Razer Tries To Fix Blade Stealth’s Low Battery Life With A Power Bank


The Razer Blade Stealth is a great ultrabook. This 12.5 inch device packs respectable specifications but given that it’s an ultrabook that’s up on power, the battery life is less than stellar. Razer has decided to do something about it and since it can’t really do anything to the internal battery, it has decided to ship an external battery. Razer has launched a new power back which is going to extend the Blade Stealth’s battery life to “past 15 hours.”

The Razer Power Bank has a capacity of 12,800mAh and it costs $149.99. It’s fashioned out of CNC-milled aluminum so it looks and feels good as well. The power bank has a single USB Type-C port and two conventional USB-A ports. It can charge three devices at once.

The Razer Power Bank has support for Qualcomm’s Quick Charge 3.0 technology which allows it to power the Blade Stealth with an additional six hours of battery life in just two hours of charging. Razer does mention that this power bank is “optimized” to work with the Blade Stealth but it can also be used to charge any USB-C powered notebook like the 12 inch Macbook from Apple.

Razer obviously hasn’t created a new kind of product here, you’ll find a wide variety of USB Type-C compatible power banks on Amazon that are much cheaper than what it’s asking, but if you’d rather own a Razer-branded power bank be prepared to shell out $149.99 for it.

Razer Tries To Fix Blade Stealth’s Low Battery Life With A Power Bank , original content from Ubergizmo. Read our Copyrights and terms of use.

GBoard for iPhone gets new languages, voice-to-text in huge update

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Political Commentator Alan Colmes Dead At 66

Progressive Fox News commentator Alan Colmes died Thursday after a “brief illness,” his family announced. He was 66.

The news comes after Colmes announced in January that he was taking a leave of absence from the network for medical issues

Colmes began his broadcasting career in radio, working for a variety of news stations across the northeastern U.S. He joined Fox News shortly before it debuted in 1996, serving as the liberal counterpart to Sean Hannity. Their show, “Hannity & Colmes,” ran until 2009. Hannity took over at the show’s helm while Colmes stayed on at the company as a political commentator and radio host.

Hannity called his former sparring partner “one of the nicest, kindest, and most generous people.” Former Fox News host Megyn Kelly said Colmes was “an incredible positive force.”

Fox News paid tribute to Colmes in a video that Hannity narrated.

“Today the Fox News channel lost a very dear member of our family,” Hannity said. “One of the nicest, kindest, friendliest people and a dear personal friend.”

Watch the latest video at video.foxnews.com

Hannity noted that Colmes had embraced the spotlight as a stand-up comedian long before he joined Fox News. A native New Yorker and a graduate of Hofstra University, Colmes was widely praised during his career for his insightful commentary and hard-hitting interviews with some of the biggest political figures of the moment, including former President Bill Clinton and former New York Mayor Rudy Giuliani.

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Who Exactly Are 'Radical' Muslims?

By Z. Fareen Parvez, University of Massachusetts Amherst

The Trump administration has been using the phrase “radical Islam” when discussing the “war on terror.” From his inauguration address to remarks to military leaders, President Trump has been warning against “Islamic terrorists.”

Many different kinds of individuals and movements get collapsed into this category of radical Islam. A common one that is increasingly being used by politicians and journalists both in Europe and the U.S. to equate with “radical Islam” is the Salafist tradition.

For example, Michael Flynn, who recently resigned as national security advisor, was clear that what unites terrorists is their belief in the “ideology” of Salafism. Sebastian Gorka, deputy assistant to the president, also describes Salafism as a “fundamental understanding of Islam” that justifies terrorism.

France and Germany are targeting this movement, vowing to “clean up” or shut down Salafist mosques, since several arrested and suspected terrorists had spent time in these communities.

As a scholar of religion and politics, I have done research in Salafi communities, specifically in France and India, two countries where Muslims are the largest religious minorities.

Salafists constitute a minority of the Muslim population. For example, in France, estimates range from 5,000 to 20,000 – out of a Muslim population of over 4 million. Security experts estimate a worldwide number of 50 million out of 1.6 billion Muslims.

But there’s not much understanding of Salafism, its history and its diversity. In fact, Muslims themselves often have different definitions of what it means to be a Salafist.

So, who are Salafists?

Origins of Salafism

The Arabic term salaf means “ancestors.” It refers technically to the first three generations of Muslims who surrounded the Prophet Muhammad. Because they had direct experience with the original Islamic teachings and practices, they are generally respected across the Muslim world.

Self-identified Salafists tend to believe they are simply trying to emulate the path of the Prophet Muhammad and his companions. This might include an array of practices from dress to culinary habits as well as ethical teachings and commitment to faith.

Salafism as a movement is believed to have originated in the 19th and 20th centuries. Some historians claim it started as a theological reform movement within Sunni Islam. The impetus was to return to the original teachings and practices of the Prophet Muhammad and the Quran – a consequence, in part, of social changes and Western colonialism.

They specifically cite the works of Egyptian, Persian and Syrian intellectuals from the 19th century as shaping Salafist movements. One recent study, however, argues that these intellectuals from the past never even used the term Salafism. In other words, there is no authoritative account of how or when exactly this movement originated.

Finally, it is also open to debate as to which Islamic groups, schools of thought and practices may be considered Salafist. This is because groups and individuals who are labeled Salafist do not always view themselves this way. And they disagree amongst each other over what defines authentic Salafist practice.

Here’s what my research shows

The vast majority of people who loosely affiliate with Salafism, however, are either simply nonpolitical or actively reject politics as morally corrupt. From 2005-2014, I spent a total of two years as an ethnographic researcher in the cities of Lyon, in southeastern France, and in Hyderabad, in south India. I clearly observed this among these two communities.

Every week I participated in mosque lessons and Islamic study circles among dozens of Salafist women. These communities maintain strict separation between men and women, but I was able to interact with and interview a few men as well.

Based on conversations and observation, I learned that they actually avoided politics. They did not attend protests or do advocacy, and in Lyon many did not vote in elections.

It is the case that there are Muslim women, including many converts, who actively embrace Salafism. They take up strict forms of veiling and work hard to practice their religion every day.

Let’s take Amal, a 22-year-old woman who grew up in a working-class neighborhood in southeastern France. I met her during my time as an ethnographic researcher on Muslim minorities in France. Amal identifies with the Salafist tradition in Islam. And if we go by the definitions being floated around, she would be considered a “radical Muslim”: She prayed five times daily, fasted all 30 days of Ramadan, and wore the “jilbab,” a loose, full-body garment that covers everything but the face. Steadfast in her religiosity, she also studied the Quran regularly and attended local mosques in the area.

She worked hard to live her life in accordance with the ethical teachings of Islam. This included spending part of her week tutoring Muslim girls in the neighborhood who homeschooled. Amal worried a great deal about their futures in France, since anti-veiling legislation had constrained their opportunities. She also quietly worried about the future of Islam, believing it is under siege both by governments and by the ungodly and destructive work of the Islamic State.

Religious does not mean radical

As anthropologists of religion have shown, Salafi women are not passive adherents. Nor are they forced into strict practices by their husbands. Still, this doesn’t mean they’re all the same.

Among the French Salafist women I knew, most were the daughters and granddaughters of immigrants from the former French North African colonies. Almost a third were converts to Islam that chose specifically the Salafist tradition as opposed to mainstream currents of Islam. They were drawn to the clear expectations, rigorous routines and teachings about trusting God.

While some of the women were raised in religious families, many broke away from their Muslim families or earned the wrath of their parents for turning to Salafism. Because the parents practiced a cultural form of Islam, or did not practice at all, they did not want their daughters to wear the jilbab. Despite this disapproval, the women focused a great deal on what it meant to have faith in God, and they emphasized that they had to continually struggle to strengthen that faith.

These struggles included various ethical behaviors including not talking too much, suppressing one’s ego and respecting people’s privacy. Along the way, some committed “sins,” like smoking or lying, and deviated from the teachings by not praying or fasting. Some even doubted their faith, which they considered normal and acceptable.

In my research, non-Muslims as well as other Muslims claimed Salafists were judgmental of those who did not believe or practice like them. In my observation, the contrary was the case: Salafis emphasized that one’s faith and piety were deeply private matters that no one but God had the right to judge.

Diverse views

However, like any movement or tradition, Salafism is profoundly diverse and encompasses a number of debates and struggles for legitimacy.

So, there are those self-identified Salafists around the world who join political organizations or participate in political debates. These include, for example, several political parties in Egypt and the Ahl-i-Hadees in India.

A small minority, estimated to be 250,000 in number by security experts, rejects nation-states and embraces political violence. They span continents but are centered in Iraq and Syria.

Different from Wahhabism

In today’s climate, however, it has become a political term. This is partly because of its connection to Saudi Arabia.

Salafism is sometimes referred to as Wahhabism, the Saudi Arabian variant of the movement that is intimately tied to the Saudi regime. They share some intellectual roots and theological emphases, but they also differ, especially in how they approach Islamic jurisprudence. While Wahhabis follow one of the main Sunni orthodox schools of law, Salafis tend to think through legal questions independently. So equating the two is a mistake.

For some Salafists, labeling them as Wahhabi is a way to dismiss their faith or even insult them. Identifying with Salafism does not mean one supports the politics of the Saudi state. In my research, in both India and France, people sometimes noted concerns about the Saudi government’s political corruption or human rights record.

Yet outwardly, practices might overlap. For example, many Salafist women wear the niqab (that covers the face). Saudi intellectual centers and sheikhs provide literature and training in numerous countries. They circulate lectures as well as money for building mosques and schools.

And of course, Mecca and Medina are the spiritual centers for Muslims more broadly. In this way there is a transfer of intellectual and spiritual resources from Saudi Arabia that supports Salafist communities around the globe.

Avoiding stereotypes, assumptions

Why is it important to recognize the complexity and diversity of the Salafist movement?

It is true that as one part of the global Islamic revival, it appears to be growing. And it likely will remain part of the social landscape in a number of cities for the foreseeable future.

But, it is important not to assume that people’s religious faith and practices are the same as terrorist violence. It fuels fear and hatred – like the kind that inspired the recent shootings at the mosque in Quebec or the arson attack that burned down a mosque in Texas.

So, from my perspective, when we hear politicians warn us of the “global Salafi threat,” or if we see a woman like Amal walking down the street in her jilbab, it’s vital to remember the dangers of simplistic (and mistaken) stereotypes of “radical Muslims.”The Conversation

Z. Fareen Parvez, Assistant Professor of Sociology, University of Massachusetts Amherst

This article was originally published on The Conversation. Read the original article.

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Rihanna Is Harvard's Humanitarian Of The Year

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As if Rihanna hasn’t contributed enough to the greater good of humanity with more than a decade’s worth of irresistible pop bangers, it’s her work outside the recording booth that’s had the biggest impact. 

Every year, Harvard University selects a leader in public life who’s dedicated themselves to service by honoring them with the Peter J. Gomes Humanitarian Award. On Thursday, Rihanna was named the 2017 honoree for her charitable work promoting healthcare and education in the Caribbean, joining the ranks of actors James Earl Jones and Sharon Stone, as well as former UN Secretary-General Ban Ki-moon and activist Malala Yousafzai.

“Rihanna has charitably built a state-of-the-art center for oncology and nuclear medicine to diagnose and treat breast cancer at the Queen Elizabeth Hospital in Bridgetown, Barbados,” the Harvard Foundation’s director, S. Allen Counter said in a statement. 

In addition to her work in the healthcare sector, the “Love on the Brain” singer is being recognized for creating the Clara Lionel Foundation Scholarship Program, a foundation named after her grandparents that supports Caribbean students attending to college in the U.S. The university also notes Rihanna’s engagement with the Global Partnership for Education and Global Citizen Project, which aims to ensure children in developing nations have access to an education. Just last year, she headlined the organization’s festival in New York, drawing thousands to Central Park in the name of ending poverty worldwide. 

Those lucky enough to live in the Boston area are welcome to witness Rihanna’s greatness in person when she’s formally presented with the award at Sanders Theatre on Feb. 28. Tickets are free, but bejeweled flasks will not be provided. 

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This GOP Senator Is Weeding Out Democrats From His Events

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The office of Sen. Rob Portman (R-Ohio) denied entry to Democrats at his event Wednesday in another instance of GOP lawmakers attempting to avoid protesters and contentious questions from constituents, attendees claim.

Katie Finneran said she had planned to attend Portman’s speech at the Lincoln Day Dinner scheduled for Wednesday evening, but organizers informed her that morning that she would not be allowed to attend because she is a registered Democrat, according to the Columbus Dispatch.

A local Republican official told the Dispatch that it was Portman’s office that decided to restrict access to the event. Portman’s office did not return The Huffington Post’s request for comment.

“It’s my personal opinion that these people should be allowed in,” said David Koehl, Seneca County Republican Party treasurer. “Portman and his office are afraid protesters will show up. They made this decision a week ago, but several people have been refunded on short notice.”

Finneran, who said she identifies with the Green Party and voted for Sen. Bernie Sanders (I-Vt.) in last year’s Democratic presidential primaries, told the paper that her entire table was also barred from attending, after being told it was a private event and then paying $30 for a ticket.

Before the dinner, Portman held a roundtable discussion on the opioid crisis, which Finneran said she was also blocked from attending.

“Just because Republicans are in power does not mean Republican citizens have more of a voice than Democratic citizens or even independent citizens or Green Party citizens or Libertarian citizens,” she said. “He represents everybody, not just the Republican Party.”

Several other attendees told the Toledo Blade that they were also barred and received refunds for their tickets.

Across the country, GOP lawmakers have been curtailing or avoiding public town halls, amid protests and raucous crowds. Activists have mocked their absence and held their own town halls instead. In Ohio, the liberal group MoveOn.org created a petition demanding that Portman hold a public town hall. Members invited him to its own town hall, but they said he declined.

About 100 protesters gathered outside Portman’s event on Wednesday, calling on him to hold President Donald Trump accountable. Some demonstrators chanted, “Hey, Portman, we’re here! Come outside and face your fear.”

Portman said at the event that it was “perfectly appropriate for them to be there and express their views.”

“I am listening,” he added.

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A Beginner's Guide To Isabelle Huppert

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If anyone scores Best Actress over front-runner Emma Stone at Sunday’s Oscars, it’ll probably be 63-year-old “Elle” star Isabelle Huppert. For some at home, it would make for the night’s most exciting moment. For others, it’ll incite a shrug and a big ol’ “Who?!” 

If you’re in the latter camp, I’m here to help. It’s high time you know that Isabelle Huppert is a certified legend. 

She’s France’s most decorated actress.

Huppert has more nominations (16) from the César Awards, France’s equivalent of the Oscars, than any other actress. (One more and she’ll tie record holder Gérard Depardieu, her co-star from 1974’s “Going Places,” 1980’s “Loulou” and 2015’s “Valley of Love.”) Phrased differently, Huppert is France’s Meryl Streep. 

Really, Huppert and Streep have little in common apart from their prestige. Where Streep often plays outsized characters, Huppert is an actress of small proportions ― her performances are relatively restrained, even minimalistic. Roger Ebert described her characters as “repressed, closed-off, sexually alert women” who are “not safe to scorn.” 

Despite her 45-year movie career and 46-year theater career, this is Huppert’s first Oscar nomination. For fans, a win would double as a de facto lifetime achievement recognition. 

“Doing movies for me is like a vacation,” Huppert said in 2014. “Stage for me is like climbing a big mountain, and movies for me is like doing a nice little walk.”

One of her movies caused a minor firestorm last year.

In “Elle,” Huppert plays a video-game executive who refuses to grieve after being raped in the film’s opening scene. Instead, she turns the assault into a game of cat and mouse, luring her attacker into a seductive power play. That’s angered some critics and moviegoers, particularly women, who feel the character’s response is a disservice to rape victims. Huppert disagrees. 

“She does not fall into the caricature of the classical vengeful woman taking the gun and shooting the guy, the James Bond type,” Huppert told me last October during the New York Film Festival. “Maybe that’s what certain persons would expect from her, but then that would follow precisely a male pattern. That’s why I would call her a postfeminist character, making her own way. … In a way, it is a revenge film. … It’s like giving birth to a new prototype of a woman. Of course it’s a fiction character and it’s certainly not someone you would meet walking in the subway, meaning it’s not a completely realistic character. But it’s a very, very special character. Even in fiction, you’ve never seen someone like her.”

Huppert is even more subdued in her second movie of 2016, “Things to Come,” portraying a philosopher facing professional setbacks and an impending divorce. 

“As a performer, it’s my natural instinct to put this kind of irony, no matter what I do,” she said when discussing the film. “It certainly also avoids any sentimentality or sentimentalism or psychological heaviness.” 

She’s worked with great directors on both sides of the pond. 

For “Elle,” Huppert partnered with Paul Verhoeven, the Dutch shlock master known for “Total Recall,” “Basic Instinct” and “Showgirls.” Verhoeven is the latest in a long line of veteran filmmakers who have sought out Huppert’s enigmatic screen presence. 

Early in her career, Huppert was associated with masters of the French New Wave, a group of socially conscious filmmakers who introduced open-ended narrative structures and radical techniques in the 1950s and ‘60s. After breaking out with 1977’s “The Lacemaker,” which earned her BAFTA’s Most Promising Newcomer prize, Huppert won the Cannes Film Festival’s best actress accolade for playing a nefarious 18-year-old sex worker in “Violette Nozière.” That marked the first of Huppert’s seven collaborations with director Claude Chabrol, a father of the French New Wave movement. 

Huppert would soon work with Jean-Luc Godard, another French New Wave pioneer, on 1980’s “Every Man for Himself” and 1982’s “Passion.” In between, Huppert’s American debut, the nearly four-hour western “Heaven’s Gate,” became one of the most controversial projects of all time when it effectively bankrupted United Artists. Hot off the Oscar-winning Vietnam War epic “The Deer Hunter,” director Michael Cimino insisted on casting Huppert despite studio executives’ protests that she was “too French” and “simply wrong.” In his 1999 book about the “Heaven’s Gate” debacle, former United Artists honcho Stephen Bach wrote that he told Cimino, “For Christ’s sake, Michael. [Kris Kristofferson] and [Christopher Walken] are so much more attractive than she is that the audience will spend the entire film wondering why they’re fucking her instead of each other!” Cimino then run amok with the budget, calling for elaborate set designs and extensive reshoots. The movie bombed, earning $3.5 million domestically off an estimated $44 million budget. Suffering financial loss as a result, UA was sold to a private investment corporation and acquired by MGM in 1981.

The 1987 drama “Story of Women” is one of Huppert’s most distinguished performances. The movie, a favorite of John Waters, tells the true story of Marie-Louise Giraud, a meager housewife who was guillotined in Nazi-occupied France for performing abortions. It earned a Golden Globe nod for Best Foreign Language Film, and Huppert picked up the Venice Film Festival’s best actress honor.

In 1995, after seven losses, Huppert won her first ― and, to date, only ― César Award, for the Chabrol-directed crime mystery “La Cérémonie.” The true story on which it’s based ― two maids who murdered their employer in 1933 France ― was also the source of a 1947 play by Jean Genet, a 2013 revival of which starred Huppert, Cate Blanchett and Elizabeth Debicki.

The 2000s and 2010s have brought about some of Huppert’s most acclaimed parts, namely Michael Haneke’s erotic thriller “The Piano Teacher” (often cited as her finest performance), David O. Russell’s quirky existential dramedy “I Heart Huckabees,” and supporting spots in Haneke’s old-age romance “Amour” and Ned Benson’s dual-perspective relationship drama “The Disappearance of Eleanor Rigby.” 

She also starred on an episode of “Law and Order: SVU.”

Playing a mother whose kidnapped son dies, Huppert goes bonkers on Mariska Hargitay. Exemplifying America’s disregard, NBC’s promo for the 2010 episode touts Sharon Stone as a guest star, but not Huppert.

We don’t know much about Huppert’s personal life.

Here’s something else Huppert has in common with Meryl Streep: Both have children from long marriages ― Huppert’s dates back to 1982, and Streep’s to 1978. Beyond that, we don’t know a ton of gossip about either, which contributes to their indestructible statures in the film world. 

Huppert has three children, including actress Lolita Chammah. They starred together in the 2010 comedy “Copacabana.” Her husband, the Lebanon-born Ronald Chammah, directed Huppert in 1988’s “Milan Noir.”

Critical appraisals have always been glowing, often noting her alluring inscrutability as an actress.

“As in everything else she is called upon to do in this film, Isabelle Huppert shows herself to be a superb actress, able to convey in every gesture, in every utterance and facial expression, that special combination of passivity and violence that is the essential mark of Violette’s personality. So persuasive is her performance of this role that even in those moments when she is most nakedly wicked, she continues to puzzle and even enchant us with her air of innocence and indifference.” ― The New York Times, on “Violette Nozière” (1978)

“It is the unique ability of Isabelle Huppert to betray almost nothing to the camera, when she chooses to. Some of the best moments in her performances come when she regards the camera as if daring us to guess what she is thinking.” ― Robert Ebert, on “Story of Women” (1990)

“Like Jennifer Jason Leigh, Huppert isn’t afraid to play nasty, unattractive women, and she doesn’t balance her character’s evil with sympathetic, mitigating qualities that would make us pity her. … Even as the film builds to a shocking, kick-in-the-guts finale, Huppert never shirks from her sinister goal, never betrays a glimmer of goodness.” ― The San Francisco Chronicle, on “La Cérémonie” (1997)

“Isabelle Huppert gives the performance of her career as Professor Erika Kohut, a distinguished piano teacher and Schubert scholar at the Vienna Conservatory. She is brilliant, demanding, unsmiling.” ― The Guardian, on “The Piano Teacher” (2001)

“This makes Pascale yet another choice role for Ms. Huppert, a hypnotically controlled actress who has become more implacably mysterious as she has gotten older. Her characters never plead for our sympathy or understanding. … She remains one of the most sensual and erotic presences in the cinema, despite a persistent inscrutability of expression.” ― The New York Observer, on “Private Property” (2007)

“One of the most daring and assured of film actresses, Huppert embraces the aloneness, foreignness and impudence of her characters.” ― The Los Angeles Times, on “In Another Country” (2013)

“Though she appears in the fewest scenes, Isabelle Huppert provides the movie with its emotional foundation. … After a prolonged discussion of her troubled double-life, the director cuts to an extreme close-up of her face and holds the shot for close to half a minute, the ambiguity registering on her face speaking volumes about the speculative nature of the plot.” ― IndieWire, on “Louder Than Bombs” (2015)

“To follow the arc described by Isabelle Huppert, for instance, from her breakout role, in ‘The Lacemaker’ (1977), to her new movie, ‘Elle,’ is to ask yourself, year after year, how someone so at ease with the blazing extremes of emotion can also prove so adept at preserving her cool. It is as if she were guarding secrets that no plot can plumb. Who else can match that mystery?” ― The New Yorker, on “Elle” (2016)

She’s meme-worthy.

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