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Xiaomi Mi band 5 Could Be A Feature Packed Rival For Fitbit




The new upcoming Xiaomi Mi Band 5 is said to be an apt rival for Fitbit with its new features. Besides, the fitness tracker will be very much affordable too. Reports say that it will be able to measure blood pressure using an SPO2 sensor. Some other features include menstrual cycle tracking, Amazon Alexa for smart home devices, etc.

The new model will be very considerable and tempting product with its features and price. After all, the device is reported to have a feature called NFC. It was already available in China. But from now, it will be globally available for everyone.

More Details About Mi Band 5

All the above-mentioned features and tools cannot be taken seriously. Besides, an official announcement is a must to ensure the rumors. Although, if it happens as they said. It will be a big step from Xiaomi. And a sure success. After all, the last model Mi band 4 was easily affordable for everyone with a price of $39.99.

That price again downsized to a much lower price in June 2019. It is affordable for everyone and has a big price difference with Fitbit models. Its latest model Fitbit Inspire HR has a retail price of $90. Beyond that, it also comes without some of the Mi band features like NFC and color screen.

However, Fitbit’s various exercise modes have no opposition in Mi band till now. But the price drop makes it special with all these features. An on-board GPS feature was a much-expected feature in Mi Band. But sadly there is no sign of such features in the new model.

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Feuding ‘American Chopper’ Teutuls build first bike together since 2008




Famously feuding “American Chopper” stars Paul Teutul Sr. and Jr. have reunited to build their first bike together in over a decade.

Their rocky road to an on-air reconciliation is captured in a new “American Chopper” special airing Tuesday, June 9 on Discovery Channel at 9 p.m. In the two-hour telecast, they return to where it all started back in 2003: the original Orange County Choppers building in Newburgh, NY, which is being torn down.

There, they reminisce, bicker and, ultimately, build a custom bike for ABC Supply Company.

“I was pushing for this for a long time,” Paul Jr., 45, tells The Post. “My father wasn’t really interested for his own reasons, but nobody is getting any younger. It’s been over 10 years and I just thought I would like to build a bike with my father again, if we could.

“We shared so much in the early days and made history with [‘American Chopper’] and we started in that building,” he says. “It made me think back to a time when my career was being formed through the process of being given the opportunity to build bikes … we fought and got along, too –and  it took both of us to make [the show] as unique as it was.

“It was a big trip, and a good one, down memory lane.”

Paul Sr. famously fired his son from the family business in September 2008 after a huge blowout and they went their separate ways. In 2009, Jr. opened Paul Jr. Designs (PJD) in Montgomery, about 20 minutes from Orange County Choppers.

He married wife Rachael in 2010 (Sr. was invited to the wedding but did not attend) and their son, Hudson, was born in February 2015.

“When you become a father it makes a difference in the way you see your own father,” he says. “It changed my viewpoint [toward Sr.] in some degree — it would be hard not to. I started to switch things around a little; I always wanted to get into a good situation with my father. You can do forgiveness on your own — the thing with reconciliation is that it takes two.

“And that’s always a challenge.”

Jr. says that, while building the bike with Sr., some of the old tensions resurfaced.

“It was up to me to step aside and refocus on what I wanted to see happen in this scenario, like what was important about the build,” he says. “There were some creative differences. I’m a very passionate, creative guy, so there was that clash-y thread and we certainly had some heated moments. It’s been over 10 years since we verbally had an argument with each other.

“I thought, ‘You know what? I don’t care if we’re building a widget together, the important thing is to work with my father again.’ I had to swallow some pride and get into the position of, ‘This is about me being a dad and building a bike and not getting sidetracked.’ I’m not going to lie to you. It was challenging, and I’m sure my father would agree.

“But ultimately it worked out.”

Jr. says he and Sr. haven’t had much contact outside of the television cameras.

“We speak occasionally and we text,” he says. “He’s [living] part-time in Florida. I’d be lying if I said we were best friends. It just hasn’t worked out that way and it’s not what I prefer but we’re not dealing with a perfect scenario.”

Despite that, he says we might not have seen the last of Sr. and Jr. collaborating on a bike build.

“I would like to do more with it,” he says. “My intention is maybe to do another project [with Sr.] or multiple projects. Life is short — what can we do to make things good inside the family and get together?

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What One Woman’s Shattered Career Reveals About the Music Industry




The documentary begins its story well before the alleged assaults, following Dixon’s early career and showcasing the passion and drive of an eager young woman. Raised in Washington, D.C., as the daughter of local politicians, Dixon said she became enamored of hip-hop because it “combined two things that I love—activism and this sense of [community] pride—with music.” The film portrays her as a woman who got to experience the “sweetness” of seeing herself as part of hip-hop’s whole.

Before detailing the events that ultimately pushed her out of the entertainment business, the documentary establishes Dixon as a formidable talent. While doing A&R work for Def Jam Recordings in her 20s, the music executive racked up hits from artists such as Tupac, Dr. Dre, and Biggie (who’d become a close friend). She assembled the massive 1995 song “You’re All I Need,” which brought the rapper Method Man and the R&B ingenue Mary J. Blige together for a duet that echoed Marvin Gaye and Tammi Terrell’s 1968 Motown classic. Multiple peers attest to Dixon’s early brilliance—it was obvious, they say on-screen, that she had an incredible ear. In On the Record’s later scenes, these comments take on a more rueful valence. They’re not just assessments of the bright future Dixon was poised to have—they also highlight the immense tragedy of losing it.

Following Simmons’s alleged assault, Dixon left Def Jam and later joined Arista Records, where she says the executive L. A. Reid refused to work with her after she denied his sexual advances. (Reid has denied Dixon’s allegations.) In two particularly shocking sequences, Dixon recalls Reid declining to meet with two artists she brought to him: a young Chicago rapper named Kanye West and a soulful pianist who’d soon go by the name John Legend. Dixon says the incidents proved to her that Reid was yet another man who used his power to impede her career; it didn’t matter how sharp her work was. “After a decade of working my way up from the bottom of my industry, I just quit,” she says. “I also completely and utterly cut myself off from the parts of myself that I love the most.”

On the Record is most revealing in moments such as these, when it shifts the focus away from Simmons himself. While prior works such as Surviving R. Kelly and Untouchable make cursory references to the career paths that R. Kelly and Harvey Weinstein reportedly halted, On the Record makes Dixon’s devotion to her craft palpable before revealing what forced her to give it up. The documentary also posits that this loss wasn’t just Dixon’s—when she left, hip-hop suffered too.

Woven throughout the narrative about Dixon’s career in music are clear-eyed assessments of how racism and sexism operate within the industry and beyond. Throughout the production, black women scholars, cultural critics, and activists explain why black women’s stories of harassment and assault often go untold or unaddressed, especially in the music industry. In addition to Joan Morgan, figures including the former Ebony magazine editor-in-chief Kierna Mayo and the #MeToo founder, Tarana Burke, underscore the dilemma that women such as Dixon, Abrams, and Hines said they faced when contemplating whether to share their accounts of abuse. In a country whose history of violent racism paints all black men as sexual predators, they noted, it can feel impossible to speak up about one man’s harmful actions without the fear of fueling broader stereotypes about African Americans. “For 22 years, I took one for the team,” Dixon says in the film, referencing her reluctance to name Simmons publicly.

In homing in on Drew Dixon, On the Record diverges from other #MeToo documentaries that take a more collective approach to the stories of alleged victims. (HBO)

On the Record situates its subjects’ dilemma within the context of American racism: All victims of sexual assault contend with a cultural climate that weaponizes uncertainty to discredit them, but black women also bear the burden of the transatlantic slave trade’s legacy of violence and sexual exploitation. The film, in which each of Simmons’s accusers affirms her prior affection for the mogul and love of black men in general, doesn’t set out to pathologize an entire demographic. Rather, On the Record simply zooms in on the women whose lives are altered by the alleged actions of men such as Simmons, whose stature grants them outsize influence over women in the entertainment industry.

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Fantastic Beasts Sequel and The Little Mermaid Can Restart Production Thanks to New UK Bill




Due to the coronavirus, many film productions have been shut down over the last couple of months. Now, according to a report by The Guardian, it appears some films have been given the go-ahead to begin filming in the UK as early as July, including The Batman. One other UK-based movie that was put on hold earlier this year was Fantastic Beasts 3, which halted production just before it was set to begin in the middle of March. Another movie that was affected by the pandemic was the live-action The Little Mermaid, which was supposed to begin filming on March 21st.

“The approval of the new guidelines paves the way for the UK’s film and high-end television production industry, which includes series that cost £1m-plus per episode, to get cameras rolling again – potentially as soon as July,” The Guardian writes. “The resumption of production, which ground to a halt in the face of the spread of the coronavirus, will be warmly welcomed by broadcasters, streaming services, and cinema owners facing a possible future content drought.”

“This is a green light that signals that the UK is open for business again for film and high-end TV production,” an industry source shared with The Guardian. “Many productions have to get up and running again in the next two months or they won’t get made this year as they rely on summer weather and conditions.”

The full title for Fantastic Beasts and Where to Find Them 3 has not been revealed as of yet, but it will see the return of Harry Potter creator J.K. Rowling as its screenwriter, joined for the first time in this prequel series by Harry Potter screenwriter Steve Kloves. The pair will also produce the film alongside four-time Harry Potter executive producer Lionel Wigram, and Wizarding World franchise producer David Heyman. David Yates will once again direct.

As for The Little Mermaid, the movie’s star, Halle Bailey, previously said the remake of the 1989 animated film was “really coming together” before production was suspended. Despite filming being postponed indefinitely, Bailey does not expect the scheduling shift to impact the film’s star-studded cast: “I mean, the whole world is kind of on pause. I was in London since the beginning of the year, and about to start filming, and of course, this pandemic has caused everybody to slow down.”

What do you think about movies resuming production as early as July? Tell us in the comments.

Disclosure: ComicBook is owned by CBS Interactive, a division of ViacomCBS.

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