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Taxi No. 9 2 11
 focuses on Raghav Shastri (Nana Patekar), a cab driver in Mumbai who lies to his wife Sunita (Sonali Kulkarni) his job, pretending to be an insurance salesman. One day, he gives Jai Mittal (John Abraham), the spoilt son of a late businessman, a ride. Jai is fighting for ownership rights of his late father's estate. The cab gets into an accident with Jai escaping as he's in hurry. Jai loses the key to the vault containing his father's will in the back of Raghav's taxi.


Jai confronts Arjun Bajaj (Shivaji Satam), the friend and custodian of the property of Jai's father, whom he tells that he has realised the value of life and does not want his father's property and takes a leave. Just as he drives out, his car collides with another car driven by a Woman (Priyanka Chopra), though initially both seem to be angry at each, later Jai apologizes and asks for her number, promising to pay for damages. The movie ends as both smile at each other and drive away; indicating a new romantic beginning.


I was born in India and then moved abroad with my Mom in US and didn't follow bollywood movies so much for past 2 decades. I watched Taxi No. 9211 on Amazon Prime last night and it was so good. I watched the original Changing Lanes starring Ben Affleck and Samuel L. Jackson and it's not bad or anything but Taxi No. 9211 has such solid performance by John Abraham and Nana Patekar and filled with witty and clever dialogues and overall feels more intense and engaging film. It was so emotional at times, I was bawling my eyes out.



Taxi Number 9211
 is a Bollywood film that released on February 2006 and was directed by Milan Luthria. It stars John Abraham and Nana Patekar in lead roles. The movie also stars Sameera Reddy, Sonali Kulkarni, Shivaji Satam and Kurush Deboo in supporting roles. The film's background score and soundtrack were composed by new age music composing duo, Vishal Dadlani and Shekhar Ravjiani, also known as Vishal-Shekhar. The soundtrack for the movie was released on 28 January 2006.


Though Tamil Nadu movie buffs have almost forgotten the fact, the filmdom obviously remembers that 4777 is the car number of late thespian chief minister M.G. Ramachandran, who was popularly known as MGR.


Taxi Number 9211 cast list, listed alphabetically with photos when available. This list of Taxi Number 9211 actors includes any Taxi Number 9211 actresses and all other actors from the film. You can view additional information about each Taxi Number 9211 actor on this list, such as when and where they were born. To find out more about a particular actor or actress, click on their name and you'll be taken to page with even more details about their acting career. The cast members of Taxi Number 9211 have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.


With a title like TAXI NO. 9211, you expect a wacky film. Wacky it is, but there's more to this film than an unconventional, off the wall theme. The film borrows heavily from life, life in Mumbai in particular.







TAXI NO. 9211 is more of a Mumbaiya film. Set and shot in the metropolis, the film depicts a day in the life of two individuals whose paths collide on a fateful morning and life is never the same again. Though the identification for a Mumbai viewer may be tremendous, it nevertheless is a film that makes a bold statement about societal pressures and human conditions. And how external influences can compel an otherwise decent human being to do things that are despicable, shameful and disgraceful.




TAXI NO. 9211 may come across as an experiment in terms of material, but it signifies the changing face of Bollywood. Again, the material may seem soaked in Mumbai

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The song is about the fact that love is taken for granted, and how most relationships are in emergency status. It is also about Williams' witnessing her parents' argument and failing marriage as a child. During an interview with the February 2008 edition of 
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DISC 2:1. No Future - Anti-Flag2. Under Attack - The Casualties3. Levy, The - From First To Last4. Which to Bury, Us or the Hatchet? - Relient K5. Everchanging - Rise Against6. When You're Around - Motion City Soundtrack7. From Her Lips to God's Ears - Against Me!8. Midnight Mile - The Bouncing Souls9. Rude Boy Don't Cry - Bedouin Soundclash10. Phrase That Pays, The - The Academy Is...11. Thirsty - Zox12. All Time Low's - HelloGoodbye13. Bombs Over Brooklyn - Love Equals Death14. Emergency - Paramore15. Dead Language For a Dying Lady, A - Vanna16. Actions Not Words - Crash Romeo17. Shame - Good Riddance18. Ransom - Escape The Fate19. New Black, The - Every Time I Die20. Broken Star Satellite - Royden21. Professional - The Scotch Greens22. Failing - Roses Are Red23. Venom and Hope - The Banner24. Set Me Off - The Expendables25. Short Fuse - Los Kung-Fu Monkeys26. Good Looks, Bad Intentions - The Sunstreak
This CD is in very good condition with a some faint marks on the disc. Includes jewel case and all inserts.

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After releasing their first record in 1999, Orchid became a prime jumping-off point for the "screamo" bands that followed in their wake (not to mention the candy-coated hybrids that terrorized Warped Tours). Just seconds shy of 25 minutes, Orchid&apos;s self-titled final LP (also known as Gatefold) is a political thesis as told through grindcore. Vocalist Jayson Green flirts with postmodernist thought in screeching lines like "Your charitable objectivity doesn&apos;t exist" and "I make love in theory and to

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This is the action that needs to be performed after recovering the instance up to the recovery_target_time. Setting this to pause would let you modify the recovery_target_time after recovery if you need to. You can then replay the transactions at a slow pace until your desired recovery target is reached. For example, you can recover until 2018-06-07 10:26:34 EDT and then modify recovery_target_time to 2018-06-07 10:27:34 EDT when using pause.


Using PostgreSQL Point in time Recovery is the most simple of procedures that does not involve any effort in identifying the latest backups, transaction logs, and space or server to restore in a database emergency. These things happen! Also, it could save a lot of time because the replay of WALs is much faster than rebuilding an entire instance using backups, especially when you have a huge database.


However, this is a completely different approach that allows us to recover to a certain point in time by just replaying a few WALs and can be considered much faster than all the 3 options mentioned above.


With these settings in place, we have configured a delayed replica with archive recovery. It uses wal-e to retrieve WAL segments (restore_command) from the archive and delays application of changes by eight hours (recovery_min_apply_delay). The replica is going to follow any timeline switches present in the archive, e.g. caused by a failover in the cluster (recovery_target_timeline).


It is possible to configure streaming replication with a delay using recovery_min_apply_delay. However, there are a few pitfalls regarding replication slots, hot standby feedback, and others that one needs to be aware of. In our case, we avoid them by replicating from the WAL archive instead of using streaming replication.


The recovery approach is to let the delayed replica catch up until right before the point the DELETE query occurred. In our case we knew roughly the physical time of the DELETE query. We removed recovery_min_apply_delay and added recovery_target_time to recovery.conf. This effectively lets the replica catch up as fast as possible (no delay) until a certain point in time:





A more precise alternative to using physical timestamps for targeted recovery is using transaction ids. It is good practice to log transaction ids for e.g. DDL statements (like DROP TABLE) using log_statements = 'ddl'. If we had a transaction id at hand, we could have used recovery_target_xid instead in order to replay to the transaction that preceded the DELETE query.


If you want to keep with your current practice, there are many ways to make it faster, but it depends on what the current bottleneck is. If the bottleneck is restoring the base backup from archive before you can start recovery, then you can just keep some already-restored copies around so that you can initiate recovery quickly using a pre-staged backup and just editing the pg_restore.conf file and then starting. Once used you would have to throw it away and recreate it in the background so it is ready to go for next time. If the bottleneck is instead the time it takes to do the PITR itself, then you could take more frequent base backups and use the most recent one which is old enough to be usable for your desired restoration time. That way there is less work to recover. For example, take a base backup every day, but only keep one from the beginning of time, and one from today, and one from yesterday. Everytime you successfully complete a base backup, delete the one from two days ago.


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The issue is my videos will render too dark and red-toned every time without any modification to video settings. I have tried the most popular Googled solution to no avail (plugin Sony Levels, change to Computer RGB-Studio RGB). Below are the two test videos for comparison:


Okay so, I have a 1080p60 recording from Minecraft (it's a game with pixelart-esque graphics) and wanted to zoom in on something within one of the menus, thing is, Sony Vegas applies something like Bilinear/Bicubic filtering, making it look all blurry...Basically, I'd like to render it with Nearest Neighbour upscaling, so that I can get a nice and crisp image instead... I tried searching for it but couldn't find anything useful online, any ideas?


Okay, so I've been having this issue for quite some time now, and I'm not even sure how to explain it. I've tried explaining it to my friends and other people, but the issue is just so un-ordinary, that it makes it pretty much IMPOSSIBLE to explain it via text. So, I am going to include a quick video clip of what the issue is that I am experiencing. This issue makes video editing virtually impossible, due the fact that it won't let me properly split grouped video tracks without ruing the other parts of the grouped video. It doesn't make any sense, I know. That's why I am going to include a video so that you can all see for yourselves. Any and all help is greatly appreciated!


What you need to know is splitting an Event will always select the rear part of the Event while 
deselecting the front part
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with the exception of the front part of the splitted Event
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This sounds strange at a first glance but it is logical because of the way splitting, grouping and moving works.


While working with layers in Sony Vegas, one usually sometimes wants to clip a certain part in a particular layer. When I make a selection all the layers get selected and deleted parallely. Is there a way to select the "only desired" layer for a operation or to lock the other layers.





There's a Vegas and Vegas Movie Studio forum at , ask the question there and it should get answered fairly quickly, there's a lot of traffic on those forums. Or start looking aroun

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Hey, as the title says, I'm looking for something that'll streamline statblock making without having to do it manually (by hand). Currently using tetracube, but when I import it to infinity publisher, it pixelates like crazy. Export to PDF? Further pixelation.


I see people making custom/Homebrew stat blocks for monsters or items while keeping the official font and layout. I was wondering if these are just good editing or is there a D&D stat block creator everyone uses?


What procedure can I use so I can enter the statistics for a Pathfinder character or monster, and get some formatted text of a proper stat block? Either to print or to use in software like Microsoft Word or Adobe Indesign.


For example, when I wrote 3.5 adventures I used DM Genie which had a screen where I could enter all the stats. Which filled out a text box. Then I could copy and paste a proper 3.5 stat block into Word or Indesign.


This is an issue that effects several of the more popular RPGs other than Pathfinder. So a good answer would benefit many who struggle to write and share material for these games as the writing of detailed stat blocks is labor intensive.


The actual procedure for creating a monster or character can be quite involved, depending on the number of options involved, but the tool does its best to flag what needs to be done. Creating standard creature stat blocks is as simple as selecting one option from a list.


Hibernation (Ex) Akatas can enter a state of hibernation for an indefinite period of time when food is scarce. When an akata wishes to enter hibernation, it seeks out a den and surrounds itself in a layer of fibrous material excreted from its mouth - these fibers quickly harden into a dense, almost metallic cocoon. While hibernating, an akata does not need to eat or drink. The cocoon has hardness 10 and 60 hit points, and is immune to fire and bludgeoning (including falling) damage. As long as the cocoon remains intact, the akata within remains unharmed. The akata remains in a state of hibernation until it senses another living creature within 10 feet or is exposed to extreme heat, at which point it claws its way to freedom in 1d4 minutes as its cocoon degrades to fragments of strange metal.





Turn the "Mod" (C) column into a formula that will tell you your stats. In Pathfinder/DND the formula is "=FLOOR((
B2
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B2
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Hey there Deatbymage! I have actually translated these into D&D Beyond as homebrew and wanted to let you know. I have fully attributed these to you in both parts that I recreated (you will find your name and art attributions in the description of both statblocks) and I have also linked to this page here as well in the comments on both statblocks. I also fixed a few spelling and linguistic errors I found while translating to the D&D Beyond page.


In my ongoing mission to better serve the Dungeon Masters out there (including myself) who rely on such tools to improvise during game sessions, I've introduced a few key changes that I hope you'll love. 
 The first thing you'll notice from the images below is that, in this new version, the "Generate" button now creates 4 NPC cards, or previews, instead of the single stat block of the earlier versions. Dungeon Masters can then choose the NPC that resonates with them, and a new section will appear with the NPC's dynamic stat block as usual, plus an AI-generated backstory (more on this on the next updates).


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The bombing caused outrage both locally and internationally,[8][11] spurred on the Northern Ireland peace process,[3][4][12] and dealt a severe blow to the dissident Irish republican campaign. The Real IRA denied that the bomb was intended to kill civilians and apologised; shortly after, the group declared a ceasefire.[12] The victims included people of many backgrounds and ages: Protestants, Catholics, six teenagers, six children, a woman pregnant with twins, two Spanish tourists[13][14] and others on a day trip from the Republic of Ireland. Both unionists and Irish nationalists were killed and injured. As a result of the bombing, new anti-terrorism laws were swiftly enacted by both the United Kingdom and Ireland.


In 2003, a transcript of a conversation between Dixon and White was released. In it, Dixon confirms that Gardaí let the bomb go through and says that, "Omagh is going to blow up in their faces".[82] In February 2004, PSNI Chief Constable Hugh Orde called for the Republic of Ireland to hand over Dixon.[38] In March 2006, Chief Constable Orde stated that "security services did not withhold intelligence that was relevant or would have progressed the Omagh inquiry".[83] He stated that the dissident republicans investigated by MI5 were members of a different cell than the perpetrators of the Omagh bombing.[83]


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The disaster in Central America seemed so close through that connection, and Seton wanted to help, so Blow gave her students five school days to raise as much money as they could for the storm victims.





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Total pelvic exenteration (PE) is a radical operation, involving en bloc resection of pelvic organs, including reproductive structures, bladder, and rectosigmoid. In gynecologic oncology, it is most commonly indicated for the treatment of advanced primary or locally recurrent cancer. Careful patient selection and counseling are of paramount importance when considering someone for PE. Part of the evaluation process includes comprehensive assessment to exclude unresectable or metastatic disease. PE can be curative for carefully selected patients with gynecologic cancers. Major complications can be seen in as many as 50% of patients undergoing PE, underscoring the need to carefully discuss risks and benefits of this procedure with patients considering exenterative surgery.





The first cases of total PE were described by Brunschwig in 1948 as a palliative procedure for symptoms caused by locally advanced gynecologic cancers. This demonstrated proof of concept for PE, with a postoperative survival of up to 8 months, and a 23% surgical mortality rate [1]. Subsequent data demonstrated that the technique could offer a chance of cure for centrally located tumors, not just palliation, and the focus of the surgery shifted to one of curative intent. Various surgical approaches both for sparing uninvolved pelvic organs and removing extraperitoneal structures such as the sacrum were attempted. Major breakthroughs included separate stomata for urine and fecal diversion and the use of omentum to protect the empty and denuded pelvic space and reduce abscess formation and intestinal obstruction [2, 3]. More recently, techniques to resect tumor involving the pelvic sidewall, previously a contraindication to PE, have been described offering more patients a chance at curative surgery [4]. PE may also be combined with intra-operative radiation therapy for improved disease control at the pelvic sidewall or possible positive margins [5, 6].


PE is a radical operation, involving en bloc resection of pelvic organs, including reproductive structures, bladder, and rectosigmoid. In gynecologic oncology, it is most commonly indicated for the treatment of advanced primary or locally recurrent cancer. Patients need to be carefully selected and counseled about risks and long-term issues related to the surgery.

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