text:
Panaji: Goa Chief Minister Manohar Parrikar today ruled out banning wearing of bikinis on the state's beaches, a day after a minister in his government advocated such a measure, but said drinking of liquor in public places will be prohibited.
"Goa government does not favour banning bikinis on the beaches. But it should not create indecency," Parrikar told reporters while responding to queries about PWD Minister Sudin Dhavalikar's demand to ban swimwear on beaches.
"Wearing bikinis should be banned on Goa's beaches," Dhavalikar had said in comments that would not have gone down well with hordes of foreign tourists who flock to the shores of the coastal state every year to soak up the sun.
"We should not allow girls with bikinis to enter public places because it very difficult to control people who arrive in Goa from different states. By the time a victim reaches the police, it is too late.
It is better to control such type of activities on the beaches," he had said. Dhavalikar, whose Maharashtrawadi Gomantak Party is an ally of ruling BJP, had said even Chief Minister Parrikar was in favour of such a ban.
"The Chief Minister knows it very well what I say. He has already started taking action against massage parlours. He will take up this issue (banning bikinis) in a different way to stop this nonsense," he said.
Dhavalikar had earlier drawn flak for his remarks that young girls going to pub in short dresses was against Goan culture.
"Young girls going to pubs in short dresses does not fit in our culture. What will happen to our Goan culture if we allow this?...The scantily dressed girls visiting pubs project wrong culture and this should be stopped," Dhavalikar had said.
As Dhavalikar's comments drew criticism from various quarters, Parrikar said no explanation has been sought from the minister.
"We have not sought any clarification from him. It is his individual viewpoint," the Chief Minister said. Parrikar, however, said drinking in public places, including beaches, will not be allowed.
"You cannot drink on the beaches. If you want to drink, do it in restaurant.
You can't drink on the road. Sometimes fights break out on the road after drinking and we can't take action against anyone. But if the fight is in the bar, we can suspend the bar's license," he said.


text:
Lighter Beef Stroganoff- Mayo Clinic Health System
By Mayo Clinic StaffDietitian's tip:
Instead of egg noodles, serve this beef stroganoff over rice pilaf — a Middle Eastern dish with sauteed rice or other grains, seasonings and various vegetables.
Serves 4
1/2 cup chopped onion
1/2 pound boneless beef round steak, cut 3/4-inch thick, all fat removed
4 cups uncooked yolkless egg noodles
1/2 can fat-free cream of mushroom soup (undiluted)
1/2 cup of water
1 tablespoon all-purpose (plain) flour
1/2 teaspoon paprika
1/2 cup fat-free sour cream
In a nonstick frying pan, saute the onions over medium heat until they're translucent, about 5 minutes. Add the beef and continue to cook for another 5 minutes or until the beef is tender and browned throughout. Drain well and set aside.
Fill a large pot 3/4 full with water and bring to a boil. Add the noodles and cook until al dente (tender), 10 to 12 minutes, or according to the package directions. Drain the pasta thoroughly.
In a saucepan, whisk together the soup, water and flour over medium heat. Stir until the sauce thickens, about 5 minutes.
Add the soup mixture and paprika to the beef in the frying pan. Over medium heat, stir the mixture until warmed through. Remove from heat and add the sour cream. Stir until combined.
To serve, divide the pasta among the plates. Top with the beef mixture and serve immediately.
Nutritional analysis per serving Total fat
6 g
24 g
83 mg
Total carbohydrate
38 g
Dietary fiber
2 g
Monounsaturated fat
2 g
Saturated fat
2 g
307 mg

subset: commoncrawl


text:
The commissioner's office didn't announce the specific violation by the Los Angeles Dodgers outfielder, who will lose about one-third of his $25 million salary.
"Recently I saw a physician for a personal health issue. He gave me a medication, not a steroid, which he thought was OK to give me," Ramirez said in a statement issued by the players' union.
"Unfortunately, the medication was banned under our drug policy. Under the policy that mistake is now my responsibility. I have been advised not to say anything more for now. I do want to say one other thing; I've taken and passed about 15 drug tests over the past five seasons."
This is the second major drug revelation to hit baseball in the last few months. In February, Alex Rodriguez admitted taking steroids while playing for Texas from 2001-03. But that was before the start of testing with penalties under a program agreed to by players and management. The New York Yankee star doesn't appear likely to be suspended.
Ramirez is the third player suspended this year under the major league program, following Philadelphia reliever J.C. Romero and Yankees pitcher Sergio Mitre.
Just two relatively low-profile players were suspended under the major league program last year, San Francisco catcher Elizier Alfonzo and Colorado catcher Humberto Coto.
In the past, the best-known player penalized was Baltimore's Rafael Palmeiro, who received a 10-day suspension in 2005, the first year of penalties for first infractions.


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Did you know that for less than $20,000 you could build your very own password cracker that, under ideal conditions, could try out more than 100,000,000,000 passwords EVERY SECOND?
That means you could churn through every possible 8-letter password in just 2 seconds, and every 9-letter password in under a minute!
So here is a short and straight-talking video that not only shows you how to pick a proper password, but also explains why you should bother.
(No video? Watch on YouTube. No audio? Click on the [CC] icon for subtitles.)
Once you've watched the video, you might find yourself thinking, "But they didn't mention two-factor authentication or two-step verification!"
Two-factor authentication (2FA) is a way of making it harder still for cybercrooks to login to your accounts.
Generally speaking, it requires you to use a one-time code that's different every time you login, usually sent by SMS or generated by a special app on your smartphone.
Indeed, we think you should turn on 2FA for every account that will let you, but because you don't pick the 2FA codes yourself, we didn't think it quite fitted into the video, which is about helping you to choose wisely for yourself.
However, we do have an informative podcast that tells you all about 2FA, if you'd like to learn more:
By the way, we've had some questions, over in the Sophos Spiceworks community, about the value of online password checkers, those web sites that claim to help you to decide whether you picked a proper password or not.
We're ambivalent about them.
Password strength meters may help a little, notably that if they say a password is weak, it's probably very weak.
But some of the ones we've seen tend to be influenced by the wrong sort of detail, like how many different sorts of character you've used, not how hard the password might actually be to crack.
We think that you'll do well enough all by yourself if you follow the advice in the video…


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NASHUA, New Hampshire — BAE Systems has received initial contract funding in the amount of $81 million from Lockheed Martin Corp. to begin production of 143 infrared seekers for the Terminal High Altitude Area Defense (THAAD) weapon system program, designed to defend U.S. and allied soldiers, military assets, and metropolitan areas from ballistic missile attack threats. BAE Systems' seeker provides the infrared imagery from the targeted warhead to the missile to guide the interceptor to its target, destroying enemy warheads through direct "hit-to-kill" technology.
"In what is called a 'kinetic kill', our reliable seeker detects infrared radiation from the target missile and warhead and generates video guiding the interceptor to the target," said Barry Yeadon, THAAD program manager at BAE Systems. "THAAD has a spotless flight test record of nine-for-nine intercepts. During the most recent test, two interceptors destroyed two separate targets – a challenging feat."
Lockheed Martin, the THAAD prime contractor and systems integrator, also awarded BAE Systems $5.3 million in initial contract funding for tooling and test equipment to increase the monthly production rate for the seeker.
BAE Systems has been developing and producing seekers for missile defense since the 1970s. The company supported the first hit-to-kill intercept of a ballistic missile target in 1984 and achieved two hit-to-kill intercepts in 1999. BAE Systems has delivered a total of 100 THAAD seekers to date. The assembly, integration, and testing of the THAAD infrared seekers will take place at BAE Systems' facilities in Nashua, New Hampshire, and Lexington, Massachusetts.
Ref. 171/2012


text:
London: Using NASA's Hubble Space Telescope, astronomers have unearthed a "relic galaxy" in the Milky Way's backyard.
The galaxy NGC 1277, lies near the centre of the Perseus cluster of over 1,000 galaxies, located 240 million light-years away.
The findings, published in the journal Nature, showed that the relic galaxy has twice as many stars as our Milky Way, but physically it is as small as one quarter the size of our galaxy.
Essentially, NGC 1277 is in a state of "arrested development".
Further, the scientists found that NGC 1277 does not have the same kinds of globular clusters that other large galaxies have.
While massive galaxies tend to have both metal-poor (appearing blue) and metal-rich (appearing red) globular clusters, NGC 1277 is almost entirely lacking in blue globular clusters.
This suggests that NGC 1277 never grew further by gobbling up surrounding galaxies.
"I've been studying globular clusters in galaxies for a long time, and this is the first time I've ever seen this," said Michael Beasley, of the Instituto de Astrofisica de Canarias at the University of La Laguna, Spain.
NGC 1277 started its life with a bang long ago, ferociously churning out stars 1,000 times faster than seen in our own Milky Way today.
But it abruptly went quiescent as the baby boomer stars aged and grew ever redder.
The very rare and odd assemblage of stars has remained essentially unchanged for the past 10 billion years, scientists said.
In addition, NGC 1277 also has a central black hole that is much more massive than it should be for a galaxy of that size.
This reinforces the scenario that the supermassive black hole and dense hub of the galaxy grew simultaneously, but the galaxy's stellar population stopped growing and expanding because it was starved of outside material, the study showed.
While Hubble has spotted relic galaxies before, but this one is by far the closest.
"We can explore such original galaxies in full detail and probe the conditions of the early universe," said Ignacio Trujillo, from the varsity.
For the study, the team started looking for "arrested development" galaxies in the Sloan Digital Sky Survey and found 50 candidate massive compact galaxies.


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LDSFreedomForum.com does not necessarily agree with all content posted by users of this forum. This is not an official site of the Church of Jesus Christ of Latter-day Saints.
The views and content on this site reflect only the opinions and teachings of the authors of the respective content contained herein.


text:
Almost ten years after Pierce Brosnan's final outing
as 007, the truth behind Quentin Tarantino's attempts
to make a James Bond film is emerging...
For Bond fans who were monitoring the week by
week rumours and drama that occupied the long gap between
Another Day"
(2002) and its eventual successor "Casino
Royale" (2006) four
years later, a common thread that wove itself through the drawn
out pre-production of Daniel Craig's
debut was Quentin Tarantino and his quest to direct a Bond movie.
It was easily written off
as hot air and tabloid fodder by many at the time, but the film's
director Martin Campbell has now confirmed that Tarantino was
in play, and even bid on the film rights.
Campbell explained the backstory to the 21st Bond film
to the Daily
Express newspaper, "Casino Royale was not going
to be the next film. They were developing another [original]
script but then, after a long battle, the Broccoli's suddenly
got the film rights to the first Bond novel Casino Royale,
despite Quentin Tarantino bidding against them."
Tarantino went public in 2004 stating a desire to make "Casino
Royale" a period piece, set in the 1960's, with Pierce
Brosnan in the lead role. After being shot down as a directorial
prospect by EON Productions, it is now revealed that Tarantino
tried to secure the rights to the book himself. Ian Fleming's
first novel was not included in the original deal struck
by EON Productions founders Albert R. Broccoli and Harry
Saltzman. This omission lead to the 1967
spoof film starring
David Niven.
Campbell continued, "The script being
developed was an original story in which James Bond isn't
the character we know today but someone younger and more
screwed up. Pierce
Brosnan was getting on for 49 or something, and clearly too
old to play the younger Bond so they decided to go in a different
Above: Director Quentin Tarantino
is now considering a rival spy franchise.
As for Tarantino, he is still upset at losing out on the chance
to put his stamp on the Bond franchise, saying: "It would
have been my James Bond film and not a Cubby Broccoli Bond film
and I would have done it with Pierce Brosnan." He continues
to claim that, if it were not for him making the suggestion,
"Casino Royale" would not have been filmed as the 21st adventure.
After introducing two new actors to the role of James Bond,
Campbell says he is not considering a return for a third film
as director,
despite being offered the job. "It is always the same story
about Bond stopping a nutcase taking over the world and you can
only blow up a control
room so many times," he said. But despite his simplified view
of the repeated formula, he thinks there are many more years in
the spy yet. "These movies are hugely entertaining, full
of action, humour, international locations and beautiful people
character of James Bond is so sexy and stylish that everyone
wants to be him. That is why the Bond movies have lasted and
it is why they will continue to thrive."
Quentin Tarantino - 007 Timeline
April 2004 - Goes
public with Casino Royale desires
"I don't see that they have anything to lose at all," Tarantino
said in an interview. "They've got this gigantic franchise,
they can't do anything wrong with it. Pierce Brosnan's only
going to do one more movie for them, if that, so if he stayed
on to
do one more with me, let's just this one year go my way and do
it a little differently. I won't do anything that will ruin the
series." Tarantino felt there was only "a
thin chance" that
he would win the project, and said he would concede to update
the 1952 novel for the present day. "If I owned the material,
I would set it in the '60s, but I'm sure I'd have to do it now."
May 2004 - Offers the role to Pierce Brosnan
Quentin Tarantino continued to talk about Bond in Cannes where
he is president of the film festival jury. "I've always
wanted to do it. I bumped into Pierce Brosnan and we talked
about it. He liked the idea," said Tarantino.
With Brosnan giving Tarantino his support earlier this month
for his idea of Bond on a smaller scale, Tarantino is left only
to convince the producers Michael G. Wilson and Barbara Broccoli. "I
don't know if they're going to go for it or not, but I'm letting
them know I'm interested. I would like
to do the original book 'Casino Royale' and do it more or less
the way the Ian Fleming
book is".
May 2004 - Bond
Uma Thurman would play Vesper Lynd if Tarantino directs his vision for Casino
May 2004 - Pierce
Brosnan confirms
Brosnan told reporters, "Quentin and I met and
he is a huge Bond fan. He wants to remake Casino Royale.
I don't know if it's ever going to happen. What Tarantino
would bring to the film is life, and just a great sense
of excitement and danger, and the perspective of a film-maker
who has really made people sit up and watch his movies.
He's got a cutting edge, which we got with the last Bond
film, Die Another Day - with Lee Tamahori's sense of flair.
Someone like Quentin would be magnificent."
August 2004 - Takes
his campaign to television
Tarantino appeared on the "Tonight Show with Jay Leno" and talked
extensively about his desire to direct a James Bond film. He appeared very
excited about the idea of directing a film based on "Casino Royale".
He was quick to mention that he was the one that fueled a lot of the "directing
rumors", but he said it's really up to the fans, and they should voice
that they want him.
October 2004 - Pierce Brosnan officially
confirms he will not play James Bond for a fifth film.
November 2004 - Brosnan
reveals Producers turned Tarantino idea down
Pierce Brosnan told the New York Times what happened to the Quentin
Tarantino "Casino Royale" idea. "I went to them
and asked about making "Casino Royale," which
is the first Ian Fleming book. I had hooked up with Quentin Tarantino,
who wanted to direct the movie. On the fifth apple martini one
evening, he mentioned "Casino Royale," which is the
blueprint for the psyche of Bond, and I took that idea to the
Broccoli family, who produce the Bond movies. They have a way
of doing the films, and they are not open to discussion -- they
threw my idea out the window. They said they wanted to
go in a new direction. But they've probably done me a great favor.
I can now concentrate on other roles."
February 2005 - EON Production confirms the 21st James Bond
film will be "Casino Royale".
March 2005 - Tarantino
says idea is killed
Speaking at the Empire awards in London Tarantino said: "I
would have liked to do Casino Royale with Pierce Brosnan. But once
I heard Brosnan isn't going to be doing any more Bond films,
that killed it as far as I was concerned. Over the course of time
he's really proven himself to me as the James Bond for this generation."
October 2005 - Brosnan
confused about losing 007
Whilst promoting "The Matador", Brosnan told reporters that he
was still clueless about why he lost the gig. "They said
I wanted too much money, which is nonsense." A more likely
explanation is his attempt to give the movies an edge. "I
really wanted Quentin Tarantino to direct the next one, and Quentin
wanted to do it. I think that scared the producers."
October 2005 - Daniel Craig is confirmed as the sixth actor
to play 007/
November 2006 - Casino Royale opens in theatres around the world
to box-office records.
September 2007 - Tarantino criticizes
Bond producers
Quentin Tarantino again criticized the makers of Casino Royale
for going ahead with the movie without his input.
In an interview with Total Film, Tarantino said he was so upset
that he hasn't even watched the movie. "I never saw Casino Royale
because I was so mad at those guys.They should have talked to
me about it. They said publicly that Casino Royale was unfilmable,
but the minute I said I would do
Casino Royale, it's on all the websites and it is the film that
people want to see. They should have said thank you."
July 2009 - Tarantino
repeats protest
"The reason they did Casino Royale all comes down to me," Quentin
told reporters again. :I made it a point, I said I wanted to do
Casino Royale. They were already on record as saying the movie was unfilmable
but then after I said it and talked about it for a little bit — then
the big thing on all the internets was that that was what all
the fans wanted to see and so that's when they said, 'Oh,
maybe it's not so un-filmable. Actually if I had done the
film, I wouldn't
have done it with Daniel Craig, I would have done it with Pierce
August 2009 - Tarantino plans rival spy franchise
The American director is planning to adapt three spy thriller
novels by British writer Len Deighton into a movie series which
will attract fans of the British secret agent's on screen adventures.
Tarantino explained: "One of the things I enjoy musing
about doing is the trilogy of Len Deighton books, 'Berlin Game',
'Mexico Set', and 'London Match'. The story takes place in the
Cold War and follows a spy named Bernard Sampson. What is attractive
is the really great
characters and the wonderful casting. I am a huge fan of
Simon Pegg. I also think Kate Winslet is the best actresses that
ever lived, so I would
be honoured to work with her. I am also a huge admirer of
Anthony Hopkins. I would also love to work with Michael Caine.
I can see them appearing in
my movies."


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Written and recorded in various bedrooms over the past few years, White William's debut, Smoke (out now on Domino/Tigerbeat Six; review), is a grab-bag of an album that mixes the sounds of glam-pop and new wave with kraut grooves and a healthy dose of electronic noise.
With the record set to be a sleeper favourite when lists are tallied at the end of the year, DiS recently caught up with Joe Williams, the man behind the music, to discuss what it's like to inadvertently find yourself making music for a living and why listening is so important.
WHITE WILLIAMS (photo: Leonard Greco)
You've been touring around Europe for a while now. How have European audiences been compared to the US?
Well, we did this tour last month as support for Vampire Weekend. So I think that had a lot to do with the types of shows we had. If you look at it through that, when it's organised that way, the shows were successful. In the States, we've been touring a little bit longer and we've only done one tour in the States on our own which is similar. But in Europe it's more of a surprise because we go to places like Dresden, Germany.
It just seems like a place that…
… you shouldn't be at?
No, no, it's not that we're miss-placed or anything, it's just that if anyone shows up it seems like it's pretty good and I enjoy it. I have no real expectations but that's the one thing that's different about Europe, it's kind of like…a surprise to meet people from a totally different place.
It's a surprise to meet people who like your music?
Yeah. In the States it's more…we're such a new band that it's hard for me to even compare. I think we're in some ways strangers where ever we go. The music came before the band and live shows. It's usually the other way around, so all this stuff is super new and I'm just taking it as it comes and not trying to judge it so much. It's been good. We've had a lot of fun and it's fun to travel.
You play electronic music though and historically Europe has served as a spiritual home for it. Do you find people here are more receptive to you because of that than say back in the States?
People have said that. It makes sense. In some ways people just seem less judgemental in places like Germany or the Netherlands. People seem worried less about context. Whereas in the States it's more about "Who do you know? Where do you come from? How do I find my way of trusting this?". Besides just liking the music, I feel like it has to go through some sort of test…or maybe not. But I do think maybe our music is successful for people who have been listening to electronic music since before they were born and also just from the point of, culturally speaking, being open minded.
Do you like that fact?
Yeah, definitely. It's almost awkward at first. You're expecting certain common things to come up in conversation that don't so much. Like there's more room for silence and things like that. At the same time you're not worried about all that contextual stuff.
You've been touring for a while now and the record came out last autumn in the States. Are you starting to tire of doing the promotional rounds?
A little bit. I'm used to…when I made the record, it wasn't even meant to be a record, it was just a collection of songs, so I'm use to just going song by song. It's been a long time since I really made a substantial…I haven't made a lot of music in a while. Having a break was nice at first. I was learning things from being away from it but now I'm getting a little antsy.
Do you see yourself as a pop performer or more of a bedroom musician who likes to experiment? Basically, are you more of a Bryan Ferry or a Brian Eno?
I'd say I'm probably more of a bedroom musician, in terms of the fact that I had more experience in that. Performing…there's so much to consider that I never had, from not going through the process of performing in a long time, I haven't had the education that experience brings. There's so much to think about, "Is this necessary? Are drums really necessary? How can a sound be represented? How can you take a studio project and translate it to live?" So it's been really trial and error. I mean I enjoy collaborating with people. And I don't see what I like about music between those two people. I like Roxy Music and things like that. I don't feel like I need to declare it as one thing or another. My experience of recording at home has had much more trial and error than what I've done live.
Do you think your recent live performances are going to have an impact on your next record?
Some ways. I definitely think I'm starting to understand what my talents are, so I just want to see what happens basically. But yeah, I think the playing live has in some ways been important.
Your record was made in various bedrooms over the past few years. Any plans on taking the next one into a proper studio?
Yeah. I think I'll produce the record the same but at some point I'll go and use a studio. This is the first time…the only time that I've had an opportunity to do it. When I made my first record I didn't know any engineers, I didn't know studios, I never worked in a studio, still haven't. I wouldn't want to schedule my whole record to be done in the studio. A lot of the stuff I make comes from being at home and just being spontaneous and stopping what I'm doing. I still want to have that.
You wouldn't consider bringing in an experienced producer?
I don't think…I'd like to see what I can do on my own first. Again, collaborating is something that I find to be really fun. But that could mean anything, like a skilled producer. I'm definitely not a skilled engineer. I can tell you that. I recorded my record with me trying it. I liked doing it but mixing is definitely an art. There are some people that can really do it well, and I don't think to go from composing music to then clinically getting into that head space where you listen to the songs over and over again and really look at the quality of the sounds. It's something that people work on for years and years. I think I can get by but it'd be nice to mix bass pretty sensitively. It's something that's tricky to do at home.
Are you getting any pressure, now that you've released a record, to go and make a more studio-esque album?
Not directly. But I think there's always that thought that people would want you to do more, to go farther and go up to…
The next level?
Yeah, but it is imaginary…
Do you even see that as a next level?
No. I just don't want to make a record that's made by someone else or part of someone else's plans.
You don't want to feel forced into doing something?
Yeah, I think the record should satisfy myself and my friends. People that I know really well. People I met and had experiences with before something like a record label got involved.
Considering the record was recorded over a long period of time and it wasn't necessarily meant to be an album from end to end, do you think it's still indicative of who you are now?
It's hard to closely break someone down to the music that they make but I'd say that I've learned a lot in the times that…even right before the record came out, I'm much more in-tune, I mean, I've been paying much more attention to the way musicians are now. Like in whatever scenes. From people who want to make pop records to people who have experimental backgrounds. I've just learned a lot as far as what is currently happening. Before, I was inside of a house, literally. I mean my biggest priorities at that time where school and my relationships with my friends. Living in Ohio and San Francisco and New York, I didn't really go out. I didn't know what bands where happening. I don't even mean sonically speaking. I mean like the way people act and what people's expectations and aspirations are. I think that's really cleared up a lot of things for me and what kind of record I can make. Also, my taste…I'm always hearing new music and it's not just music from right now or from just America necessarily. Even just listening to radio music in America, it cycles so quick, there's always things that I'm picking up on, so I think that the next record…I don't remember the question now. (laughs)
Are you surprised by the amount of attention White Williams has received so far?
Um…it's really hard to pay attention to that stuff.
But having the record put out by labels like Tigerbeat Six and Domino and touring the US and Europe…
It's strange…
That wasn't really your plan was it?
No. I was going to graduate school and then was going to go work.
You have a degree in digital design?
I was going to go do more of that…
And do music on the side?
Yeah, that was what I did before. I don't think I would be any less happy if I still had the stuff that I have now to make records and there are so many ways to show people your music now. I don't think my feelings would have been hurt if I had to keep doing it that way. It's flattering, obviously, getting attention from a record label or something but it's not…I'm not trying to pursue a career in music. I think I've fallen into some sort of cycle of 'You need to tour' and now it's time for the record and it's almost forcing me to now think of it as a fulltime important thing. But it's more that I really just want to play, get to record my own music, work with my friends and continue to do that.
There are benefits too. It's not just some superficial…it's not just money and association, fame, identity and all that stuff. Like you get to meet really interesting people, get to travel and the day to day isn't so repetitive. Time seems to be going by a lot faster than it ever has but I guess that's just part of getting older.
Well now that you have received a certain level of attention, that usually means you get associated to other bands. You've been tied to Girl Talk…
Well, the way things get publicised…when someone does press for a record they get asked for a biography. For me, again I don't claim to be from some scene, the only thing could be called a scene would be my group of friends and that would be Andriu Strasser, the guy who does my art, and Gregg Gillis. My friend Frank Musarra, who does Trey Told Em' (MySpace) with Girl Talk…anyway. These were guys I toured with and we were friends and made music together. We went on silly tours together and things like that. If there's any salvageable thing from some sort of description of what I'm about is probably through these people, from being really close friends of mine. These are the people I'd rather spend time with then going out to some shows to find out about some bands.
It wasn't about going out to be with the right people in the right place?
Right. I mean, Gregg…I'm really happy for him. He's been doing it for a really long time. And we all have…it's strange but press is a weird thing. That's another thing out of all the stuff that you learn, um I think that if I was more of an active participant in music outside of mine… I'd have some more foresight with a lot of things. Not just press…
…the industry?The whole thing. The people involved. It's great that I'm starting to really understand it. More than I did six months ago.
Do you like it? Ever find it frustrating?
Which part, you know? It's such a big thing. There's definitely something nice to be said for people who are making their own records and um, in some ways that makes a little more sense than working with record labels these days but I'm happy to be with Domino and things like that. I just have a much wider perspective of all of this stuff now. I feel a little bit like I was a bit naïve. Just because I didn't really know, like who do you trust. You're constantly meeting new people and it can kind of trick you into thinking different things. So, trying to figure that out.
So what inspires you to make the music that you do?
Um, just the experience of doing it. Being at home and having fun with music. Also, interaction between other people. When I do get to play and compose with other people, that's really fun. It's just sounds and also just the way you listen to things is awesome. That's something that's always changing. The way you listen to things. The way things are parallel. The way things can sound like each other and things that don't. That's probably the most fun: listening.
Do you find yourself listening more to electronic music these days than say a guitar?
Definitely. But it's only because I feel like I'm past the point of the knowledge of how complex a guitar is from a standard musical sense. I mean, I was already working with software before I stared playing real instruments. I see a guitar as this thing that I can use effects for. That's the most fun for me. Also, with electronics, when your music equipment is more button or knob based it's less about the talent of the person that's doing it and more about how the person is listening back to what they're hearing.
It's more conceptual in some ways?
Yeah, I guess, it's why DJs are interesting. The act of putting on a record is not very interesting. It's more about the sequencing. It's about a person who can listen well.
White Williams performs at today's Underage Festival AND At Home By The Sea, returning to support Hercules & Love Affair at KOKO on September 4 before his Bestival appearance. Smoke review is out now on Domino. Visit his MySpace HERE.


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FAQ And Walkthrough - Guide for Duke Nukem Forever
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+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | Duke Nukem Forever | | Walkthrough By: redapocalypse04 | | Contact: [email protected] | | Version: 1.00 | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ || || || Table of Contents || || || +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ I. Walkthrough Duke Lives_______________________________________________________________[W1] The Duke Cave____________________________________________________________[W2] Mothership Battle________________________________________________________[W3] The Lady Killer__________________________________________________________[W4] Vegas in Ruin____________________________________________________________[W5] The Duke Dome____________________________________________________________[W6] The Hive_________________________________________________________________[W7] Queen Bitch______________________________________________________________[W8] Duke Nukem's Titty City__________________________________________________[W9] Crash Course____________________________________________________________[W10] The Duke Burger_________________________________________________________[W11] The Mighty Foot_________________________________________________________[W12] Ghost Town______________________________________________________________[W13] Highway Battle__________________________________________________________[W14] Dam Top_________________________________________________________________[W15] The Shrunk Machine______________________________________________________[W16] The Forkstop____________________________________________________________[W17] Generator Room__________________________________________________________[W18] Underground_____________________________________________________________[W19] The Clarifier___________________________________________________________[W20] Blowin' the Dam_________________________________________________________[W21] Final Battle____________________________________________________________[W22] II. Technical____________________________________________________________[TECH] +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ || || || Walkthrough || || || +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | ========== | | | | Duke Lives | [W1] | | | ========== | After taking a piss, you can look around the bathroom and toy with some things in here. If you go over to one of the toilets and grab the turd inside, you get an achievement. In the next room you'll find a white board that you can draw on, which also gives you an achievement. Keep going and you'll pass a few aliens, but you won't have to fight them. You'll eventually come to an elevator with the Devastator on it. Pick it up and you'll ride the elevator up to the stadium. Here you finally get to fight your first enemy, which happens to be a boss: the Cycloid. Keep running around it and shooting it. It shoots rockets, but as long as you're constantly moving, it won't hit you. When you run out of ammo, just keep moving until you see red smoke on the ground. This indicates an ammo cache that's been dropped in. Around this time, the Cycloid will start charging at you. It'll also hit the ground, sending a charge of energy your way, so keep an eye out for those attacks. Still, this "boss" fight is pretty simple and easy. When it goes down, get close to it and press X. Tap A repeatedly when prompted to rip the tubing out of its back. When the eye falls out, kick the field goal. After you've killed it, you find out it was all just a silly video game. You're actually in Duke's penthouse. There's plenty of stuff in here to toy with. When you're ready, enter the elevator and press the buttons inside. | ============= | | | | The Duke Cave | [W2] | | | ============= | The "Damn! It's Late..." level has no action whatsoever. Just a lot of crap to play with. When you get to the Duke Museum, sit on the throne to get to the next level. In the Duke Cave, after talking to the President on the big screen, go through the door. Open the next door. It'll jam, and an alien will start swiping at you from the other side. Wait until the alien yells at you through the door, then punch it a couple of times to put it down. Pry the door open and pick up a trophy laying on the ground. Hit the alien ahead with a couple of trophies to kill him. In the rec room you'll find two more aliens. Throw stuff at them or just punch them to put them down. In here, pick up a weight and curl it to gain some ego. Put the basketball through the net, hit the punching bag, and hit the speed bag to gain more ego. Finally, search the area for round weights to put on the bar. You should have three weights on each side. Now bench press it to get even more ego. You can also play the pinball machine if you want, and getting a certain score might raise your ego further. Peel open the vent cover to move forward. After exiting the ventilation system, press Down on the D-Pad to drink a beer. It makes you harder to kill, and you'll need it to take down the two aliens up ahead. Two more aliens drop down after that. When the power goes out, press Up on the D-Pad to turn on Duke Vision. Climb down the elevator shaft and take out the two aliens below. In the next room there's another alien, and then there are two more in the room after that. Punch the vent cover and drop down. There are more aliens to take out down here. You'll reach a point where you can pick up a trash can that's holding up a pipe. The pipe will fall. Get on it and go to the other end. It acts like a seesaw, raising the first end back up. Run across it and jump up to the next pipe. You eventually drop down into the reactor room. It has a few aliens in it, but when you kill the first one, you can pick up the AT Laser. Take out the rest and put two of the energy cells in the room into the reactor. At this point, more aliens come out of the door. They are also in the next room. Keep going until you reach an RC control. Pick it up and you'll take control of the RC monster truck in the room here. Right Trigger makes it accelerator, Left Trigger brakes and reverses. Drive to the ground, then use the ramp to get back on the shelf. You need to drive around until you can get onto the shelf running right in front of the window. This shelf has the last energy cell on it. Knock it onto the ground with the truck, then push it over to the hole by the broken door. You can then grab it from the outside and put it into the reactor. Grab the steroids when they pop up and use them. It makes your melee attacks an instant kill for most things, so use your fists on all of the aliens that drop in. Two pig cops come through the now open exit door, so put them down. You'll come across a pistol. In the next room you'll find plenty of aliens, along with some propane tanks that you can pick up and throw. Kill the aliens tearing up the turret in the middle and hop in. | ================= | | | | Mothership Battle | [W3] | | | ================= | When you can fire the turret, start laying into the mothership's cannon thing. Soon enough, drop ships will come down and start dumping out aliens with jetpacks. Try to take them out before they can even leave the ship, then take out the ship too, if you want. After a while, alien fighters will swoop in and do strafing runs on you with a laser. Take these guys out before they hit you. If they do hit you, your health will be dropped to almost nothing. The key to making it through this part is to keep your eyes open. Always be watching for dropships and especially fighters. After the turret sequence is over, just move through the ventilation system until the level ends. | =============== | | | | The Lady Killer | [W4] | | | =============== | When you reach the elevator, wait for it to start falling, then pull the brakes. You can't stop it before it reaches a certain point. The goal here is to simply have it going slow enough when you reach that point. Just try not to overheat it too much. Pull it a bit, then let it go a bit, rinse and repeat until you reach the bottom. You'll soon be shrunk. Go over to the luggage cart and walk against it to move it. The kid on the other side has an RC car you can get into. Keep driving around until you reach the bottom of the theater area. Here, you'll need to get up some speed and drive off the ramp resting against the central fountain. You'll also ramp off of the broken sculpture in the middle of the fountain and get over to the other side that way. After driving a bit more, you reach part 2. Drive through the first room and avoid being shot. You'll reach a gate that your car won't fit through. Crouch under it and jump up the suitcases to get up to the roulette table. Keep jumping across the tables and stools until you reach the couch. Jump on it to bounce up to the ledge. Your goal is the switch by the gate you came through. Be careful, as there are rats up here, and you're small enough to be hurt by them. Hit the switch and get back in the car. Keep driving and you'll soon reach some hallways with pig cops running down them that you have to avoid. Shortly after this you trash the car. Move up to the gate and push the luggage cart over to the button. Now use the ramp/poster to get onto the couch and make your way over to the button and push it. In the next room you come back to full size. Break the glass ahead of you and grab the shotgun. You'll now be trapped in the room as aliens teleport in all around. Some of them also have jetpacks. Once they're all gone (and after they've snatched your babes), head back through the closed gate. You'll be going back the way you came, so watch out for pig cops running down the halls. In the casino, you'll be trapped with a few berserk pig cops. Take them down and more come through the ceiling. Eventually, regular pig cops toting shotguns also drop in, followed by aliens with jetpacks and teleporting aliens. Keep going and you'll reach yet another room with a car in the middle where you're trapped with aliens. Teleporting aliens are everywhere, and berserk pig cops also drop in from time to time. Keep moving, because the cover isn't going to mean much against these particular types of enemies. Once they're down, play one of the slot machines. If you win (and you will, at least two of the machines are rigged), then you'll get an ego boost. This only works one time though, so after you get the boost, open the gate and head on to part 3. Take out the aliens until you reach the room with a big statue of yourself standing in the middle of some skyscrapers. Some of the skyscrapers will lower, but don't hop on them just yet. Use the console in front of the exhibit. You'll need to climb up the skyscrapers and then up the Duke statue to get to the next floor. Using the console, hold up to get the statue to raise it's pistol all the way. Now, holding left or right, rotate the statue so that the pistol is pointing at the EDF soldier on the next floor. Now, when you're ready, press the Right Trigger to lower the skyscrapers again. Climb onto and across them, then jump onto the statue's horizontal pistol. Jump up the statue, onto the other arm, and up to the next floor. Kill the pig cop and go through the ventilation shaft. When you land, look behind you for an ammo crate. Shoot the trip mines here to make them explode. You can crouch under the next set, and use crates to hop over the set after that. Keep making your way past the trip mines until you start a fire by shooting them. At that point, shoot the fire extinguisher on the wall to put some of the fire out. Keep doing this and you'll soon gain some trip mines of your own. Press the Left Bumper to place one. The next room is the perfect place to try them out. You'll be in a small hallway of sorts, and pig cops will come charging at you. In the actual room part, some pig cops drop in along with an alien that hovers around and shoots rockets at you. It can also charge at you, so be on the move constantly. Take it down to finally end this chapter. | ============= | | | | Vegas in Ruin | [W5] | | | ============= | You'll come across a turret that you can man. Get on it and start taking out pig cops. Teleporting aliens and jetpack aliens come in eventually. After a while, a dropship flies in. You can take it out, but immediately get off of the turret, because a couple of pig cops like to come from behind at this point as well. Keep going and you'll fight more pig cops. When Jenkins dies, fight off the two jetpacking enemies and drop down. You'll find some pipe bombs in the white box next to the car. Use them to help you thin out the enemies ahead. A heavy enemy also appears on top of the semi, and he likes to shoot rockets at you. There's a turret up ahead. Use it to deal with the berserk pig cops that drop in. Don't worry about the dropship, it flies away too quickly to kill. Keep going and you'll drop into a pit. Shortly afterward, you and the two soldiers will need to fight off enemies that drop in. After killing all of them, you'll be trapped in the pit with a boss: the Battlelord. He fires off blue rockets that home in on you, and he also likes to rush forward from time to time and then hit you with his machine gun. Keep that RPG constantly filled up by using the ammo crates. After hitting him with enough rockets, he'll drop to his knees. Climb on him and rip out the spike, then let him have it right in the jewels to end this fight. | ============= | | | | The Duke Dome | [W6] | | | ============= | Move through the canal. Watch out for the electric water. When you get to the fire, you should find a fire extinguisher in the school bus. Keep going until you get to the two guys trapped on a container. Soon the crane will bring down something that you can hop inside of. A hovering alien will kill the guys and then fly away. At this point, you'll be stuck inside the container as it rotates around to the car park. You'll need to fight off a load of various aliens in the car park itself. After you get knocked out of the container, shoot the lock off of the gate. You'll need to fight off several pig cops in the area with the now destroyed Duke statue. Shoot the explosive barrel when they're gone to lower a container. In the next area, go around the back of the trailer and climb the ladder. You can get inside from the top. Use the photo copier to get some more ego. Pull the switch inside and prepare for an onslaught of enemies. After a while, some berserk pig cops will come out and turn the trailer over. Take them down and hit the switch by the exit gate. Open it up manually to finish the first part. In the second part, keep going until you see a blue container to your left with some blue barrels in it. These barrels are heavy. You need to carry these barrels around to the other side of the red container in front of you and drop them at the end with the doors. These will wait the container down, making it drop. You'll need more barrels than are in the blue container though, so use the ladder on the side of the blue container. Once on top, shoot the explosive barrels to make the other container drop. Collect one of the blue barrels that has fallen out and put it in the original red container. Now climb the ladder again and jump across to the scaffolding. Drop down and head up to the crane. You'll fight a couple of jetpackers here. Climb up the crane and walk across it to get over to the construction site. Drop down until you're one level above the ground. There's a container suspended between the two buildings. Shoot the explosive barrels inside the container to open the doors, then use it to get from one building to the other. Get to the top of this second building and grab the battery. At this point, a gunship will start shooting rockets and bullets at you. There's plenty of RPG ammo laying around, including some in the elevator shaft (accessible from the second floor of the building) and some in the bed of the truck. There's also an ammo container in the front corner. Once you've taken it down, head back up to the crane and insert the battery. Now, raise the crane as high as it can go and slam it into the wall above the scaffolding to your left. Do this a few times (some dead aliens will fall out) and the wrecking ball will fall off. Leave the crane raised up and move it next to the wall. Now climb on top of the crane and use it to get inside the hole. | ======== | | | | The Hive | [W7] | | | ======== | Take the lower path to find a Ripper and a pipe bomb. Take the upper path and continue ahead. After you open your first "door", go left to find another Ripper/pipe bomb combo, next to a familiar helmet. Keep going and after destroying some egg pods, you'll encounter your first octobrain. There are more of these as you make your way through the level, along with more egg pods to destroy. There are also babes hanging around. You can put them out of their misery if you want. You'll eventually come across the two babes from your penthouse. They've been impregnated, and after a bit of dialogue, they promptly explode and send out baby octobrains. The next room has more pods and baby octobrains. There are also boobs on the central pillar that you can slap to increase your ego. Go left and you'll reach a dead end with an alien that emits light. If you hit him, he'll curl up into a ball and you can roll him back to the room with pods. You'll face three octobrains on the way there. In that room, roll the light bug up to the circular thing next to the door and he'll open it. In part two, you'll come across webbed up corpses. Beat them down to get ammo. You'll fight a few octobrains who like to hurl pods at you. Shortly thereafter you'll need to jump across some rocks and you'll soon wind up at a dead end with an explosives cache. You should see a bounce pad on the wall of the pit ahead, and there's a light bug above you. Toss a pipe bomb onto the bounce pad and it'll bounce right up to the bug. Detonate it to get the bug to come down to you. Don't worry about those rows of tanks with octobrains. Only the last one comes out to fight. In the next room you'll have to worry about a whole lot more though. When you get to the point where you have to drop down, try to get as close to the edge as possible. You can trigger the octobrains in the small area here without actually having to drop down and trap yourself with them. Continue on. After putting the light bug into the slot, go through the door and hit the bounce pad. You'll face a lot of pods and eventually you'll come across a new type of enemy. They are small insect-type things that like to jump around and latch onto your face. You'll have to press A repeatedly to get them off. | =========== | | | | Queen Bitch | [W8] | | | =========== | There's an explosive cache in the room to the right. Throw a pipe bomb into the tunnel to the left so that it hits the bounce pad and enters the room with the explosive barrels. Detonate it and move on. You'll come to the Alien Queen soon enough. You need to throw a pipe bomb onto one of the bounce pads on either side and let it bounce around, then detonate it to make the queen expose herself (literally). Hit her anywhere with rockets. She'll attack back with her claw and a beam weapon, both of which can be avoided by staying at the far end on either side. She also throws out one of the facehugging insects. Keep doing this and she'll eventually throw out an octobrain. The bounce pads will also explode, and she'll simply be exposed all of the time. She'll also attack all of the time. | ======================= | | | | Duke Nukem's Titty City | [W9] | | | ======================= | You'll need to find some popcorn, a vibrator, and a condom. Enter the men's restroom and use the condom machine to get that. You can also use the glory hole in the stall to increase your ego. Use either exit door and follow it up to an employee only room. There's a bag of popcorn in here that you can microwave. There's another employee area down some stairs behind the main stage. You'll find more popcorn here and some vibrators. After gathering these items, look around the place for a bit, then head upstairs and get a lap dance from the stripper to end this chapter. | ============ | | | | Crash Course | [W10] | | | ============ | Once you land on the structure, get onto the walkway, then work your way down using the tentacles. You'll have to deal with pods along the way. When you drop down onto a rail gun, bust the blue pods next to you and squeeze through, then drop down to another walkway. There are frisbees here that you can throw for some more ego. At the end of the walkway you'll encounter a few jetpack aliens. Keep going and use the bounce pads to get over to a ladder that leads up to the crashed ship you were just in. Hop on the turret and prepare to take out some passing ships, then some alien fighters mixed with dropships and jetpack aliens. After a while a gunship comes by. Lay into it, and it'll fly off screen, then come back and shoot the ship. Jump out of it before it slides off of the tower. Keep going and you'll come across the Devastator. Use it and the ammo crate to take out the gunship once and for all. Hop around to the other side of the walkway and go to the end. A jetpack alien drags you over the side. Hit the button commands when prompted to end this chapter. | =============== | | | | The Duke Burger | [W11] | | | =============== | The first part is pretty simple. Make your way inside the bathroom and head into the stalls area. First, note the air vent on the floor by the door you can't enter. Next, look in one of the stalls for a magazine that boosts your ego. Now, go back to the area with the sinks and use the shrink pad. Enter that open air vent by the door and grow up. Turn off the power, shoot the planks, and exit. Hit the shrink pad again, but this time, climb up onto the bench and the sinks and make your way into the hole in the wall. Drop down and climb your way to the second part. You'll fall through the ceiling. Use the particle accelerator and go through the doors. You'll notice a bunch of cups laying around that are turned over. One of them starts coming towards you. All of those cups are hiding shrunken pig cops. When you go to the other side of the room, shoot all of those cups before you drop down, because you'll be shrunk when you do. Use the boxes in the corner to get up onto the counter. Climb the hose and get onto the tentacle so you can get over to the next area. In here, take out the rats and some full-sized aliens will come through the closed door. You'll need to lure them into one of the many shrink pads, then take care of them. After that, enter the supply closet and start making your way up the shelves. There will be pig cops on the other shelf from time to time, so watch out. The next room has you jumping around a LOT, trying to avoid the electric floor. At one point you'll need to use the spatulas as bounce pads. A little bit after pushing the button and moving through the dishwasher, you'll face a lot of pig cops. You'll also come to a stove where the burners turn on and off, and after that you'll need to hop across some hamburger buns to get across a hot grill. After that, jump onto the overturned cart and then onto the dead guy. Make your way over to the toaster. Hit the button then jump on top. When the waffles come up, you'll be bounced into the air. Get onto the shelf when that happens. Use the line with pots and pans to zip down to another grill. Also, note that that isn't water at the end of the grill, it's a fryer, so don't jump in. Hit the breaker and move through the door when the girl opens it, then jump your way up to the next ventilation shaft. Drop out of the shaft and use the pad to grow. On the roof you'll have to fight off several waves of enemies brought in by dropships. The first few involve pig cops, mainly of the berserk variety. Look for the shrink ray by the dead scientist and another on the second roof thing accessible via stairs. There's also a holoduke in the small structure here, in the white box. After a while, enforcers start coming, and they'll also start dropping their guns, which helps a bit. The final wave involves two of the fat hovering rocket launching guys. | =============== | | | | The Mighty Foot | [W12] | | | =============== | You'll be in a heavy turret. Take out the pig cops as you go, and don't mess around. They'll already be shooting rockets at you before you can even kill them. Eventually you'll come to two garage buildings with a bunch of towers by them. There are pig cops everywhere here, so take them all down. You'll circle this area a bit as more enemies pour out or are dropped in. When it's all clear, get out of the ship and enter your truck. Follow the dirt trail and drive right into the cave. The second part involve more driving, except this time there are enemies on the ground and jumps to go off of. You'll eventuall get onto the highway, and soon thereafter you'll run out of gas. Get ouf of the truck and dig in where all the ammo's at. A few waves of baddies will come for you. After the ship blows up the EDF vehicle to your left, two enforcers drop down. Take care of them and move forward. Bust the lock by the building to your right and go around back. Jump up the spools and get onto the roof, then drop down inside. You can use the computer in here to cycle through some pictures of babes and get an ego boost in the process. Grab the gas can off the wall, then smash the boards in front of the door and head back to the truck. Fill it up and drive to the end of the highway, then off of it. | ========== | | | | Ghost Town | [W13] | | | ========== | When you reach the first collection of structures, you'll find pig cops. Most of the structures can be broken by driving through them. The long trailer in the back is the exception. If you go to it and climb the tractor behind it, you can get inside of it, where you'll find ammo and supplies. Use the ramp to the right of the "town" to get over to the next area. After crossing the bridge, you'll reach the town of Morningwood. You run out of gas here, so get out and look inside the church, the first building on your right. You'll find a magazine in here. Pick it up to get an ego boost. You'll also find a paper airplane on the floor in here. Pick it up and throw it for more ego. The actual town is filled to the brim with pig cops. Almost all the buildings have weapons or equipment of some kind. The outhouse behind the saloon has some steroids, and there's an RPG on the top floor of the saloon. Some heavier enemies occupy the barn at the end of the street. Take them out and a fat hovering guy shows up with a couple of berserk pig cops. Once they're down, enter the barn and head up to the second floor. Use the crank here to get the wooden pallet to the middle of the room, then jump across. Go up the stairs here to get to the top floor, and turn this crank to the left to drop the ladder. Now go down the ladder and use the other crank again to send the wooden pallet back to the right. Use the ladder you dropped to get back over to the other side, then jump onto the wooden pallet and get over to the gas cans. Grab one and head back to the truck. You'll face a few more pig cops on the way. Drive through the back of the barn and go off the ramp just after that to end this chapter. | ============== | | | | Highway Battle | [W14] | | | ============== | Drive around until you can go up a dirt hill. You should find a pig cop up there, along with a billboard. Run into the billboard to knock it down, then use it as a ramp to get onto the highway. Here you'll have to deal with pig cops on the back of semis throwing explosive barrels at you. Try to boost past them whenever you see an opening. After dropping off of the highway, you'll have to deal with scattered enemies and gunships shooting the area up. They cause boulders to start rolling around, so watch out for that. Keep driving until you run out of gas. Get out of the truck and proceed forward. There are plenty of pig cops roaming around this next area. In particular, watch out for pig cops on the turrets in the middle of this place. You need to make your way around to those turrets. Hop on one of them and start blasting the pig cops that are dropped in. After they're all dead, immediately get off of the turret, because a gunship comes in and it will start firing at you. There's an RPG in the wrecked ship. Once it's down, move across the gap and head left into the cave. Keep going until you see a gap that you can't cross. Make your way up the mine tracks until you see a cart. Take all of the barrels out and push it up the tracks. At the top it'll stop. Hop in and pull the lever to go sailing over the gap. There's a gas can over here. Pick it up and deal with the baby octobrains and other insects. Soon enough a spool falls down and knocks some planks off of the scaffolding by you. Climb up it and you'll come across another mine cart. Push it and pull the lever and it'll take you all the way back to the truck. Kill the pig cops here and hop in. Use the ramps to get over to the next area. | ======= | | | | Dam Top | [W15] | | | ======= | Drive around the boulders and crap for a bit. You'll hit a jump where you destroy a ship and then land in the water. Climb up the ladder and keep going until you hit the highway. Fight your way forward through the pig cops and eventually another Battlelord will climb onto the highway. This part is definitely easier, since you can just grab an RPG, back up a lot until you're next to an ammo container, and let loose. Unfortunately, after you rip out his spike and stab him, he's not dead. He regains his health bar and runs right up to you. You need to back up all the way and use the large vehicle on the right side of the road as cover. It can't be destroyed or moved, so it's going to be your lifeline. Dart out from cover and use the ammo container across the road when he stops shooting. He does take increased damage though, so it won't take quite as long to put him down. After you stab him with another spike, he's gone for good. | ================== | | | | The Shrunk Machine | [W16] | | | ================== | Keep going down as far as you can go and turn left. Take out the pods and the little grabbing tentacles further on and you'll find a strung up body. Knock him down for an RPG and some steroids. Now go back and head through the door. You'll come across three people talking. There's a freeze ray here that you can pick up. There's also a locked gate here. Bust the lock and hit the vent cover on the floor. Drop in and move through the vent system, taking out baby octobrains as you go. At the end you'll find some explosives and a holoduke. Head back to the three people and one of them will open the door for you. In the next area you'll face a lot of pig cops. Note that the freeze ray is a weird weapon. It has infinite ammo, and recharges when it's not being used. It also only works at close range, so thin the crowd a bit and then lure the rest of the enemies to a chokepoint and let it rip. If you go straight ahead you'll come to a set of double doors. The office inside has a locker with steroids in it and a calendar that you can look at to boost your ego. After clearing the entire area of pig cops, a few enforcers, including one with a shield, will bust through the locked door near the beginning of the area. Take them out and the engineer will come through and unlock the next door for you. Go through the door and move forward. Watch out for the jets of hot steam. Head to the first valve and turn it left to let out some steam onto the pod things. It'll kill them out. Turn the steam off. You can go through the doorway to your left now, which has ammo and supplies, including a holoduke. In the next area you should see another valve. Don't turn it yet. First, you need to use those lever things. Use the first one to unlock the pipe. Now you can rotate the pipe around. You need to rotate both pipes around so that they're all connected in a straight line. Now use the valve to put hot steam on the pods. In the next large room you'll face more enemies. There are some berserk pig cops too, so be careful. Jetpacking aliens and rocket launching aliens also come into the mix. After killing all of them, bash the plank holding the crank to make the ladder come down. Climb it. Once you get to the long hallway, you'll find a rocket launching pig at the other end. Kill him and you'll find another pig cop down there as well. Keep going until you hit the shrink pad. Kill the rats and explore one of the open vents for some explosives. Unscrew the vent cover and hop in. Once you hit the bottom, hop on top of the fan and hit the broomstick. You'll fly up. Break the vent cover at the top and keep going, through a mini-platforming section, until you reach a fan. Shoot the cylinder on the "ceiling" and it'll turn, stopping the fan. You'll now be at another platforming section where you have to jump across and through some gears. Once you get through them, use the pipes to climb up to an area where pistons are moving up and down. Before you start to move across them, look to your right. There's a vent cover here with an electrical cylinder thing behind it. Shoot it to turn it off. Now move straight forward through the next vent cover. Turn the electrical cylinder in here off as well. Now move under the pistons and you'll find another vent cover to your right. Turn that electrical cylinder off and stand back. The pistons will blow up and the main fan up here will stop. JUmp around until you get to a room with a dead body in it. Kill the baby octobrains and make your way over to the elevator. Press the button and a whole lot of baby octobrains will come out. Kill them all and move to the big box in the middle of the room. When the elevator comes down, you'll have to deal with a full-sized enforcer. Just keep running around the box, hitting him with everything you've got. He takes a lot of damage, but you don't have to use explosives to take him down. Note, however, that the freeze ray is useless here. Once he's dead, enter the elevator. The damaged railing functions like a see-saw, so use it to get over to the other railings and around to the button. | ============ | | | | The Forkstop | [W17] | | | ============ | You'll find a particle expander after you come out of the elevator. In the next room, make your way over to the area behind the window. There's a button in here you need to push, along with a magazine that boosts your ego. Now go and open the garage door. You'll need to move past some electric currents. They have a pattern, so just watch them for a bit. When you drop down, take out the octobrains and keep going. You'll face a few pig cops after that, and one of them is on a turret. More octobrains show up once they've been dealt with. After you kill them, you'll need to fight the Octoking. As soon as he shows up, get on the turret and start hammering him. He's a lot easier to deal with when he's simply throwing stuff at you. His energy blasts are a lot more frequent and a lot more annoying. If you need it, there's an RPG by the stairs leading up to the turret. Take him down, then open the garage door to end the first part. Use the button to lower the forklift, then hop in. You can raise and lower the lift. Plow through the boxes ahead and then plow through the pig cops after that. Just keep going, plowing through pig cops, until you come to a dead end with a broken forklift at it. Get out and climb onto the broken forklift and over the fence. Keep going, through the dark room and up to the button. Flip it to turn on the power. The room will then be flooded with pig cops of almost every variety, so be ready. Once you finally clear it out, lower the forklift and drive it over to the other button, the one that controls the lift surrounded by posts. Hit that button. The lift stops halfway down, so use the forklift to get up onto it and into the next area. Take the elevator to finish this chapter. | ============== | | | | Generator Room | [W18] | | | ============== | After talking to the other people, keep making your way through the next room, past the electric hazards and the pods. You'll soon come to two pipes being held up by a cable. Use the nearby ladder to get up to a control. Move those pipes so that you can jump on them and get over to the generators. You'll come across some face huggers over here. Use the tentacles to get across this area, then use the tentacle to get up to the walkway. The guy operating the big crane thing will move you across, so get on it and stock up on ammo. You will have to fight off a bunch of jetpacking aliens as the platform moves forward. After a while, the Octoking will show back up, along with some octobrains. There should be a devastator laying on the ground here. Use it and the ammo container to obliterate all of them. Make sure you take out the smaller ones quickly, because dodging all of those energy blasts is a pain. Once the Octoking's health bar hits zero he'll collapse onto the walkway at the back and begin pulling you towards him. Take out his health bar again to finally put him down for good. Get on the walkway when the stairs lower and make your way inside the elevator shaft. Jump into the water after the elevator falls a bit to end this chapter. | =========== | | | | Underground | [W19] | | | =========== | Get out of the water and make your way forward. You'll soon be in a room with three spinning rods. To get past the second one, drop into the pit and you'll find a ladder that lets you out on the other side. The third one requires you to drop into it as well, except there's a turbine in it. Push the big red toolbox into the turbine. Now head into the side passage and push that one in as well. Go back into the side passage and go up. You'll find a third toolbox that you can push down into the turbine. This will stop it. Keep going until you kill some baby octobrains. You can climb the ladder to the right here for a freeze ray. Go up the stairs and enter the air vent to end the first part. If you use the ladder, you can get an AT Captain Laser. Dive down underwater. You can use the air bubbles to refill your air supply. Keep going until you reach a valve. Turn it to the left to open the door. Move through the room with the turbine until you reach another open door. Go through it, but then come back out again and find some bubbles. A load of baby octobrains will come for you, and it's easier to deal with them out here. You'll surface not long after this. You'll come to a some platforms with the spinning rods in the middle. Just drop down here. A rocket destroys the next turbine thing and the lights go out. Flip on Duke Vision and enter the side passage. You'll need to move fast to the left. There's a side passage over here that should offer some relative safety from the enemies in the room, which include at least one pig cop, a bunch of facehuggers, and a hovering fat alien with a rocket launcher. After you take them all out, another pig cop comes in, then an enforcer busts through the exit door. Eliminate them and keep going until this chapter ends. | ============= | | | | The Clarifier | [W20] | | | ============= | You'll face a couple of berserk pig cops. When you reach a room where the exit is blocked by wooden crates, look on the desk for a cigar. Pick it up to boost your ego. Bust through the crates and you'll face some regular pig cops, followed by an enforcer. You'll need to move the yellow thing up to the building ahead, then climb on top of it and drop into that building from the roof. Before you drop into the building, look in the area ahead for a pig cop on a crane. Shoot the barrels next to him to break the crane. Go downstairs and you should notice three garage doors here. Go wander around by garage door 1 until a guy on a lift comes barreling through it, followed by pig cops. Take them out. Now go to the end of the crane in the middle of the room. There's a blue barrel in the holder. Take the blue barrel on the platform right by the holder and stick it in as well. Now get on the lift and drive it around to find the other two blue barrels. One is on some scaffolding, the other is on top of the room you passed through earlier. Raise the lift to reach these barrels, then stick them into the holder at the end of the crane. AT this point, pig cops will come busting through the other two garage doors, along with enforcers. Take them all out and look behind garage door 2 for the last blue barrel. Stick it in, then climb the scaffolding so that you can hop onto the crane arm and use it to get over to the other side. In the next area, you'll need to move into a large room with some facehuggers. There are also pipe bombs being lobbed at you. Use the bounce pad to your right to get up to the walkway where you'll find two octobrains. There are some strung up corpses floating around here if you're low on ammo. Before dropping down to the other side, deal with any insects. Now go over to the right and climb onto the scaffolding. Hop onto the large pipe and use the tentacle to get over to the other one, then use the smaller pipes to enter a ventilation tunnel. At the end, bust open the grate and drop down. Go right and look for a piece of railing that's gone. You can drop down onto a very thing platform directly below you here. Now jump your way across the spools floating in the water. Keep going until you come out onto a broken walkway that begins to fall. Hop onto the red pipes to your left and get on that walkway. Talk to the guy here and pick up the bombs next to him. Now head down the ladder and use the button to move the platform to the left. A bunch of octobrains will stop you, so deal with all of them, then continue moving the platform. Once it stops, move across the walkway and shut off the power. You can now go back and jump in the water. Turn the valve down here to open the doors at the bottom and head on through. | =============== | | | | Blowin' the Dam | [W21] | | | =============== | Move forward and turn the valve when you get to it. Go up a bit and look for an opening you can move through. It's above the yellow pipes with air bubbles on them. You'll have to fight some octobrains in here. You should see three large yellow pipes forming arches. Go under them and plant the first bomb on the circular grating here. Now go to the left of that grating and turn the next valve to allow air to pass through the next pipe. Take out the octobrains that show up and move on, through the large hole in the rock. Keep following the pipe until you reach another valve and more octobrains. There's one last valve to turn, sans octobrains, and then you can plant the bomb on the grating. Excepting the grating flies off and the energy leech comes through it. Yes, you'll have to battle this guy underwater, which means you'll be relying solely on your eyes to let you know what's going on. Grab an RPG and make sure you know where the air bubbles are at. Also note the ammo containers on either side. The leech likes to slam down on you, which is easily avoided by constantly moving. It'll also shoot electric rockets at you from time to time. These too can be avoided by constantly moving. Sometimes it'll try to suck you in towards it, which can be cancelled by hitting it with a rocket. Overall, this boos fight isn't too hard, but it is easy to lose your bearings or forget that you need air. Once you've taken it down, pry open the vagina on it's head and shove a bomb in there. After it's blown up, enter the tunnel it came out of and go up when you reach the end. The second part of this is fairly straightforward: just run! You'll come across a few berserk pig cops along the way, but it's nothing big. After the rock falls onto the bridge (and the guy), use the ladder to get down below, then circle around to the other ladder and make your way back up top on the other side. Go right and crouch down, then drop into the big tunnel. | ============ | | | | Final Battle | [W22] | | | ============ | You'll be fighting the Cycloid Emperor...again. Except this time, it's no video game. Sort of. Anyway, his attacks remain roughly the same. He'll charge at you and shoot rockets and occasionally stomp the ground, which sends a ball of energy your way. However, the only way to get ammo is by killing whatever pig cop happens to be unlucky enough to get dropped off into the middle of this fiasco. They are actually pretty easy to kill though and almost always come equipped with an RPG. After you've taken it's health bar down once and ripped out the hoses, the bar refills. This time, it'll hit the ground twice and send out two balls of energy along the ground. It also shoots out a flare from time to time. Finally, jetpacking aliens have been added to the mix. Continue shooting RPGs and pipe bombs at the thing until it goes down again. Rip the tubing off of the other arm. It'll get back up, and its attacks and movement will generally be faster, though it's still not hard to avoid. The area will start to fill up with other enemies however, so you need to constantly be on the move. You can pretty much ignore them after the EDF drop in ship with ammo containers and a Devastator inside. Just keep your finger on the trigger and your reticule pointed at the emperor and he'll be down in no time. Go over and rip out the tubing behind his head, then piss in his eye socket. When the friendly dropship close to you, go up to it and grab on. This ends the game. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ || || || Technical || [TECH] || || +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Any website may use this guide, as long as it is kept intact and proper credit is given. Contact me at [email protected] if you have any questions about the guide or the game.


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WASHINGTON — As the sun rises in the east, the debt ceiling will be raised. Getting there, however, will be harrowing. Which is a good thing.
Treasury Secretary Tim Geithner warns that failure to raise the limit would be disastrous. In that he is correct. But he is disingenuous when he suggests that we must do so by Aug. 2 or the sky falls.
There is no drop-dead date. There is no overnight default. Debt service amounts to about 6 percent of the federal budget and only about 10 percent of federal revenues. This means that for every $1 of interest payments, there are roughly $9 of revenue the government spends elsewhere.
Move money around — and you've covered the debt service. Cover the debt service — and there is no default. What scares Geithner is not that we won't be able to pay our creditors but that his Treasury won't be able to continue spending the obscene amounts of money (about $120 billion a month) it doesn't have and will (temporarily) be unable to borrow.
Good. The government will (temporarily) be forced to establish priorities. A salutary exercise.
Equally salutary is the air of crisis that will be generated by the fear of default. We shall have a preview of what happens when we hit the real debt ceiling several years from now, i.e., face real default. That's our current fiscal trajectory. Under President Obama's budgets, debt service, now $214 billion a year, climbs to $931 billion in a decade.
The current debt-ceiling showdown, therefore, is an instructive dry run of an actual Greek-like default, which awaits if we don't solve our debt problem.
With one difference, of course. During today's debt-ceiling fight, if the markets start to get jittery, interest rates on U.S. debt spike and the economy begins to teeter, the whole thing can be called off with a push of a button — an act of Congress hiking the debt ceiling. When the real crisis comes, however, there is no button. There is no flight-simulator reset. We default and the economy really does crash.
Which is why the current debt-ceiling showdown is to be welcomed. It creates leverage to force fiscal sanity.
But it can be a dangerous game. Republican demands must therefore be well-crafted. Fortunately, they are. Senate Minority Leader Mitch McConnell is pushing for budget cuts in the next two years. The effect would be real and multiplicative — when you cut the baseline budget, the savings get repeated year after year.
Spending caps are more problematic. They have a baleful history. Experience shows that Congress can padlock the refrigerator door but as long as Congress can still access the key, the gorging never stops.
I would suggest, therefore, enacting spending caps that could be overturned in future years only by supermajority — say, two-thirds of both houses. Now, of course, a future Congress could undo this whole scheme by repealing the caps through legislation that would require only a simple majority in both houses. But as long as Republicans maintain the House, they could block this maneuver. The caps would be essentially unrepealable.
In this spending-cut tug of war, it is of paramount importance to frame your demands in a way that the public sees as reasonable. The side that can command public opinion will prevail — the other side will ultimately cave for fear of being blamed for whatever dislocation occurs. Republicans should not be asking for, say, repeal of Obamacare as the quid pro quo for raising the debt limit. These are bridges much too far for these negotiations.
Which is why House Speaker John Boehner's offer of a dollar-for-dollar deal — raise the debt ceiling to match corresponding spending cuts — is a thing of beauty. It is eminently logical and easy to understand. In a country with a huge 47 percent to 19 percent plurality opposed to raising the debt ceiling, the Boehner offer is difficult for the president to refuse.
After all, it invites Obama to choose how much to cut. For example, $500 billion buys him a $500 billion debt-limit hike — and only a short-term extension. Not wanting to go through this process again, Obama would like a $2 trillion debt-limit hike to get him past Election Day 2012. For that, he'll have to come up with $2 trillion in spending cuts.
It may be blackmail. But it is progress.
Charles Krauthammer is a Washington Post columnist. His email address is email@example.com.
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Jazvić, Marijana, Department of Oncology and Nuclear Medicine, University Hospital Center "Sestre milosrdnice", Zagreb, Croatia
Vol 50, No 1 (2021): Special Issue: Diagnostic and Molecular Pathology Advances - Clinical Science
New Insights into the Diagnosis, Molecular Taxonomy, and Treatment of Bladder Cancer
Abstract PDF
2023 Department of Medical Sciences, Academy of Sciences and Arts of Bosnia and Herzegovina, Sarajevo, Bosnia and Herzegovina. All rights reserved.
The full text of articles published in this journal can be used free of charge for personal and educational purposes while respecting authors and publishers' copyrights. For commercial purposes no part of this journal may be reproduced without the written permission of the publisher.


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Sure, everyone can't stop talking about rooting the Kindle Fire right now. But for those who care more about reading than watching YouTube, here's how to start customising your Kindle Touch.
It might be designed with just words in mind, but that shouldn't stop Kindle Touch users having a little fun hacking their device along the way. And the first step is to jailbreak the device in order to install third-party apps.
Fortunately, developer Yifan Lu has done the hard work for you. He's just released a jailbreak tool that uses a fairly quirky hack: it relies on opening an MP3 file. While Lu was tinkering with the operating system of the Kindle Touch, he realised it relies heavily on HTML for the UI, unlike the predominantly Java-based versions of old.
For now, that makes the Touch much easier to hack. In this case, Lu was able to bury the rooting commands in the ID3 comment tag of an MP3 file. When you open the file, the Jailbreak routine runs – and he's even included a lovely splash screen for you to look at while the hack takes place.
Once it's done, what's it good for? Right now, not a a great deal — though Lu has already written a screen saver mod for you to play around with. Expect to see a slew of apps and tools for the newly rooted Kindles real soon, though. [Yifan Lu via The Digital Reader via The Verge]


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Nearly 17 months after the Great Falls Tribune first uncovered the racist email "joke" former chief Montana U.S. District Judge Richard Cebull sent from his courthouse chambers, many questions about Cebull's conduct remain unanswered.
On Sept. 4, 2013 – after previously declaring the findings of the misconduct investigation and final order "moot" because Cebull retired – the Judicial Council of the 9th Circuit is set to release its July 2 final final order in the matter.
Will this final "final order" cover all of the complaints leveled against Judge Cebull? Will the Judicial Council reveal the findings of its nearly yearlong investigation into Cebull's conduct? Will we ever find out what evidence the special investigative committee uncovered that was so damaging it forced a sitting Article III federal judge off the bench?
The circumstances surrounding the Judicial Council's handling of this highly visible and controversial case thus far has left the Tribune, and even some legal scholars, scratching our heads. But one thing seems clear: the misconduct investigation must have turned up something more serious than a single offensive email or the 9th Circuit Judicial Council wouldn't be going to such great lengths to conceal its findings from the public.
That is why the Tribune has continued to push for sunlight on this important matter. In our view, the public's trust in the federal judiciary is best served by revealing the findings of the investigation.
Recently, at the Tribune's request, attorneys from the Tribune's parent corporation, Gannett, sent a letter to 9th Circuit Chief Judge Kozinski requesting that the March 15 order and memorandum be released to the public.
Barbara Wall, Gannett's vice president and senior associate general counsel, wrote that the circumstances in this case weigh heavily in favor of public disclosure.
"We believe the circumstances in this case weigh heavily in favor of public disclosure. Judge Cebull waived his confidentiality when he publicly requested that the Judicial Council review his conduct, and public interest is certainly high in this controversial case. We therefore believe the public has a right to know the details and outcome of the investigation into Judge Cebull's conduct, and I hope you will agree."
This week the court responded, saying that if no petition for review is filed, then the July 2 order will be made public on Sept. 4.
Herein lies the rub: As far as anyone outside the Judicial Council knows, the July 2 order covers Cebull's self-filed complaint and one other complaint filed by as-yet-unknown person or persons. We know of at least two other complaints, one filed by the Montana Human Rights Network and one filed by Common Cause. However, we know that neither of those complaints are covered by the July 2 order.
The reason that is significant is because it appears the Judicial Council has segregated Cebull's self-filed complaint – which we believe was assigned docket no. 12-90026 – and an unidentified complaint, docket no. 12-90032, from the other known complaints.
The Montana Human Rights Network's complaint, Docket Nos. 12-90031, and Common Cause's complaint, 12-90029, have not been resolved, and no order has been posted on the 9th Circuit's website.
How can the other complainants in this matter have an opportunity to meaningfully participate in the resolution of the misconduct complaint if their complaint is segregated from the Judicial Council's "final order" on the matter?
If only the complainant and the subject of the complaint have an opportunity to appeal the order – and in this case Cebull is both the complainant and the subject – then who has a right to review the order and possibly appeal other than Cebull himself?
Why has the 9th Circuit removed previous press releases and statements regarding the Cebull matter from its website?
Why did the Judicial Council apparently segregate Cebull's self-filed complaint and another complaint and not address the complaint filed by others regarding the exact same set of facts?
Without answers to these questions, we're left to speculate. At this point all signs seem to point to an attempt by the 9th Circuit to withhold the results of its investigation, order and memorandum in an effort to protect Cebull from embarrassment – or worse.
Recently the Montana Human Rights Network wrote to Kozinski requesting that Kozinski provide it with a copy of the special committee report and the orders and memoranda issued thus far.
Wrote MHRN co-director Rachel Carroll Rivas:
"If the decision to exclude us from the present adjudication of the matter was deliberate, we request an explanation as to why our complaint was not consolidated with the other two, and how we can achieve meaningful participation in the outcome."
Rivas then posits five reasonable questions to the chief judge:
- When will our complaint be investigated?
- Why have docket numbers 12-90026 and 12-90032 been given priority over our complaint?
- What purpose is served by allowing these complaints to be resolved before our complaint?
- Will the present adjudication render our complaint moot, because Judge Cebull cannot be disciplined twice for the same conduct?
- If so, how can we achieve any meaningful participation in this process?
We understand that certain special privacy considerations are appropriate when dealing with sensitive misconduct complaints that arise in the federal courts. But we believe this matter supersedes those considerations.
Judge Cebull's actions and the subsequent fallout were of national interest. Individuals and organizations from across the country called for Cebull's resignation, and the judge himself sent a personal letter of apology to the President of the United States. Cebull waived his right to privacy when he publicly disclosed his self-filed complaint. It's time for the 9th Circuit to disclose its findings to the public so the public's trust in the federal judiciary can be restored.
Below is a timeline of events in the Cebull case up to now:
· Feb. 10, 2012: Judge Richard F. Cebull receives an email titled "A Mom's Memory" on his courthouse email account.
· Feb. 20, 2012: Judge Cebull forwards that email to six friends and his personal email address.
· Feb. 29, 2012: As a reporter for the Great Falls Tribune, I receive a copy of the email sent from Cebull's email account and call him to ask him about it. He admits to sending the email and says he did so because he does not like President Obama.
· March 1, 2012: Judge Cebull writes an apology to President Barack Obama.
· March 1, 2012: Judge Cebull writes to 9th Circuit Chief Judge Alex Kozinski requesting an inquiry into his actions to determine whether his actions constitute "misconduct." Cebull waives his confidentiality as to making the request and the existence of any proceedings that ensue.
· March 1, 2012: Cathy A. Catterson, executive of the 9th Circuit U.S. Court of Appeals issues a statement in which she proclaims the Judicial Council of the 9th Circuit "is expected to act expeditiously in investigating and resolving this matter."
· March 1, 2012: Groups begin circulating petitions calling for Cebull's resignation.
· March 5, 2012: The Montana Human Rights Network files an official judicial misconduct complaint with the 9th Circuit Court of Appeals and calls on Cebull to resign.
· March 6, 2012: The ranking Democrat on the House judiciary, Rep. John Conyers, D-Mich. calls for the House Judiciary Committee to hold hearings on Cebull's conduct.
· March 12, 2012: The Montana Human Rights Network sends a letter to Cebull along with a petition signed by more than 2,800 people calling on Cebull to Resign.
· March 23, 2012: 9th Circuit Court of Appeals Chief Judge Alex Kozinski appoints a five-judge judicial committee to investigate Cebull's actions. Judge M. Margaret McKeown assigned to preside over the case.
· October, 2012: Cebull announces he'll take senior status effective March, 15, 2013
· December, 2012: The Special Committee submits its report to the Judicial Council in December 2012.
· March 15, 2013: The Judicial Council issues an order and memorandum. Order not to be released until after the 63-day appeal period
· April 2, 2013: The 9th U.S. Circuit Court of appeals in a statement on its website makes the preceding two facts known to the public and announces Cebull submitted a retirement letter stating his last day would be May 3, 2013. The council states it will have no further comment until the conclusion of the appeal period.
· May 3, 2013: Cebull retires. According to federal law, as an Article III federal district judge he is entitled to continue to collect his $174,000 annual salary until his death.
· May 13, 2013: Four days before the order and memorandum are to become public, Kozinksi issues a statement saying the order stemming from the investigation is "moot" because Cebull retired from active duty. Kozinski says the Judicial Council "now finds it necessary to review the procedural status and will consider the matter" at its June 28 meeting.
· June 28, 2013: The Judicial Council meets to consider the Cebull misconduct complaint.
· July 2, 2013: Kozinski releases another statement indicating that the Judicial Council reviewed misconduct complaints 12-90026 and 12-90032 against Cebull. Judicial Council issues a "final order," which is to be made public on Sept. 4 "if no petition for review is filed before that date." Only Cebull and the complainant associated with docket No. 12-90032 have the right to view the final order and consider it for appeal.