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Academy; if you follow our walkthrough for that, you'll wind down this quest as well. a hidden power: as you progress towards the sith academy, kreia will warn you about a shyrack cave that appears off the path - she'll likely tell you not to enter, but what the hey, you're a grown-up. head on in and start poking around. the first screen of the cave is filled with beasts; you shouldn't have a problem clearing them out, and there are some decent items to be had on the sith corpses and in the ceramic jars we were actually lucky enough to nab a tech specialist belt in one of the jars, but all the items here are random; good luck ; . anyway, if you explore the cavern thoroughly, you'll come across another portal, leading further in. kreia will again attempt to warn you off. we managed to successfully get through with a 16 consular 5 jedi master, but you can probably get through it a bit earlier if you're a more combatoriented character. you have to head through the sith trials alone; the whole thing is apparently intended to echo luke's failure in the cave.but you have no intention of failing, do you? still, save your game before you head in - if you find yourself unable to complete the trials, continue with the other quests on korriban and come back later. ; test 1: your first challenge within the cave involves none other than malak himself, but a phantom malak from the past, before he got all facemashed and metally. your answers here will decide your force alignment shift. if, after all that you've learned, you choose to join malak and embark on the mandalorian wars again ; , you'll take a severe dark side hit; if you choose to stand with the council and reject his call to arms, you'll go light side. if you just choose to goad him into a fight immediately by telling him to draw his lightsaber, you won't take any alignment shift at all. whichever you choose, you'll have to fight against malak, bastila, and four other jedi. fun and online gambling. 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trophy live, as well as highlights of england's one-dayers. negotiations with sky secured highlights of the winter tours too. if cricket lovers were in their element with all this wall-to-wall action, cycling fans were less enamoured. tour de france coverage had continued throughout the 1990s, and in 1994 channel 4 presented live coverage for the first time when the race briefly crossed the channel to britain for a couple of stages. but by 2000, the highlights were finally shunted into the late-night ghetto, it was said, by cricket and hollyoaks. after 16 years, it was to be the last time the network followed of one of the world's most spectacular sporting events. fans of italian football also had cause for complaint when the sunday afternoon live games became more and more infrequent. the most telling sign came when channel 4 abandoned coverage of the title decider in 2001 with several minutes remaining, the match having been disrupted by a pitch invasion by the celebrating roma fans. just 12 months earlier channel 4 had happily rearranged the schedules when juventus' title bid was memorably held up by an amazonian rainstorm, an afternoon memorable for the sight of pierluigi collina inspecting the pitch under an umbrella and the sound of the underrated peter brackley switching seamlessly between matches. but now it seemed the network, not for the first time, had lost interest in its one-time favourite sport. the following season, live coverage was abandoned altogether, and followers had to make do with saturday morning's gazzetta and sunday's late night la partita highlights programme. it was all a far cry from the time michael grade was able to eat for free at any trattoria in london at the insistence of grateful italian restaurateurs. 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What followed was a cultural tempest. while movies, magazines, and even tv were busy tailoring the beat movement to appeal to their disparate commercial audiences, another segment of the cultural establishment was aggressively denouncing this manufactured image as a celebration of criminality and bestiality. reading such jeremiads as robert brustein's "the cult of unthink" or norman podhoretz's "the know nothing bohemians, " one soon realizes that the subject is not the real ginsberg or kerouac, but the fictional beatnik that look created for its readers in "the bored, the bearded and the beat"; the one herbert gold parodied in such odd exercises as "a frigid frolic in frisco." a writer for life described the beat movement this way: "the bulk of it is comprised of those mobs of 'sick little bums' who emerge in any generation . people very like them distributed pamphlets for the communists in the 1930s, or muttered of anarchism and cadged drinks in the speakeasies of the 1920s, and then as now thirsted cunningly for the off-beat cause which could provide them with some sense of martyrdom and superiority. they are talkers, loafers, passive little con men, lonely eccentrics, mom-haters, cop-haters, exhibitionists with abused smiles and second mortgages on a bongo drum--writers who cannot write, painters who cannot paint, dancers with unfortunate malfunction of the fetlock."41 but they were also great copy. ginsberg was probably the only poet in america whose readings drew the kind of press coverage normally reserved for a prize fight or a society divorce. they were there because they'd heard about the time ginsberg had challenged a heckler to take off his clothes. it'd happened in los angeles, where the director of a local poetry society had invited a few of the san francisco poets down to share their verse. the crowd had been diverse, some hollywood arty types, a few students, and a solid phalanx of poetry-loving ladies--and one drunken belligerent whose composure finally had shattered when ginsberg stood up to read. over time, as his beard and his belly bushed out. allen ginsberg would achieve a kind of rabbinical majesty, but when this happened he was still a rabbity jewish kid from new jersey, a bespectacled obscene poet anarchist. to his credit, ginsberg had tried to ignore the heckler, but finally he gave up and said, "all right, all right. you want to do something big, don't you. something brave. well, go on, do something really brave. take off your clothes."42 that had startled the drunk, who seemed to be under the illusion that he was going to get into a punch-out with this rumpled poet, and he had retreated up the aisle. pressing his advantage, ginsberg had followed, tearing off his own shirt and undershirt and flinging them at the heckler. "you're scared, aren't you, " he had taunted. "you're afraid." still moving, he had unbuckled his belt, unzipped his pants and kicked them off. the audience, which had sat in mute anticipation throughout this performance, burst into cheers and noisy argument, as both ginsberg and the drunk were hustled from the room. this kind of existential vaudeville was what audiences came to expect from the beats, and more often than not they went home satisfied.