�TomoTherapy Incorporated (NASDAQ: TOMO) announced that it has received FDA 510(k) clearance for its TomoDirect� radiation therapy technology. TomoDirect is an innovative new discrete-angle, sliding-beam delivery mode for the Hi�Art� treatment system. With this capability, clinicians win an effective complement to helical TomoTherapySM, one that enables firm treatment provision and delivery, while broadening the spectrum of patients that lavatory be optimally treated with the industry's most advanced platform for cancer precaution.
"This is a major milestone for TomoTherapy and, in change by reversal, for cancer centers of all sizes," said Fred Robertson, CEO of TomoTherapy. "TomoDirect significantly improves the throughput of our system, and widens the TomoTherapy treatment options available for clinical use. Now, more cancer patients can benefit from true, next-generation treatment technology."
TomoDirect was developed as a complement to helical TomoTherapy, with both modes utilizing the same binary multi-leaf collimator and CT-style gauntry technology, and sharing a simple, consistent treatment provision and rescue process. The choice of which sensory system to use for a given case will depend on the nature of the neoplasm volume and surrounding organs at jeopardy. TomoDirect allows clinicians to choose respective discrete angles as well as the optimal modulation level needed for delivery. It is expected to provide significant time nest egg in both the planning and delivery phases for several clinical scenarios, including whole chest irradiation and palliative treatments.
TomoDirect will be unveiled at the annual meetings of the European Society for Therapeutic Radiology and Oncology (ESTRO) in Gothenburg, Sweden, Sept. 14-18, 2008, and the American Society for Therapeutic Radiology and Oncology (ASTRO) in Boston, Mass., Sept. 21-25, 2008.
In gain to the added capabilities offered by TomoDirect, the Hi�Art system's treatment modes are beingness expanded to include 3D conformal bringing, thereby providing a comprehensive range of options for all clinical cases.
About TomoTherapy Incorporated
TomoTherapy Incorporated has developed, markets and sells the TomoTherapy� Hi�Art� treatment system, an advanced radiation therapy system for the discourse of a wide variety of cancers. The Hi�Art treatment system combines integrated CT imagery with conformal radiation therapy to give birth sophisticated radiation treatments with speed and precision patch reducing radiation exposure to surrounding hefty tissue. The company's stock is traded on the NASDAQ Global Select Market under the symbol TOMO.
http://www.TomoTherapy.com.
Forward-Looking Statements
Statements in this release regarding future products, events, expectations and former similar matters, including just not limited to statements using the terms "volition", "can", "is expected to", or "should" constitute forward-looking statements inside the substance of the Private Securities Litigation Reform Act of 1995. Such forward-looking statements contained in this exhort release are subject to risks and uncertainties that could case actual results to differ materially from those hoped-for, including simply not limited to factors such as our ability to gain ground customer acceptance, ability to complete exploitation in a timely way, ability to protect intellectual property, risks of break due to events beyond the company's control, and the early risks listed from time to time in TomoTherapy's filings with the U.S. Securities and Exchange Commission, which by this book of facts are incorporated herein. These forward-looking statements represent TomoTherapy's judgments as of the date of this press release. TomoTherapy assumes no obligation to update or revise the forward-looking statements in this release because of new information, future events or otherwise.
�2008 TomoTherapy Incorporated. All rights reserved. TomoTherapy, TomoDirect, the TomoTherapy logotype and Hi�Art are among trademarks, service marks or registered trademarks of TomoTherapy Incorporated.
http://www.TomoTherapy.com
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Tuesday, 2 September 2008
Wednesday, 13 August 2008
Luke Wilson Has a Biological Clock
Luke Wilson is getting "up there" according to an interview on Tuesday's The Morning Show with Mike & Juliet.�
After host Juliet Huddy grills the actor about his love life, tattle him, "You're really acquiring up thither!", the Old School star admitted that he does think or so the future.
"I'm going to be 37 next week," Luke explains. "Do hands have a biological clock? I feel like I do.� Something is definitely ticking!"
The actor manages to avoid revealing whether he's geological dating anyone peculiar but we're not distressed. Luke's effective looks and charm have attracted some of Hollywood's A-list leading ladies, including Drew Barrymore and Gwyneth Paltrow.
For the complete interview, check out the Morning Show with Mike & Juliet on Tuesday. Consult local listings for time and distribution channel.
�
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Wednesday, 6 August 2008
'The X-Files': That '90s Show. By Kurt Loder
Who didn't love "The X-Files," specially in the excitement of its
Friday, 27 June 2008
Tho-So-Aa
Artist: Tho-So-Aa
Genre(s):
Other
Discography:
Enrielle
Year: 2002
Tracks: 8
Index 1.0 Coma
Year: 1998
Tracks: 5
Thursday, 19 June 2008
Two 4 Pop, Dynamic 4z, Code Q
Artist: Two 4 Pop, Dynamic 4z, Code Q
Genre(s):
Other
Discography:
Maria Magdalena
Year: 2004
Tracks: 3
Hogan Fears For Jailed Son Nick
Wednesday, 11 June 2008
Caetano Veloso
Artist: Caetano Veloso
Genre(s):
Latin
Other
Discography:
Joia
Year: 2004
Tracks: 13
A Foreign Sound
Year: 2004
Tracks: 22
Eu N o Pelo Desculpa
Year: 2002
Tracks: 14
O Maggio a Federico e Giulietta
Year: 2001
Tracks: 18
Noites do Norte ao Vivo (cd2)
Year: 2001
Tracks: 16
Noites do Norte ao Vivo (cd1)
Year: 2001
Tracks: 16
Noites do Norte
Year: 2001
Tracks: 12
Prenda Minha
Year: 1999
Tracks: 20
Livro
Year: 1997
Tracks: 14
Fina Estampa (Live)
Year: 1996
Tracks: 17
Fina Estampa Ao Vivo
Year: 1995
Tracks: 17
Fina Estampa
Year: 1994
Tracks: 15
Tropicalia 2
Year: 1993
Tracks: 12
Circulado Vivo
Year: 1992
Tracks: 19
Circuladt
Year: 1991
Tracks: 11
Estrangeiro
Year: 1989
Tracks: 10
Caetano (Jose)
Year: 1987
Tracks: 11
Totalmente Demais
Year: 1986
Tracks: 16
Caetano Veloso
Year: 1986
Tracks: 13
Velo
Year: 1984
Tracks: 11
Uns
Year: 1983
Tracks: 11
Cores, Nomes
Year: 1982
Tracks: 12
Outras Palavras
Year: 1981
Tracks: 13
Cinema Transcendental
Year: 1979
Tracks: 12
Muito
Year: 1978
Tracks: 12
Maria Bethania and Caetano Veloso ao Vivo
Year: 1978
Tracks: 12
Muitos Carnavais
Year: 1977
Tracks: 12
Bicho
Year: 1977
Tracks: 9
Doces Barbaros (cd2)
Year: 1976
Tracks: 7
Doces Barbaros (cd1)
Year: 1976
Tracks: 10
Qualquer Coisa
Year: 1975
Tracks: 12
Temporada De Ver o Ao Vivo Na Bahia
Year: 1974
Tracks: 9
Araka azul
Year: 1973
Tracks: 10
Transa
Year: 1972
Tracks: 7
Caetano Veloso (A Little More Blue)
Year: 1971
Tracks: 7
Caetano Veloso (1969)
Year: 1969
Tracks: 12
Tropicalia ou Panis Et Circensis
Year: 1968
Tracks: 12
Caetano Veloso (Tropicalia)
Year: 1968
Tracks: 12
A true heavyweight, Caetano Veloso is a pop Bob Dylan, Bob Marley, and Lennon/McCartney. And even the to the highest degree casual listen to his recorded output o'er the last few decades proves that this is no exaggeration.
Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso wrapped the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, just it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian star in the fifties) that formed the cornerstone of Veloso's intensely eclectic pour down. Following his baby Maria Bethânia (a identical successful singer in her possess right) to Rio in the early '60s, the 23-year-old Veloso north Korean won a lyric-writing contest with his sung "Um Dia" and was promptly signed to the Phillips label. It wasn't prospicient earlier Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) delineated the modern wave of MPB (i.e., musica popular brasileira), the general-purpose term victimised by Brazilians to distinguish their pop music. Bright, ambitious, creative, and tending to an unapologetically left-winger political expectation, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new pattern of pour down music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and fine art rock candy to a grudge of loud electric guitars, poetic spoken parole sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of old fans similar to the choler provoked by Dylan upon expiration electric), Tropicalia was a breathless stylistic deductive reasoning that signaled a novel genesis of daring, provocative, and politically outspoken musicians wHO would remaking the face of MPB.
This was a cultural stir not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a regime that would principle for 20 long time) that did non expect good-hearted upon such radical medicine made by such group musicians. Almost immediately on that point were government-sanctioned attempts to circumscribe the recordings and live performances of many tropicalistas. Censorship of song lyrics as well as radio and television system play lists (Veloso was a regular TV performer on Brazilian diverseness shows) was common. Just as vulgar was the persecution of performers openly decisive of the authorities, and Veloso and Gil were at the top of the hit number. Both men exhausted deuce months in prison house for "anti-government natural process" and some other 4 months under house turn back. After a defiant 1968 performance in concert, Veloso and Gil were constrained into exile in London. Veloso continued to record overseas and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.
Although his commitment to politicized artistic creation ne'er wavered, Veloso, over the side by side 20 days, went from existence a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop. For decades he unbroken up a grueling yard of transcription, producing, and acting and, in the mid-'70s, added authorship to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first clock time. (He sold out trey nights at the Public Theater in New York with shows that were ecstatically reviewed by then-New York Times pop critic Robert Palmer.) This firm increase in popularity occurred despite the fact that Veloso's records were extremely hard to recover in American record stores, and when one could situate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in section to Palmer, Robert Christgau, and former critics writing near pop music outside of the neighboring 48 states. But Veloso ne'er seemed daunted by his depressed profile outside of Brazil, and his put to work over the years, even later on he became a more well-known international belt down figure, remained thought-provoking and intriguing without beingness modified for American (or anyone else's) tastes -- that is, Veloso sang in English (almost of his recorded work is song in Portuguese) when he matte up like it, not because he had to sell more than records in America. He hung out with fair trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), only never made a big deal about it. Veloso was one of the rare musicians world Health Organization was popular, sold a draw of records (at least in Brazil), was a certified superstar, simply was never self-aggrandising, narcissistic, or too concerned with how hip he was.
Regular when he approached the age of normal retirement, Veloso showed no signs of slowing depressed. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his outset nonimport outlet in America, Veloso's stateside profile increased significantly, reach its highest power point with the acquittance of 1993's Tropicália 2, recorded with Gilberto Gil. A glorious record book that made a curve of American ten-best lists, Tropicália 2 proven once again that Veloso's gift (as well as Gil's) had non vitiated a spot. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Dark and White" and Dylan's "Jokerman"), were uniformly fantastic, and in the summer of 1997 Veloso embarked on his largest American hitch to date.
Deuce long time later, Veloso was the subject of an extensive, flattering portrayal in Spin on the eve of the American release of his acclaimed 1998 album Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his married woman, actress Giulietta Masina. He likewise south Korean won a Grammy for the Best MPB Album for 1998's Livro at the outset annual Latin Grammy Awards. After the end of the millennium, Veloso delivered a bossa nova album, the enlivened Noites do Norte, a live record book from Bahia, a coaction with poet Jorge Mautner, and the songbook album A Foreign Sound. In 2006 Veloso returned with Cê, a typically divers and interesting album co-produced by his boy Moreno.
Thursday, 5 June 2008
The Rolling Stones - Music Legend Bo Diddley Dies At 79
Legendary music figure Bo Diddley died Monday of heart failure at his home in Archer,
FL at age 79. Diddley, often considered one of the founders of rock 'n' roll, had
often bitterly complained that other musicians -- most notably, The Rolling Stones
-- had become rich covering his music, while he was relegated to small nightclub venues
and was shunned by television producers. He suggested that television networks showed
undisguised favoritism to white performers. But the Stones' Keith Richards shot back
that Diddley's problem was that he and his music had failed to evolve and that he
had continued to live on past laurels. On Monday, however, the Stones' frontman,
Mick Jagger, issued a statement saying that Diddley "was an enormous force in music
and was a big influence on The Rolling Stones. ... We learned a lot from him."
03/06/2008
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