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Phoronix: Tagan BZ 900W
The last time we had looked at a Tagan power supply was last October when exploring the Tagan ITZ 1300W and comparing it to Thermaltake's ToughPower 1200W power supply. While most enthusiasts don't need power supplies in excess of 1,000 Watts, for those that do the ITZ 1300W did perform admirably but its voltage rails did fluctuate some, though it did have the "WOW" factor on its side thanks to the stunning paint job. Since then Tagan released a new power supply, which has a maximum power output of 900W, boasts six +12V rails, and is modular with LED indicators for each cable. This new power supply is the Tagan BZ 900W, and today we are reviewing it at Phoronix.


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Communication and collaboration with Native groups is the foundation of the repatriation process at the National Museum of Natural History. These pages explore the steps in the repatriation process, and provide information about consultation visits, the availability of travel grants, and policies and procedures of the Repatriation Office.
Planning a Consultation Visit
The Repatriation Office would like to help make consultation visits as easy as possible. This section provides information about travel grants, transportation and other tips for planning a visit.
What Happens During a Consultation
Every consultation visit is different according to the needs and interests of the visitors, and we can develop an agenda specific to the needs of the visiting group.
The Repatriation Process
Because repatriation is a multi-step process, Native communities will find it helpful to learn about the different components involved. This section includes information about initiating a request, consultation, collections documentation, and report preparation.
Guidelines and Procedures
The National Museum of Natural History Repatriation Office has developed detailed policy and procedures for the implementation of the National Museum of the American Indian Act.
Repatriation at the National Museum of Natural History Brochure

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The Common Mistakes of Horror Games
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Great tension music design is this: At certain points throughout the game the music style (instruments, tempo, etc.) changes, typically at the start of a new zone/level. The first few instances of the music creating tension should be timed or programmed at a point of action, to introduce the player to the idea that the music is an indicator of threat.
Pretty standard right? Here's the genius: After the first few instances, the music plays semi-randomly so as to generate stress in new areas when no enemies are present, and if timed correctly (based on assumed play speed) the random music playing can sync up with actual encounters, further enforcing the construct that the music plays a role in predicting what's about to happen.
Hard to do? Definitely, but worth it since that's the whole idea of horror games.
Damn did you hit the bullseye with your last comment. Silence is treated as a disease by major Hollywood producers, they feel that since the drama and the plot itself is not captivating enough, to grab (and keep) their audience's attention they have to constantly punctuate the scene with music. To be fair though, sometimes the composition is warranted, as it was in Star Wars and TLotR---but I don't think I would want any musical score distracting me from Faustess' monologue,
His comments about Dead Space were absolutely true, and I even found it as I played.
"Hm. A twisting corridor with plenty of entry points for me to be ambushed. Hey, let me try something."
FEAR had one or two good moments that went off utter surprise. For instance, they put health and ammo down this small alleyway for you to take. When you grab it and turn back, Alma is there. BOO! (vanish)
these mistakes are true about horror games. but horror games ONLY IMO :
Loosely, isn't that what the radio static in Silent Hill does? With Silent Hill, you argued that being told there's a monster without knowing where it is heightens the tension. In principle, there doesn't seem to be any reason why scary music couldn't accomplish the same thing. It'd be a bit less novel, admittedly. And of course it's a metagame reason, so it's less immersive, but the criticism appears to be more about how it warns you than anything else.
Yahtopia also bans "it gets better later" in games, right? I should think so after how many times it's been slammed here (and rightfully so).
If so, I think I want to move there.
What's kind of funny is that I feel like Dead Space did pretty much exactly this. I remember one time when the build up culminates in some spray machinery coming on to water the plants in hydroponics. I remember another scene where you're walking down a hallway, the fans all loudly overload and blow out, signaling something big.... and then nothing at all happens.
What email does Yahtzee take fanmail for Zero/Extra punctuation? I have some stuff that I actually would like to have even a one sided conversation with him about.
Yahtopia? I want to live there. Its the home of the perfect game, where all the characters have engaging, meaningful actions and no scene is wasted on the insipid quick time event of doom!
You'd think there'd be more horror game titles. Horror in videogames is easy. In a film or a book you have to spend time characterizing the hero so the viewers relate when a big hairy monster gives him a purple nurple, but in a game the audience automatically has a stake in the hero's safety. Half the work's been done for you.
I disagree, if anything I'd say you might even have it backwards. When I was reading "Let The Right One In", most of the horror came from when I wasn't turning pages, but when I was thinking about what I'd read. The characterisation in print might require more effort than gaming's "This is Twattycake, he's just like you!" solution, but its in my head, on my mind and is potent.
Whenever I turn on or turn off my console or computer, the experience just flatlines. It is data to return to, whenever, if ever. It can be replayed and despite many games reduced linearity, it all feels predictable.
Few games toy with how we think of the game (The Game) creatively - MGS3 had "The End" and the possiblity of killing him by simply not paying attention (playing attentively?), and Lose/Lose had the (blasphemous!) idea of turning fictious entertainment horror into potentially deleting-a-system-file-and-now-my-hardware-needs-reformating. And the original Tamagotchis had mortality (arguably an all time high point for video game horror, if they weren't so cheap and ultimately a fad).
But I can't think of any else really. What else is there? Getting a WoW account hacked and losing FRIENDS contacts in real life because of it? Otherwise the horror is nicely contained indefinitely, miles from my psyche. I've never had a nightmare from playing a horror game, and thats perhaps the real acid test, and real disappointment.
Without a real sense of consequence or loss, all horror games are just simulations. Who screams in terror instead of frustration when playing a flight sim game and you blow the landing? Horror needs to make the gamers would feel like the sky is actually falling, and there is real reason to panic. Otherwise it will always be limited to Disney horror - like Bambi - instead of real nightmare fuel, like the infamous War of The Worlds radio broadcasts.
I'd love to hear anyone else's thoughts on this. :)
I think "action music" could work in a horror game if they used it more like it's actually used in a horror movie and not like, say, radio static in a Silent Hill game: when something scary happens- like a monster attacking- or when something startling happens, like a cat jumping out or a sillouette of a tree looking like a man with an axe just to the side of your frame of vision. When "scary" music is playing while one of a hundred second-banana monsters tries to figure out how to get around a knee-high fence to maul you, it stops being scary pretty damn quickly. The music stops being mood-setting and starts being an annoyance, like a nagging parent reminding you there's one more thing you have to do...
I kind've liked Dead Space, but I soon realized that any time I saw a more-or-less intact human corpse that I didn't create or see killed, a monster was somehow going to spring out of it. So I started dismembering every body I saw from a distance. And then I'd approach and the pre-scripted "sting" would play anyway- which was highly amusing.
As far as horror games go, it needs to be said that the established framework of electronic games doesn't really make identifying with the protaganist in a way that makes you fear for his/her life easy. The most grotesque abomination the graphics designer can envision can't do much more than cost the player some health kits, or a life, or a few minutes of reloading and retracing. The best horror games threaten the protaganist (of course), but the really effective ones are the ones that don't make the overall menace something that will go down if you just have enough bullets and med-kits. Some of the Silent Hill games get this: no matter how many zombies you kill, the evil that is Silent Hill is still laughing at you; there's some suggestion in SH2 that even in the "happy" endings, you're never really able to leave the ghastly place. Eternal Darkness was infamous for messing with the head of the player at least as much as the protaganists. And then, as I've mentioned, there's the moment in the original Alone In The Dark where you discover what happens if you bump into one of the ghosts...
I would never say that horror in gaming is easy. It's a popular genre in other media; if it were easy to convey horror in games, more people would be doing it.
I don't think that I'd enjoy living in a Yahtopia... I see images of HL2, just all the City Patrol officers would be replaced by black trolls...
You sir, have obviously never danced on a table in your underwear, kicking food around, while NPCs talk about how the high elves are getting uppity.
To the others that complained about the music in Oblivion: turn it OFF. The music in that game is not worth the loss of suspense.
Now speaking of music, the change-ups in games are bad because they don't change. I haven't played Alan Wake but I doubt he shoots any cats, sadly. In the beginning of Friday the 13th Part 2 (80's spoiler alert) a cat jumps through a window (kinda looks like someone just threw it actually) and the protagonist from the first movie gets scared. The music is calm as she goes to the fridge to get some milk but BAM! Mrs. Voorhes head is in the fridge then BAM! Jason kills her. The "scary music" in video games only heralds true danger which is why it fails. Oddly when I played Red Dead Redemption I shot at every critter cuz I thought it was a wolf going for my horse. Horror games need some of that.
Slow motion? Yeah, I agree. Isn't that why Matrix was a great movie but the Matrix trilogy was a failure?
Cutscenes? Someone who didn't understand proper paragraph structure already mentioned your dislike of friendly mortar fire. So I won't discuss that but I have to agree with him.
Sometimes developers expect gamers to understand what they want. I spent a lot of time in my youth playing point and click games (some as an adult *cough*) humping lampposts until I figured out that my common sense didn't match with the developers. Again I haven't played AW, but is there a dark manhole I would be expected to run to that I might not see given that I'm supposed to be humping light in the game? A dark manhole that's barely visible?
"Or at least, they should never contain action being performed by the playable character which we could have done ourselves within gameplay."
--barring completely ineffectual things like laying down suppressing fire so you actually have the time to talk, I'd say.
But then, RPGs with space-time continuum altering conversations are just silly. "Gee, sure is fifty minotaur in here. I'm gonna talk to this guy for fifteen minutes while they all patiently stand in place."
Perhaps it's just the relative quality of the material or how it speaks to you. I see no particular reason why a game *can't* capture the imagination in that way. Perhaps most just don't measure up for you.
Few games.... and no books. Personally, I'm not a fan of this sort of thing. When a game scares me, the fear doesn't come from the threat of having to replay a lot of content to get back to where I was. Even lose/lose is more akin to a game of Russian Roulette than proper horror. Sure, there's fear and excitement in such a game, but it's not horror. It's gambling. Might as well call a blackjack table at a casino a horror game.
Basically, I don't want 4th wall breaking threats in a game. I want threats in the context of the game world.
So, if you were to add a real sense of consequence, like the flight sim game would corrupt itself and require a lengthy reinstall, that would make it a horror game? Crashing your plane would cause you to scream in terror rather than frustration? Surely that isn't the key to horror.
That's.... weird. My experience with the game was that there were human corpses, which could be converted by those bat-like necromorphs, and there were necromorphs merely playing dead. Either way, the sting will happen when an actual creature jumps to life. If you shoot a necromorph that's playing dead, it will spring up right away. If you shoot a human corpse, it has no impact. The corpses don't do anything on their own without one of the bat-like things to infect them, and if there's an orchestral sting, it happens when the infector appears.
I did the same thing, though. Only, I didn't shoot them from a distance. I used kinesis to pull them to me and then stomped them in order to save ammo. Actually, for that matter, here's a protip. If you're not sure if a necromorph is really dead or just playing dead, try kinesis on it. Kinesis will only pick up inanimate objects. So if it fails to pull the corpse, the necromorph is still alive.
Argghhh, I totally agree on the music cues thing... It serves no positive purpose in horror games. Although the first thing I did in Dead Space was turn off the music and I suspect the game was a lot better for it.
I have a thought; Have no music in a horror game at all. Just the standard talking and effects. Give no auditory ques as to when the animal headed snake mutant will burst through the floor. When the music starts up, its just as obvious as a little man holding up a sign reading "Be prepared for something scary to happen!"
Same problems as me, I died at least 5 times a chapter on normal... my deaths however stemmed from falling off things...
Also I would like to elope to Yahtopia.
I'm not really sure whether these music-spoilers take away from your suspension. I was always pretty scared when I heard the necromorphs screaming and the music tightening also it did prepare me for some upcoming action. And to be honest there must be some more intensive music playing while you're battling ugly necromorphs it's just the question when it should start.
However I can't seem to like the idea of running around the Ishimura and being suddenly attacked by necromorphs without any previous sign. That would feel a bit like trial and error.
The man is the arbiter of truth in this thread. Hoist his Creepiness back onto a pedestal and worship him. But just don't look away from his magnificent gaze.
OT: In any case, yeah. I prefer to characterise horror into three different catagories; Japanese, British and American. Japanese is epitomized by Silent Hill 2; nerve-shredding tension, little to no music beyond the white noise of the radio, and deliberatly retarded controls. British is often darkly-humoured, gritty, balls-to-the-wall with often very realistic killers/forces. And American is basically summed up in "chainsaw, screaming and a lot of tomato ketchup."
Since many people aren't fond of horror-whether they can't stand the scares, the tension or simply the characterisation- most games are indie made, which is a shame because many get ignored or (in Silent Hills case) badly treated.
I remember playing the new AvP the other day and a violin 'sting' went off for no reason. It's the same sting used in the films to represent an alien appearing suddenly and it played for absolutely no reason. I jumped of course, it was loud, but I started thinking. Loud music isn't scary any more than paying someone to yell "Boo!" randomly at you is scary. Scary was the xenomorph crawling out of Cain, scary was the scene with the chains in the cargo hold, scary was the films. The game is jumpy, not scary.
This actually gave me an interesting idea for an experiment; I'm playing through Dead Space again with the music turned all the way down to see if it's any scarier that way. After all, some of the most harrowing parts of that game were when you're in vacuum and you can't hear the enemies coming. So far, results are inconclusive, but it is cool being able to hear all the creepy background noise a little more clearly.
The question then remains why have a single linear narrative in a horror videogame?
Your character must survive under such a model. This is self-defeating.
Surely a better approach would be a pile of discrete Goldeneye style levels most with a different lead character all central around the one plot. Getting to a certain point in the level alive would unlock the next one. Sometimes getting further would unlock another. No save points, just unlocks. Whilst most levels could be escaped alive conceivably, in most, after a certain point it'd be damned well optional. No character is sacred, all could die. And the story is never explicit, instead, clues and hints are given throughout ala Half Life 2, with extra clues for those that survive past the game-progression essential parts. Have (tastefully implimented) high scores for each stage if needbe - minutes spent not-dead, metres ran away from Monster X before it tore your spine out through your shitter etc etc. Extra stages that unlock by max-min-ing the sum total of these scores. Nothing says tension and fear like the fear of losing your chance as a shiny new highscore or potential tiny bit of story related info. I swear, the end of that 10 minute long Control stage in Goldeneye is, despite not being a horror genre game, one of the tensest moments in gaming, period. Because there are no instant save points, the game has established it won't take a cheap shot at you and mostly because you have something to lose.
I don't know, if you turn the music off in Oblivion, you're hearing only the sound effects and monster noises, which is actually I've found more engaging than having the music -have- to come on before you realise something is amiss. You're still prepared, but this way, you don't get the music popping up, the enemy getting stuck on a log over the next hill and you wondering why the hell the fight music is playing when there's no enemies around.
Unfortunately, it only kept the real tension at the beginning of the game, when you were defenceless. And, despite some interesting boss battles, like with Dagon and the Shoggoth, the rest of the game was rather all over the place. I know I certainly didn't feel like there was much of a plot after you'd completed your initial investigation of the town. Still, it looked very nice, even if some of the later sections felt tacked on. Some of the best fun I've had been chased by an angry mob and an invisible whatsit though!
I agree with having the player be in control more, nothing promotes this more than half life, yes you may miss a nice set piece or something but these are the things you pick up on in multiple play throughs.
I wonder if Yahtzee's played the Penumbra series, they seem the kind of game he'd enjoy - I certainly did (except Requiem).
Hm, and Amnesia's out soon, I hope he reviews that.
I think in horror games they should take a minimalist attitude to the score. See in a movie that works all fine and well, setting up tension and such. In a game it's used as a warning indicator... which kills the scare out of it. I shouldn't be warned that there's a monster near by, that make me more alert and I'm expecting the monster. The music should be cut down so I'm mostly hearing ambience of the setting. That creepy silence mixed with the sound of the wind slamming doors shut, floor boards creeping and twigs snapping would make the scares unexpected, adding to immersion and the scream factor when you turn a corner and find your self greeted by an axe wielding maniac or a monster that has a face like your mums vagina.
As for the slow down part... that shouldn't even be there at all. Focusing on the monster takes away the scare, sort of like putting a neon sign at the top of it's head and a name underneath. That's what they do in comedies and parodies... not in horrors, it's not scary and it belongs in the action genre not the horror.
I agree with Shalebridge. That level was the stand out in Thief III by a long mile. However a whole game with those things might have been a bit much from a game design perspective. I would love to see it used more often though.
In general I would love to see another Thief game.
That was a good article! It wa sone of those rare cases where his article is better than his video. The Alan Wake review was funny but pointless. I felt it didn't say enough of the game's real problems, but with this article he explains it all the better.
So I will asume that everything else he doesn't mention is perfectly fine, including characters, story, length and any other technical aspect.
I could not agree more with this article! Especially the point about cutscenes. I think it's really boring watching my character do a bunch of fun and exciting things on his or her own in a cutscene, and it only serves to separate me from the character. Worst of all, though, is the cutscene where the character does things that are cooler than the things you're allowed to do in the game. It feels like the game is one-upping you, saying "Hey, good job! You defeated my little lackeys! But I'm still much, much better than you--check this!!" and then doing something matrix-y.
As far as horror games go, I personally think that horror works better as an element in a game rather than the entire game. Horror levels are good, because you can play through them from start to finish in one sitting, which is crucial to establish a good atmosphere. If it's an entire game, being able to stop and come back later undermines this. Also, it's hard to be scared for 10's of hours straight.
But the biggest problem with horror games--and horror movies suffer just as much from this--is that calling it a horror game means you go into it expecting to be scared. You play the game differently then you would play a non-horror game, and can brace yourself against it. This is why I think the Thief games are much scarier than Resident Evil 4, even though they're not dedicated horror games. I got numb to the RE4 zombies after about an hour of gameplay, for the rest of game found them vaguely amusing. But the zombies in Thief made me shake like a leaf in a hurricane because they represent a strong deviation from normality. The game establishes the world as one thing and lets you start to depend on that. But then it yanks the carpet out from underneath you and lets you feel just how frightening and Wrong a zombie is. You feel them as an aberration, an abomination. But in RE4 you get used to them--it would be a deviation from normality to NOT fight zombies.
Horror often comes from establishing a baseline and then forcing the player/viewer away from that baseline, leaving them feeling scared, lost, and vulnerable. The problem is that horror games and movies often establish scary as their baseline, which is self-defeating.
While they did do this a number of times, I thought the actual slow motion zoom out was fun. Especially because (and few noticed it) it was interactive. You could actually move around and stuff during the slow motion to prepare you.
On all the other stuff, I agree. The queued music was a giveaway and made it easier to not cringe and cower in fear.
ADDENDUM: There is something to be said for the impact of a good character intro, even when it's of a Player Character. So the amendment to this rule would be:
...Unless the player can keep on doing stuff just as good.
Nice article, but I disagree with some of your points. Especially the point about developing horror games being easy. It's probably one of the harder genres of games to develop, hence the abundance of crappy horror games. A lot of things you pointed out may make sense on paper, but when it comes to implementing them in game they probably don't work out very well.
Seen Prince of Persia yet?
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Saturday, March 03, 2012
Naughty Neighbors on Google Maps
The people of Philadelphia really do make for poor neighbors. At least that seems to be the only conclusion that can be drawn from councilman Bobby Henon's Google Map of properties cited for rental violations, L&I violations, or delinquent on property taxes.
The Bad Neighbor Map is councilman Bobby Henon's map of violations in the 6th district. It would probably have been easier to have mapped the properties without violations. The 6th district is obviously inhabited by some very, very naughty people.
Posted by Keir Clarke at 6:08 AM
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Vintage Dark Purple and Tan Bridal Garter Set
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Cost Center Accounting
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Level:Basic Processes & Foundation
- Gain an overview of the design and structure of cost element and cost center accounting
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Air India AIN.UL has scrapped plans to sell some of its Boeing 777 planes after the national carrier failed to find a buyer, a senior government source said.
Air India will now reconfigure some 777 planes to all-economy class and fly them to the Gulf region, which is expected to cut losses for the carrier, the source with direct knowledge of the matter, told reporters.
The debt-crippled carrier, which has been under pressure to trim costs and is alive today thanks to the $5.8 billion taxpayers' bailout, had offered to sale five 777 planes last month.
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Capecitabine or Observation After Surgery in Treating Patients With Biliary Tract Cancer
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00363584
Recruitment Status : Completed
First Posted : August 15, 2006
Last Update Posted : August 26, 2013
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RATIONALE: Drugs used in chemotherapy, such as capecitabine, work in different ways to stop the growth of tumor cells, either by killing the cells or by stopping them from dividing. Giving capecitabine after surgery may kill any tumor cells that remain after surgery. Sometimes, after surgery, the tumor may not need more treatment until it progresses. In this case, observation may be sufficient. It is not yet known whether capecitabine is more effective than observation in treating biliary tract cancer.
PURPOSE: This randomized phase III trial is studying capecitabine to see how well it works compared with observation in treating patients with biliary tract cancer.
|Condition or disease
|Extrahepatic Bile Duct Cancer Gallbladder Cancer Liver Cancer
|Drug: capecitabine Other: clinical observation Procedure: adjuvant therapy
|Phase 3
- To determine whether adjuvant chemotherapy with capecitabine has any effect on 2-year survival compared to expectant treatment alone (observation) in patients who have undergone a macroscopically complete surgical resection of a biliary tract cancer.
- To compare capecitabine versus observation in terms of 5-year survival, relapse-free survival, toxicity, quality of life, and health economics.
OUTLINE: This is a multicenter, prospective, randomized study. Patients are stratified according to surgical center, disease site (hilar/extrahepatic cholangiocarcinoma vs intrahepatic cholangiocarcinoma vs gallbladder vs intrapancreatic/common bile duct), type of resection (R0 vs R1), and ECOG performance status (0 vs 1 vs 2). Patients are randomized to 1 of 2 treatment arms.
- Arm I: Patients receive oral capecitabine twice a day on days 1-14. Treatment repeats every 3 weeks for 8 courses in the absence of disease progression or unacceptable toxicity.
- Arm II: Patients undergo expectant treatment (observation). Quality of life is assessed at baseline, every 3 months for 1 year, and then every 6 months for 1 year.
All patients are followed for up to 5 years post-randomization.
Peer Reviewed and Funded or Endorsed by Cancer Research UK
PROJECTED ACCRUAL: A total of 360 patients will be accrued for this study.
|Study Type :
|Interventional (Clinical Trial)
|Estimated Enrollment :
|360 participants
|Primary Purpose:
|Official Title:
|A Randomised Clinical Trial Evaluating Adjuvant Chemotherapy With Capecitabine Compared to Expectant Treatment Alone (Observation) Following Surgery for Biliary Tract Cancer
|Study Start Date :
|March 2006
|Actual Primary Completion Date :
|August 2013
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- Health economics
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Histologically confirmed biliary tract cancer (including intrahepatic or extrahepatic/hilar cholangiocarcinoma or muscle invasive gallbladder cancer or cancer of the distal bile duct)
- Must have undergone a radical surgical approach which includes liver resection, pancreatic resection, or less commonly both
- Patients with pathological evidence of microscopic involvement of the margins of the excised specimen are eligible as long as resection is macroscopically complete
- Must be able to start treatment within 12 weeks of surgery
- No pancreatic or periampullary cancer
- No mucosal gallbladder cancer
- ECOG performance status 0-2
- Urea < 1.5 times upper limit of normal (ULN)
- Creatinine < 1.5 times ULN
- Glomerular filtration rate ≥ 60 mL/min (if < 60 mL/min, adequate renal function for capecitabine must be confirmed by isotope EDTA)
- Hemoglobin ≥ 10 g/dL
- WBC ≥ 3,000/mm³
- Absolute neutrophil count ≥ 1,500/mm³
- Platelet count ≥ 100,000/mm³
- Bilirubin ≤ 3 times ULN
- ALT and AST ≤ 5 times ULN
- Adequate surgical biliary drainage with no evidence of infection
- Not pregnant or nursing
- Negative pregnancy test for women of childbearing age and childbearing potential
- Fertile patients must use effective contraception during study treatment and for at least 3 months after study treatment has ended
- Must provide written informed consent
- No history of other malignant diseases within the past 5 years other than adequately treated nonmelanoma skin cancer or in situ carcinoma of the uterine cervix
- No serious co-existing medical condition likely to interfere with protocol treatment, including a potential serious infection
- No evidence of significant clinical disorder or laboratory finding that makes it undesirable for the patient to participate in the trial
- No psychological, familial, sociological, or geographical factors considered likely to preclude study compliance
- No other serious uncontrolled medical conditions
- No unresolved biliary tree obstruction
- See Disease Characteristics
- Completely recovered from prior surgery
- No use of other investigational agents within 28 days prior to and during study treatment
- No prior chemotherapy or radiotherapy for biliary tract cancer
- No other concurrent anticancer chemotherapy, radiotherapy, or investigational agent
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00363584
|United Kingdom
|Basildon University Hospital
|Basildon, England, United Kingdom, SS16 5NL
|Basingstoke and North Hampshire NHS Foundation Trust
|Basingstoke, England, United Kingdom, RG24 9NA
|Cancer Research UK Clinical Trials Unit - Birmingham
|Birmingham, England, United Kingdom, B15 2TT
|Royal Bournemouth Hospital
|Bournemouth, England, United Kingdom, BH7 7DW
|Bristol Haematology and Oncology Centre
|Bristol, England, United Kingdom, BS2 8ED
|Addenbrooke's Hospital
|Cambridge, England, United Kingdom, CB2 2QQ
|Walsgrave Hospital
|Coventry, England, United Kingdom, CV2 2DX
|Princess Alexandra Hospital
|Essex, England, United Kingdom, CM20 1QX
|St. Luke's Cancer Centre at Royal Surrey County Hospital
|Guildford, England, United Kingdom, GU2 7XX
|Calderdale Royal Hospital
|Halifax, England, United Kingdom, HX3 0PW
|Huddersfield Royal Infirmary
|Huddersfield, West Yorks, England, United Kingdom, HD3 3EA
|Cancer Research UK Clinical Centre at St. James's University Hospital
|Leeds, England, United Kingdom, LS16 6QB
|Leicester Royal Infirmary
|Leicester, England, United Kingdom, LE1 5WW
|Leicester General Hospital
|Leicester, England, United Kingdom, LE5 4PW
|Royal Liverpool University Hospital
|Liverpool, England, United Kingdom, L7 8XP
|Aintree University Hospital
|Liverpool, England, United Kingdom, L9 7AL
|Saint Bartholomew's Hospital
|London, England, United Kingdom, EC1A 7BE
|Helen Rollason Cancer Care Centre at North Middlesex Hospital
|London, England, United Kingdom, N18 1QX
|UCL Cancer Institute
|London, England, United Kingdom, NW3 2QG
|St. Thomas' Hospital
|London, England, United Kingdom, SE1 7EH
|King's College Hospital
|London, England, United Kingdom, SE5 9RS
|Royal Marsden - London
|London, England, United Kingdom, SW3 6JJ
|Hammersmith Hospital
|London, England, United Kingdom, W12 OHS
|University College of London Hospitals
|London, England, United Kingdom, WIT 3AA
|Maidstone Hospital
|Maidstone, England, United Kingdom, ME16 9QQ
|Christie Hospital
|Manchester, England, United Kingdom, M20 4BX
|North Manchester General Hospital - Penine Actute Hospitals Trust
|Manchester, England, United Kingdom, M8 6RB
|Clatterbridge Centre for Oncology
|Merseyside, England, United Kingdom, CH63 4JY
|Northern Centre for Cancer Treatment at Newcastle General Hospital
|Newcastle-Upon-Tyne, England, United Kingdom, NE4 6BE
|Freeman Hospital
|Newcastle-Upon-Tyne, England, United Kingdom, NE7 7DN
|St. Mary's Hospital
|Newport, England, United Kingdom, PO30 5TG
|Nottingham City Hospital
|Nottingham, England, United Kingdom, NG5 1PB
|Derriford Hospital
|Plymouth, England, United Kingdom, PL6 8DH
|Portsmouth Oncology Centre at Saint Mary's Hospital
|Portsmouth Hants, England, United Kingdom, PO3 6AD
|Alexandra Healthcare NHS
|Redditch, Worcestershire, England, United Kingdom, B98 7UB
|Salisbury District Hospital
|Salisbury, England, United Kingdom, SP2 8BJ
|Cancer Research Centre at Weston Park Hospital
|Sheffield, England, United Kingdom, S1O 2SJ
|Southampton General Hospital
|Southampton, England, United Kingdom, SO16 6YD
|Royal Marsden - Surrey
|Sutton, England, United Kingdom, SM2 5PT
|Southend University Hospital NHS Foundation Trust
|Westcliff-On-Sea, England, United Kingdom, SS0 0RY
|Yeovil District Hospital
|Yeovil, England, United Kingdom, BA21 4AT
|Ninewells Hospital
|Dundee, Scotland, United Kingdom, DD1 9SY
|Edinburgh Cancer Centre at Western General Hospital
|Edinburgh, Scotland, United Kingdom, EH4 2XU
|Beatson West of Scotland Cancer Centre
|Glasgow, Scotland, United Kingdom, G12 0YN
|Perth Royal Infirmary
|Perth, Scotland, United Kingdom, PH1 1NX
|Velindre Cancer Center at Velindre Hospital
|Cardiff, Wales, United Kingdom, CF14 2TL
|Clive Stubbs
|Cancer Research Campaign Clinical Trials Centre
|ClinicalTrials.gov Identifier:
|NCT00363584 History of Changes
|Other Study ID Numbers:
|First Posted:
|August 15, 2006 Key Record Dates
|Last Update Posted:
|August 26, 2013
|Last Verified:
|October 2011
localized resectable adult primary liver cancer
cholangiocarcinoma of the extrahepatic bile duct
cholangiocarcinoma of the gallbladder
adenocarcinoma of the gallbladder
adenocarcinoma with squamous metaplasia of the gallbladder
anaplastic carcinoma of the gallbladder
localized gallbladder cancer
localized extrahepatic bile duct cancer
squamous cell carcinoma of the gallbladder
adult primary cholangiocellular carcinoma
Liver Neoplasms
Biliary Tract Neoplasms
Gallbladder Neoplasms
Bile Duct Neoplasms
Digestive System Neoplasms
Neoplasms by Site
Digestive System Diseases
Liver Diseases
Biliary Tract Diseases
Gallbladder Diseases
Bile Duct Diseases
Neoplasms, Glandular and Epithelial
Neoplasms by Histologic Type
Antimetabolites, Antineoplastic
Molecular Mechanisms of Pharmacological Action
Antineoplastic Agents


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I am firmly convinced that there is far more scientific evidence supporting a recent, six-day creation and global Flood than there is an old earth and evolution.
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By Richard Clarke
Arsenal are through to the Carling Cup fourth round after edging past Rotherham 9-8 on penalties on a night of broken records and high drama at Highbury.
Jeremie Aliadiere's 11th minute goal looked for so long like dividing the sides. The 20-year-old French striker finished off a flowing four-man move to give Arsène Wenger's much-changed, youthful side the early advantage.
The visitors had their moments but Arsenal, and particularly the impressive Aliadiere, should have had added to their lead before the end of normal time.
They were made to pay when, just as injury time began, Darren Byfield popped up to power home a close-range header.
In the first half of extra time, Rotherham had keeper Mike Pollitt sent off when he handled a goal-bound flick from Arsenal substitute Quincy Owusu-Abeyie outside his area.
Substitute keeper Gary Montgomery saved the first spot kick from Sylvain Wiltord and both sides went through an entire team of penalty-takers, including both No 1s, before the Frenchman beat the former Coventry stopper to send Arsenal through at just gone 10.30pm.
The healthy crowd of 27,000 had more than got their money's worth from their discounted tickets.
History was made before the game had even kicked off. Wenger started with Spanish wonderkid Francesc Fabregas, who at 16 years 177 days, became the youngest player ever to represent Arsenal in a first-team game. That broke the record of Jermaine Pennant, who made his debut age 16 years 319 in the same competition nearly four years ago.
He slotted into central midfield alongside Kanu. The other full first-team debutants were Gael Clichy at left back, Jerome Thomas on the left side of midfield, Justin Hoyte at right back and Graham Stack in goal.
But there was smattering of experience in the shape of Pascal Cygan, Edu, Kanu and Wiltord.
However it was Rotherham's Carl Robinson who had the first chance by forcing Stack into a low save in the seventh minute. Wiltord replied immediately with a forceful run through the centre culminating in drive that forced Pollitt into action.
However he was picking the ball out of the net in the 11th minute when Aliadiere stroked home a shot from close range. Clichy's pacy pass into the area was cleverly collected by Wiltord, who opened the angle to fed Kanu on the edge of the six yard box. He spread the ball across the face to goal to the young Frenchman who had a simple job of slotting in his second goal for the senior side.
And on an historic night, it worth noting it was Arsenal's 700th goal since Wenger took the reins in September 1996.
Only a sharp save from Stack preserved the lead five minutes later. Paul Hurst crossed from the left, Byfield met it at the near post and diverted the ball towards the far post. Stack slid to his right to scoop the ball behind.
With a goal advantage, Aliadiere and Wiltord started to show their skills. The former's pace and the latter's vision and trickery stretched the Rotherham defence.
As for Fabregas, he showed a commendable appreciation of the situation. If the simple pass was there he played it, if he could beat his marker without putting pressure on his side, he tried it. It was a mature approach from one so young.
Rotherham rallied with Paul Warne looking effectively on the left but centre backs Cygan and Stathis Tavlaridis mopped up anything that came into the area.
Edu cracked a shot just wide five minutes before the break but Byfield spurned Rotherham's best chance of the half seconds later. Stack came out and blocked the former Walsall striker's shot with his legs.
As the minutes ticked away in the first half, Hoyte hacked over, Wiltord was denied by Martin McIntosh's excellent sliding tackle and Aliadiere nodded the resulting corner in the arms of Pollitt.
Within 40 seconds of the restart, Aliadiere had raced through the Rotherham defence and beaten the keeper. However his shot drifted inches wide of the post.
Rotherham were quick to respond once more. Byfield narrowly missed Chris Sedgwick's cross after Shaun Barker had taken a quick free-kick on the right.
For five minutes the Arsenal defence were at sixes and sevens. Or perhaps 56s and 57s given the squad numbers the home side were using on this night.
They shook themselves out of the pressure through the surging pace of Hoyte and Clichy, surely the quickest full backs to play in tandem for Arsenal.
But this was a cup tie and Rotherham had to gamble. They pushed forward with Byfield prominent. He outpaced Cygan to plant a shot wide.
Surrounding those chances, Aliadiere nearly profited from Wiltord's scooped pass and Fabregas fired wide from distance.
With 17 minutes left, Wenger brought on another 16-year-old, Ryan Smith, for Thomas. He then took off Fabregas for another exciting youngster - pacy Dutch striker Quincy Owusu-Abeyie.
Edu nearly celebrated the change with by scoring a 35-yard free-kick however his left-foot shot drifted wide of Pollitt's left-hand post.
The fourth official had just indicated two minutes of injury time when Stuart Talbot's put Sedgwick clear on the right. His cross was met by Byfield five yards out. He stooped to power home his header from close range.
Aliadiere might have put Arsenal back in front just as extra time began but he tried to feed Wiltord when he should have gone for goal.
Robinson was carried off a few minutes later and replaced by John Mullin. Then, after Clichy had fired wide, Rotherham were reduced to 10 men when keeper Pollitt was sent off after he rushed out of his area to paw away Owusu-Abeyie's goal-bound chip. Manager Ronnie Moore immediately brought on substitute keeper Montgomery at the expense of the unlucky Sedgwick.
Wiltord had a goal disallowed for offside at the start of the second period of extra-time. Then Edu's free-kick was tipped over by the new keeper. But, in the end, it went down to penalties.
Chris Swailes scored first for Rotherham then Wiltord's opening effort was saved. McIntosh and Edu both scored but Mullins missed allowing Aliadiere to level matters at 2-2. Julian Baudet and Cygan both notched then Byfield hit the bar. Owusu-Abeyie therefore the chance to win it in the final kick of the five but he hit it down the middle and the toes of Montgomery's foot were enough to block.
We were now into sudden death. Paul Hurst and Kanu, Paul Warne and John Spicer, Shaun Barker and Smith, Richie Barker and Gael Clichy then finally Stack and Montgomery all scored.
Swailes' second kick was saved by Stack leaving Wiltord the glory of slotting home the winning penalty. He did it with glee.
Penalty shoot-out
Wiltord saved 1-0
McIntosh scored 2-0
Edu scored 2-1
Mullin hit post 2-1
Aliadiere scored 2-2
Baudet scored 3-2
Cygan scored 3-3
Byfield hit bar 3-3
Owusu-Abeyie saved 3-3
Hurst scored 4-3
Kanu scored 4-4
Warne scored 5-4
Spicer scored 5-5
S. Barker scored 6-5
Smith scored 6-6
R. Barker scored 7-6
Clichy scored 7-7
Montgomery (GK) scored 8-7
Stack (GK) scored 8-8
Swailes saved 8-8
Wiltord scored 8-9
Give us your views on our enhanced match coverage
Copyright 2014 The Arsenal Football Club plc. Permission to use quotations from this article is granted subject to appropriate credit being given to www.arsenal.com as the source
25 May 2004
Paul Warne shields from Cesc Fabregas Kanu holds off Shaun Barker Aliadiere shoots.. ..and scores our 11th minute opener Justin Hoyte gets a cross in Stack prepares for penalties Sylvain Wiltord fires home the winning penalty Stack and Wiltord celebrate Stack celebrates after our spot-kick triumph
BUY THIS PICTURE The scoreboard says it all


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Publication Archive
This archive contains all documents published by cep over the last few years:
cepAdhoc: Incisive comment on current EU policy issues.
cepPolicyBrief: Concise 4-page reviews of EU proposals (Regulations, Directives, Green Papers, White Papers, Communications) – including a brief summary and economic and legal assessments.
cepInput: Impulse to current discussions of EU policies.
cepStudy: Comprehensive examination of EU policy proposals affecting the economy.
The amendments mainly focus on two areas. Firstly, the introduction of the European Professional Card validating the professional qualifications of an employee at the European level. Secondly, the existing common platforms are to be replaced by "common training principles for professions which are regulated in at least two thirds of the Member States and which are not subject to minimum training requirements. For such professions common training principles and exams are to be introduced. Trainees having passed such exams are automatically authorised to pursue the tested profession in every Member State.
The Commission intends to intensify the surveillance of national EU budget policy and to develop the deficit procedure. Moreover, euro states are to be obliged to transpose European budget requirements stipulated under the Stability and Growth Pact into national law. Moreover, national budgets must be based on independent macroeconomic forecasts in future.
The EU Heads of State and Government (apart from Great Britain and the Czech Republic) entered into an agreement to improve the budgetary discipline of the Contracting Parties. The Contracting Parties undertake to transpose a debt brake into their national legal systems and to facilitate the imposition of sanctions in the deficit procedure.
In order to keep global warming below 2°C, in comparison with 1990, the EU wishes to reduce greenhouse gas emissions by 20% by 2020 and by 80 to 95% by 2050. A major part of greenhouse gas emissions which can be influenced is created by the energy sector. The Energy Roadmap 2050 presents scenarios illustrating how modernisation can help contribute to the energy system of long-term EU climate protection targets.
Where the demand for landing and takeoff slots exceeds airport capacity, slots are allocated in line with standard procedures. Now the Commission wishes to change these slot allocation rules in order to improve the efficient use of airport capacities.
The Regulation of mobile termination rates has become the arena of a power struggle between the EU-Commission and some Member States. The Commission insists that national regulators should apply the "pure-LRIC"-costing model.
On the one hand, the Commission wishes conduct enhanced surveillance of euro countries, which might need to request financial assistance in future. On the other hand, the Commission wishes to see the tasks assigned by the bail-out package enshrined in secondary EU legislation.
The Commission wishes to to enhance the efficiency and overall quality of groundhandling services at EU airports. To this end, the market to groundhandling services is to be further opened up, in particular at large airports where at least one additional supplier is to be admitted.
The wishes to limit the term of the contracts entered into by credit rating agencies and issuers as well as the participation volume in credit rating agencies in order to strengthen the independence of credit rating agencies. In future, structured finance instruments will be subjected to ratings by at least two credit rating agencies. Moreover, the Commission wishes to prescribe civil liability for credit rating agencies.


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Chapter 1: Part 3
Welcome to IGN's Walkthrough and Guide for Resident Evil 4. This page details information on how to complete and survive Chapter 1: Part 3, the Village.
There are a few items scattered around the inside of the house, but no not-zombies to worry about...yet.
As you step outside, you'll see a trio of not-zombies (including one with a chainsaw) just around the corner to the left. Waste no time taking out the chainsaw not-zombie and continue down the path, where you'll run into two more not-zombies.
A bit further down the path is a shed to your right, and in a couple of trees you can see pink objects that you can target.
Shoot them down and you'll get some valuables before bumping into another group of not-zombies. Lay 'em out, and continue through the doorway at the end of the path to return to the village.
As soon as you enter the village again, a hoard of not-zombies rushes towards you from the center of town.
Quickly take refuge in the small building to your left and use your shotgun to blast away multiple not-zombies as they file in through the narrow doorway.
When all the not-zombies are dead, return to the center of town. There's a doorway to the southeast that you can open using the Insignia key.
There are also two not-zombies standing on the rooftops to the north—you can ignore them if you want and just quickly run to the doorway to continue on to the next area.
There are a couple of items in the small building, and thankfully no not-zombies.
You can get an extra jewel by shooting down the lamp that's hanging in the back room before you open up the hatch in the floor and drop down to an underground tunnel.
Again, you won't have to worry about any not-zombies. There are some jewels that are stuck in the ceiling of the small cavern that you can shoot out. You'll also find the merchant lurking in this underground tunnel. Deal with him as you please, and then step through the next door to find a ladder that leads to the graveyard area.
Walk up the path leading to the cemetery and, as you pass through the shoddy gate, turn right to take out the first not-zombie.
There's a small shed behind her with some items inside, and another not-zombie on the south side of the graveyard.
When the base of the graveyard is clear, start making your way towards the church on the hill to the east. As you do, three more not-zombies will come at you, and one of them has dynamite! Clear them out to get access to the church. In one of the trees is an item you can shoot down, but be careful: if you hit the bell behind the tree, three not-zombies will come up at you from the west side of the graveyard.
It's also worth noting that the remainder of the blue medallions can be found in this graveyard. Once you've shot at least eleven of them, you can return to the merchant to claim a free weapon (it's basically a replacement for your current pistol).
The church is locked for now, so run around to the back of the building. In a small courtyard you'll see two not-zombies, and one of them is armed with explosives. Quickly turn around and run away when you see the dynamite light and the blast should take out both not-zombies for you.
Behind the two not-zombies is a pedestal with a strange mechanism you can operate. You need to light up the three symbols that match the symbols of the twins' gravestones in the main graveyard. The trick, however, is that you can only move the dial in increments of three and four, and whatever symbol the dial stops on will automatically light up (or go out). To properly light up the three symbols, turn the dial in this order: three increments (3), four increments (4), three increments (3), three increments (3), four increments (4), three increments (3), three increments (3). When all three symbols are lit, the mechanism will open up and give you a valuable jewel you can combine with another jewel (the Beerstein).
Continue along the path that leads past the church (east). You'll reach a bridge with a not-zombie that'll call over two more. Clear the path and jump over the gap.
To the left is a small shed with a note inside (and a booby trap), and further down the path is another gap you'll have to leap across. Just around the corner is another not-zombie, and a door that leads to the next area.
There are a few items to collect in this next area, along with a flock of crows you can shoot at for even more goodies.
To the northeast is a locked door, and to the east is a hallway with two doors. Head through the door to the south and you'll enter a new area with a save area and another merchant. Power up your weapons as desired—you're going to need all the help you can get.
When you're done here, climb back up the ladder and return to the previous area. This time, head through the doorway to the west.
There are a couple of items to get from the shed to your right. Grab 'em, and then continue down the hill ahead of you.
You'll get to another sprint event where you must rapidly mash the action button to avoid the rolling boulder. Again, you'll have to dodge the boulder at the last second.
Follow the path down towards a dock, and take out the not-zombie that's standing in front of a dynamite trap (you can blow up the trap to take him out).
There are a number of other not-zombies around the docks that you can take out with sniper fire. After taking out about five of them, a rush of not-zombies will run down the hill behind you. Position yourself on the dock so that the long stretch of dock that connects to the first beach acts as a funnel, forcing all of the not-zombies to come at you from one side.
You can snipe them as they come, though you'll have to quickly switch to other weapons to deal with them once they get close. When that rush of not-zombies is dead, a second group will come. Deal with them the same, and then continue to make your way eastward.
There are a couple more not-zombies throughout the docks. As before, try to take them out with sniper fire from afar, and watch out for the explosive traps set up in the area.
As you finally reach the eastern beach, be mindful of the not-zombie lurking in the shed to the left. Continue up the hill and through the door to the next area.
There are a couple of items to find in the area, and no dangers for the time being.
Run up the hill to your left to find a red herb, and then run down the other path to find a save point. Outside the shed is a boat near a dock—hop on the boat and get ready for a battle.
Drive the boat out towards the center of the lake. As you do, a giant sea monster—the "Del Lago"—appears, and gets stuck on the end of your anchor. As the Del Lago pulls you around, you'll have to maneuver the boat to dodge both the monster and the floating tree hazards while harpooning the beast with the limitless supply of harpoons at your side.
Right away, the Del Lago pulls you towards some floating tree hazards. Pull the boat wide right to get around them. When you've passed the hazards, the monster will dive underwater for his first attack. Pull the boat hard either left or right to dodge the beast as it surfaces and bites at your feeble boat. There will be a number of attacks just like this throughout the battle, and they can all be dodged the same way. Put down the harpoon and just pull hard in one direction (don't hesitate) and you should be fine.
After dodging this attack, the Del Lago will start pulling you again, with its back sticking out of the surface of the water. Use this opportunity to lodge a harpoon or two into the beat's back, while dodging any hazards that get in the way.
When the Del Lago dives underwater again, put the harpoon down and pull away to dodge his upcoming attack.
Sometimes, however, you won't be able to put the harpoon down, and instead of the Del Lago surfacing nearby, the scene will seem still for just a moment while Leon holds the harpoon. Eventually, red arrows will point you towards the Del Lago as it resurfaces in the distance. Very quickly take aim at the Del Lago and throw one harpoon to nail it just as the monster surfaces.
Then ready another harpoon, and you can quickly get off a second shot just before it reaches you. If you can successfully hit the monster twice during this attack, the Del Lago will dive under you, causing no harm. However, if you don't hit it with two harpoons, you'll be struck by the sea monster as it barrels towards you.
If you do get knocked out of the boat, you'll have to rapidly mash the action button to swim back to safety. Also be mindful of another action-button-mashing sequence that occurs at the end of the fight—we won't spoil what happens, but you'll need to stay alert, even during the ending cutscene.
Chapter 1-3: No Damage - No Commentary
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Results 41 to 50 of 50
Thread: What takes your fancy?
18-10-10, 12:54 #41
Hobo,I did answer the question just a few posts ago:Er, sorry to hijack the thread, but I thought I'd answer the question from before about the actual demo series :~)Anyone planning to come to Cannock (or any of the other stops) will need to have a photo id, and a credit card. There is no pre-booking. Bikes are sent out first come/first served.Read more: http://www.bikemagic.com/forum/threadreply.asp?last=1#last#ixzz12iMeDo1p
18-10-10, 18:13 #42
Will there be plenty of bikes, as 45 mins per bike is about 6 bikes per day per person, multiply that by 50 people and you need a lot of bikes.
19-10-10, 09:23 #43
It doesn't quite work that way, Will. People typically come to test a specific bike or two, rather than trying out every bike option from all 3 companies.
19-10-10, 11:09 #44
- Join Date
- Jul 2004
- Posts
- 17,910
Ross Keeble wrote (see)I now know why people stay off these thingsQuite. Although I think you'd have had a better time had you just stuck to asking not to be re-directed to Facebook without the additional comments.Some of the following posts were out of order, though. Some of you guys should be ashamed of yourself.
19-10-10, 13:24 #45
Tad hypocritical Hans eh ? (wink)Please don't re-direct me to a facebook or twitter page as I don't have one, and strongly disagree with such sites due to the risk they place children at.Twitter eh ? (confused) I think someone of comments were rather appropiate (BHB not obv, just an immature child at times) just delievered in the usual 'black' BM stylee. There's far more worse stuff about for kids than facebook and whilst you may not agree with it, it's important to warn kids about the dangers of the internet. Hiding stuff under a bushell does nobody any favours in the long term.
19-10-10, 18:59 #46
- Join Date
- Jul 2004
- Posts
- 17,910
I like bathing in hypocriticalness, it gives me a waft of self-righteousness everywhere I roam...<wink><wink><finger><u nbuckle><moon>
12-12-12, 07:17 #47
- Join Date
- Nov 2012
- Posts
- 10
wow nice opportunity..I love Demo series and always wanted to ride it..It will be fun doing all this....
12-12-12, 08:21 #48
27-12-12, 07:54 #49
15-06-13, 17:50 #50
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We're nearly late, and I still don't have my things together when he asks me to to put the finger lining right-side-in, inside his glove. "Fine," I say, putting the bag I'm carrying down, and I crouch beside him, my too-big hands awkwardly cramming into his still-small gloves.
Inevitably, I am wearing wool and overheat immediately with the effort. It doesn't help that I'm already feeling the panic of a day too filled with things: lists I'll never make it to the bottom of, tasks unfinished from the day before. And as I am struggling beside him, asking him to try to push his hand inside his glove, his arm goes limp.
I look up and see that he's caught sight of Sprout playing with a little red flashlight. The one I found deposited carelessly on the driveway, buried under snow. I'd told Sprout he could have it. But now Bean wants it in his customary way: "That's mine!" he says, grabbing. Even though it isn't.
No amount of nudging or barking at him would get him to refocus on the situation at hand: namely his hand inside his glove that still would not fit. And suddenly I am caught up in my own hormonal, over tired, overheating tide of frustration and stress and I yell at him with a ferocity I don't expect.
Then I walk away, furious. Unable to stop, I keep yelling, caught in the sadness and shame of my own anger, and not one a bit demonstrating the the grace the self-discipline that I wish for my boy.
Eventually enough time has passed in the car on our long drive, and when we talk, his voice mostly so quiet, I can hardly hear as he replies "Yes mama" and the "No mama" and then "Yes mama," again.
I'm not sure if any of what I am saying will make a difference to him. If he'll remember my apology, or my outburst down the road. And I can feel the way we're navigating something new now. An unfamiliar terrain where feelings matter more than words, and logic is sidelined by reckless hearts. "I love you," I say to him as he climbs out of the car.
He looks at me, his face ethereal and serious and pale. "I love you too mama," he nods. "Bye!" And then he turns and walks away.
Today I idle and watch him go. His backpack so heavy, it's nearly as big as him. It's his choice. He doesn't have any books to bring. Instead, he brings extra clothes for worst case scenarios and because he likes to be the one to share with friends when they forget, and also because he's like a bit like crow, always gathering a rookery of things.
Little scraps of fabric, pencils, tape dispensers, invisible in pens, and mailing inserts. Used-up gift cards, marbles, yarn, and costume jewelry. Pen knives and hole punchers, batteries, postcards and locks and keys. These he stows in a vintage lock box that he bought from a flea market with his own money; the kind hotels used once, to keep the room keys safe with little rows of hooks on the inside.
"They might come in handy," he says. And often they do. More often though, I'm finding them in his pockets.
When he gets out of the car his backpack tilts sideways. And he has to lean awkwardly and throw his weight around to right it before he sticks one arm threw a strap and then the other.
I wave goodbye but he's not watching. Instead, he's turned to grin at another boy, walking with a blue puffy hood pulled tightly around his chubby face. He looks older than Bean, and they're not in the same class, but they seem to know each other in that casual schoolyard way of boys. He shows Bean a pencil stub he's got in his and as if it bears some importance. Both grin with big front teeth. Bean leans in with curiosity.
In their world, pencil stubs are still important.
I watch them walk into the school building together; a walk I no longer make with Bean, instead dropping him off at the circle, as he slips off into the secret world of school where he navigates everything on his own, becoming whomever he is becoming without me.
This is the crazy part of being a parent. The part when you realize that all along they weren't really yours. Not even as a tiny baby when all you did was teach them how to sleep and how to smile and how to eat and how to dream, they weren't yours. Not even then. But it's easier to fool yourself then, smelling the top of their head and believing they'll always fit just there, their small head tucked under your chin.
Now this colt-boy of mine will be 8 in a week. This wild, tender thing I've raised; long limbed with unruly hair that refuses to lie straight, even slicked under the tines of a wet comb. This boy. Becoming his own self.
He is skinny, he is lanky, he is a live wire full if electric energy and ideas. He is sentimental and nostalgic and terribly, remarkably bright. And he's so stubborn sometimes my heart breaks.
This is my lesson today: I can't really control him. Only he can truly control him. I can give him guidance and good habits, and do my best to hold my own tempestuous heart at bay, but he has to show up in his own way, finding the tenor of his own conscience, and the discipline of his own will.
And oh, how I hope we get this balance right before he's 16 and muscled and full of testosterone causing wild tides to rush in to the uncharted caves of a young boys soul. Would that we get it right before I resent him and he resents me.
Later, after dark, when I come home from work he's there at to greet me and when I put my things down he flies up into my arms. He is so light still, and lithe, his legs wrapping around my waist like some small koala bear. "Mommy!" He shouts. "I missed you! I'm so glad you're home."


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Google Explosions make Fiery New World
Chicago-based artist Christopher Meerdo's image titled Spore is currently on display at the Union League Club of Chicago. Spore is composed of 250 images of explosions appropriated from Google image search. He noted the Internet somehow levels meaning attached to the events, sometimes making it difficult to distinguish between celebrations and terror. Meerdo: "The title Spore refers not only to the formal shape of the image I produced, but also points to the scientific understanding of microorganisms which can self-replicate unaided. This becomes a sort of linguistic metaphor when linking this with the self-replicating nature of memetic culture."
It is surprising how static the image appears, as if utterly frozen in time, given that it is an amalgam of 250 images that are by definition some of the most dynamic that you can find. The suggestion is of human strife, under the microscope. Spore is a world unto itself, where destruction (negation) forms a new, round world. It is an ending, or a volatile beginning?
Spore, by Christopher Meerdo, 2011


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In the aftermath of Hurricane Sandy, the superstorm that devastated the US Atlantic coast, the debate over climate change again recaptured the public imagination. The record heat wave and ruinous drought across the United States in 2012 seems also to have convinced more people that global warming is a real phenomenon, even though it makes little sense to attribute a single weather event—no matter how extreme—to an upward trend in average temperature.
Data from well-conducted research essentially proves global warming exists, and scientists and researchers typically point to results from independent studies and impressive meta-analyses to try to sway people's views. But people seem to rely on factors other than data to inform themselves about the likelihood of global warming. "Data cannot move people to imagine," says Chicago Booth's Jane Risen. Her research suggests that it is people's ability to imagine the devastating effects of global warming that lead them to find these outcomes plausible, not the statistics or data.
Risen and Clayton Critcher of the University of California, Berkeley propose in a recent paper that the physical experience of heat can make it easier for people to clearly visualize a hot, arid world plagued by global warming. Moreover, having that vivid picture in mind can make the idea of a warming planet seem much more plausible.
Physical sensations—be they of warmth, hunger, or thirst—can influence people's beliefs by helping them form clear mental images of a world where those sensations are more common. The results of the study suggest that ordinary people—including bright and educated ones—may think of global warming and other pressing environmental and social concerns in intuitive rather than intellectual ways. Scientists and researchers may be more successful in communicating their findings about climate change if they make it easier for people to imagine the urgency and consequences of this issue.
Local Warmth, Global Views
In the first experiment, students were taken outside on different days and asked to answer a series of questions, one of which solicited the strength of their views on global warming. Risen and Critcher found that students tended to believe more in global warming when it was hotter outside. Of course, their answers may have been related to factors other than their mental images of a hotter planet. Blistering heat outdoors could lead people to think that the earth's average surface temperature is indeed rising. They may think it reasonable to infer that the global climate is changing, forgetting that global warming actually entails a gradual elevation in the earth's average temperature—an effect that would be small compared to day-to-day changes in temperature.
But even when Risen and Critcher took the experiment indoors, where the temperature was clearly unrelated to a long-term climate trend, they found that students who were asked to complete a survey in a cubicle that had been heated to approximately 81°F were more likely to believe in global warming. Furthermore, students were asked in another experiment to what extent they thought the room they were in felt warm or cold before responding to the global warming question. Calling attention to the temperature in the room should have led students to "correct" their views if those had been unintentionally based on the room's temperature. But the feeling of heat continued to have a significant impact on their beliefs. These results suggest that the experience of heat—rather than the information it conveyed—influenced how strongly the students felt about global warming. The actual physical experience of heat was important and more powerful than the mere mention of it.
In another experiment, the authors found that exposing students to sentences such as "the room is hot" or "the bacon is sizzling" successfully summoned the concept of heat but did not influence their beliefs in global warming.
Similarly, Risen and Critcher expanded their analysis to look at the effect of thirst on the belief in another important environmental problem, drought, and the issue of desertification that often accompanies it. They had some participants eat pretzels to become thirsty, while they showed other participants a subliminal message about thirst—they flashed the word "thirst" on a computer screen for 17 milliseconds, and had a third group of participants complete a neutral task that was unrelated to thirst. They found that the students who physically experienced thirst were more likely to believe in the threat of drought and desertification. Feeling thirsty led people to think about thirst more (as did the subliminal presentation of the word), but the actual physical experience was necessary to affect people's views. "Jumping in the process midway, by activating the thought without having the physical experience, did not lead to a change in belief," says Risen.
Imagining Global Warming
To test the idea that feeling warm leads people to form sharper mental images of a world becoming hotter, Risen and Critcher used a new technique that measured how easily participants in a warm room imagined a picture of a hot landscape. Students who participated in this experiment were randomly assigned to heated or roomtemperature cubicles. While in the cubicles, they were first shown a series of pictures on a computer screen that included hot and cold outdoor scenes. The hot scenes, with yellow and red tones, showed parched landscapes that depicted the world as affected by global warming. Using Microsoft Office's picture editing features, the researchers had adjusted each image's clarity so that the pictures were semitransparent and somewhat blurry.
In the next task, they showed the students these same images, but this time with the transparency set all the way to 100 percent, so they started off completely invisible. They asked the students to adjust the transparency of each photo until they matched the level of clarity of the photo that they had seen before. Participants stopped when the images in front of them matched the images they remembered.
Students who performed the experiment in the hot cubicle made the images of hot landscapes appear sharper, while those who were in the room-temperature cubicle remembered the images being fuzzier. This result suggests that students who felt warm were able to form clearer mental images of a hot world. To further test the idea that such sharp mental images intensify a belief in global warming, Risen and Critcher conducted another experiment in which students were shown otherwise identical landscape pictures that were either clear or blurry. They found that students who were shown clear images of hot landscapes were more likely to believe that the earth was heating up.
In all of these experiments, Risen and Critcher found that regardless of participants' political views, participants believed more in global warming when asked about their views in a warm environment. In other words, although political ideology predicted people's beliefs in global warming (liberals were more inclined than conservatives to believe in global warming), feeling warm still had a significant impact on their beliefs. Both liberals and conservatives were better able to imagine global warming occurring when they felt warm.
The fact that liberals and conservatives responded similarly in the experiments is in sharp contrast to the response people often have when presented with explicit claims about an issue. Previous studies have shown that after people are given mixed evidence about a topic, those who are inclined to favor a position will come to believe in it even more, while those who are skeptical will tend to become even more skeptical. Trying to convince people of something by simply delivering facts can sometimes be polarizing because it gives people something to react to, Risen says. The experience of heat seems to elicit a more universal, intuitive response.


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The 18th annual Animas Music Festival has come and gone. Sparse publicity limited the crowds.
What a shame. John Pennington, the formidable former percussion studies director at Fort Lewis College, has been gone for four years. He has a similar position at Augustana College in North Dakota with a much bigger budget and support for annual musical excursions to India and other countries.
Lucky for us, Pennington continues to return to Durango for the Animas Music Festival. Specializing in rarely performed contemporary chamber music, the Animas suite of concerts brings new sounds and new works directly to us.
On June 3, the first concert featured Pennington and three high-powered percussionists who have formed an unusual quartet. All four men head percussion departments and are dedicated to performing new work: James Doyle of Adams State College, Steve Hemphill of Northern Arizona University, Jonathan Latta of Fort Lewis and Pennington.
For Percussion Sculptures/Quartet, the quartet played a variety of instruments marimba, vibraphone, glockenspiel, imbira, bells, chimes, blocks the full quiver that makes up an orchestral percussion section.
Two works by Steve Reich dominated the 90-minute concert. The longest, Mallet Quartet, played out in three movements. Doyle introduced it by explaining Reichs inspiration via tape-loop technology and the patterns of West African drumming. The complex, hypnotic work unspooled in 18 minutes, one movement slipping into the next with varying moods and tempi. Surprisingly, a very brief retard brought the whole structure to a quiet but crisp conclusion.
Reichs Clapping Music opened the concert. Originally composed for four performers doing just what the title suggests, the work has been rearranged by Pennington for two shakers and two musicians playing blocks. Clapping Music did what an overture is supposed to do quiet the audience and refocus attention to the miracle of music.
Latta and Pennington performed Blake Tysons challenging Vertical River on vibraphone and marimba. They quietly turned ascending motifs into a rolling evocation of endless flowing water.
Accompanying an array of photographs of the Northern Lights, the percussion quartet performed Anders Astrands The Nordic Light, a delicate and eerie work evocative of nature.
In a concert filled with unusual music, Penningtons own Glass Façade stood out for its exotic texture. The quartet took up instruments from different countries and in seven minutes spun a web of sound that combined Southeast Indian colors with South American textures.
Pennington dedicated a vibraphone duet, Odds and Evens, to the composer, the late Dana Brayton. The work had been suggested by musician and composer Katy Freiberger who was in the audience.
On Friday, cellist David Darling presented new age music in St. Marks Church. And on Saturday, Pennington and Cyprian Consiglio offered works from their many recordings in St. Columba Catholic Church. The duo concluded a concert of world music with a Buddhist blessing. The highly meditative concert brought another distinct Animas Music Festival to a beautiful end.
Judith Reynolds is a Durango writer, artist and critic. Reach her at email@example.com.


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Don't Worry, He Won't Get That Far On Foot
Gus Van Sant is a filmmaker of some renown. While many more casual moviegoers may not be immediately familiar with his name, it's likely they have at least seen "Good Will Hunting." But for so long, it has felt that amongst the more cinephile-rich communities, Van Sant is not only well respected, but healthily lauded. Hell, the guy has two Oscar nominations under his belt. Nevertheless, as I have seen more of his films I have come to question whether he is deserving of this esteem. His latest, "Don't Worry, He Won't Get Far on Foot" doesn't do much to argue his case.
John Callahan is an alcoholic. He spends a large chunk of his life fleeing alcohol withdrawal, drowning his sorrows in booze. But when one night of drinking ends in a horrific car crash, Callahan is left paralyzed. Still hooked on the drink and looking at a life in a wheelchair, he searches for meaning and a way to live a better life, finding the key in an odd place: Cartoons.
I spent much of the runtime of "Don't Worry, He Won't Get Far on Foot" (titles of this length are the bane of a reviewer's existence) wanting to like it. At its core it is a biopic, but Van Sant plays with the very concept and turns what could have been a paint-by-numbers retelling of John Callahan's story into more of a contemplation on alcoholism and finding your inner truth. That is helped along by Joaquin Phoenix continuing to show that he may currently be the most talented working actor. At this point, I do not know for which performance Phoenix should be nominated for an Oscar this year, just that his name needs to be in the roster of nominees. Jonah Hill, admittedly in a much more understated capacity, also turns in a touching supporting performance that will hopefully quiet any remaining Hill detractors.
Despite these great performances and a differing take on the biopic milieu, the film never really gels. Much of this is due to the way in which Van Sant chooses to tell the story, hopping between time periods with so little fanfare as to be hopelessly confusing. It robs the film of much of its momentum and emotional weight. It is an artistic choice that backfires horrendously, and were it not for Phoenix and Hill, the film would be an utter waste.
The Blu-ray release doesn't boast much. The picture quality is on par, and the sound is fantastic. The special features, however, leave you wanting. There are two brief featurettes, but they are shallow and lack any real insight or substance. With Van Sant's artistic take on the material, a commentary would've been a welcomed addition. "Don't Worry, He Won't Get Far on Foot" is an interesting new approach to the biopic, but despite wonderful performances from Joaquin Phoenix and Jonah Hill, it never amounts to anything special.
"Don't Worry, He Won't Get Far on Foot"
Blu-ray + Digital


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Global trade affects many aspects of life. It can impact everything from the environment to your health and the well-being of people around the world. At the next WTO meeting in Cancun, it is not just trade that is on the agenda but environment and human health. The results will affect everyone.
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Protest Wave Poses Test for Latin American Leaders
Demonstrations Reflect Discontent as Once-Hot Growth Slows, Threatening Fiscal Rigor
BOGOTÁ—Latin America is seeing its biggest wave of protests in years, as an economic slowdown clashes with an increasingly demanding public that wants better results from its democratically elected leaders.
Dozens of people were injured and arrested in Brazil over the weekend as thousands of protesters took to the streets on Brazil's Independence Day in a continuation of mass protests that first shook the country in June. At the same time, tens of thousands of people took to the streets in Mexico in separate marches to protest...


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Caught On Tape: Chicago Man Fires A Handgun Into A Crowded Bus! (Surveillance Footage)
Raw: Surveillance Video Shows Shooting On CTA Bus
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Three fledgling life sciences companies are moving into a new University at Buffalo business incubator on the Buffalo Niagara Medical Campus.
The companies are taking space in UB's Clinical and Translational Research Center, which opened this summer with the goal of speeding up the process of turning research into marketable drugs.
The three companies now moving into UB's Biosciences Incubator – AccuTheranostics, AndroBioSys and Ceno Technologies – will gain access to researchers working in the new center and elsewhere on the Medical Campus, spurring collaboration and innovation, officials said.
"We expect there will be a considerable number of discoveries coming out of the CTRC over time," said Woody Maggard, an associate vice provost and incubator manager for UB's Office of Science, Technology Transfer and Economic Outreach, or STOR. "This is an opportunity to have our services immediately available."
The Clinical and Translational Research Center takes up the top half of a building at Ellicott and Goodrich streets that UB built with Kaleida Health. The building was designed to encourage interaction among doctors and scientists, and stimulate the translation of basic research into drugs, medical devices and therapies.
The Biosciences Incubator occupies part of the center's fifth floor, and the three companies will fill the 4,000 square feet of available space, according to UB.
A committee selected the first tenants for the Biosciences Incubator, which, like UB's Technology Incubator at Baird Research Park in Amherst, is under the auspices of STOR.
The new incubator employs one full-time staff person on-site and boasts offices and wet labs. Tenants pay to rent space but receive free access to specialized equipment and guidance on how to launch, market and raise money for a startup business, the university reported.
The three tenants in the Biosciences Incubator are:
• AccuTheranostics, which moved its three employees from the Baird Research Park incubator as of Sept. 1. The company's employees are working to develop personalized chemotherapy treatment for cancer patients.
• AndroBioSys will move three employees into the incubator by the end of November. The company grew out of research conducted at Roswell Park Cancer Institute that pursued new methods for detecting and treating prostate cancer as early as possible.
• Ceno Technologies is moving the four employees in its growing Bio Division from the company's current location in the nearby Innovation Center, where the rest of the company will remain and expand, said CEO Scottpatrick J. Sellitto. Ceno produces high-tech coatings used on microscopic particles with applications for the military, manufacturing and drug development.
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Reid To Introduce Gun Control Legislation With Background Checks
Senate Majority Leader Harry Reid, D-Nev., will move forward with Senate Democrats' gun control legislation, a move designed to set the Senate up to start working on the controversial legislation when they return from recess on April 8.
The bill will include a proposal for universal background checks, a controversial measure that faces an uphill climb in the Senate.
Democratic leadership aides say Reid is still leaving the door open to replace the language on background checks, as passed this month out of the Senate Judiciary Committee, with a compromise package, should one emerge over the next few weeks.
"I hope negotiations will continue over the upcoming break to reach a bipartisan compromise on background checks, and I am hopeful that they will succeed," Reid said in a statement Thursday. "If a compromise is reached, I am open to including it in the base bill. But I want to be clear: in order to be effective, any bill that passes the Senate must include background checks."
Also included in the bill will be straw purchasing and trafficking provisions, aides say.
The base bill will not include the controversial ban on assault weapons, as decided this week by Senate Majoirty Leader Harry Reid.
But the assault weapons ban will get its vote, Reid promises - as President Obama did, as an amendment to the bill. "Once debate begins, I will ensure that a ban on assault weapons, limits to high-capacity magazines, and mental health provisions receive votes, along with other amendments. In his State of the Union address, President Obama called for all of these provisions to receive votes, and I will ensure that they do," Reid said in a statement.


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May 01, 2014
By Cora Jackson-Fossett
Being Black, brilliant, and radical is hard in 2014. Imagine life being Black in the early 20th century.
'Hard" is actually a 'diplomatic' word to refer to lynchings, blatant discrimination, and ungodly behavior inflected upon African-Americans during this era.
Enter Paul Robeson, the first African American valedictorian of Rutgers University and an All-American football player for the school. Robeson, an incredibly brilliant artist, dared to challenge the status quo and his courage led to a documented, yet often forgotten, period of American history.
Daniel Beaty aims to give us a fresh awakening about Paul Robinson in the production, 'The Tallest Tree in the Forest,' now playing at the Mark Taper Forum in downtown Los Angeles.
Beaty, who opened the one-man show on April 19, delivers a captivating synopsis of Robeson's life. His presentation not only shares known facts about Robeson's outrage towards the insults, disrespect, and 'benign neglect' endured by Black Americans, but also discloses his profound disappointment about the ill treatment of Jews, Irish, American Indians and others affected by this peculiar approach to U.S. justice.
"I believe Robeson epitomizes the artist-activist. I think it's a shame that he is not remembered in American and world history to the degree that he should be. Though he had some controversial politics, he made huge, huge contributions. I wanted to explore his life to be able to honor those contributions," said Beaty, who also wrote the play.
The two-hour performance traces Robeson's childhood, academic honors, artistic career and persecution by the U.S. government. Throughout the show, Beaty reveals his uncanny ability to depict the voices of various characters in Robeson's life. He delivers rapid-fire conversations between Robeson and his wife, Essie, various media critiquing his plays and the attacks of U.S. senators during Robeson's appearance before the House Un-American Activities Committee in 1956.
Beaty also sings powerful renditions of popular Robeson standards such as "Ol' Man River," "The Joint is Jumpin," "Get on Board Lil' Chillun," and "Joshua Fit the Battle of Jericho." In addition, Robeson's rumored infidelity gets exposure as well.
"I believe that if you really want to put a character into the social discourse, you can't do hero worship. No human being on earth is perfect and if you tell a story of a perfect human being, people will become skeptical about what agenda you have that you're leaving out truths about the person," noted Beaty in an L.A. Watts Times interview.
"I think, ultimately, when you see a human being and their complexities, you actually can evaluate and value their contributions more."
Without a doubt, Paul Robeson vividly comes to life through Beaty's portrayal. Audience-goers will be enlightened and possibly amazed that one individual could achieve so much in the face of insurmountable challenges.
"'The Tallest Tree in the Forest' is an exceptional play. The ease at which Mr. Beaty was able to transition between characters transported the audience to those pivotal times in the life of Paul Robeson and of Black America, his connection to the Jewish community and the working class," said Pam B., who attended the opening night show.
"I received a history as well as a life lesson about Robeson's accomplishments, victories, struggles, determination and commitment to his (Robeson's) ideals and beliefs despite the persecution in his fight for equality for his fellow man no matter the color of his skin," she observed.
Although Robeson lived a fascinating life, it ended in near obscurity. As Beaty exposes Robeson's last years, he reveals a broken, depressed and tired old man, finally worn out by the long fight for right.
Beaty is a talented actor, singer and writer who delivers a memorable performance. When this production ends, he begins his next project, this time on the big screen.
"I will be shooting my first film this summer, 'Chapter and Verse.' It deals with the issue of mass incarceration and a man who is out of prison after 10 years trying to find his way in the world."
'The Tallest Tree in the Forest' runs until on May 25 at the Mark Taper Forum. For tickets, call (213) 628-2772.


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See what $20M hidden inside a box spring looks like
Federal authorities seized approximately $20 million in cash hidden inside a box spring in a MetroWest apartment earlier this month.
The Massachusetts U.S. Attorney's office said a Brazilian man was arrested in connection with conspiring to launder proceeds of the massive TelexFree pyramid scheme.
Cleber Rene Rizerio Rocha, 28, was charged with one count of conspiring to commit money laundering.
The cash seizure was made in connection with an investigation into TelexFree, a Marlborough, Massachusetts-based company that purportedly sold VOIP telephone service.
Authorities tweeted a photo Monday of what appears to be thousands of bills shoved inside the box spring of the bed.
TelexFree had few customers and made most of its revenue from people buying into the company with a promise of payouts for posting online ads for it, prosecutors have said. They were paid with money from new recruits, often friends and family of earlier investors.
Although initially aimed at Brazilian immigrants to Massachusetts, authorities allege almost 1 million people worldwide were swindled out of nearly $1.8 billion.
TelexFree filed for bankruptcy in 2014, its assets frozen, and its two principals were indicted on federal charges of wire fraud and conspiracy.
One of them, former chief executive James Merrill, pleaded guilty in October and awaits sentencing on Feb. 2.
The other, Carlos Wanzeler, fled to his native Brazil where he remains, U.S. prosecutors said.
Rocha was part of a scheme to transfer millions of dollars of hidden TelexFree assets to Brazil by laundering the cash through Hong Kong, prosecutors said.
According to court documents, Rocha, acting as a courier for Wanzeler's nephew, flew from Brazil to New York City a few days ago. Rocha then met with a cooperating witness at a restaurant in Hudson, Massachusetts, and gave him a suitcase containing $2.2 million.
After the meeting, agents followed Rocha to the Westborough apartment and later arrested him.


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Yigal Azrouel Spring 2013 | Pictures
Yigal Azrouel Spring 2013
Yigal Azrouel Spring 2013
With hues including "ice, quartz, and cactus" — and a quiet, architecturally tailored ease to match — Yigal Azrouel's Spring 2013 collection delivered a lineup that felt every bit the part of understated femininity. We were instantly captivated by the sexy crisscross back details, full ladylike skirts, and billowing floor-length dresses. Though it wasn't all clean, fluid lines. Reminding us it always pays to mix it up, Azrouel also offset his elongated silhouettes with chunkier waffle knits (most adorned with drawstring hoods), eyelet-embroidered racerback maxi dresses, and strong, structured blazers. The collection felt simple, but not in a plain way. It's the kind of clothes you can count on for classic lines and all-season appeal. Click through for your first look at Yigal Azrouel's Spring 2013 collection now.
- Trends: Long and loose silhouettes, hooded knits, crisscross detailing, interesting textural use (think waffle knits and eyelet embroidery).
- Colors: Soft earthy tones — white, cream, tan — with darker khaki greens, black, and navy blues.
- Key Piece: It's a tie: we'll take one of the nude pink sheaths with the sexy crisscross back and one of those open-weave waffle-knit sweaters to keep us warm on chilly beach-bound nights.
- Accessories: Flat leather sandals, double ankle-strap sandals, large python portfolio clutches, and hoods on everything.
- Who Should Wear It: This collection begs to be worn by street-style pros — the ones who have an innate sense of how to layer longer proportions with heavier, cropped ones. Plus, we're pretty sure these stylers may be the only ones to pull off the fully hooded look, too.