait, contact us today.


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Mauricie: this is the end for a major landfill site
Tailor Stone | June 26, 2020 | News | No Comments
LARGE-BATTERIES – The burial site of Large-Piles, in Mauricie, has put an end to its activities, a closure that hurts the small community.
The imposing site of Horizon Environment, open for 25 years, is now filled to capacity and the operations were, therefore, permanently discontinued.
It is on this site that had been transported soils from the construction site of reconstruction of the Turcot interchange in Montreal.
Horizon Environment will continue its operations from its new site in Mascouche.
"We would very much have liked to be able to continue to Large-cell Batteries, but the quality of Large-Batteries has become his default: it is far. Today the transportation costs are an extremely important component in the rehabilitation projects," said Guy Fortin, director of the company.
The start of Horizon Environment hurts the finances of the municipality.
The company was the largest taxpayer, with a contribution of$ 300,000 per year in property taxes and royalties on every tonne buried.
His contribution weighed to 20% of the municipal budget total.
"It was an income that was much appreciated, which has enabled us to develop and upgrade all our municipal infrastructure. We talk about water supply, sewage and maintenance of the roads", has shown the mayor of Grandes-Piles, Michel Germain.
The site will now be monitored for at least the next 30 years.
As the Horizon Environment has always acted as a good corporate citizen, the municipality has no apprehension as to the environmental issue.
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Abstract : In this paper, we explore three scenarios for the future of the European Union, using history and reasoned imagination as guides. Our three scenarios are rooted in European contemporary challenges but draw on three ages that have shaped what Europe has become. Scenario 1 harks back to Antiquity ("the Empty Empire"), scenario 2 to the Middle Age ("Return of the City-states") and scenario 3 to the Renaissance ("Renascent Europe").


Secure transportation becomes more challenging especially when systems need to move their data to the cloud and to other systems which in most cases are not sharing the same security permission levels. Furthermore, data need to migrate based on complex criteria in different formats and be optimized in order to support safe transportation of huge amount of data in short time. Whether we're working on small or large scale network, our goal is to provide secured and flexible infrastructure to enable enhanced capabilities of data filtering, data preparation, data manipulation and data shipment in simple way and with cost effective solution.
Each component can be configured so that it is possible to enable or disable features without the need for code changes. T-Sense implements scalable architecture and supports tens of gigabits per second of network traffic for real-time stream processing and transportation.
The classification engine includes pattern matching and behavioral, heuristic and statistical analysis to detect applications and client service functionality such as audio, video or file transfer in order to classify them and let the decision engine to filter the stream based on classification group types as well as filtering by specific application. The classification engine also able to extract application based metadata from IP traffic in real-time while providing insights about user behavior and application usage. This information can be used as additional filtering channel and provides detailed understanding of network transactions and behavior for deeper insights and better decisions making.
The Decision Engine gets continuous network streams and includes filtering mechanism based on multi-channel criteria while supporting large sets of regular expression with high scanning performance. New rules and patterns can be defined in the decision engine as a result of big data analysis and extraction of valuable data from the decoded application content.
The Data Preparation layer is responsible for all data manipulation and preparation for secure and reliable data shipment providing rich capabilities such as deduplication, transformation, aggregation, encryption and so on. With the growth in cloud computing and mobiles data, organizations have to priorities their data traffic and replicate the data efficiently between multiple services deployed in the cloud as well as on-premises.


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Water Utility Division
The City of Havelock operates a state-of-the-art water treatment facility including chloramines disinfection and corrosion control capability. The current plant capacity is 2.80 MGD, and stores a total of 2.20 MG in three elevated storage tanks and a ground storage tank. The City's average daily flow is about 1.2 MGD. The water plant meets or exceeds all of the state requirements for THM's, HAA's, and lead and copper, etc.
Where the Water Goes
After you wash dishes, take a shower, brush your teeth, or wash a load of clothes, the used water travels through another system of pipes to Havelock's wastewater treatment plant where impurities are removed before returning the water to the environment.
The City of Havelock operates an advanced wastewater treatment facility including tertiary treatment and nutrient removal capability. The current plant capacity is 2.25 MGD, and the City holds an NPDES permit to discharge 2.25 MGD into the Neuse River. The City's NPDES permit limits are among the most stringent in North Carolina with a Biochemical Oxygen Demand (BOD) limit of 5 milligrams per liter in the summer and 10 milligrams per liter in the winter, a NH3-N monthly average of 1.0 milligrams per liter, a total phosphorous quarterly average of 2.0 milligrams per liter, and a yearly total nitrogen limit of 21,400 pounds at our current flow rate. The facility currently discharges an average of 1.46 MGD.
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The hidden soul of marble
It comes naturally to mention Paolo Ulian when talking about marble and design. Born in Massa Carrara, Paolo has always spent time in the marble quarries and workshops of the Apuan Alps, and has often used this noble material in his projects.
He did this before the 2000s, when rigid, heavy marble was still excluded from the range of contemporary materials and production, and he has continued over the years, as numerically controlled machines generated new possibilities for working with stone.
Today Ulian emphasizes this distinctive vocation, but with an approach and a sensibility that point to an interesting passage in his career, a new maturity that projects his work beyond the 'niche' categories to which it was relegated in the past.
This has happened thanks to the encounter with Andrea Lupi, art director of Antoniolupi, and a series of products presented by the company in the fall. The opportunity for this collaboration was the solo show "Paolo Ulian: the lightness of intuitions" held in May at Palazzo Mediceo of Seravezza, Lucca, where Andrea Lupi saw a series of marble objects – vases, a table, a panel – that triggered an idea: why not transpose the same design principle to make a series of washstands?
The first inspiration was the Introverso vase, shown for the first time by the designer in 2012: a hollowed block of stone, with precise, definite lines, that conceals another vase with a more sinuous form; the user decides which vase to use, breaking one of them with a hammer to obtain the other.
"The idea of this vase," Ulian explains, "came to me when I was observing the process of shaping of a tub from a block of marble, which was once done by hand but is now done with numerically controlled machines: a diamond saw cuts the solid material along parallel lines, at different depths. Many blades are thus created, which when broken and removed empty out the monolith in the desired concave shape."
Applied on the scale of a floor-mounted washstand, the procedure achieves an even stronger expressive result: we are no longer in the realm of furnishing complements, but in that of the technical object, where products rarely reflect parameters other than those of ergonomics and functional efficacy.
The effect of lightness and transparency generated by the spaces freed up by the cuts becomes even more striking: the cylindrical block of marble loses its monolithic look and takes on a dual formal identity, offering a glimpse of a secret core inside, a second washstand with a more sinuous form.
A soul that can remain hidden, perceived thanks to the play of light and shadow created by the horizontal blades, or can be revealed, partially or totally, by breaking the blades with a hammer.
In the latter case, the sink, or the internal form, takes on a 'raw' look that differs from piece to piece: not just because the human hand always acts in a slightly different way, but also because the user has the possibility of deciding on the level of aesthetic definition (finished or unfinished, full or semi-transparent, turned or squared, smooth or irregular) to give to this domestic sculpture.
An erudite, poetic and contemporary way to interpret the concept of tailoring proposed by Antoniolupi in a catalogue of products ranging from the industrial series to the one-off, from furnishings and complements for the bath to those for the rest of the home.
The same principle of personalization lies behind the Pixel washstand. The project began as the evolution of a series of decorative panels made by Paolo Ulian with Bufalini Marmi in 2015, known as Pixel because of their image of little segments obtained by means of deep, regular milling of marble slabs.
In this case the decorative personalization is again based on subtraction: depending on the broken and removed segments, the surface takes on a negative design that can be freely set by the user and further developed in the future.
A different design principle lurks behind Level, the third series of washstands produced by the collaboration between Ulian and Antoniolupi. Here the designer's experimental approach shifts towards more specifically aesthetic research: that of the artist who knows the material and decides to extract four different sinuous, sculptural forms from a block of marble.
"Many of the works I made with marble in the past," Ulian says, "came from the idea of recycling the scraps from the working of the stone. This time I focused on the production process and the role that can be played by the user in the aesthetic definition of the object."
An interaction that in the case of Introverso reaches the point of probing and revealing the sensorial qualities of the material in an unexpected way. The washstand produces music, in fact: just run a finger or – better still – a piece of marble over the blades to obtain a series of soft, natural sounds, like playing a xylophone.
Music that comes from the heart of the stone and the particular processes of its workmanship, giving the product an emotional meaning that goes well beyond pure functional.
Text by Maddalena Padovani
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