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Transport of Hazardous Materials (HazMat) and Dangerous Goods -- U.S./EU/International


Crucial to the production and marketing of industrial chemicals, fuels, and agricultural chemical products is the ability to move the precursors and products safely and compliantly through the supply chain. The transport of such goods is governed by a complex network of national and international regulations, programs that have extremely broad applicability across many industries. Any company involved in transporting dangerous or hazardous materials, even at very small quantities, is required to comply with the regulations or seek a waiver. Bergeson Campbell, P.C. 's (BC ® ) regulatory experts help clients identify, classify, label, and ship all manner of dangerous goods by land, air, or sea, and manage the sometimes bewildering cross-border inconsistencies in international regulatory requirements. As a complement to BC's capabilities, our consulting affiliate The Acta Group (Acta ® ), with offices in the U.S., European Union (EU), and China, offers additional international expertise so that our clients are well-served by an extensive network of support globally.

U.S. Standards for Transporting HazMats:

The U.S. Department of Transportation (DOT) has primary responsibility for overseeing the transportation in commerce of hazardous materials, commonly called "HazMats." DOT is comprised of a number of administrating agencies, such as the Federal Aviation Administration (FAA) and Federal Motor Carrier Safety Administration (FMCSA). The administration responsible for the transport of HazMats is the Office of Hazardous Materials Safety (OHMS), which is housed under the Pipeline and Hazardous Materials Safety Administration (PHMSA). DOT's regulations govern the transport of HazMats by ground, air, rail, inland water, and sea. The scope of DOT's regulatory reach is broad: thousands of products and tens of thousands of businesses are regulated under the DOT HazMat program.

Each day, U.S. businesses transport over one million HazMats shipments, and every one of them is subject to the DOT standards. The regulations establish standards for HazMats identification, training, labeling, use of proper containers, recordkeeping, reporting, placarding, and vehicle safety. Any business that offers HazMats for shipment must train its HazMat employees and adhere to the stringent standards DOT has established. The regulations are complex and businesses often require the assistance of seasoned and experienced professionals to navigate the regulatory maze to ensure compliance.

EU Standards for the Carriage of Dangerous Goods:

Carriage of Dangerous Goods and Use of Transportable Pressure Equipment Regulations (CDG) and the European Agreement concerning the International Carriage of Dangerous Goods by Road ECE/TRANS/225 (Vol. I II) (ADR) together regulate the carriage of goods by road within the EU, whereas the International Air Transport Association Dangerous Goods Regulations (IATA DGR) set forth the international standard for shipping dangerous goods by air. (International Civil Aviation Organization (ICAO) is the regulation; IATA is the ICAO interpretations with individual contributions from airlines.)

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Knight was 39 years old.

Posted July 11, 2018

T ragedy struck the UCLA family twice within two days.

is reporting that ex-UCLA star Billy Knight apparently committed suicide on Sunday, July 9. The former basketball player recorded a YouTube video in which he said,“This is probably my last message on Earth.” He detailed his struggle with mental illness, saying, “I isolated myself from my family members. I isolated myself from my friends, and that’s not something you should do. If this happens, you probably have a mental illness. Mental illness is serious. I hear voices in my head constantly, and I don’t know where they come from. I just asked God for forgiveness for all the wrong I’ve done.” We are not linking to the video.

Billy Knight

READ MORE:5 Powerful Moments From 2018 ESSENCE Fest In New Orleans

TMZ reports, “Shortly after the video was posted, the Phoenix P.D. says officers found Knight’s body in a roadway in downtown Phoenix.Officers say, ‘No evidence of foul play was detected,’ but the body has been sent to the Medical Examiner to determine the cause of death.” Knight was 39 years old.

In more sad news, Tyler Honeycutt, anotherUCLA basketball player, was found dead on Saturday, July 7. Honeycutt had a shootout with police at his home in Sherman Oaks, and The Los Angeles Daily News reports, “He reportedly barricaded himself after shots were exchanged, starting an 11-hour standoff.Initial reports had many to believe that Honeycutt was shot by police after he fired his gun at authorities. But a suicide is now being considered.”

Bort Escoto, his former high school coach who remained close to Honeycutt and his family, told The Los Angeles Daily News, “He’s been going through some things. He called me at around 4 p.m. (Friday), I planned on going to his house to talk, but his mom called me 45 minutes later saying, ‘He had a gun and was talking crazy.’ I told her to call 9-1-1.” He continued,“Recently, he’s been calling me and thanking me ‘for all I’ve done for him’. He has been acting very unusual lately, and our conversations would leave me concerned for him.”

Tyler Honeycutt was only 27 years old.

Our condolences go out to the friends and family of Billy Knight and Tyler Honeycutt.

Cluster /

DATE : 22October 2017 // DOORS : 17:30 // CONCERT : 18:00

CLUSTER #5 Labor Neunzehn is pleased to present the two-session concert with Sabine Vogel (flute, electronics)and Passepartout Duo (piano, percussion)

Programme notes:

Sabine Vogel (for 4 resonating speakers and flutes)

Passpartout Duo (reduced version) with works by Kaj Duncan David , (for solo percussion) Bryan Jacobs ,(for piano solo) Wally Gunn , (for piano and percussion) Molly Joyce , (for piano and percussion)

FREE ENTRANCE but registration required or email to cluster[at]

Cluster ” is a music series devoted to sound investigation with a particular focus on contemporary languages, new music and extended techniques. “Cluster” supports the collaborative work and aims to offer an exchange platform for musicians, composers and electronic music performers in Berlin-Treptow.

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Sabine Vogel born in Munich, studied jazz-flute at the Anton Bruckner Conservatory in Linz, Austria. In 2000 Sabine Vogel moved to Berlin, since 2005 she has been living in Potsdam. As a flautist Sabine Vogel focuses on sound and improvisation, using extended techniques both acoustic as well as electronic, creating a very personal contemporary language for the flute. Discovering and producing the unheard, the intimate, in relation to sound production within the flute, is her main focus of exploration.

She takes the sounds from the inside of her flute – the microcosm of her flute world – and transports these sounds, with the help of amplification, into a sound-able-hear-able world. Bringing what is inside into the outside. She then combines this world of sound withself-made field recordings- the natural macrocosm of existing sound – forming a composed mixture between the macro and microcosmic. Recently she became more and more interested in site specific work, doing sound installation combined with live playing in natural environment.

Sabine Vogel has played as a soloist or in various formations on festivals like: ISEA RUHR, Ultima Festival/ Oslo, EMS Festival/ Stockholm, Ultraschall Festival/ Berlin, High Zero/Baltimore, Internationale Ferienkurse Darmstadt, Audiocraft, Oxford etc

Her current projects are: ORNIS; an audio-visual Duo with british artist Kathy Hinde, a Duo with australian pianist/organist Chris Abrahams, Landscape Quartet – an enviromental, soundart project with Bennett Hogg, Matt Sansom, Stefan Östersjö – She is a member of the „Splitter Orchester“, based in Berlin Sabine Vogel has a lectureship for flute at the University Potsdam

She has played and worked a.o. with Anthony Braxton, Arto Lindsay, Tony Buck, Jim Denley, Chris Abrahams, Alex Nowitz, Malin Bång, Andrea Neumann, Schwimmer,Shannon Cooney, the Walter Thompson Soundpainting Orchestra.

Passepartout Duo Ever since they began collaborating in 2015, the musicians of Passepartout Duo have been known for their tireless advocacy of new music, ideas that cross aesthetic boundaries, and the compelling films they create. Driven by their shared values of music, people, and travel, Nicoletta Favari Christopher Salvito’s simple and elegant approach has already earned them a reputation as a thoughtful and promising emerging group within the contemporary music field.

The work of the duo has been described as, “globalized and far-reaching and provocative and, yes, even beautiful” by the Lake Champlain Weekly. In addition to performing across dozens of countries and scores of US states, the duo has been invited to perform at the Huddersfield Contemporary Music Festival in England, the Norfolk Chamber Music Festival in Connecticut, the Havana Contemporary Music Festival in Cuba, and the KlangBasel Festival in Switzerland. Being avid collaborators, a recent project of the group involved composing and recording music for Belgian-based animator Anna Van Riel’s short film. As educators, the members of Passepartout Duo offer a variety of classes and engagements for students; most recently, they were ensemble in residence for the composition department at University of Miami’s Frost School of Music.

Their upcoming engagements include the filming of Molly Joyce’s piece, and a two-month-long residency in Iceland focusing on the theme Skammdegi, the Icelandic word for “The Shortest Day.”

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Cluster #6