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Home / News releases / Tongaat-Hulett acquires Hippo Valley Estates
Tongaat-Hulett acquires Hippo Valley Estates
Tongaat-Hulett to extract the synergistic benefits available from the operations of two large world-class sugar enterprises in Zimbabwe
Tongaat-Hulett announced today that Triangle Sugar Corporation Limited (Triangle) had acquired Anglo American's 50,35% stake in the Zimbabwe Stock Exchange listed Hippo Valley Estates Limited for US$ 36 million.
Peter Staude, the CEO of Tongaat-Hulett said, "We are delighted to have acquired a majority shareholding in Hippo Valley. It adds a new dimension to our asset base and strengthens our position as a leading sugar producer in SADC. Together with our expansion plans in Mozambique, Tongaat-Hulett is set for exciting times capitalising on our strong regional competitive positioning in the emerging world sugar dynamics. It is part of the strategy of investing in the business to create further value."
"Tongaat-Hulett's existing sugar business in Zimbabwe, Triangle, is capable of producing in excess of 300 000 tons of sugar per annum. The acquisition of Hippo Valley will almost double Tongaat-Hulett's production in Zimbabwe and will lift Tongaat-Hulett's overall regional sugar capacities by a further 300 000 tons to 1,5 million tons per annum. This acquisition provides the opportunity to extract the synergistic benefits available from the operations of these two large world-class sugar enterprises with the two sugar factories being only 30 kms apart and the cane estates practically side-by-side" Staude said. "The lowveld in Zimbabwe was recognised as the lowest cost producer in the region if not the world with the potential to move from its current annual sugar production capacity to one million tons. This acquisition takes us a step closer to realising this potential " Staude indicated.
"World sugar markets are presenting exciting growth opportunities for Tongaat-Hulett. The already announced EU Sugar reforms, in particular the WTO ruling with regard to EU exports that will result in EU exports reducing from 5-7 million tons to a maximum of 1,4 million tons as from next year, the increasing use of sugar cane for ethanol production and the fact that the world sugar consumption growth rate is 2% per annum are all contributing factors" Staude said. "The next few years would offer major opportunities for further expansion of the company's low cost production. We are already benefiting from the changing global sugar fundamentals," he commented.
"The Zimbabwe lowveld has ideal sugar cane growing conditions, with excellent topography, climate and established water storage and conveyance infrastructures for irrigation. This results in some of the best sugar cane yields worldwide", said Staude.
As a consequence of Tongaat-Hulett's Zimbabwe operations not being consolidated into its financial results, the transaction will at this stage not have a significant impact on Tongaat-Hulett's earnings.
As a reorganisation of Anglo American's sugar interests in Zimbabwe, the acquisition will not trigger an offer to Hippo Valley's minorities.
Issued by: Tongaat-Hulett
The Tongaat-Hulett Group ("THG") is separating into Tongaat-Hulett ("TH") and Hulamin during the 2nd quarter of 2007. This follows the previous disposals of non-core businesses, investment in core businesses and actions to enhance earnings. The transactions will result in the unbundling by THG of its 50% interest in Hulett Aluminium to its shareholders and the listing of Hulamin on the JSE Limited ("JSE") by its shareholders with Sustainable Black Economic Empowerment ("BEE") equity transactions at both Hulamin and Tongaat-Hulett. As a consequence two separately listed and focused companies will emerge:
Tongaat-Hulett will be an agri-processing business with significant integrated land management, agriculture and property development activities.
Hulamin an independent aluminium rolled products and extrusion business;
Tongaat-Hulett has been adding value in refined carbohydrates and through agricultural raw materials for more than a century. Tongaat-Hulett produces almost half of the refined carbohydrates manufactured in South Africa. It has established considerable expertise in adding value to agricultural products, an area that requires specific knowledge and skills. Listed on the JSE with a market capitalisation of some R11 billion it employs 27 000 people.


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UK expenditure on humanitarian assistance during the Iraq War 2002-2010
This statistic displays the United Kingdom (UK) government expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP). The data shows that the greatest annual amount that was spent was 21 million British pounds in 2004/05, whereas 5 million British pounds were spent the following year. Over this time period the UK Government collectively spent 109 million British pounds on humanitarian aid.
United Kingdom (UK) expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP)
Expenditure in million GBP
April 1 2002 to March 31, 2010
Not seasonally adjusted.
Civilian deaths in Iraq war 2003-2019
Urbanization in Iraq 2017
Fallen British soldiers in Iraq war 2003-2009
UK public opinion on consequences of Tony Blair's actions during the Iraq War 2016
Statistics on "The Iraq Inquiry"
United Kingdom MOD defense budget during the intervention in Iraq from 2001-2010
Real terms UK MOD defense budget during the intervention in Iraq from 2001-2010
UK additional cost of military operations during the Iraq War 2001-2010
Cost of UK treasury approved funding for UORs during the Iraq War 2001-2010
Estimated United Kingdom (UK) military cost of conflict in Iraq 2002-2005
United Kingdom defense expenditure during the intervention in Iraq from 2001-2009
Real terms UK defense expenditure during the intervention in Iraq from 2001-2009
United Kingdom expenditure on peacekeeping during the Iraq War 2004-2010
UK FCO annual spending on security during the Iraq War 2003-2010
UK government expenditure of selected services during the Iraq War 2004-2010
UK cost of development assistance during the Iraq War 2003-2010
UK expenditure on diplomatic representation during the Iraq War 2003-2010
Number of deployed United Kingdom (UK) armed forces personnel in Iraq 2003-2008
Government expenditure on armed forces pensions and allowances in the UK 2000-2017
Number of Iraqi detainees held by the UK armed forces in Iraq from 2003-2008
Fallen British soldiers in Iraq war 2003-2009, by cause of death
United Kingdom (UK) public opinion of military action in Iraq 2003-2015
Ministry of Defence (MOD) budget during intervention in Iraq 2002/03-2009/10
The FCO cost of the United Kingdom's (UK) intervention in Iraq 2002/03-2009/10
The cost of the United Kingdom's (UK) intervention in Iraq 2002/03-2009/10
U.S. military wounded in Iraq and Afghanistan as of January 2014, by state
Public sector development spend as a share of GDP in Malaysia 2012-2018 by type
Federal government development spend as a share of GDP in Malaysia 2012-2018 by type
U.S. citizens' assessment of the Iraq war
U.S. spending on the Iraq war and number U.S. soldier fatalities 2003-2012
R&D expenditure in the environment New Zealand 2018 by sector
R&D expenditure in primary industry New Zealand 2018 by sector
Italy: enterprises´ innovation expenditure per person employed 2014
Italy: enterprises´ innovation expenditure per person employed 2014, by macro-region
R&D expenditure in manufacturing New Zealand 2018 by sector
Government development expenditure in Malaysia 2017 by sector
European Investment Bank: value of aggregate financing 2000-2018, by sector
R&D expenditure in economic framework New Zealand 2018 by sector
R&D expenditure in energy New Zealand 2018 by sector
European Investment Bank's value of financing to Mediterranean countries 2000-2018
European Investment Bank - aggregate value of financing to regions 2000-2017
Expenditure on innovation of companies in Sweden 2016, by type of expenditure
Swedish Armed Forces Defense and arms Armed Forces of the United Kingdom United States armed forces
Iraq Inquiry. (July 6, 2016). United Kingdom (UK) expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP) [Graph]. In Statista. Retrieved January 22, 2020, from https://cdn1.statista.com/statistics/582729/uk-cost-of-humanitarian-assistance-during-the-iraq-war/
Iraq Inquiry. "United Kingdom (UK) expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP)." Chart. July 6, 2016. Statista. Accessed January 22, 2020. https://cdn1.statista.com/statistics/582729/uk-cost-of-humanitarian-assistance-during-the-iraq-war/
Iraq Inquiry. (2016). United Kingdom (UK) expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP). Statista. Statista Inc.. Accessed: January 22, 2020. https://cdn1.statista.com/statistics/582729/uk-cost-of-humanitarian-assistance-during-the-iraq-war/
Iraq Inquiry. "United Kingdom (Uk) Expenditure on Humanitarian Assistance during The Intervention of Iraq from 2002 to 2010 (in Million Gbp)." Statista, Statista Inc., 6 Jul 2016, https://cdn1.statista.com/statistics/582729/uk-cost-of-humanitarian-assistance-during-the-iraq-war/
Iraq Inquiry, United Kingdom (UK) expenditure on humanitarian assistance during the intervention of Iraq from 2002 to 2010 (in million GBP) Statista, https://cdn1.statista.com/statistics/582729/uk-cost-of-humanitarian-assistance-during-the-iraq-war/ (last visited January 22, 2020)

redpajama_set_name: RedPajamaCommonCrawl


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Percy Harvin Announces NFL Comeback, Dreamed About Playing With Tom Brady
Percy Harvin in Super Bowl XLVIII. / Jamie Squire/Getty Images
Percy Harvin wants to make an NFL comeback. The 2009 Offensive Rookie of the Year, who will turn 32 next month, says he is finally healthy and wants to play again. Unsurprisingly, Harvin is already jockeying for a spot on the Tampa Bay Buccaneers, telling ESPN's Josina Anderson he had a dream about playing with Tom Brady.
Breaking: Former 1st-rounder, FA WR Percy Harvin tells me: "I'm ready to return to the NFL. I thought I was done, but that itch came back. I've been training w/a former Olympian. My body is feeling good. Mentally I'm better. My family is good. The timing is right." He's 185lbs. pic.twitter.com/NQaadbF73B
— ig: josinaanderson (@JosinaAnderson) April 22, 2020
Harvin last played for the Buffalo Bills in Week 11 of 2016. He has appeared in 34 total NFL regular and postseason games since the start of the 2012 season. It seems his last true highlight was returning a kickoff for a touchdown in Super Bowl XLVIII. As you can tell by Harvin's shirtless picture, he's serious about his fitness, if nothing else.
His biggest problem will be finding a roster spot with a loaded wide receiver draft class about to enter the NFL. At 32, more than three years removed from an actual football game, he's going to face near impossible odds.
WR Percy Harvin, 31, last played for the #Bills in Nov. 2016 tells me he didn't file retirement papers after walking away again with injury pain & other issues. "I knew I wasn't functioning right, not only physically, just all around the board. I had to get in contact w/ myself." pic.twitter.com/6j9YdMH6O5
Percy Harvin told me while out of NFL: "I had a dream a while ago when 12 was with the #Patriots, that I would play for Tom Brady. That was well before the pandemic & he went to the Bucs, my comeback was already in the works. But I'm ready for any offense that'll just let me go." pic.twitter.com/nZqAdD5uS1


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A Critical component in the longevity of your kiln!
The Vent-Sure automatic kiln vent helps prevent corrosion on the inside and outside of your kiln. It ensures that your kiln gets the longest possible life from your elements and electrical components. This is so important that, if you do not have a Vent-Sure installed on your kiln, the pro-rated element warranty is in a different category.
The vent blower motor is normally mounted with the 12" outlet protruding through the wall.
This keeps the heat of the kiln away from the motor (for long motor life) and keeps the motor vibration away from the kiln (which can cause ware to move, damage to the kiln, and misfiring of cones on a Kiln Sitter - if you have one).
The vent tubing is kept under vacuum instead of pressure.
This insures that any leak in the tubing does not blow noxious fumes into your room.
External venting is safer and surer than venting to the inside of your kiln room (even with a filter).
The blower vents up to 130 CFM (cubic feet per minute).
This will handle up to a 20 cubic foot kiln (and usually larger). More than one vent can be attached to a kiln.
The motor only pulls 1.37 amps.
The blower motor features a 6 foot long 120 volt 15 amp power cord. An On/Off switch is located on the cord.
240 volt models are available.
A vacuum bypass on the kiln bypass/collection box adjusts the amount of venting from the system.
Don't waste heat and energy by venting more than you need.
Adjust vent to kiln size.
15 feet of flexible expandable aluminum 3" diameter duct is included along with necessary hose clamps.
Longer lengths or lengths of 3" stove pipe can be used as well.
Length can be as great as 60 feet horizontal or vertical with up to four 90 degree bends.
Because of our unique wall-mount fan we rarely replace fan motors.
The VENT-SURE Model VS-1 is c-MET-us listed for use with all c-MET-us listed L&L kilns. It is MET-us listed for all MET-us listed L&L kilns.
A special Multi-mounting bracket (M-V-MULT/00) is available to mount the vent motor on the floor or point the outlet vertically for ceiling installations.
You can get a Vent Doubler option (M-V-VENT/DB) which allow you to vent two kilns that are each up to 10 cubic feet.
See the Vent Control optional accessory.
The Vent Control will allow you to program the vent motor to turn on and off during the firing cycle.
NOTE: Vents made by manufacturers other than L&L may not be listed to UL499 standards if used with an L&L kiln. The same is true in reverse - the L&L Vent-Sure is listed to UL499 standards only with L&L listed kilns. If you have any question please contact the manufacturer of your non-L&L vent system.


Fancy going to Hawaii but can't afford the time or the plane tickets? Get part of the experience now in your home with the Homestar Resort, another superb home planetarium by Sega Toys. It recreates tropical star-gazing wherever you are in the world, projecting Hawaii's blue sky onto your ceiling. Be dazzled by the 10,000 stars of the sky in a vision designed by Takayuki Ohira, the master planetarium designer, as well as tranquil vistas of the Hawaiian sunset and moonbow.
Ideal for enjoying some time in Hawaii just before you go to sleep, use the timer so you can drift off like you are on vacation. There are also features providing you with the vista of the stars and sky fused with the sounds and music of Hawaii. The Homestar Resort features two songs as well as beach and wave sound effects for a truly relaxing tropical paradise experience. Just lie and imagine you are on the warm Hawaii sand, gazing up at the blue starry heavens.
You can adjust stars to project at the angle you want. Also feel free to change the volume and the music or sound.
This compact Homestar planetarium is available in two suitably tropical colors, blue or green. Either offers you a ticket to Hawaii every evening. Buy it now from JapanTrendShop.


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Playgo BH70 Noise Cancelling Wireless Headphones Review
At Rs. 14,999, the Playgo BH70 is among the most affordable pairs of active noise cancelling headphones you can buy.
By Ali Pardiwala | Updated: 22 April 2020 17:18 IST
The Playgo BH70 is a less expensive alternative to Sony and Bose's offerings
The Playgo BH70 headphones are IPX4 rated for water resistance
The headphones use a Qualcomm Bluetooth chip
Sound and noise cancellation performance are decent for the price
Although wireless headphones and earphones are available for less than Rs. 2,000 now, premium features such as active noise cancellation and support for superior Bluetooth codecs still demand a significant investment. Top-tier headphones from Bose, Sony, and Sennheiser with active noise cancellation are still priced at well over Rs. 20,000, and there aren't too many affordable options; Sony and Sennheiser are among the few notable brands that offer noise cancelling headphones for less than Rs. 15,000.
The space is thus wide open for competition, and affordable audio and accessories brand Play has stepped in to try and fill this gap. The latest headset from the company is the Playgo BH70, which is priced at Rs. 14,999. This new pair of headphones offers active noise cancellation, Bluetooth 5 with superior codec support, and more. We review the new headphones to find out if they are good enough to take on the current favourites from Bose and Sony.
The headphones are comfortable to wear, thanks to soft padding and the over-ear design
Playgo BH70 design and specifications
Most headphones in the premium category look and feel great, but the Playgo BH70 is a bit of an outlier here. We don't want to say that it looks bad, but we certainly don't feel that it looks very good either. It's made entirely of plastic, with a combination of glossy and dull finishes. It comes across as toy-like, and has an aesthetic that is more suited to budget headphones. The Playgo BH70 is available in two colours, grey and brown.
There are five buttons - two on the left and three on the right - which are creaky and feel oddly sticky to press. The buttons usually worked, but didn't offer enough physical feedback and didn't respond immediately, leading to errors. The ones on the left are for power and active noise cancellation, while the playback and volume controls are on the right. Pressing down on the left ear cup with your palm activates the transparency mode temporarily (until your palm is lifted), while double-pressing the play/pause button invokes the voice assistant on a paired smartphone.
The ANC button on the left allows you to cycle through the three modes: active noise cancellation on, active noise cancellation off, and transparency. The controls were easy enough to use once we got accustomed to the odd feel of the buttons. The headphones also automatically pause or play music when you take them off or put them on, and this worked well for us. This can be switched off using the app (more on that later), if you prefer. There are two microphones - one on each ear cup - which serve for both calls as well as active noise cancellation detection.
Although we had issues with its looks and buttons, the Playgo BH70 headset is very comfortable to wear and use. The over-ear fit was snug, with comfortable padding and a good noise-isolating seal. They weren't too heavy for us, and using the headphones with glasses wasn't a problem. The sales package includes a big hard carry case along with a USB Type-C cable to charge the headphones.
The case is big and has pockets for the charging cable and other accessories
The Playgo BH70 headphones are IPX4 rated for water resistance, and use Bluetooth 5 for connectivity. The use of a Qualcomm QCC Bluetooth chip means that the headphones support the aptX low-latency codec. The headset uses 40mm dynamic drivers and has a frequency response range of 20-20,000Hz.
Like other large over-ear headphones, the Playgo BH70 has decent battery life. We were able to use the headphones for around 20 hours on a single charge, with active noise cancellation on much of the time and the volume level at roughly 70 percent. There's no fast charging on this headset, and it will take around four hours to fully charge a completely drained battery.
The Play BH70 headset has a companion app that helps control certain features. The app - available for Android and iOS - lets you keep the firmware up to date, adjust the noise cancellation level to allow some transparency, adjust the equaliser, and more.
The app is relatively simple but it did allow us to set up and toggle some features according to how we like them, including the auto pause and play gesture, and flight mode (which keeps noise cancellation active while preventing the headphones from powering down due to inactivity).
Playgo BH70 performance
Although everything leading up to this part of the review suggests that the Playgo BH70 isn't very impressive, it makes up for much of its shortcomings with sound quality. We enjoyed listening to music on the headphones, and support for the Qualcomm aptX codec helped get the best out of all kinds of music.
We used our OnePlus 7T Pro (Review) and Apple MacBook Air to test the headphones; the Android smartphone used aptX, while the laptop used the AAC Bluetooth codec favoured by Apple. Audio tracks were played on both devices using Spotify, YouTube Music, and our collection of high-resolution files.
The buttons felt sticky and didn't offer good feedback
Sound was better on the Android smartphone for a couple of reasons; the aptX codec definitely made a difference in terms of responsiveness and detail, but we also found the sound to be a bit too soft on the MacBook Air. Listening to Supalonely by Benee, we could distinctly tell the difference the better codec made to the listening experience.
The starting beat of this catchy track had a distinct sense of detail and direction, with the interplay between the left and right channels adding to the quality of the sound considerably. The headphones provided a wide, spacious soundstage that went far beyond basic stereo separation, making for an immersive and detailed listening experience.
Switching to Indian electro-pop, we listened to Din Raat by Lifafa. The Playgo BH70 made for an excellent listening session with this retro-Bollywood-inspired track, capturing the essence of the modern electronic elements as well as the 1970s-style vocals. The bass was deep and calculated, while the mid-range and highs were crisp and clear. The sonic signature is one that favours most popular genres, with a clear focus on the lows and highs, but the mid-range was never overpowered.
Active noise cancellation on the Playgo BH70 isn't ineffective, but neither is it anywhere near the level of quality we've experienced on top-end options. There is a definite reduction in droning and other sounds; the headphones managed to cut out a significant part of the noise made by a particularly loud window air conditioner. That said, the Playgo BH70 is a long way from delivering stark silence you get on the Bose Noise Cancelling Headphones 700.
The headphones worked decently enough for calls, and the transparency mode was effective enough for times when we needed to quickly listen to our surroundings. The sound in the transparency mode felt 'piped' and unnatural, but it was never too loud that it became uncomfortable.
Active noise cancellation on the Playgo BH70 is effective, but nowhere near class-leading
The idea of affordable noise cancelling headphones isn't new; options such as the Sennheiser HD450BT and Sony WH-CH700N offer decent enough performance for under Rs. 15,000. The Playgo BH70 takes a different approach to the segment, trying to be more like a premium active noise cancelling headset at an entry-level price.
Although design and the quality of noise cancellation aren't exactly premium-grade, the Playgo BH70 makes up for that with sound quality. The headphones sound good across the frequency range with most popular genres, and make for a detailed and enjoyable listening experience. Battery life is good as well.
That said, we feel that the price is a bit too high given our overall experience with the Playgo BH70. While there isn't much to complain about, competing options such as the Sony WH-XB900N might offer a better overall experience, particularly if you like your bass aggressive.
Price: Rs. 14,999
Useful app
Qualcomm aptX codec support
Spacious, detailed sound
Deep, calculated bass; crisp highs
Plastic, toy-like design
No fast charging
Unexciting sound with non-aptX sources
Ratings (out of 5)
Design/ comfort: 3.5
Audio quality: 4
Battery life: 4
Value for money: 4
Overall: 4
Further reading: Playgo BH70, Playgo, Bluetooth, Active noise cancellation, Headphones
Ali Pardiwala Email Ali Ali Pardiwala writes about audio and video devices for Gadgets 360 out of Mumbai, and has covered the industry for a decade now. Ali is a Senior Reviewer for Gadgets 360, where he has regularly written about televisions, home entertainment, and mobile gaming as well. He is a firm believer in 4K and HDR on televisions, and believes that true wireless earphones are the future of the personal audio industry. Ali is available on Twitter as @AliusPardius and on email at alip@ndtv.com, so do send in ...More
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product Priced at Rs. 14,999, the Playgo BH70 comes with premium features such as wireless connectivity, support for the aptX Bluetooth codec, and active noise cancellation. Can it compete against current favourites from Sony and Bose? Find out in our review. 4 out of 5 stars
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Facebook, Twitter, More Social Media Face Push From Investors Over Control Ahead of US Inauguration
MESSAGE Ali Pardiwala


From the word "hello", at EQ you'll find a saddle expert ready to answer all your questions. We are riders who are dedicated to our customers and their horses, here to provide you with unmatched service and support. We believe that EQ saddles will help you and your horse connect in ways you hadn't thought were possible, and want to make that experience as easy as possible for you to access.
Start with a saddle trial. Our test ride program is unmatched in the equestrian space. You'll get to ride for two weeks for free, and then our leasing options let you keep the saddle even longer. Test it thoroughly – take a lesson or clinic, and go trail riding. You'll have all the time you need to make up your mind.
To ensure a great fit, we'll ask you to send us photos and simple measurements of your horse before shipping the saddle. In a hurry? Express your measurements, and we'll overnight your saddle. On a budget? Explore our pre-loved inventories for your test ride. What's your need? We're here to help.
Use our Fitting Support Program to get step-by-step adjusting instructions over a two-way video link, or contemplate a fitting session with an EQ Certified Fitting Agent.
Based in California's East Bay area, our high-touch reach extends all over the world, and we hope you'll be the next!


Consisting of Subject Matter Experts with 850 years of combined experience, the Group provides services in the areas of Technology & Engineering, Leadership & Motivation, Education & Teaching, Research & Development. The group is also deeply involved in Charitable Causes.
The Jukes Group at SSTB –  A big thank you!
The Jukes Group Sponsors SUT Social Event!
Helping Students to be Successful – Texas A&M!


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Why Selena Gomez Says She Doesn't Like Being Called Pretty
"I don't really appreciate people judging me on my looks."
By Julyssa Lopez
Selena Gomez has been keeping a pretty low profile lately, save for a recent Coachella appearance and some behind-the-scenes party planning for friends. But this week, as Gomez helped Coach launch its new podcast, Dream It Real, she sat down for her first real interview in a while, revealing tons about her relationship with social media and her celebrity image.
The episode, hosted by Heben Nigatu, was all about authenticity, and Gomez specifically talked about why she doesn't always like it when people call her "pretty."
"I don't really appreciate people judging me on my looks or anything like that. I'm flattered when maybe guys are like, 'You're pretty.' I am, but it's just—I would just love someone to love me for the person that I am," she said.
It was a revealing half-hour in which Gomez also opened up about her journey with therapy ("It's just hard…but I do think that it's helped me understand myself and my childhood a lot better"), and why she feels too much Instagram can be unhealthy ("It is not that healthy to be on it all the time because I noticed, with me, I got kind of depressed looking at these people who look beautiful and amazing, and it would just get me down a lot, so I just think taking breaks is really important"). She also shared that new music is in fact coming, although she didn't specify when.
"I just wanted it to be me, all me. Every song is a story I've experienced. To that point, I think there's no one who's going to tell my story better than myself," she said. "I just really wanted to kind of just live with my story a bit and create it into something that means a lot to me."
You can hear more from Gomez on Dream It Real, which is now streaming on Spotify.
Topicsselena gomezcoachself image
Glamour Daily
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Selena Gomez Just Threw Her Friend an Incredible Birthday Party
The iconic party planner is at it again.
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"My best friend is getting married, so we celebrated her!"
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My First Time Having a Threesome
A woman recounts the tale of her first three-way, and the results are hilarious.


Narrow enough to fit in the small locks of the upper Baïse.
for his own use, she started life as the "Lagom".
55-foot, Nivernais Dutch Style Steel Barge named Amarok.
Canal de Garonne and the Canal du Midi from end to end.
we might venture north to explore Belgium and Holland.
. A one-quarter share of this modern, luxurious Replica Dutch Barge may be available!
return to the airport for his flight home! Voilà.
Etang de Thau in the south of France.
extends from approximately April 1st through November 1st.
the last time slot can stay as late as he wishes.
No rentals or charters are permitted.
Petit déjeuner à bord - Breakfast on board in the pilothouse.
The Overall condition of the boat is excellent.
luxurious and enjoyable inland waterway cruising.
batteries (12 AGM) were also replaced.
the time when none of the owners is aboard.
exhaust fan, coffee-maker, etc. Also a Miele washing machine!
cabin (double), bathroom with separate shower, owner's cabin (queen) forward with ensuite head, sink and shower.
subject to negotiation with the partner wishing to sell his share.
TV, DVD player and stereo on the left.
- so civilized! To the left, is a walk-in shower stall.
A partner may sell his share at any time.
and the proceeds distributed equally to each partner.
very smoothly, there has been no discord whatsoever.
spend almost two months aboard the Amarok each year!
Each partner owns of a 25% share of the boat.
a lot of work to maintain in good condition.
. Fall 2013 Update: We now have a new 1/4-share partner.
. They are a British couple, Jim & Jane Robertson of Surrey.
share may become available in 2015.
. so they will be taking their place for the 2015 cruising season.
. continuity.for the new incoming partners.
. exercise their option to match the offer and they bought us out.
. our blogs over the past four years.
Finally, they also have their own "AMAROK Info Page" which can be viewed by Clicking Here.
. AMAROK Adventures - A complete listing of links to our blogs over the past four years.
Many photos of the AMAROK in action.


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Home Astronomy and Space Study reveals new details on what happened in the first microsecond of...
Study reveals new details on what happened in the first microsecond of Big Bang
Photo: PEXELS
The first microsecond of Big Bang is a mystery. Studies determine the only matter that existed during the occurence of the Big Bang called "quark-gluon plasma". By using the Large Hadron Collider at CERN, researchers were able to recreate the first matter in history, and trace back what happened to it. In addition, researchers also developed an algorithm that is able to analyze the collective expansion of more produced particles at once than ever possible before. This brings scientists another step closer to solving the puzzle of the Big Bang and how the universe developed in the first microsecond
Researchers from University of Copenhagen have investigated what happened to a specific kind of plasma—the first matter ever to be present—during the first microsecond of Big Bang. Their findings provide a piece of the puzzle to the evolution of the universe, as we know it today.
About 14 billion years ago, our universe changed from a much hotter and denser state to expanding radically—a process that scientists have named the Big Bang.
And even though we know that this fast expansion created particles, atoms, stars, galaxies and life as we know it today, the details of how it all happened are still unknown.
Now, a new study performed by researchers from University of Copenhagen reveals insights on how it all began.
The first microsecond of Big Bang
"We have studied a substance called quark-gluon plasma that was the only matter, which existed during the first microsecond of Big Bang. Our results tell us a unique story of how the plasma evolved in the early stage of the universe," explains You Zhou, associate professor at the Niels Bohr Institute, University of Copenhagen.
"First, the plasma that consisted of quarks and gluons was separated by the hot expansion of the universe. Then the pieces of quark reformed into so-called hadrons. A hadron with three quarks makes a proton, which is part of atomic cores. These cores are the building blocks that constitutes Earth, ourselves and the universe that surrounds us," he adds.
From fluent and smooth to the strong building blocks of life
The quark-gluon plasma (QGP) was present in the first 0.000001 second of Big Bang, and thereafter, it disappeared due to the expansion. But by using the Large Hadron Collider at CERN, researchers were able to recreate this, the first matter in history, and trace back what happened to it.
"The collider smashes together ions from the plasma with great velocity—almost like the speed of light. This makes us able to see how the QGP evolved from being its own matter to the cores in atoms and the building blocks of life," says You Zhou.
"In addition to using the Large Hadron Collider, the researchers also developed an algorithm that is able to analyze the collective expansion of more produced particles at once than ever possible before. Their results show that the QGP used to be a fluent liquid form and that it distinguishes itself from other matter by constantly changing its shape over time.
"For a long time, researchers thought that the plasma was a form of gas, but our analysis confirm the latest milestone measurement, where the Hadron Collider showed that QGP was fluent and had a smooth soft texture like water. The new details we provide show that the plasma has changed its shape over time, which is quite surprising and different from any other matter we know and what we would have expected," says You Zhou.
One step closer to the truth about Big Bang
Even though this might seem like a small detail, it brings physicists one step closer to solving the puzzle of the Big Bang and how the universe developed in the first microsecond, he elaborates.
"Every discovery is a brick that improves our chances of finding out the truth about Big Bang. It has taken us about 20 years to find out that the quark-gluon plasma was fluent before it changed into hadrons and the building blocks of life. Therefore, our new knowledge on the ever changing behavior of the plasma is a major breakthrough for us," You Zhou concludes.
The study has just been published in the journal Physics Letters B.
SOURCENiels Bohr Institute
Massive Stars
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Unity of Truth: Geocentrism – where's the physics?
Geocentrism – where's the physics?
A response to Mr. Wyatt's comments on my previous post, "Relative claims to absolute Truth" (Part III of this series).
Mr. Wyatt is correct about the numbering of the articles. To give credit where it's due, however, it was Mary Daly (hedgemaker) and not I who wrote the original article, "The New Geocentrism."
I am happy that Mr. Wyatt does not believe geocentrism is an article of faith. If that is the case, however, I am at a loss to understand why he considers the issue serious at all; it's just a curiosity of physics. Therefore, I would suggest that there are much more important areas to which Mr. Wyatt could contribute this time and energy. The culture war is in great need of persistence and energy, especially on the marriage and life issues fronts.
In the following, I give Mr. Wyatt's statements in block quotes, with my responses following. Point numbers refer to the numbered points regarding the physics in my previous post, "The New Geocentrism, Part III."
What is Rosser saying here?
"If one considers the rotating roundabout as being at rest [i.e. fix the earth]..."
The roundabout (earth) is rotating.
by using a rotating coordinate system, aka a rotating frame of reference.
"Under these conditions," i.e. within this rotating frame of reference, distant objects can have faster-than-light (FTL) velocities.
That's exactly what I said in my first two points, which is to say it's the physics, not my presumptions.
First, if the universe is rotating, then special relativity does not apply, general relativity is required.
This is incorrect as stated. The "rules" of special relativity do apply to inertial observers viewing rotating objects, but not to rotating (and other accelerating) frames of reference. The universe as a whole is not sufficiently "flat" for special relativity to apply throughout, but that is completely independent of any rotation that might exist.
If an object were to locally overtake a star at a relative speed greater than "c", then in that case, even under general relativity, Cerenkov radiation would be locally generated, because in that case space-time would be [approximately] flat.
I assume he means, "If a star were to overtake its own light, ...." Nevertheless, it is heartening to see that he is willing to concede a couple of points here.
This statement is a tacit admission that the stars are not really, actually, traveling faster than light, i.e. the light they themselves generate. They only look like they do (which is why I called it apparent motion).
If we can show that objects in a local region (i.e. approximately flat space-time) would have to exceed the speed of light, we can prove that the geocentric position is tenable ONLY with a rotating frame of reference.
Let's look at a very local region of space, namely the Solar System. If Mr. Wyatt is correct in stating that the geocentric position uses a non-rotating, non-translating frame of reference -- indeed it could be called the ultimate inertial reference frame -- then special relativity applies in this local region.
A quick calculation yields the fact that an object at a distance of a mere 27.6 AU (astronomical unit = the average distance from the earth to the sun) would have to be traveling at the speed of light to circumnavigate the earth in 24 hours. Guess what? Many objects within the solar system have distances this great from the earth.
A well-known example is Pluto, formerly known as a planet, now re-christened a dwarf planet. Its average distance from the earth is approximately 39 AU, putting its average speed at about 1.4c (c is, of course, the speed of light). Further, because of its large orbital eccentricity, its minimum distance from the earth is approximately 28.6 AU, while its greatest distance is about 50 AU. Thus, Pluto's required orbital speed ranges from just over the speed of light to around 1.8c. So not only do we have FTL motion, we have accelerating and decelerating FTL motion.
An even more striking example from the many that could be given involves the famous comet Halley. At its nearest approach to earth, this comet is well under 1 AU distant (for example, in 1986 it came to within 0.42 AU of earth); however, at its greatest distance, it is about 35 AU from us. The astute reader will notice that this places its required orbital speed around the earth at much less than the speed of light when it is close to the earth, but as it moves away, it must accelerate to the speed of light and beyond. There's a word to describe this behavior: impossible.
The FTL velocity required of Pluto at all times and the acceleration / deceleration required of comet Halley from subluminal to superluminal and back again violates special relativity if the observer on earth is in an inertial frame of reference as Mr. Wyatt asserts. And we should, as he admits, see Cerenkov radiation if they really moved at FTL speeds.
Hence, the inertial frame of reference assumption must be wrong; therefore, the frame of reference for the geocentric universe is a rotating one, as Mr. Wyatt's own quote from Rosser indicates.
Bottom line: the geocentric view requires a rotating frame of reference.
As to sciencemom's ballerina, unfortunately, general relativity has to consider the the universe rotating around the tip of her nose just as real as the ballerina rotating in a static universe, because general relativity excludes the concept of absolute space.
Yes, and thus of absolute motion. I think Mr. Wyatt has very nearly grasped Mary's point made in the original "The New Geocentrism" post, i.e. that the geocentric universe is no more "real" than the ballerina-nose-centric universe she suggests. Just for the record, I don't have a problem with the big bang theory put forward by Fr. Georges LeMaitre.
Amazing the corner that Catholics back themselves into to be "cool" to the world!
I have refrained from indulging in ad hominem arguments as they are both counter-productive and uncharitable. I would appreciate it if you showed me the same courtesy, Mr. Wyatt. We're discussing the physics, not either of our personal motivations which neither of us can know.
Correct, it is difficult to rule out entirely, and just stating so does not constitute evidence.
It was not meant to be "evidence," but rather an acknowledgment of the limits of science. My point was that observational measurements cannot tell us for certain that there is no rotation, for the simple reason that measurements are only so accurate. When measuring small quantities, what looks like zero today may look like some small non-zero value next century. But read the rest of it. Direct measurements indicate that rotation is no more than 0.1 arc seconds per century. One published paper caused a great stir for claiming to have measured 10^-13 rad/yr (which is much less than 0.1 arc seconds per century).
Yet Mr. Wyatt continually refers to a "rotating universe" – one that rotates around the earth's axis once every 24 hours – as though it is a real thing and not a mathematical construct. That would be almost 5 billion times the maximum rotation indicated by measurements, and would undoubtedly result in fun alterations to the shape of the universe. A rotating universe would assume the shape of an oblate spheroid, which is not the shape of the real universe; the faster the rotation the more significant the flattening. (One can observe this effect in rotating galaxies, for example.) Even given that we cannot see the whole universe, we would still see the effect in the structure and mass distribution of the visible universe. Of course we don't actually see any such thing.
Rotation means acceleration, and acceleration can always be measured, though uniform linear motion cannot. Rotation would also create a pattern of motion that would be seen in the CMBR (cosmic microwave background radiation). Such rapid rotation would be very readily detected.
Plus, objects in a universe that rotates around an axis would experience a centrifugal force proportional to their radial distance from the axis. Thus, objects in the "equatorial" plane of a fast-rotating universe, such as the one Mr. Wyatt suggests, would experience a significant outward acceleration; however, objects on the axis would not. This would result in a systemic anisotropy in measured redshifts: a very clear pattern of location-dependent variations. Again, no such pattern exists in real life.
Besides, as I showed earlier, the geocentric position requires a rotating frame of reference. This is because the earth does rotate. The apparent "rotation of the universe" is merely the result of our living in this rotating frame of reference.
Again, sciencemom misses a fundamental point. True if one stared down on the sun then one would "see" the entire universe rotating around the sun!
Since she claims this to be an inertial reference frame, and she is being precise, she must be proposing some form of milky-way-centrism! One in which the universal center corresponds to a point that sits above hte [sic] sun's orbit at least at one point in time.
The first sentence is a classic non sequitur. And as to the second, I don't recall proposing that the universe even has a physical center, let alone that it resides at #1 N. Solar Avenue.
When I spoke of an inertial reference frame, I was indeed being precise. For those who aren't sure what the term means, it refers to a non-accelerating (thus also non-rotating) frame of reference. I chose the location above the sun merely for convenience in observing the solar system. A location near the Andromeda galaxy wouldn't be nearly as opportune.
True if one stared down on the sun then one would "see" the entire universe rotating around the sun!
Rather, I think sciencemom is confusing coordinate transforms with reality, and trying to imply that the abstract mathematical concept of inertial reference frames, as applied in especially special relativity, "prove" that the universe is not rotating.
I said what I said because it is precisely what I meant. There are no coordinate transforms involved in my comments about what one would see.
And, I find a contradiction between Mr. Wyatt's two comments cited above. In the first, I am apparently trying to show that the universe rotates around the sun. Yet in the second (from the same paragraph!) I am accused of trying to show that the universe does not rotate at all. Weird. The fact is, I am trying to do neither. I am simply describing what one would see from an inertial frame of reference placed above the sun's north pole merely for viewing convenience.
as shown in great detail in Galileo Was Wrong, most of our observations and mnay [sic] experiments support a central and non-moving (rotating or translating) earth!
Again, I find a strange dichotomy between this assertion that one can "prove" a non-moving earth, and the previous assertions having to do with the fact that in general relativity there is no absolute space or motion. Further, it is physically impossible, even in classical physics, to prove non-motion for the simple reason that there is no way to detect uniform linear motion.
Science itself admits that it cannot demonstrate the rotation or translation of the earth (as independent of a counter movement of teh [sic] universe).
This is also untrue, as I believe I have amply demonstrated above when I showed that the geocentric view requires a rotating frame of reference. Besides, ring lasers can measure absolute rotation. I plan to soon post a brief article on physical evidence for the earth's rotation.
Finally Scriptures, the Fathers, and a number of popes have testified or made declarations in favor of geocentrism. None have explicitlky [sic] denied it. Why not at least consider it?
I have considered it, and find it untenable. Readers may wish to check out Mary Daly's "Up to Date Cosmology" post for more on the Church's view.
For the reasons I discussed before, and in more detail above, the geocentric system requires a rotating frame of reference. It's the physics, not my presumptions, that dictates this. All the physical evidence indicates that the universe does not rotate significantly, and that the earth does rotate.
Perhaps a simple thought experiment will clarify the situation for most of us. If we could somehow remove just the earth from the solar system, the rest of it would continue to operate pretty much as before, except for earth's moon. However, if we could remove the sun, the solar system as a system would fall apart.
The most that can be said for the geocentric view is that "it sure looks that way from our position here on earth and we can express that idea mathematically using general relativity," but that doesn't make it Truth. This seems to me to be a classic case of "confusing coordinate transforms with reality," to borrow a phrase from Mr. Wyatt.
Please read this before posting any further comments on this topic. Thank you!
Wow, Sciencemom, you did it! Thank you for your dedication. I believe this will be helpful to so many!


Center for Planetary Awakening - Mark Torgeson Center for Planetary Awakening: Founders Carol Fitzpatrick and Mark Torgeson. Building sustainable oneness through education, skill-building and frequency activation.
"Torgeson is truly gifted, and it shows through all the musical styles he incorporates in his music."
"Mark, I love Dreamweaver. It made me fall asleep."
Electronic Music: The exploration of timbres and new sonorities has always held a great fascination for Mark. "The high frequencies of synthesizers cannot be duplicated by traditional acoustic instruments. There are frequencies here which have not been heard by the human ear which are transformative, which open one to another dimension of experiencing and feeling. I totally embrace this medium as one of healing and transformation."Mark's first album, Between Mountains and Stars, is the result of closely observing the type of music which works best when people were in states of deep repose. In Mountains Mark merged his love for orchestration with the new sonic palette offered by electronic instruments, creating a synergistic form which sets the stage for the listener to experience states of deep relaxation and activate innate healing abilities.
Classical Traning. The modern day musician has the benefit of living in a time when all the historic modes of performing and creating are at one's fingertips. Classical training provided a springboard to launch into other modes of playing and creating, an important discipline which has grounded technique and manners of expressing and understanding music. Classical music - listening, analyzing and playing - has always been important to Mark. He was deeply influenced by all the major movements in music: Baroque, Classical, Romantic, Impressionism and Modern Music.
Ethnic music is also a great passion. Mark loves and is deeply inspired by the classical music of India, Japan, Indonesia and Tibet, as well as the more popular forms of Andean and African music. Growing up in America, he was influenced by progressive jazz and fusion.
Experience and Education. He earned his degree from Mary Washington College, where he studied piano with Dr. Bernard Lemoine. He continued studies in piano, composition and electronic music at Virginia Commonwealth University with Sonja Vlahsevic, Jack Jarrett , Loren Carrier and Dika Newlin.


For over 30 years, Merronbrook has been at the forefront of the timber frame construction industry. In that time, we have been involved with a wide variety of projects from one-off housing projects and self builds to residential homes and commercial properties. Follow the links below to see some of our projects.


Heres mine, 24 fret with sss config & gold hardware..
Oh man, that green sparkle is awesome!
Last edited by NorM; 10-03-2017 at 10:07 PM. Reason: I like Silhouettes and soup is good food.
Norm, the Blue Dawn is without a doubt the best in my opinion!!!
Blue Dawn Silo Special, oooohhhhh if I only had the $$$$, it's in Japan.
My Albert Lee Black Sugar has the ebony and I have to say that I like that very much as well. This would be a nice option, but they've been making it part of the BFR's in recent years, here and there. All we can do it hope it'll be offered again.
By the way my Silo Special is still my favorite!!


Feb 4, 2015 ... The availability of natural sand for concrete production is facing challenges, while the ... Developing new approaches in the field of crushed sand production and then increasing .... This is illustrated in the flow chart to the right.
Nov 12, 2015 ... Stone production line equipment configuration is mainly based on customer specifications ... Jiaozuo Zhongxin Heavy crushing and screening equipment production design in the process of design, the ... Production flow chart.
future the rate of production of crushed rock will be too slow to meet the ... In 1985, approximately 191 million tonnes (mt) of crushed rock, sand and gravel ... Figure 2.1 Flow chart of a typical closed system recycling plant, set up to produce a.
... and various plants including crushing plants,sand manufacturing plants,recycling ... Flow chart of a and production plant, Flow chart of a sand production plant.
Aug 19, 2015 ... The given diagram shows the process of cement production and then how this ... and concrete production is done using the water, cement and sand in a concrete mixer. The first diagram depicts that, to produce cement first the lizenithne and clay are crushed and the ... Flowcharts never have conclusions.
2.3 The Environmental Impacts of Aggregate Production ................................................................ 16 ..... 7. Table of Figures. Figure 1: Comparison of Sand and Crushed Rock Aggregates . ... Figure 7: Flow Chart of the Lunenburg Plant Structure .
Generalized flow diagram for an aggregates recycling operation . .... How much does it cost to produce recycled aggregates? What are the incentives and ..... 2 for the production of aggregates from crushed stone, sand and gravel, recycled.
water, fine aggregate such as sand or finely crushed rock, and coarse aggregate such as gravel or crushed rock. ... Flow Diagram. The flow diagrams below show the major elements of the production of portland cement concrete products with.
Graph of projections of U.S. consumption of crushed stone and sand and gravel . ... Flow chart showing flow of construction materials (construction aggregates vs. ..... Sand and gravel production. Asphalt production. Steel production. Concrete.


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Ocean's 12 (Originaltitel: Ocean's Twelve) ist ein Spielfilm aus dem Jahr 2004 von Steven Soderbergh und die Fortsetzung seines Films Ocean's Eleven aus dem Jahr 2001. Die Besetzung aus dem ersten Teil wurde übernommen und um weitere bekannte Darsteller ergänzt. Der Film gehört zum Genre der Heist-Movies. Im Jahr 2007 folgte der dritte Teil Ocean's 13.

Handlung
Einige Zeit ist seit dem Casinoraub im ersten Teil vergangen. Danny und Tess Ocean ziehen gerade in ein neues, großes Haus ein, als Terry Benedict auftaucht. Er hat herausgefunden, dass Ocean und sein Team diejenigen waren, die sein Casino ausgeraubt haben. Nun bedroht er Ocean und will innerhalb von vierzehn Tagen die gestohlenen 160 Millionen US-Dollar plus Zinsen zurückhaben, obwohl die Versicherung seinen Schaden beglichen hat.

Um das Geld aufzutreiben, geht Ocean mit seinem Team – bis auf Saul Bloom, der seinen Ruhestand genießen möchte – nach Europa; in den Vereinigten Staaten ist ihnen "der Boden zu heiß geworden". In Amsterdam wollen sie die älteste Aktie der Welt stehlen. Dabei kommt ihnen jedoch jemand zuvor: François Toulour, auch "Nachtfuchs" genannt, ein französischer Meisterdieb, der bei dem legendären Meisterdieb Gaspar LeMarc in die Lehre gegangen ist. Er zwingt Ocean zu einer Wette: Wenn Ocean und sein Team es schaffen, aus einem Museum in Rom ein Fabergé-Ei zu stehlen, übernimmt Toulour die Schulden bei Benedict.

Eine Agentin von Europol, Isabel Lahiri, jagt Oceans Gruppe. Sie ist abgebrüht genug, zum Zwecke ihrer Ermittlungen Ryans Handy zu stehlen, und fälscht in Rom sogar ein Formular von Europol, um umfassende Unterstützung der lokalen Polizei zu bekommen. Ihr riskanter Einsatz zahlt sich aus – es gelingt ihr, Oceans Team noch beim Aufbau des ersten Versuchs bis auf wenige Mitglieder festzunehmen. Die Verbliebenen rufen in ihrer Bedrängnis durch die wachsende Zeitnot Tess Ocean zu Hilfe. Sie soll sich ihre Ähnlichkeit mit Julia Roberts zunutze machen, die Museumswächter ablenken und so auch mit geschrumpftem Team die Aufgabe erfolgreich beenden. Obwohl sie unerwartete Hilfe durch Saul Bloom bekommen, scheitert dieser Versuch und sie werden ebenfalls festgenommen.

Die Mitglieder von Oceans Gruppe werden an eine resolute Dame ausgeliefert, die als Lahiris Sektionschefin auftritt. Dabei wird offenbart, dass der Hauptplaner der Ereignisse Toulours Mentor LeMarc ist, der geschickt die Stärken und Schwächen der Beteiligten zu nutzen weiß. Zunächst entpuppt sich die Sektionschefin als Caldwells Mutter, die dem Team zur Flucht in die Vereinigten Staaten verhilft. Als nächstes wird Lahiri von Ryan überredet, ihn zu begleiten, um ihren totgeglaubten Vater, LeMarc, wiederzusehen. Tess und Danny Ocean besuchen Toulour und fordern die Wettschulden ein. Denn obwohl Toulour glaubt, das Fabergé-Ei bereits in der ersten Nacht in Rom gestohlen zu haben, hat er damit nur eine Kopie in die Hände bekommen; Oceans Team hatte das echte Ei nach Hinweisen von LeMarc bereits auf dem Weg von Paris nach Rom an sich gebracht und weitere Diebstahlversuche nur zur Ablenkung unternommen. Das Ei geht als Gegenleistung für die Unterstützung des Teams – und de facto dessen Rettung – an LeMarc.

Ohne persönliches Risiko hat LeMarc somit seine Tochter wiedergefunden und ist in den Besitz des Fabergé-Eies gelangt. Zähneknirschend begleicht Toulour seine Wettschulden. Als Benedict von Reuben Tishkoff seinen Scheck bekommt, werden sie von dem als Reinigungskraft getarnten Toulour beobachtet.

Synchronisation
Die deutsche Synchronisation entstand nach einem Dialogbuch von Alexander Löwe unter der Dialogregie von Frank Schaff im Auftrag der Interopa Film GmbH in Berlin. Die Synchronsprecher des Vorgängers wurden dazu verpflichtet, ihre Schauspieler erneut zu sprechen.

Kritiken

Auszeichnungen (Auswahl)
 Komponist David Holmes gewann 2005 einen BMI Film Music Award.
 Die Deutsche Film- und Medienbewertung (FBW) in Wiesbaden verlieh dem Film das Prädikat "besonders wertvoll".

Trivia

 Neben den vielen prominenten Schauspielern des ersten Teiles spielen im zweiten Teil zudem Catherine Zeta-Jones, Vincent Cassel, Albert Finney und Bruce Willis (als er selbst) mit.
 Die Anspielungen auf einen Film mit Bruce Willis ("als sie im Restaurant nicht mit Ihnen redete, wusste ich es") und das erwähnte Einspielergebnis von 675 Millionen beziehen sich auf The Sixth Sense.
 Das Fabergé-Ei aus der Handlung ist das teuerste aus der Reihe von Schmuckeiern und das Krönungs-Ei von 1897, das der russische Zar Nikolaus II. seiner deutschen Gemahlin Alexandra schenkte.
 In Rom soll dieses Ei in der "Galleria D'Arte di Roma" ausgestellt werden, die in der Realität aber nicht existiert. Die Szene wurde an der British School at Rome gedreht.
 Das von Rusty verwendete (und von Isabel gestohlene) Mobiltelefon ist ein Siemens S65 mit dem Klingelton "Pretty in Pink" von The Psychedelic Furs.
 Bei dem Casino, in dem der Nachtfuchs erstmals zu sehen ist, handelt es sich um die Spielbank von Monte Carlo. Zudem wechselt bei jeder neuen Kameraeinstellung die weibliche Begleitung des Diebes, sodass er insgesamt mit acht verschiedenen Frauen zu sehen ist.
 Einzelne Szenen wurden in Clooneys Villa in Laglio am Comersee gedreht.

 Weltweit spielte der Film 363 Millionen USD ein, darunter 125 Millionen in den Kinos der USA. Er war damit  weniger erfolgreich als sein Vorgänger Ocean's Eleven, der weltweit auf 450 Millionen USD kam.

Weblinks

 Website des Films

Einzelnachweise

Filmtitel 2004
US-amerikanischer Film
Kriminalfilm
Filmkomödie
Thriller
Heist-Movie
Steven Soderbergh

redpajama_set_name: RedPajamaWikipedia


Seme4's collaboration between central government, local councils, universities, contractors, suppliers, industry bodies, training providers and Ethos (a network of social entrepreneurs who find innovative and sustainable solutions to complex problems), SkillsPlanner, has been formally launched.
Stage 1 of the project will last 2 years and will focus on the skills gap in the construction industry in London and South-East England and includes large-scale projects such as HS2, the Thames Tideway Tunnel and Crossrail.
Seme4 is providing the software infrastructure for the project, which will allow current and future employment needs to be shared widely. This will enable better planning and delivery of training and skills provision and reduce costs for both government and industry.
£827k of the £1.3m was secured by successfully bidding for funding from Innovate UK's Collaborative Research and Development Programme, which provides investment for innovative and collaborative research and development projects that increase the resilience, quality of life or economic performance of urban areas.
Slides from the presentation given by Seme4 founding partner and founder of the Open Data Institute Professor Sir Nigel Shadbolt at the launch event can be found here.
A video of SkillsPlanner partners and customers discussing the project can be found here.


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Motorhead – Ace Of Spades
"Ace of Spades" is a song by English heavy metal band Motörhead, released in 1980 as a single and the title track to the album Ace of Spades
Initially issued as a 7″ vinyl single on 27 October 1980 as a preview to the album Ace of Spades and autumn tour, the song was also released by Bronze Records as a 12″ vinyl pressing in special Christmas picture sleeves, limited to 50,000 copies. The picture of the band in Santa outfits used on the cover was taken at the Aylesbury Fair, while the band were on tour.
Bronze also issued German and Spanish 7″ vinyl versions which had a different sleeves, as well as a Japanese release, with a colour picture insert with song lyrics in English and Japanese. One sided test pressings (not mis-presses, but used in the trade) escaped the pressing plant and are on the market.
The song opens with an overdriven bass intro played by Lemmy. For the lyrics, he said he "used gambling metaphors, mostly cards and dice—when it comes to that sort of thing, I'm more into the one-arm bandits actually, but you can't really sing about spinning fruit, and the wheels coming down".
On 6 September 1980, Lemmy was interviewed by Graham Neale on BBC Radio 1's Rock On Saturday show, "Bomber", "Ace of Spades" and "Love Me Like a Reptile" were played. The following month, on 6 and 20 October, the band played the song on BBC TV show Top of the Pops.
In 2017, the song was used by Kia in a television (TV) commercial to promote the new Turbocharged Soul, an automobile
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Who hasn't ever dreamed of going to New York, experiencing a unique city such as New York and enjoying the many things this mega city has to offer? It is not by chance that New York is referred to as "capital of the world", right? Learn what to visit first and how to rent a car in order to enjoy every corner of this fabulous city and neighboring areas.
New York, the capital of the world
New York is the most populous city in the United States and the center of the Metropolitan Region of the New York conglomerate, one of the most populous metropolitan areas in the world. The diversity of culture is amazing and you can find everything in this city. The city is extremely popular and is, certainly, one of the most differentiated cities you can meet in the world. Among many places to visit in NYC, the main ones are Central Park, the Statue of Liberty, Times Square and Broadway. Central Park, for example, sits in the middle of Manhattan and is famous around the world, having a vast green area, its size is quite large and it takes a full day to see the whole park. The Statue of Liberty, whose official name is "Liberty Enlightening the World", is a colossal neoclassical sculpture located on Liberty Island in the port of New York. Many tourists like to visit and take photos, in addition, there is a very impressive tour by boat that leaves Manhattan and arrives at the port of New York, allowing everyone to enjoy the whole view of the city until the monument. Times Square is one of the most famous areas in the world, so this is definitely a sight you must visit while in New York. Time Square is the place for those who like to see the modern world in action, where technology is most apparent, and where you will find great places to eat and shop, and also enjoy street entertainment. In addition, as you walk down the street, you can also reach Broadway's theater district, where you can watch some of the best theater plays in the world. Other interesting sights that shall not be missed when visiting New York are the Empire State Building, the Brooklyn Bridge and the Bronze Bull of Manhattan. There are too many amazing sights to list in New York, so we trust you will do your research before traveling there.
LaGuardia Airport – LGA
LaGuardia Airport is located in the city of Flushing Bay, being the second largest airport in the state of New York in the United States, with a passenger handling volume of more than 29 million per year. Formerly the airport was called Glenn L. Curtiss Airport, but moved to Fiorello La Guardia, who was a former mayor of New York City. A curiosity, the world aviation community considered it the best airport in the world in the 60's. LaGuardia Airport has flights, mostly to the United States and Canada, but also has a large volume of flights to and from others continents, being one of the busiest in the country.
Requirements for renting a car
To rent a car in New York through Happy Tours is very simple. We offer deeply discounted prices for rentals with some of the best car rental companies in the world: Alamo, Avis, Budget, Dollar, Hertz, National and Thrifty. All of them are located at LaGuardia - LGA Airport's "Rental Car Center" and to get there, simply access the lower level A terminal of the airport and look for the "Rental Car Shuttle Transfer Point" and get the free bus, besides being a free service, it operates 24 hours a day. The basic requirement for renting a vehicle in New York State is a valid driver's license, passport, minimum age of 21 and a credit card in your name. Therefore, if you meet these requirements, you can book a car right now to enjoy your trip and everything New York City has to offer. Keep in mind you can always cancel your reservation without any penalties if your travel plans change.


These guidelines, which focus on human rights education in secondary schools, aim to support systemic and effective human rights learning for all young people.
They were prepared on the basis of broad consultations involving teachers, teachers' unions, teacher trainers, educational administrators, NGO specialists, and representatives from intergovernmental agencies and national human rights institutions. The guidelines promote the objectives of the First Phase of the United Nations World Programme for Human Rights Education (2005 to 2009), as well as the Council of Europe's Charter on Education for Democratic Citizenship and Human Rights Education, which asked governments to ensure that human rights education is integrated within the schooling sector.
The current document presents approaches to be adopted when planning or implementing human rights education for secondary schools related to six key structural areas: the human rights-based approach to human rights education; core competencies; curricula; teaching and learning processes; evaluation; and professional development and support of educational personnel. The guidelines also offer a list of key materials to assist in planning, implementing and evaluating human rights education in schools.


Lovely town home in excellent location with vaulted ceilings, sunny deck and open floor plan. Snow removal and lawn care included! Large, welcoming stair case. Upstairs you will find a well appointed kitchen that opens to the living room with a fireplace and beautiful windows flooding it with light. The large owner's suite has a walk in closet and access to the bath. The basement includes a large rec room with daylight windows. Plenty of storage and very deep garage. Sorry, no pets allowed in this property. Easy access to the highways, minutes from shopping, schools, hospitals, restaurants and Offutt AFB, walking distance to parks and trails.


The long awaited virtual switch for VMware, the Cisco Nexus 1000V, is finally available for the broad public.
In the past months virtualization.info published details of its architecture, its features and its implementation. Now it's time to try it with the free 60-days trial that is available here.
Cisco priced the virtual switch at $695 per CPU, which has to be added to the vSphere 4.0 license.
To plug into the new VMware platform, Nexus 1000V in fact needs the vNetwork Distributed Switch feature that it's only available in the new vSphere Enterprise Plus license.
Some VMware customers are arguing that the current packaging and price may negatively impact the sales of Nexus 1000V, which becomes now much less attractive.
Starting May 21, we'll see if the customers will really consider the Cisco virtual switch a must-have and will gladly pay the premium price to replace the basic VMware virtual switch they used for so many years now.
As usual in virtualization, it really depends on who's your interlocutor inside the corporate. The guys at the security department may have a slightly different opinion on this product than the virtualization guys.


text:
Q: How to do transaction rollback for integration tests in azure pipeline? We use MSDTC to rollback our transactions in order to keep database changes independent in our local environment. What can we do in azure pipeline? Can we enable MSDTC? Is there another alternative to reach our objective?

A: I'm not familiar with database transactions rollback, but according to this link and this link, you could use command line or query to rollback transaction. If this is the case, you could use command line task, script task, or Azure SQL database deployment task, etc in Azure Pipeline to run commands, or script.

redpajama_set_name: RedPajamaStackExchange


text:
// Copyright (c) 2016-2020 Alexander Ong
// See LICENSE in project root for license information.

//#define OPEN_NOTES_BLOCK_EXTENDED_SUSTAINS

using System.Collections;
using System.Collections.Generic;
using UnityEngine;
using MoonscraperChartEditor.Song;

public static class NoteFunctions {

    /// <summary>
    /// Gets all the notes (including this one) that share the same tick position as this one.
    /// </summary>
    /// <returns>Returns an array of all the notes currently sharing the same tick position as this note.</returns>
    public static Note[] GetChord(this Note note)
    {
        List<Note> chord = new List<Note>();
        chord.Add(note);

        Note previous = note.previous;
        while (previous != null && previous.tick == note.tick)
        {
            chord.Add(previous);
            previous = previous.previous;
        }

        Note next = note.next;
        while (next != null && next.tick == note.tick)
        {
            chord.Add(next);
            next = next.next;
        }

        return chord.ToArray();
    }

    public static void ApplyFlagsToChord(this Note note)
    {
        foreach (Note chordNote in note.chord)
        {
            chordNote.flags = CopyChordFlags(chordNote.flags, note.flags);
        }
    }

    public static void GetPreviousOfSustains(List<Note> list, Note startNote, bool extendedSustainsEnabled)
    {
        list.Clear();

        Note previous = startNote.previous;

        int allVisited = startNote.gameMode == Chart.GameMode.GHLGuitar ? 63 : 31; // 0011 1111 for ghlive, 0001 1111 for standard
        int noteTypeVisited = 0;

        while (previous != null && noteTypeVisited < allVisited)
        {
            if (previous.IsOpenNote())
            {
                if (extendedSustainsEnabled)
                {
                    list.Add(previous);

                    // Continue on. Guitar can stop here early but drums doesn't overwrite open notes. Other sustains can travel through open notes in drums.
                }

                else if (list.Count > 0)
                    return;
                else
                {
                    list.Clear();
                    list.Add(previous);
                }
            }
            else if (previous.tick < startNote.tick)
            {
                if ((noteTypeVisited & (1 << previous.rawNote)) == 0)
                {
                    list.Add(previous);
                    noteTypeVisited |= 1 << previous.rawNote;
                }
            }

            previous = previous.previous;
        }
    }

    public static Note[] GetPreviousOfSustains(Note startNote, bool extendedSustainsEnabled)
    {
        List<Note> list = new List<Note>(6);

        GetPreviousOfSustains(list, startNote, extendedSustainsEnabled);

        return list.ToArray();
    }

    public static void CapSustain(this Note note, Note cap, Song song)
    {
        if (cap == null)
        {
            Debug.LogError("Cap sustain was not provided a note to cap with");
            return;
        }

        Note originalNote = (Note)note.Clone();
        note.length = GetCappedLength(note, cap, song);
    }

    public static uint GetCappedLength(this Note note, Note cap, Song song)
    {
        uint noteLength = note.length;

        // Cap sustain length
        if (cap.tick <= note.tick)
            noteLength = 0;
        else if (note.tick + note.length > cap.tick)        // Sustain extends beyond cap note
        {
            noteLength = cap.tick - note.tick;
        }

        uint gapDis = 0;
        if (Globals.gameSettings.sustainGapIsTimeBased)
        {
            float sustainGapSeconds = Globals.gameSettings.sustainGapTimeMs / 1000.0f;
            float gapEndTime = song.LiveTickToTime(cap.tick, song.resolution);   // Can't use the cache version as things might be being shuffled around
            float gapStartTime = Mathf.Max(0, gapEndTime - sustainGapSeconds);

            // Calculate how far this gap is in terms of ticks
            uint startTick = song.TimeToTick(gapStartTime, song.resolution);
            uint endTick = song.TimeToTick(gapEndTime, song.resolution);
            gapDis = endTick - startTick;
        }
        else    // Tick based
        {
            gapDis = (uint)(song.resolution * 4.0f / Globals.gameSettings.sustainGap);
        }

        if (Globals.gameSettings.sustainGapEnabled && note.length > 0 && (note.tick + note.length > cap.tick - gapDis))
        {
            if (cap.tick > (gapDis + note.tick))
            {
                noteLength = cap.tick - (gapDis + note.tick);
            }
            else
            {
                noteLength = 0;
            }
        }

        return noteLength;
    }

    public static Note FindNextSameFretWithinSustainExtendedCheck(this Note note, bool extendedSustainsEnabled)
    {
        Note next = note.next;

        while (next != null)
        {
            if (!extendedSustainsEnabled)
            {
                if ((next.IsOpenNote() || (note.tick < next.tick)) && note.tick != next.tick)
                    return next;
            }
            else
            {
                bool nextNoteSame = next.rawNote == note.rawNote;
                bool drumsMode = note.gameMode == Chart.GameMode.Drums;

#if OPEN_NOTES_BLOCK_EXTENDED_SUSTAINS
                bool blockedByOpenNote = next.IsOpenNote() && !drumsMode;
                if (blockedByOpenNote || nextNoteSame)
#else
                if (nextNoteSame)
#endif
                    return next;

            }

            next = next.next;
        }

        return null;
    }

    public static bool ShouldBeCulledFromLanes(this Note note, LaneInfo laneInfo)
    {
        return !note.IsOpenNote() && ((1 << note.rawNote) & laneInfo.laneMask) == 0;
    }

    /// <summary>
    /// Calculates and sets the sustain length based the tick position it should end at. Will be a length of 0 if the note position is greater than the specified position.
    /// </summary>
    /// <param name="pos">The end-point for the sustain.</param>
    public static void SetSustainByPos(this Note note, uint pos, Song song, bool extendedSustainsEnabled)
    {
        if (pos > note.tick)
            note.length = pos - note.tick;
        else
            note.length = 0;

        CapSustain(note, song, extendedSustainsEnabled);
    }

    public static void CapSustain(this Note note, Song song, bool extendedSustainsEnabled)
    {
        Note nextFret;
        nextFret = note.FindNextSameFretWithinSustainExtendedCheck(extendedSustainsEnabled);

        if (nextFret != null)
        {
            note.CapSustain(nextFret, song);
        }
    }

    public static void SetType(this Note note, Note.NoteType type)
    {
        note.flags = note.GetFlagsToSetType(type);

        note.ApplyFlagsToChord();
    }

    public static bool AllowedToBeCymbal(Note note)
    {
        return !note.IsOpenNote() && note.drumPad != Note.DrumPad.Red && note.drumPad != Note.DrumPad.Green;
    }

    public static bool AllowedToBeDoubleKick(Note note, Song.Difficulty difficulty)
    {
        return note.IsOpenNote() && difficulty == Song.Difficulty.Expert;
    }

    public static bool AllowedToBeDoubleKickIgnoreDifficulty(Note note)
    {
        return note.IsOpenNote();
    }

    public static bool AllowedToBeAccent(Note note)
    {
        return !note.IsOpenNote();
    }

    public static bool AllowedToBeGhost(Note note)
    {
        return !note.IsOpenNote();
    }

    public static Note.Flags GetFlagsToSetType(this Note note, Note.NoteType type)
    {
        Note.Flags flags = Note.Flags.None;
        switch (type)
        {
            case (Note.NoteType.Strum):
                if (note.isChord)
                    flags &= ~Note.Flags.Forced;
                else
                {
                    if (note.isNaturalHopo)
                        flags |= Note.Flags.Forced;
                    else
                        flags &= ~Note.Flags.Forced;
                }

                break;

            case (Note.NoteType.Hopo):
                if (!note.cannotBeForced)
                {
                    if (note.isChord)
                        flags |= Note.Flags.Forced;
                    else
                    {
                        if (!note.isNaturalHopo)
                            flags |= Note.Flags.Forced;
                        else
                            flags &= ~Note.Flags.Forced;
                    }
                }
                break;

            case (Note.NoteType.Tap):
                if (!note.IsOpenNote())
                    flags |= Note.Flags.Tap;
                break;

            case (Note.NoteType.Cymbal):
                if (NoteFunctions.AllowedToBeCymbal(note))
                    flags |= Note.Flags.ProDrums_Cymbal;
                break;

            default:
                break;
        }

        if (type != Note.NoteType.Natural && ((note.flags & Note.Flags.DoubleKick) != 0) && AllowedToBeDoubleKickIgnoreDifficulty(note))
        {
            flags |= Note.Flags.DoubleKick;
        }

        return flags;
    }

    public static int ExpensiveGetExtendedSustainMask(this Note note)
    {
        int mask = 0;

        if (note.length > 0 && note.chart != null)
        {
            int index, length;
            var notes = note.chart.notes;
            SongObjectHelper.GetRange(notes, note.tick, note.tick + note.length - 1, out index, out length);

            for (int i = index; i < index + length; ++i)
            {
                mask |= notes[i].mask;
            }
        }

        return mask;
    }

    public static void PerformPreChartInsertCorrections(Note note, Chart chart, IList<BaseAction> subActions, bool extendedSustainsEnabled)
    {
        int index, length;
        SongObjectHelper.GetRange(chart.chartObjects, note.tick, note.tick, out index, out length);

        // Account for when adding an exact note as what's already in
        if (length > 0)
        {
            for (int i = index + length - 1; i >= index; --i)
            {
                Note overwriteNote = chart.chartObjects[i] as Note;
                if (overwriteNote == null)
                    continue;

                bool sameFret = note.guitarFret == overwriteNote.guitarFret;
                bool isOverwritableOpenNote = (note.IsOpenNote() || overwriteNote.IsOpenNote()) && !Globals.drumMode;
                if (isOverwritableOpenNote || sameFret)
                {
                    SongEditCommand.AddAndInvokeSubAction(new DeleteAction(overwriteNote), subActions);
                }
            }
        }
    }

    public static void PerformPostChartInsertCorrections(Note note, IList<BaseAction> subActions, bool extendedSustainsEnabled)
    {
        Debug.Assert(note.chart != null, "Note has not been inserted into a chart");
        Debug.Assert(note.song != null, "Note has not been inserted into a song");

        Chart chart = note.chart;
        Song song = note.song;

        Note.Flags flags = note.flags;

        if (note.IsOpenNote())
            flags &= ~Note.Flags.Tap;

        // Handled by SongEditCommand.GenerateForcedFlagFixupCommands
        //if (note.cannotBeForced)
        //    flags &= ~Note.Flags.Forced;

        if (!AllowedToBeCymbal(note))
            flags &= ~Note.Flags.ProDrums_Cymbal;

        if (!AllowedToBeDoubleKickIgnoreDifficulty(note))
            flags &= ~Note.Flags.DoubleKick;

        flags &= ~Note.GetBannedFlagsForGameMode(chart.gameMode);   // This may happen when copying and pasting notes between instruments etc

        if (flags != note.flags)
        {
            Note newNote = new Note(note.tick, note.rawNote, note.length, flags);
            SongEditCommand.AddAndInvokeSubAction(new DeleteAction(note), subActions);
            SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
        }

        // Apply flags to chord
        foreach (Note chordNote in note.chord)
        {
            // Overwrite note flags
            if (!CompareChordFlags(chordNote.flags, flags))
            {
                Note.Flags newFlags = CopyChordFlags(chordNote.flags, flags);
                Note newChordNote = new Note(chordNote.tick, chordNote.rawNote, chordNote.length, newFlags);

                SongEditCommand.AddAndInvokeSubAction(new DeleteAction(chordNote), subActions);
                SongEditCommand.AddAndInvokeSubAction(new AddAction(newChordNote), subActions);
            }
        }

        CapNoteCheck(chart, note, subActions, song, extendedSustainsEnabled);
        ForwardCap(chart, note, subActions, song);

        // Handled by SongEditCommand.GenerateForcedFlagFixupCommands
        //AutoForcedCheck(chart, note, subActions);
    }

    #region Note Insertion Helper Functions

    static Note FindReplacementNote(Note originalNote, IList<SongObject> replacementNotes)
    {
        foreach (Note replacementNote in replacementNotes)
        {
            if (replacementNote != null && originalNote.tick == replacementNote.tick && originalNote.rawNote == replacementNote.rawNote)
                return replacementNote;
        }

        return null;
    }

    static void AddOrReplaceNote(Chart chart, Note note, Note newNote, IList<SongObject> overwrittenList, IList<SongObject> replacementNotes)
    {
        Note replacementNote = FindReplacementNote(note, replacementNotes);
        if (replacementNote == null)
        {
            overwrittenList.Add(note);
            replacementNotes.Add(newNote);
            chart.Add(newNote);
        }
        else
        {
            replacementNote.CopyFrom(newNote);
        }
    }

    static void ForwardCap(Chart chart, Note note, IList<BaseAction> subActions, Song song)
    {
        Note next;
        next = note.nextSeperateNote;

        if (!Globals.gameSettings.extendedSustainsEnabled)
        {
            // Get chord
            next = note.nextSeperateNote;

            if (next != null)
            {
                foreach (Note noteToCap in note.chord)
                {
                    uint newLength = noteToCap.GetCappedLength(next, song);
                    if (noteToCap.length != newLength)
                    {
                        Note newNote = new Note(noteToCap.tick, noteToCap.rawNote, newLength, noteToCap.flags);

                        SongEditCommand.AddAndInvokeSubAction(new DeleteAction(noteToCap), subActions);
                        SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
                    }
                }
            }
        }
        else
        {
            // Find the next note of the same fret type or open
            next = note.next;
            while (next != null && next.guitarFret != note.guitarFret && !next.IsOpenNote())
                next = next.next;

            // If it's an open note it won't be capped

            if (next != null)
            {
                uint newLength = note.GetCappedLength(next, song);
                if (note.length != newLength)
                {
                    Note newNote = new Note(note.tick, note.rawNote, newLength, note.flags);

                    SongEditCommand.AddAndInvokeSubAction(new DeleteAction(note), subActions);
                    SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
                }
            }
        }
    }

    static void CapNoteCheck(Chart chart, Note noteToAdd, IList<BaseAction> subActions, Song song, bool extendedSustainsEnabled)
    {
        Note[] previousNotes = NoteFunctions.GetPreviousOfSustains(noteToAdd, extendedSustainsEnabled);
        if (!Globals.gameSettings.extendedSustainsEnabled)
        {
            // Cap all the notes
            foreach (Note prevNote in previousNotes)
            {
                uint newLength = prevNote.GetCappedLength(noteToAdd, song);
                if (prevNote.length != newLength)
                {
                    Note newNote = new Note(prevNote.tick, prevNote.rawNote, newLength, prevNote.flags);
                    SongEditCommand.AddAndInvokeSubAction(new DeleteAction(prevNote), subActions);
                    SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
                }
            }

            foreach (Note chordNote in noteToAdd.chord)
            {
                uint newLength = noteToAdd.length;
                if (chordNote.length != newLength)
                {
                    Note newNote = new Note(chordNote.tick, chordNote.rawNote, newLength, chordNote.flags);
                    SongEditCommand.AddAndInvokeSubAction(new DeleteAction(chordNote), subActions);
                    SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
                }
            }
        }
        else
        {
            // Cap only the sustain of the same fret type and open notes
            foreach (Note prevNote in previousNotes)
            {
                if (
#if OPEN_NOTES_BLOCK_EXTENDED_SUSTAINS
                    noteToAdd.IsOpenNote() ||
#endif
                    prevNote.guitarFret == noteToAdd.guitarFret
                    )
                {
                    uint newLength = prevNote.GetCappedLength(noteToAdd, song);
                    if (prevNote.length != newLength)
                    {
                        Note newNote = new Note(prevNote.tick, prevNote.rawNote, newLength, prevNote.flags);
                        SongEditCommand.AddAndInvokeSubAction(new DeleteAction(prevNote), subActions);
                        SongEditCommand.AddAndInvokeSubAction(new AddAction(newNote), subActions);
                    }
                }
            }
        }
    }

    // Deprecated: Handled by SongEditCommand.GenerateForcedFlagFixupCommands
    static void AutoForcedCheck(Chart chart, Note note, IList<BaseAction> subActions)
    {
        Note next = note.nextSeperateNote;
        if (next != null && (next.flags & Note.Flags.Forced) == Note.Flags.Forced && next.cannotBeForced)
        {
            Note.Flags flags = next.flags;
            flags &= ~Note.Flags.Forced;

            // Apply flags to chord
            foreach (Note chordNote in next.chord)
            {
                // Overwrite note flags
                Note.Flags flagsToPreserve = chordNote.flags & Note.PER_NOTE_FLAGS;

                if (!CompareChordFlags(chordNote.flags, flags))
                {
                    Note.Flags newFlags = CopyChordFlags(chordNote.flags, flags);
                    Note newChordNote = new Note(chordNote.tick, chordNote.rawNote, chordNote.length, newFlags);

                    SongEditCommand.AddAndInvokeSubAction(new DeleteAction(chordNote), subActions);
                    SongEditCommand.AddAndInvokeSubAction(new AddAction(newChordNote), subActions);
                }
            }
        }
    }

    static Note.Flags CopyChordFlags(Note.Flags original, Note.Flags noteToCopyFrom)
    {
        Note.Flags flagsToPreserve = original & Note.PER_NOTE_FLAGS;
        Note.Flags newFlags = noteToCopyFrom & ~Note.PER_NOTE_FLAGS;
        newFlags |= flagsToPreserve;

        return newFlags;
    }

    static bool CompareChordFlags(Note.Flags a, Note.Flags b)
    {
        return (a & ~Note.PER_NOTE_FLAGS) == (b & ~Note.PER_NOTE_FLAGS);
    }

    #endregion

    public static string GetDrumString(this Note note, LaneInfo laneInfo)
    {
        string str = null;

        if (laneInfo.laneCount < 5 && note.drumPad == Note.DrumPad.Orange)
            str = Note.DrumPad.Green.ToString();
        else
            str = note.drumPad.ToString();

        if (note.ShouldBeCulledFromLanes(laneInfo))
        {
            str += " (Lane " + (note.rawNote + 1) + ")";
        }

        return str;
    }

    public static int GetRawNoteLaneCapped(this Note note, LaneInfo laneInfo)
    {
        int noteIndex = note.rawNote;

        if (!note.IsOpenNote())
        {
            noteIndex = Mathf.Min(note.rawNote, laneInfo.laneCount - 1);
        }

        return noteIndex;
    }

    public static int GetMaskCappedLanes(this Note note, LaneInfo laneInfo)
    {
        int mask = 0;

        foreach (Note chordNote in note.chord)
        {
            mask |= 1 << chordNote.GetRawNoteLaneCapped(laneInfo);
        }

        return mask;
    }

    public static int GetMaskWithRequiredFlagsLaneCapped(this Note note, Note.Flags flags, LaneInfo laneInfo)
    {
        int mask = 0;
        int processedNotesMask = 0;

        foreach (Note chordNote in note.chord)
        {
            int noteIndex = chordNote.GetRawNoteLaneCapped(laneInfo);
            if ((processedNotesMask & (1 << noteIndex)) != 0)
            {
                // There may have already been a note on the edge of the lane cap. Use that note instead.
                continue;
            }

            if (chordNote.flags == flags)
                mask |= (1 << chordNote.rawNote);

            processedNotesMask |= (1 << chordNote.rawNote);
        }

        return mask;
    }
}

redpajama_set_name: RedPajamaGithub