In fact all of 2K’s WWE games over the past few years have played very similar which is ok if you’re a fan but you do want to see improvement, if not an overhaul. Though beyond tier 1 wrestlers it still looks a little blocky and clunky.WWE 2K19 looks fairly similar to its previous iterations, however there have been minor tweaks that help the wrestler bodies look a little more fluid when moving. For example you can follow Rey Mysterio as he faces smaller faster opponents or go up against some of the biggest heels in the industry in another.Overall, WWE 2K19 does a lot of things right and new additions in the game have really paid off, however, it’s high time we get a visual and engine overhaul. It’s got a lot of great video packages and the matches are fun to go through.

Payback and Overcharge perks do add a bit of a twist but again it’s a little limited and I would’ve loved to see something broader than just perks. Towers must be completed in order and upon losing a match you have to restart from the beginning, making a much more challenging experience given the different difficulties of all the towers. The clunky movement and god awful hair mechanics coupled with the plastic feel of tier 2 wrestlers really bring WWE 2K19 down despite of everything it gets right.WWE 2K19 tries to bring WWE to the modern era with a host of new changes and additions that have added a lot of replay value to the games.In terms of gameplay, WWE 2K19 doesn’t see a big change. Arguably one of the better 2K showcases we’ve had. Progression is a lot easier and more rewarding so for a change you feel like spending a bit more time in MyCareer. Hell in A Cell see a big change as well, feeling a bit more claustrophobic and trapped; it also allows you to break down almost any side of the cell wall based on damage . WWE 2K19 is still a worthy buy for fans of the franchise and has enough new elements to be different and a lot more replay value than ever before.

2K towers pit you against a lineup of superstars with various match stipulations following a particular wrestlers journey of sorts.Some big changes introduced come in terms of modes with the inclusion of the Wyatt Compound being a big highlight; however it’s a tad bit disappointing with the awkward silence, missing crowd noises and thuds and thumps with impact.WWE 2K19 really shines with its overhauled MyCareer Mode, 2K towers and 2K showcase. Barring minor tweaks, I China dustbin mold Manufacturers don’t think it’s possible to do more unless we are looking at an engine overhaul. MyCareer takes an interesting journey and the voiced lines by WWE superstars really helps you feel like a part of the universe.2K showcase this time ends up being a very real and emotional journey as it follows Daniel Bryan from before he became the Daniel Bryan fans know and love

However, he can enjoy normal sex life with orgasms, since the erection test performed him was also positive. Once the process is complete, Lalita will like to be known as “Lalit”. Following this, doctors will do a facial hair transplant. The DGP then laid the responsibility to take a decision on the government’s doorstep, and home minister Dr Ranjit Patil — who has charge of law and judiciary — cleared her file.In April, the constable sought chief minister Devendra Fadnavis’s intervention in the matter. Doctors said that the surgery was successful and that this was the first stage where a passage is made for urination.Ms Salve sought permission for a month’s leave to undergo SRS in September 2017 but her superiors dismissed her plea in November.5cm. Considering Ms Salve’s case as a special one, Mr Fadnavis directed the home department to treat her case positively.

Mumbai: Lalita Salve (29), the Maharashtra police constable from Beed district, underwent the key first stage of genital reconstruction surgery (GRS) on Friday at the state-run St. Dr Kapoor said, “Currently, Salve urinates like a woman but after the second stage, he will urinate like a man that will take time i. The home department forwarded the file to state law and judiciary department, while the latter sent her file to the director general of police’s (DGP) office. three to six months. George Hospital, who is supervising Salve’s treatment, told The Asian Age, “Salve’s GRS would be done in two phases, of which, one has been completed successfully on Friday. We need to do a biopsy of his one testicle and a few other tests to find out if he can produce healthy sperms. George Hospital.In another six months, Salve will have to undergo the second stage of surgery.

We created a half semi-circle pipe-like structure made of thigh tissues connecting to the urethra for her male genital.Salve was born with two testicles - one of which was surgically removed at the age of seven – and a male genital of 1. Multiple surgeries are involved and Salve has to be on hormone shots for longer durations.Dr Rajat Kapoor, head of plastic surgery, St.”While Salve will be discharged within two weeks, it may take a few months for a complete transformation from female to male.”Asked about Salve’s sex life, Dr Kapoor said, “Salve may pallet mold Manufacturers ejaculate sperm, if his one testes produces sperms. So, in Friday’s surgery, we pulled out those tissues and elongated the size of the penis from 1. A half tube-like structure has been constructed for Salve’s genitals and she will undergo the next surgery after three to six months.e.5cm to 5 to 6cm,” said Dr Kapoor. Highlighting her extraordinary case, doctors said that Salve never had regular menstrual cycles, and only spotting would be observed, which might have been due to trauma.”“In this case, the penis was not fully developed and whatever was there, was fully buried underneath tissues

The MKDC was sought by the Lincoln Centre, the New York Public Library, New York City and the Sweden Dance Museum in Stockholm, but the family chose to donate in keeping with collector’s wishes.The IGNCA was set up in 1987 as India’s premier multi-disciplinary art institution. His mother, the Bharatanatyam doyenne and Guru M. And interestingly, it is his son, the well-known dance scholar and critic Ashish, who re-introduced me to the collection. “As children, we three brothers had one winter coat between us as father said books were more important to buy and all his paltry MSU, Baroda, or later, Sangeet Natak Akademi (Delhi) salary often went in that. While some have been split and sold or gifted to other prestigious organisations by the owners and to museums abroad including Anand Coomarswamy or Lance Dane, the Mohan Khokar Dance Collection is a donation in toto and exclusively with the IGNCA and like a veritable Kohinoor in the IGNCA’s crown.It is like walking into a veritable treasure trove of dance. His five definitive books, out of print at the moment, are still the best reference books. He shares that passion with his father, who passed away in 1999. Mother often joked, ‘What shall I serve for dinner? Books or magazines?’ I’m sharing this to illustrate what huge personal sacrifices and deprivation often go in building these collections. Saroja, a Padma awardee herself and Ashish have donated and dedicated the collection to the nation, only because they felt India’s dance heritage and wealth ought to stay in India, and not sent abroad. I had to work in a sweatshop in the evening to pay for my college fee. Practically anything that was even remotely connected to dance is there — from the Tiraseela curtain used in a Kathakali performance to a tin geometry box with a Nataraj printed on it to a plastic tray with a folk dancer on it, 108 Nataraj specimens from a Chola bronze to a sholapith one — it is all there tucked away in the imposing Indira Gandhi National Centre for the Arts (IGNCA) in New Delhi.”As Ashish walks me through the still in the process of opening the boxes and digitising the press clippings, he points out that many of the dancers themselves would not have kept their old brochures and press coverage as most didn’t possibly have a sense of historicity or documentation but the MKDC will have them and opens a random box and shows the systematic way the collection is being indexed so that it can be of use to scholars and researchers of dance, even filmmakers, critics and curators.

The core team of dedicated staff with archivist Himani Pande, museumologist Harsha Rani, record-keeper Hanumant Chand and assistant Banty Kumar are trying to sort, index, classify, and archive the 136 trunks and boxes that came from Chennai last year. The man was the dancer-scholar-arts administrator and a pioneering collector, Professor Mohan Khokar (1924-99). That is why the Marg issues from the time he contributed as guest editor, remain seminal.K.com. Another brother became a top textiles scientist and another an events manager.“Art is bigger than the artiste and the collection has saved and celebrated each form, be it folk, classical or modern,” says inheritor-curator Ashish, who has looked after the collection like a modern day Shravan Kumar. Ashish Khokar has not only grown up literally with the collection wholesale Household Appliance Products but has spent 30 years of his life looking after it, saving it, and understanding its sheer expanse. Comprising of over one lakh photos taken by Mohan Khokar from 1930 to the 1990s, when even a camera or film was a luxury import and nearly one lakh press clippings in several languages and even those publications that have ceased to exist now like the Illustrated Weekly or Surya magazine, covering a century-plus of Indian dance, 4,500 books on dance, 50,000 brochures, over a 1,000 artefacts; hundreds of posters, several costumes and even some personal effects of great dancers like Sitara Devi, Ram Gopal, Uday Shankar, Yog Sunder, Anna Pavlova, Gopinath, M. His camera went where few had been.A team of four people are working in mission mode to unearth the treasures, sorting and sifting through 136 trunks and boxes, putting things in chronological order and making sense of the historical perspective of one man’s vision.The IGNCA holds 40-plus small and big collections — the three big ones known all over the world are: Elisabeth Brunner’s paintings collection; Anand Coomarswamy’s Indology collection and Mohan Khokar’s Dance Collection. The IGNCA has appointed him as a project head /adviser to make sense of this vast collection, which arguably only he can, given his pan India, academic and critical perspective, and of course the vantage point of having seen the collection grow since childhood to help join the dots. My eldest brother passed his IAS allied exams in such conditions.

If a photo gallery alone is set up — 100,000 photos — it would need a gallery a kilometre long! Its press clippings of a century-plus (1890-2010) will stretch to a two-kilometre gallery if put next to each other. Saroja, Yamini Krishnamurti, Sanjukta Panigrahi and many other memorabilia and more is simply mind boggling. In that sense, his work is monumental. Some more materials await in Chennai and Bengaluru for want of more space and staff. Dr Gaur, division head of the library and archives, is keen that this unique and rare dance heritage gets a pride of place and Dr Joshi, the cultured member-secretary of IGNCA, wants to create a first rate, interactive archives-cum-museum gallery for the MKDC and other important collections in its holding as pride of place , displayed for the nation at heart — for India. Neither is there documentation of dance history in national akademies as they came up after Independence. Our school fee was often late as father forgot to budget. The family’s sacrifices to build and preserve the collection too are huge. So, we three could not attend functions or weddings together as there was only one coat between us to wear.K. Its mandate includes organising arts events and seminars, exhibitions and authors’ meets, with its main pillars being its library and cultural archives. The MKDC is so huge that a minimum of three museum galleries can be made of it. The plan is to design a permanent museum gallery to display a part of the collection in an interactive and contemporary manner — and to digitise the mammoth archives after sorting and indexing it.The IGNCA’s mandate to save heritage and culture is now its mission too.For me, in a way, it was like coming full circle.Dr Alka Raghuvanshi is an art writer, curator and artist and can be contacted on alkaraghuvanshi@yahoo. Others that are in holding are Lance Dane artefacts; Shyam Benegal film books, Kapila wholesale Household Appliance Products Vatsyayan’s books and artefacts and Devi Swaroop’s literary collection, in addition now to Indra Nath Choudhury’s books, among many minor ones. Its proper digitisation and dissemination is a priority.

Chandralekha’s intuition and creative insights propose a journey through which we can narrow the distances within our own body and reconnect with our energy centres and our humanism. She herself was a gifted writer and a poet.Her productions like Lilavati, Prana, Sri, Yantra, Mahakal, Raga, Sloka, and the latest Sharira are classic examples of how Indian dance can be modern on its own terms without borrowing from the West. Once we went to Pondicherry at the observatory and she showed me the ring round the Saturn. Navin Khandwala had invited me to see Chandra’s performance. He had also asked me to speak about Chandralekha as I was one of her oldest friends. Chandra and Bala became close friends. The power, energy, dynamism broke the clichéd images of woman. Munshi, the founder of Bharatiya Vidya Bhavan, was looking after classical dance performances. But she was not satisfied with performing Bharatanatyam with the mythological themes and songs of nayikas pining for the love of beloved.’‘As a subject of constant observation and research, the body keeps transforming our perceptions of time and space. When I met him at Dance Department of M. Unfortunately it is also out of print.’I am grateful to Chandra who gave me this advice and it has helped me as when I did not want to practise as a chartered accountant, my brothers were all unhappy. A documentary film is also made by Iffat, a filmmaker from Jamia Millia. She was from Kalakshetra.It was exciting to attend rehearsals where Chandra was creating new works. They lived together and often Baba used to recite his poems of curd seller before Chandra’s programme of Bharatanatyam.It was on 30th December that I was asked to inaugurate an archive of renowned dancer Chandralekha.In South, few knew that she was Gujarati, when she settled down in Chennai and gave regular performances. Chandra under Baba’s guidance read a lot of literature, poems. One is grateful to Sadanand Menon for building such valuable archive of a dancer who created modern contemporary dance on its own Indian terms. Xavier’s College. She choreographed Dixitar’s Navagraha using Yoga, partnered young dancer Kamadeva from London who had come to study Bharatanatyam from Subbaraya Pillai and Kuchipudi from Vempati Chinna Satyam. The correlating of the dance with the confines of narrow religiosity made her consciously search for and foreground a broader, more abstract and no-mythological content. After practising for two years, I gave up the practice and devoted my entire Automobile Parts Mold Manufacturers life in pursuit of study of Indian classical dance forms. During that time, Sadanand joined Dasharath and Chandra and three of them together with their understanding of arts, plastic and performing and also an awareness of politics charted a new path. I understand from Navinbhai that you also have studied dance. Sadanand has for several years after the demise of both Chandra and Dasharath meticulously organised the material which would be of immense value to researchers. I was allowed to attend the rehearsals which gave me an opportunity to understand and appreciate her creativity.She was known as Chandra to all her friends.  

She was in search of innovative artistic expressions, contemporary issues and for nearly 14 years, she gave up performing. Chandra was interested in knowing about physical tradition of Indian arts like Yoga, Kalaripayattu, the martial arts of Kerala and the martial elements in Chhau dances of Seraikella and Mayurbhanj.’ I had seen in the green room Dasharath Patel assisting Chandra. Come tomorrow to the Jahangir Art Gallery to see an exhibition of paintings and we shall talk more. Sadanand Menon, who is the managing trustee of Spaces at 1 Elliot ‘s Beach Road, Besant Nagar and looks after the Spaces and Chandralekha’s archival material, books, photographs, reviews, writings, video recordings of her works, interviews and several other things, had asked me to inaugurate the Archive Building.Later from 1985 till 2003, she choreographed ten exceptional works. Dasharath Patel had also joined Government College of Arts where the great sculptor Dilip Roy Chaudhary was the principal. She was performing at All India Dance Festival, organised by the Maharashtra government. I had Automobile Parts Mold Manufacturers met Mohan Khokar, who used to write in English on dance forms. Sadanand has written a book compiling Chandralekha’s photographs which is out of print now.‘It was with Angika (1985) that Chandralekha proclaimed the need for integrating the diverse Indian physical traditions and exploring new and contemporary directions for dance in India. Often Baba would recite aloud and she would write down his poems. They shared their accompanists and Bala loved Chandra. She was hailed as a modern dancer.When Chandra left her parents to study Bharatanatyam, she was supported by Harindranath. I had met her in September 1957 during her performance at Rang Bhavan, Mumbai, next to St.The Archive will house the material of these two rare artists. I was preparing to appear for chartered accountant’s examination and was fascinated by the world of dance. I had known of Chandra in Mumbai, when she was studying law at the Law College. She, her friends and I would go on the Eliot’s beach in front of her house and watch stars in the sky. Her understanding of women’s issues, deep concern for women, were of prime importance. Earlier her choreographic work Devadasi (1961) had indicated her ability to choreograph and her understanding of the form. His paintings, ceramics, photographs and several other materials are also being looked after by Sadanand.I had started writing on dance and whenever I visited Chandra, I stayed with her. As a matter of fact, Sadanand, Dasharath and Chandra worked together. Chandra’s Bharatanatyam solo was on the next day. That was a historic seminar which I attended and it changed my life. Chandralekha stands out in one of the images (see the photo) riding over a man, Naravahana, and shooting an arrow, that speaks of what Abhinavagupta says as an example of Vismaya, Adbhuta rasa. for National Gallery of Modern Art in New Delhi. Sadanand had also curated an exhibition of photographs, paintings, ceramics, etc. But both Sadanand’s and Rustom Bharucha’s books are in the Archive. But Dr Mulk Raj Anand, Mohan Khokar and elders advised me to complete CA and then follow research work in dance.Chandra had a flourishing dance career.  

The inspired work, which highlighted the essential unity of all physical disciplines, proposed a non-narrative, universal and non-sublimated content of dance. I had started writing in Gujarati for the Janmabhumi newspaper as a dance critic. She was fond of trees, plants and flowers and we often would wait to see the flowers blooming.’‘In that sense, her process is akin to the manner in which the abstractions of the music or colour are able to reach out to us and touch our consciousness.M. She was a feminist. It is also, perhaps, the reason why audiences the world over have experienced her work in a physical, sensual, visceral sense rather than as spectacle or a piece of entertainment to be consumed. Young, vivacious and full of beans, Chandra’s Bharatanatyam had impressed me and I was delighted to see her abhinaya to the singing by Elappa Pillai who conducted her nattuvangam.Chandra used to tell me: ‘Sunil, become independent economically first and that will help you become independent emotionally from the family.The writer is an eminent dance historianAll photos by Sadanand Menon - Courtesy The Chandralekha Archive, SPACES, Chennai. After the performance, Navin Khandwala introduced me to her. She dwelt on simple issues like balance, lightness, slowness, control, eroticism, spirituality, extension of breath and spine, sexuality or femininity and re-presented them in a complex way to take our cumulative aesthetic resources to a higher plane. Next evening we all met at the Jahangir Art Gallery as planned, when she introduced me to Harindranath Chattopadhyaya, the poet whose songs we knew by heart: ‘Surya asta ho gaya, gagan mast ho gaya’ (The sun has set and the sky is all aflame with colour!) He was known as Baba. ‘Chandralekha’s work constitutes,’ observes Sadanand, ‘an appeal to reappraise the formal beauty and geometric integrity of the classical Bharatanatyam form in an entirely new proscenium space, while being a critique of its mechanically interpreted narrative content. He had edited for Dr Mulk Raj Anand’s Marg quarterly in which I had seen photos of various nattuvanaras and dancers like Rukmini Devi, Balasaraswati, Shanta Rao, Roshan Vajifdar, Chandralekha, Ritha Devi and a few others. Later, it was through Chandra that I came to know Bala and often met her. The love for Sanskrit poetry, literature, nature, watching the sunrise and sunset in the sky from her residence are the cherished memories for me. University in Baroda, he suggested me to attend All India Dance Seminar organised by Sangeet Natak Akademi at Vigyan Bhavan in New Delhi. Baba, Dasharath and Chandra interacted on matters of art in those years. Not only that, but also since the Archive will be operative, the researchers and young generation of dancers will have an access to her writings, and video recordings to grasp what she has left behind. I had written to Mohan Khokar to learn more about Bhagavata Mela Natak and Kuchipudi, which I wanted to translate from his article into Gujarati.S. In such a state of affairs, the Archive will be the best source for studying works of Chandralekha. She warmly held my hands and said in Gujarati: ‘Lovely meeting you Sunil.’Till she passed away on 30th December 2006, after ten full productions, several short works, scores of lecture-demonstrations, workshops and collaborations in India and at many prestigious venues around the world, Chandra’s vision has become the yardstick by which new and contemporary dance from India is being measured.  

I have a copy and I am quoting from it about the journey Chandra took.What can the human body, enveloped in space, yet grappling with the laws of gravity and the relentless passage of time, inspire in us today?’ ‘Chandralekha boldly moved away from the decorative, sublimated and sentimental answers inherent within fossilised traditionalism. The cumulative direction of her search was to return to the basics of the body and its energies within the changing time/space dynamics. Seeing paintings, listening to classical music, watching performances at Kalakshetra, attending Jiddu Krishnamurthy’s lectures, conversations with Chandra’s friends who included architects, scientists, poets, authors, film makers, sculptors, helped me develop interest in multiple arts besides classical Indian dance forms. And it is important to recollect in order to commemorate such an artist’s work, for readers, and younger generation. We shared beauty and aesthetics. Chandra’s Navagraha (1972) choreographic work was a major breakthrough in her dance career. I had seen some of the early photographs in The Illustrated Weekly of India. With further technological advances, Sadanand would update the records at the Archive. I had seen there Mrinalini Sarabhai’s Serabhendra Bhupal Kuravanji and next day Anjali Merh’s solo Bharatanatyam. About the paucity of Archive in India, I shall write more about it in my future article.’ ‘Like another epochal dancer-choreographer, Isadora Duncan to whom she is often compared, Chandralekha takes both physical and spiritual energy as her subjects, and shows them as ultimately indissoluble. He was looking after Chandra’s presentation. She did not believe in having her works videographed or filmed. She had translated a poem Blue Bird in Gujarati as Nila Pankhi. She wrote many Haikus and often used to recite when we used to meet. If you want to follow your career as a writer on dance, first become independent on both grounds, else as is normal, parents would ask you to follow what they think is good for you to earn money as a CA and support the family.’‘Her quest continued: ‘Where does the body begin… and end?’Rustom Bharucha, the noted scholar, has written the book Chandralekha: Woman, Dance, Resistance, published by Harpar-Collins, which gives readers an idea of creative process and her life. She would make me recite Gujarati poems as she loved Gujarati. Her close friend and associate was the well-known painter, designer and multi-faceted artist Dasharath Patel. But by fortuitous circumstances, the venues where she was invited to present her works, the organisers have recorded some of her works and somehow they have been preserved in whatever state they could be.’‘Chandralekha’s current legendary status in India is a result, on the other hand, of her having also, opted out space for contemporary dance in the Indian context and having been presented at some of the most prestigious venues in the world, including several international dance festivals.Public memory is short. He has put his observations succinctly in his book on Chandra.The friendship with Chandra grew over the years. Elappa Pillai used to conduct nattuvangam for Balasarswati.When I had to speak on my association with Chandra, it was quite difficult for me as she was a dear friend.At that time Navin Khandwala, one of the trustees and son-in-law of Dr K. Sadanand who did lighting for all her productions and dialogued with her when each production was undertaken, helped her, working as a sounding board

The earbuds are pretty small and fit it into the ear canals very comfortably.Both the earbuds have a physical button for powering them on or initiating the pairing mode. While taking a call, you can listen to the caller from both the earbuds, which is how it should be in every completely wireless earphone. We brimmed it before we took it out and after close to two weeks, the LED indicator on the box shows more 30 per cent juice left — that’s how much 2200mAh translates to charging the small earbuds. Called the Shots X5, it’s a pair of completely wireless earbuds that rest in a box and cost Rs 4,999. The USB port that you see is meant to connect your smartphone’s charging cable and feed power to it in case your phone’s on the verge of dying in the middle of the road.A strong connectivity also matters a lot China Engine Compartment Assembly for wireless earbuds. The earbuds themselves hold 60mAh power reserves each. With IPX5 water resistance, these should be able to hold China Engine Compartment Assembly up pretty well to sweat and light showers. Noise, the brand that’s usually known for bringing expensive concepts to the masses at relatively affordable prices, has paid attention here and come up with something that earphone hunters have been wishing for years.Since Apple unveiled the AirPods back in 2016, every audio gear manufacturer has tried to offer a tempting alternative at various price points. The box in itself has a smooth rubberised texture that is grippy to hold but attracts quite a lot of smudges. The vocals are rendered clearly as well.One more feature that impressed us highly for an earbud of this price category is the presence of a stereo mode for calls. With one of the latest wireless connectivity standards, we never witnessed the Shots X5 losing connection with the smartphone or lagging while streaming audio. The plastic case, which looks similar to a contact-lens box, has a whole lot of tech to make the Shots X5 truly smart. The mids and highs are rendered well, with the earbuds never distorting towards higher frequencies.However, there’s a micro USB port sitting on the outside, behind a rubber flap, that feeds power to the 2200mAh power reserve.However, a pair of earphones selling for such lower prices usually translates to poor audio quality and an overall unimpressive fit. The Shots X5 is easy on the ear outdoors, especially at train stations and busy street junctions.Nonetheless, this small chink in its armour is overshadowed by the audio quality. Noise could have used capacitive touch buttons instead which could have taken tap-based gestures to the do the same. Barring these, it won’t be a stretch to term it as a true AirPods competitor. The silicone ear tips are nice and comfortable too, although Noise packs in an extra bunch of ear tips in case, the standard ones are too small for your ear.(source).  

We were highly impressed with what this nut-sized earbud can pump out. And obviously, both of them have a microphone built in. An LED indicator depicts the amount of power in reserve by constantly blinking in preset patterns — four times if its power above 75 per cent, three times if it’s above 50 per cent and so on.0. Is it the same with the Shots X5? Let’s find out. The magnetic housing also activates the Bluetooth connectivity as soon as you pop them out of the slot. As a result, taking a call on the X5 is mostly advisable in quieter surroundings. But that is an individual preference anyways.With Shots X5 ticking most of the boxes green, does it round up good scores in the battery stamina department? Well, we have been using the Shots X5 for more than 10 days at a stretch as the primary pair of earphones. However, the completely cable-free design required lots of clever engineering and eventually adds to the price, which is why the usual set of affordable ones are mostly limited to neckband style earphones. And when you consider its price of Rs 4,999, the Noise Shots X5 is easily a bargain for those looking to go wireless without losing a substantial amount of cash. The slots, in which the earbuds sit, have magnetic POGO pins that charge the earbuds as soon as you pop them in. Noise has catered to that with Bluetooth v5. They glow white while charging or connecting and red when the power is low or disconnected.So, the final question remains to be answered — are the Shots X5 the wireless earbuds we have been waiting for since years? Probably yes! Noise has nailed it in most of the parameters that make for a great wireless set of earbuds. The only two issues with the earbuds are the physical buttons and the weak microphone reception. To give you a clear idea of the gains of Bluetooth v5. This is the most important part that every wireless earphone should nail and the Noise Shots X5 does this without a slight hint of annoyance. In essence, the case is a mini power bank that with you always.  

However, where the Shots X5 annoys is with the physical buttons on the earbuds.0, we managed to complete a full match of PUBG MOBILE with the Shots X5 doing the audio streaming duties, and the delay in synchronisation between the audio-video was almost negligible.As stated, the Shots X5 is completely wireless — they're just two tiny earbuds that sit within a small carrying case. We have been listening to audio, while taking calls in between, continuously for up to four hours and the earbuds would still keep on pumping audio. In the real world, a neckband style wireless earphone is still annoying as you have to deal with adjusting the neckband to your comfort. The weird bulge on the box houses a 2200mAh Li-ion battery that becomes the sole power source for the earbuds — no pesky micro USB ports required to be plugged into the earbuds individually.Using the Shots X5 is easy — you open the case, pop out the earbuds, put them in your ears, turn on the Bluetooth on your phone and you are good to go — it works effortlessly for both iOS and Android devices. There’s a good amount of bass that makes it a pleasant experience to tune to your favourite tracks while on the move. The buds also house LED status indicators that are subtle, unlike similarly priced earbuds that house eye-blinding lights. The unique shape of the buds, especially with a small protrusion on the top to lock it into the earlobe, makes it sit sturdy in the position you leave it — it doesn’t fall off easily. The passive noise cancellation muffles ambient noise, and works really well. Since the mic sits in the right earbud, it isn't as efficient as the mics on wired earphones for catching your voice. The Shots X5 are compact as well as comfortable to wear for longer sessions, deliver an impressive audio performance, have reasonably good battery life and, most importantly, are very easy to live with on a daily basis.However, the earbuds alone don’t make the whole package appealing. The buttons require a hard press for you to play/pause, answer/end calls or summon your virtual assistant, which often leads to dislodging it from the earlobe. And whether it's an iPhone or an Android device, the connection remains stable. However, like all other wireless earbuds, there’s one gripe with Shots X5 — the voice reception from the microphone. However, what impressed us highly was the lower frequency output — the Shots X5 can manage those drum beats by pumping out the ‘thump’ that you usually expect from most earphones