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In Pakistan the imported Muhajir group also predominantly comesfrom the Gangetic Valley and from the same source that Bharat(Republic of India) draws its gravitas from. Thus Urdu and Hindiare essentially the same languages bar the scripts - clearly aHindi speaker can speak with ease to a Urdu speaker. India has adopted Hindi and we have adopted Urduso in essence we are continuing on the British mission. But now fast forward to say 2050 and we have a Pakistan thathas 100% literacy which would mean over time Urdu as native tongueto 100%. Whilst in India all Indians would have achieved 100%proficiency in their national language Hindi. Giventhis scenario in 2050 100% of Pakistan could communicate in theirnational language with 100% Indians in their native language. Wewould have created a sub continent that would be unformulated andfinished off the project launched by the British. To become part of the ocean of humanity with just a script toidentify us. Urdu was neither spoken nor understood by the majority of thePakistani population i. . 54% Bengalis, 24% Punjabis, 10% Pashtuns,3% Balochis, and 8% Sindhis. It was the mother tongue of only 3%immigrants from UP. So it wasn't as a common language in almost allPakhtunkhwa, Baluchistan, East Bengal province, rural Sindh, andmost of the Punjab except few urban centers. 2.

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Cut and mastered from the original reels under the supervision of the artist. A fascinating and bizarre collage of wacky electro pop, drones, musique concrete, classical and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. Quelle Jungle? (gatefold 2xLP) Sony Music Cat: 190758 05411. Quelle Jungle? his first album under the newly expanded Bon Voyage Organisation alias. Across the album's 13 tracks, you'll find seductive, Air style fusions of Chanson and electronic music, stylish post-punk '80s synth-pop, humid blends of Haitian rhythms and stoned Afro-disco, simmering spaced-out soundscapes, Sebastien Tellier style orchestrated Balearica, Italo-disco inspired sunrise shufflers and even a touch of experimental, out-there electronica that sounds like the Radiophonic Workshop jamming with African drum circles. Its David Moufang aka Move D and Jordan Czamanski aka Jordash on a live performance recorded in Seattle in May 2013. Gentle xylophone vibes are soon joined by snarling monosynth leads, transitioning into suspenseful and cinematic soundtrack territory with sombre and immersive pads. It all gels together in a frenzy, fuelled by rusty percussion and swirling synth textures. Side B starts off grumbling away beneath chimes and what sounds like a theremin until gradually the acid begins setting in. The 303 builds to an epic climax over several layers of percussion and rich strings, gradually deconstructing, layer upon layer into delay. Plomb makes music using Heath Robinson-style machines he's crafted from spindles, pulleys, cogs, mallets, and thumb pianos powered by windscreen wiper motors. He uses these, and a few processing pedals, to create fantastically spectacular live performances.

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Yeast nutrients are generally used for bread making in European countries. Wine making is one of the application of yeast nutrients. Wine making is most famous in European countries which are Italy, France and Spain which uses yeast nutrients for manufacturing processes. North America is also one of the leading producer of yeast nutrients in the world. The designer of over 300 art posters, 8 Time magazine covers, the mascot for Montreal's Just For Laughs Festival, and the logo for the clothing chain Le Chateau, originally intended to become a writer. Having won several awards for his written work by the age of 19, he left his home in Italy with a thirst for adventure and the desire to put pen to paper. Quite by happenstance he landed in Montreal, where his inability to communicate in English or French steered him towards drawing, where language wasn't needed to illustrate ideas, thoughts, or feelings. In fact before becoming important advertisements or campaigns, many of his posters began as doodles on restaurant napkins. Described as a man with tremendous energy and passion, it was inevitable that his posters be as spontaneous and bold as their creator. His imagery can usually be categorized as either abstract or of a fictional narrative with fantastical creatures. He was able to convey all kinds of emotions through his made-up characters, but his favourite was when he could give a cheeky wink to the viewer, inviting them in on the joke. It was commissioned by a Canadian company, Imperial Oil, on a threefold basis - to recognize the oil company's own 100th anniversary; to create a ballet celebrating Canadian history through its immigrant contribution; to base the ballet itself on a television series on the same subject, also commissioned by Imperial Oil. Poster is hand-signed by the artist and unlined with slight signs of wear in upper right hand corner (see photo). Smaller items may be packaged in boxes, reinforced envelopes, or as packages.

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Of course, it takes awhile before we realise its a Ouija board, because this is lovingly filmed in dark-o-vision. Thanks a bunch! So the kids dabble in the dark arts, and eventually the planchette starts moving on its own, as one does in these movies, and I swear. The way it looks, the way it moves. am almost positive that the planchette is actually CGI in a few scenes. Which makes sense. They don't have to fiddle with magnets and a guy under the floor, just cut, paste, drag, and drop. But sadly, it LOOKS like drag and drop, the movement is so wrong. After they summon evil, as one does in these movies, the spirit wreaks havoc on the birthday boy's family, killing them all through Joseph's hands, and it is only stopped when Joe's father, a rabbi, comes over and traps the spirit in the board. From there we jump ahead 30 years, and Joseph has no memories of the events of that fateful night. I do wonder how the plot would play out if we started in the present, didn't know why Joey hated his father so much, what he did, what happened back then. think it might make for an absolutely more interesting movie as we have a mystery to unravel, but it would have removed our only real supernatural elements for the first half of the movie. Joe and his son find out the rabbi is sick and close to death, so Joseph reluctantly returns home, after his father gave him up for the foster care system 30 years ago, to protect him from the spirit that would forever hunger for the guy. Oh, and there's also an attempted love connection between Joe's son and Bev's daughter, as history repeats itself.

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This blatant disregard for their relationship with their market is bad for business, and can’t last. Time for Change The AAA gaming scene has some serious problems, and if it doesn’t make some changes, it could face some hard times in the years to come. I won’t go as far as some and say that major game studios are dying, or that AAA gaming is on its last legs; gamers will always be willing to pay for the biggest, baddest, best-looking game out there, but only if it’s good. But it’s clear that there’s a lot of potential that’s not being realized in the major games market, and that it comes down to a misalignment of priorities and goals between the developers and consumers. Major developers are forced to prioritize yearly release schedules, ever-increasing production values for stunning graphics at the expense of gameplay and story, and stringing out the collection of money through as many iterations of DLC as possible. It has to stop before we lose the companies who can make mind-blowing, stellar games. At the moment, indie studios are leading the field. But there’s room for balance— Shovel Knight and Tomb Raider can co-exist. Players deserve to play things like Grand Theft Auto and Limbo without having to buy multiple consoles and gaming PC setups. Developers deserve to be treated with value by their employers. There’s a lot wrong with the AAA gaming scene at the moment. Let’s make it clear to the big studios that we feel strongly about the changes that need to take place. I was surprised however that you didn't mention technological missteps as well. For me personally, this is a determining factor in whether I buy a game outright, wait for a price drop or ignore the game all together.

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Good Luck Japan, which we talked about earlier, also features Sano. I remember once there was a gay pink film, and Sato wanted to use Sano, so I was the go-between and negotiated with him to appear in it. We all worked for Shishi Production, but Toshiki Sato worked freelance for a number of different production companies. Hisayasu Sato had been working in pink for a while, but the other three of us started working later, and we all made our debuts around 1989. That year we felt that the pink film was very much in danger of extinction, so that was what made me think, if they're disappearing anyway, then we can get to do what we want. At the time, these artistic films from directors like Shinji Aoyama and Naomi Kawase, were drawing attention around the world, and we came to be lumped together with them. One thing for sure was that we were a group of people, so we were creating a movement. It's similar to Jean-Luc Godard and the directors of the French New Wave, or Masao Adachi and Koji Wakamatsu with Wakamatsu Productions. We knew that we needed a few of us to make a movement. This would suggest that pink eiga are now really recognised as an art form outside Japan. But it's true that in the early 1990s I and other directors making pink films tried to sell our films as art films, because the genre in itself was something nobody cared about. So we tried to have our films shown in small theatres as special screenings, to bring them to people as a kind of new type of arthouse film. People like Shinji Aoyama, Nobuhiro Suwa, and Naomi Kawase came up, who made real independent art films. When our films were shown in Rotterdam in 1995, it was still in this period where they were being shown in Japan as arthouse films.

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