The thio­nocarbonate of trans-cyclo­octenediol, C9H12O2S, crystallizes with a 9/1 disorder in the position of the R,R and S,S-enanti­omers. As a result of trans-annulation, both rings adopt a twist conformation.

A confiscated package of street drugs was characterized by the usual mass spectral (MS) and FT–IR analyses. The confiscated powder material was highly crystalline and was found to consist of two very different species, accidentally of sizes convenient for X-ray diffraction. Thus, one each was selected and redundant com­plete sets of data were collected at 100 K using Cu Kα radiation. The selected crystals contained: (a) 1,2-diphenyl-2-(pyrrolidin-1-yl)ethanone hy­dro­chloride hemihydrate or 1-(2-oxo-1,2-di­phenyl­eth­yl)pyrrolidin-1-ium chloride hemihydrate, C18H20NO+·Cl−·0.5H2O, (I), a synthetic cathinone called `α-D2PV', and (b) the sugar myo-inositol, C6H12O6, (II), probably the only instance in which the drug and its diluent have been fully characterized from a single confiscated sample. Moreover, the structural details of both are rather attractive showing: (i) inter­esting hydrogen bonding observed in pairwise inter­actions by the drug mol­ecules, mediated by the chloride counter-anions and the waters of crystallization, and (ii) π–π inter­actions in the case of the phenyl rings of the drug which are of two different types, namely, π–π stacking and edge-to-π. Finally, the inositol crystallizes with Z' = 2 and the resulting diastereoisomers were examined by overlay techniques.

Categorization underlies understanding. Conceptualizing solid-state structures of organic molecules with `archetype crystal structures' bridges established categories of disorder, polymorphism and solid solutions and is herein extended to special position and high-Z' structures. The concept was developed in the context of disorder modelling [Dittrich, B. (2021). IUCrJ, 8, 305–318] and relies on adding quantum chemical energy differences between disorder components to other criteria as an explanation as to why disorder – and disappearing disorder – occurs in an average structure. Part of the concept is that disorder, as probed by diffraction, affects entire molecules, rather than just the parts of a molecule with differing conformations, and the finding that an R·T energy difference between disorder archetypes is usually not exceeded. An illustrative example combining disorder and special positions is the crystal structure of oestradiol hemihydrate analysed here, where its space-group/subgroup relationship is required to explain its disorder of hydrogen-bonded hydrogen atoms. In addition, we show how high-Z' structures can also be analysed energetically and understood via archetypes: high-Z' structures occur when an energy gain from combining different rather than overall alike conformations in a crystal significantly exceeds R·T, and this finding is discussed in the context of earlier explanations in the literature. Twinning is not related to archetype structures since it involves macroscopic domains of the same crystal structure. Archetype crystal structures are distinguished from crystal structure prediction trial structures in that an experimental reference structure is required for them. Categorization into archetype structures also has practical relevance, leading to a new practice of disorder modelling in experimental least-squares refinement alluded to in the above-mentioned publication.

To date, accurate modelling of the solvation process is challenging, often over-simplifying the solvent–solute interactions. The interplay between the molecular arrangement associated with the solvation process and crystal nucleation has been investigated by analysis of the piezo-solvatochromic behaviour of Reichardt's dye, ET(1), in methanol, ethanol and acetone under high pressure. High-pressure single-crystal X-ray diffraction and UV–Vis spectroscopy reveal the impact of solute–solvent interactions on the optical properties of ET(1). The study underscores the intricate relationship between solvent properties, molecular conformation and crystal packing. The connection between liquid and solid phases emphasizes the capabilities of high-pressure methods for expanding the field of crystal engineering. The high-pressure environment allowed the determination of the crystal structures reported here that are built from organic molecules fourfold solvated with ethanol or methanol: ET(1)·4CH3OH and ET(1)·4C2H5OH·H2O. The observed piezo-solvatochromic effects highlight the potential of ET(1) in nonlinear optoelectronics and expand the application of solvatochromic chemical indicators to pressure sensors.

Single-particle cryo-electron microscopy (cryo-EM) has become an essential structural determination technique with recent hardware developments making it possible to reach atomic resolution, at which individual atoms, including hydrogen atoms, can be resolved. In this study, we used the enzyme involved in the penultimate step of riboflavin biosynthesis as a test specimen to benchmark a recently installed microscope and determine if other protein complexes could reach a resolution of 1.5 Å or better, which so far has only been achieved for the iron carrier ferritin. Using state-of-the-art microscope and detector hardware as well as the latest software techniques to overcome microscope and sample limitations, a 1.42 Å map of Aquifex aeolicus lumazine synthase (AaLS) was obtained from a 48 h microscope session. In addition to water molecules and ligands involved in the function of AaLS, we can observe positive density for ∼50% of the hydrogen atoms. A small improvement in the resolution was achieved by Ewald sphere correction which was expected to limit the resolution to ∼1.5 Å for a molecule of this diameter. Our study confirms that other protein complexes can be solved to near-atomic resolution. Future improvements in specimen preparation and protein complex stabilization may allow more flexible macromolecules to reach this level of resolution and should become a priority of study in the field.

The advent of serial crystallography has rejuvenated and popularized room-temperature X-ray crystal structure determination. Structures determined at physiological temperature reveal protein flexibility and dynamics. In addition, challenging samples (e.g. large complexes, membrane proteins and viruses) form fragile crystals that are often difficult to harvest for cryo-crystallography. Moreover, a typical serial crystallography experiment requires a large number of microcrystals, mainly achievable through batch crystallization. Many medically relevant samples are expressed in mammalian cell lines, producing a meager quantity of protein that is incompatible with batch crystallization. This can limit the scope of serial crystallography approaches. Direct in situ data collection from a 96-well crystallization plate enables not only the identification of the best diffracting crystallization condition but also the possibility for structure determination under ambient conditions. Here, we describe an in situ serial crystallography (iSX) approach, facilitating direct measurement from crystallization plates mounted on a rapidly exchangeable universal plate holder deployed at a microfocus beamline, ID23-2, at the European Synchrotron Radiation Facility. We applied our iSX approach on a challenging project, autotaxin, a therapeutic target expressed in a stable human cell line, to determine the structure in the lowest-symmetry P1 space group at 3.0 Å resolution. Our in situ data collection strategy provided a complete dataset for structure determination while screening various crystallization conditions. Our data analysis reveals that the iSX approach is highly efficient at a microfocus beamline, improving throughput and demonstrating how crystallization plates can be routinely used as an alternative method of presenting samples for serial crystallography experiments at synchrotrons.

Synthesis experiments were conducted in the quaternary system K2O–Na2O–CaO–SiO2, resulting in the formation of a previously unknown compound with the composition K0.72Na1.71Ca5.79Si6O19. Single crystals of sufficient size and quality were recovered from a starting mixture with a K2O:Na2O:CaO:SiO2 molar ratio of 1.5:0.5:2:3. The mixture was confined in a closed platinum tube and slowly cooled from 1150°C at a rate of 0.1°C min−1 to 700°C before being finally quenched in air. The structure has tetragonal symmetry and belongs to space group P4122 (No. 91), with a = 7.3659 (2), c = 32.2318 (18) Å, V = 1748.78 (12) Å3, and Z = 4. The silicate anion consists of highly puckered, unbranched six-membered oligomers with the composition [Si6O19] and point group symmetry 2 (C2). Although several thousands of natural and synthetic oxosilicates have been structurally characterized, this compound is the first representative of a catena-hexasilicate anion, to the best of our knowledge. Structural investigations were completed using Raman spectroscopy. The spectroscopic data was interpreted and the bands were assigned to certain vibrational species with the support of density functional theory at the HSEsol level of theory. To determine the stability properties of the novel oligosilicate compared to those of the chemically and structurally similar cyclo­silicate combeite, we calculated the electronegativity of the respective structures using the electronegativity equalization method. The results showed that the molecular electronegativity of the cyclo­silicate was significantly higher than that of the oligostructure due to the different connectivities of the oxygen atoms within the molecular units.

In the title compound, C18H22O7, two hexane rings and an oxane ring are fused together. The two hexane rings tend toward a distorted boat conformation, while the tetra­hydro­furan and di­hydro­furan rings adopt envelope conformations. The oxane ring is puckered. The crystal structure features C—H⋯O hydrogen bonds, which link the mol­ecules into a three-dimensional network. According to a Hirshfeld surface study, H⋯H (60.3%) and O⋯H/H⋯O (35.3%) inter­actions are the most significant contributors to the crystal packing.

The crystal structure of the title compound {systematic name: (4S,4aS,5aR,12aR)-4,7-bis­(di­methyl­amino)-9-[(2,2-di­methyl­propyl­amino)­meth­yl]-1,10,11,12a-tetra­hydroxy-3,12-dioxo-4a,5,5a,6-tetra­hydro-4H-tetra­cene-2-carb­oxamide dihydrate, C29H40N4O7·2H2O} has been solved and refined using synchrotron X-ray powder diffraction data: it crystallizes in space group R3 with a = 24.34430 (7), c = 14.55212 (4) Å, V = 7468.81 (2) Å3 and Z = 9. Most of the hydrogen bonds are intra­molecular, but two classical N—H⋯O inter­molecular hydrogen bonds (along with probable weak C—H⋯O and C—H⋯N hydrogen bonds) link the mol­ecules into a three-dimensional framework. The framework contains voids, which contain disordered water mol­ecules. Keto–enol tautomerism is apparently important in this mol­ecule, and the exact mol­ecular structure is ambiguous.

In the title compound, C21H15N5OS2, mol­ecular pairs are linked by N—H⋯N hydrogen bonds along the c-axis direction and C—H⋯S and C—H⋯O hydrogen bonds along the b-axis direction, with R22(12) and R22(16) motifs, respectively, thus forming layers parallel to the (10overline{4}) plane. In addition, C=S⋯π and C≡N⋯π inter­actions between the layers ensure crystal cohesion. The Hirshfeld surface analysis indicates that the major contributions to the crystal packing are H⋯H (43.0%), C⋯H/H⋯C (16.9%), N⋯H/H⋯N (11.3%) and S⋯H/H⋯S (10.9%) inter­actions.

The asymmetric unit of the title compound, 2C31H28N2O4S·C2H6O, contains a parent mol­ecule and a half mol­ecule of ethanol solvent. The main compound stabilizes its mol­ecular conformation by forming a ring with an R12(7) motif with the ethanol solvent mol­ecule. In the crystal, mol­ecules are connected by C—H⋯O and O—H⋯O hydrogen bonds, forming a three-dimensional network. In addition, C—H⋯π inter­actions also strengthen the mol­ecular packing.

In the ten-membered 1,3,4,6-tetra­hydro-2H-pyrido[1,2-a]pyrimidine ring system of the title compound, C17H15N5, the 1,2-di­hydro­pyridine ring is essentially planar (r.m.s. deviation = 0.001 Å), while the 1,3-diazinane ring has a distorted twist-boat conformation. In the crystal, mol­ecules are linked by N—H⋯N and C—H⋯N hydrogen bonds, forming a three-dimensional network. In addition, C—H⋯π inter­actions form layers parallel to the (100) plane. Thus, crystal-structure cohesion is ensured. According to a Hirshfeld surface study, H⋯H (40.4%), N⋯H/H⋯N (28.6%) and C⋯H/H⋯C (24.1%) inter­actions are the most important contributors to the crystal packing.

In the structure of the title compound, C22H22N4O4·C3H7NO·H2O, the entire tricyclic system is approximately planar except for the carbon atom bearing the two methyl groups; the meth­oxy­phenyl ring is approximately perpendicular to the tricycle. All seven potential hydrogen-bond donors take part in classical hydrogen bonds. The main mol­ecule and the DMF combine to form broad ribbons parallel to the a axis and roughly parallel to the ab plane; the water mol­ecules connect the residues in the third dimension.

The cis- form of di­amino­dibenzo­cyclo­octane (DADBCO, C16H18N2) is of inter­est as a negative coefficient of thermal expansion (CTE) material. The crystal structure was determined through single-crystal X-ray diffraction at 100 K and is presented herein.

Title compound 1Ni, [Ni(C46H32N4O2)], a secochlorin nickel complex, was prepared by diol cleavage of a precursor trans-di­hydroxy­dimethyl­chlorin. Two crystallographically independent mol­ecules in the structure are related by pseudo-A lattice centering, with mol­ecules differing mainly by a rotation of one of the acetyls and an adjacent phenyl groups. The two mol­ecules have virtually identical conformations characterized by noticeable in-plane deformation in the A1g mode and a prominent out-of-plane deformation in the B1u (ruffling) mode. Directional inter­actions between mol­ecules are scarce, limited to just a few C—H⋯O contacts, and inter­molecular inter­actions are mostly dispersive in nature.

Crystal formation of penta­sodium nona­deca­cesium tetra­cosa­tungstate(VI) heneikosahydrate, Na5Cs19[W24O84]·21H2O, was successfully achieved by the conversion of [H2W12O42]10− through the addition of excess Cs+. The crystal structure comprising the toroidal isopolyoxidometalate is presented, as well as its Raman spectrum. Na5Cs19(H2O)21W24O84 crystallizes in the rhombohedral space group Roverline{3} with an obverse centering. The title compound represents the addition of a new member to the isopolytungstate family with mixed alkali counter-ions and contains rarely observed five-coordinate tungsten(VI) atoms in the [W24O84]24− anion (site symmetry C3i) arising from the conversion mediated by Cs+ counter-ions.

Crystal formation of caesium thallium chloride phospho­tungstates, Cs9(TlCl6)(PW12O40)2·9CsCl showcases the ability to capture and crystallize octa­hedral complexes via the use of polyoxometalates (POMs). The large number of caesium chlorides allows for the POM [α-PW12O40]3− to arrange itself in a cubic close-packing lattice extended framework, in which the voids created enable the capture of the [TlCl6]3− complex.

In the title compound, C33H29ClN2O2, the two piperidine rings of the di­aza­bicyclo moiety adopt distorted-chair conformations. Inter­molecular C—H⋯π inter­actions are mainly responsible for the crystal packing. The inter­molecular inter­actions were qu­anti­fied and analysed using Hirshfeld surface analysis, revealing that H⋯H inter­actions contribute most to the crystal packing (52.3%). The mol­ecular structure was further optimized by density functional theory (DFT) at the B3LYP/6–31 G(d,p) level and is compared with the experimentally determined mol­ecular structure in the solid state.

BL19U1, an energy-tunable protein complex crystallography beamline at the Shanghai Synchrotron Radiation Facility, has emerged as one of the most productive MX beamlines since opening to the public in July 2015. As of October 2023, it has contributed to over 2000 protein structures deposited in the Protein Data Bank (PDB), resulting in the publication of more than 1000 scientific papers. In response to increasing interest in structure-based drug design utilizing X-ray crystallography for fragment library screening, enhancements have been implemented in both hardware and data collection systems on the beamline to optimize efficiency. Hardware upgrades include the transition from MD2 to MD2S for the diffractometer, alongside the installation of a humidity controller featuring a rapid nozzle exchanger. This allows users to opt for either low-temperature or room-temperature data collection modes. The control system has been upgraded from Blu-Ice to MXCuBE3, which supports website-mode data collection, providing enhanced compatibility and easy expansion with new features. An automated data processing pipeline has also been developed to offer users real-time feedback on data quality.

Sung Kang (L) and Vin Diesel (R) in the film “F9: The Fast Saga"; Credit: Giles Keyte/Universal Pictures

This content is from Southern California Public Radio. View the original story at SCPR.org.

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The lineup from the "Justice League" animated series.; Credit: Warner Bros.

Bruce Timm's DC Comics animated universe, beginning with "Batman: The Animated Series" and continuing with "Superman," "Batman Beyond," "Justice League," "Justice League Unlimited" and more, remains one of the most beloved and critically acclaimed animated runs in existence. The run was so idenified with the producer that it was sometimes called the Timmverse, but the last show in that continuity ended in 2006 and Timm officially stepped down from working with DC animation in 2013.

Now Timm is back. He's providing a darker take than the optimistic world he became known for in "Justice League: Gods and Monsters," a three-part digital series launching spring 2015 that will be tied in with a full-length animated film that comes out later that year, according to a press release.

Timm's also re-teaming with Alan Burnett, who worked with Timm on "Batman: The Animated Series." It's part of DC Comics' efforts to set up their new film "Batman v Superman: Dawn of Justice," which hits in 2016, with the full Justice League film set for 2018.

DC Comics as a whole has been moving in a darker direction with Christopher Nolan's Batman trilogy, the "Man of Steel" reboot of Superman and a more serious direction in many of its comic books. The company has followed in its tradition of epic storytelling, passing on the quips Marvel has popularized in films from "Iron Man" to "Guardians of the Galaxy."

It's yet to be seen if Timm can recapture any of the magic from his classic cartoons, but there's reason to be optimistic for the creator of the series that introduced fan favorite Joker sidekick Harley Quinn, created a new origin for Mr. Freeze that cemented the character in the Batman mythos and led the team reimagining numerous characters in an iconic, broadly appealing way.

If you want to catch up on Timm's legacy, his previous two Justice League series are available on Netflix and Amazon Prime, along with "Batman Beyond," while the Batman and Superman animated series are available on Amazon Prime.

Timm also recently produced a short for the 75th anniversary of Batman called "Strange Days," setting the character in the retro world of the serialized pulp storytelling from the time Batman was originally created. You can watch that below:

Batman anniversary short

Watch the classic opening to "Batman: The Animated Series":

Batman: The Animated Series opening

And, a personal favorite joke from when Lex Luthor and the Flash trade bodies on "Justice League Unlimited":

Flash/Luthor body swap

File: Stephen Yan dresses as Deadpool at Comic-Con on July 19, 2013 in San Diego.; Credit: Sandy Huffaker/Getty Images

Hey, you! Yeah, you reading this! They're finally making a Deadpool movie!

If you like fourth-wall breaking, second-person addresses like the above, you may be in the target audience for the long-in-development "Deadpool," which Twentieth Century Fox announced Thursday that it was finally moving ahead with, according to the Hollywood Reporter. The studio announced a Feb. 12, 2016 release date for the film with Tim Miller set to direct the character who's served as both friend and foe to the X-Men.

The so-called "Merc with a Mouth" is a mercenary character created in the early '90s by artist Rob Liefeld, with Liefeld being an outspoken champion for the character. The character was part of the same Weapon X program that created Wolverine, with a similar healing factor power, but with a horribly scarred face he covers with a mask. He's also been played as crazy, which manifests itself as the character often knowing he's in a comic book and talking directly to the reader.

Ryan Reynolds has long been tied to the project, including playing a version of the character in the much-hated "X-Men Origins: Wolverine," but no deal has been made yet, according to the Reporter.

This follows footage leaking over the summer of a "Deadpool" test with Reynolds voicing the character in a CGI clip. Reynolds said in an interview in the Niagara Falls Review earlier this month that that it's unfortunate the footage leaked, "but who cares," because the positive response to the clip had helped push the film forward after being stuck in development hell.

"The movie has been in a state of limbo for a while. There was such an overpowering reaction to the footage, you sort of feel like, 'Oh, so we weren't crazy for our reasons for loving this character, for loving this role.' It's interesting to see the power of the Internet. It's awe-inspiring, actually," Reynolds told the Review. "And it's neat that Twitter and Facebook and Instagram can move mountains when used in the right way."

Watch the "Deadpool" test footage below (Warning: Contains some adult language):

Deadpool test footage

There'd also been debate about whether a movie would stay true to the character's outrageous attitude mixed with violence and go for an R rating, or whether it would go for a wider audience by staying at PG-13. Deadpool creator Liefeld has argued that the film would work just fine without restricting its audience with an R.

Liefeld tweet 1

Liefeld tweet 2

Liefeld told the Daily Superhero in a previous interview that the footage for the test was filmed three years ago, using motion capture over footage of Reynolds. He also talked up Miller as a director, noting that he directed the pre-credits scene for "Thor: The Dark World."

"Fox had released a relatively small budget for Tim to present his vision of the script written by Rhett Reese and Paul Wernick," Liefeld said. "The digital costume over Ryan Reynold's motion capture (Mo-Cap) performance was an approach they wanted to explore and they had a relatively small window to create this short so they opted to 'test' the look of a digital Deadpool costume over Ryan. I'm quite pleased at how it turned out, especially considering Baraka-Deadpool from Wolverine Origins."

Liefeld was referring to the transformation of Deadpool in "X-Men Origins: Wolverine" to a mouthless, pointy-limbed character in the film, which many fans argued took away what they loved most about Deadpool: His sense of humor. Liefeld also said he'd seen even more impressive sequences than the one that made its way online.

It's unclear whether this will tie in with the other X-Men films, but with the studio's recent attempt to tie together the "First Class" franchise with the older X-Men films in "Days of Future Past" and the character's long history of involvement with the X-Men and other related teams, it seems like a likely move.

Graphic novelist and artist Charles Burns, at the Mohn Broadcast Center, 9/18/2014. He's just completed his trilogy with the new book Sugar Skull.; Credit: John Rabe

Graphic novelist Charles Burns stopped by the Mohn Broadcast Center to talk with Off-Ramp host John Rabe about "Sugar Skull," which completes the trilogy that includes "X'ed Out" and "The Hive."  He's doing a signing tonight (Thurday, Sept. 18) at Skylight Books, 1818 N. Vermont Avenue in Los Feliz.

Why the trilogy? Burns says, "I had finished another book, "Black Hole," which was this very long graphic novel, all in black and white, and I wanted to do something in color, so I conceived a series of books, based on a series of my life, late '70s, the Punk Era. It started that way, and then it turned into something else."

RELATED: Miniaturist Alan Wolfson, or "Honey! I shrunk the strip club!"

The look of Burns' books:

... is drawn from one of his childhood favorites, the Belgian Tintin, who had all sorts of politically incorrect adventures:

"It's called the clear-line school of comics. And it's exactly what it sounds like: very clear lines, but perfectly rendered in color."

If there's more shadow in Burns' books than in Herge's, that's because the lines between good and bad, dark and light, reality and unreality are blurrier in Burns. The trilogy moves back and forth in time and place, including between the normal world and a bizarre world in which a character named Johnny 23 struggles with many of the same issues the protagonist in the real world, Doug, faces... including a pregnant girlfriend.

(From Sugar Skull, by Charles Burns. )

Are they two separate stories or Doug's subconscious world? Burns won't say. "That's for the reader to figure out. I don't really ever clearly explain those things at all, and I like to leave those things open. Interpretation is great, as far as I'm concerned."

Burns turns 59 on Sept. 27. How does he like approaching 60? "As far as the day-to-day landscape, things are more settled in. But as far as my sweltering, swelling, itching brain, that hasn't changed at all unfortunately."

"Red Band Society," premieres on Fox September 17th, starring Octavia Spencer, Charlie Rowe and Nolan Sotillo.; Credit: Fox Television Studios

The Los Angeles County Metropolitan Transportation Authority is pulling ads for the Fox television show "Red Band Society" from nearly 200 buses amid complaints they are racist and offensive to women.

The ads show the ensemble cast's members in front of a wall with graffiti describing their characters.

A denigrating word for a woman is used to describe the show's star, Octavia Spencer's character.

The Los Angeles Times reports transit officials began pulling the ads on Wednesday. They had been up for five weeks.

The Red Band Society also shared the ad on its Facebook page in August. 

Facebook: #RedBandSociety ad

But it's since edited it to look like this.

Photo: New ad via Facebook

Protesters who attended Thursday's transit agency board meeting complained the depiction of Spencer's character is racist and offensive to women.

The actress, who plays a nurse in the hospital drama, is black.

She won a supporting actress Oscar for her role in "The Help."

TORONTO, ON - SEPTEMBER 07: Actor Simon Pegg attends the "Hector and the Search for Happiness" premiere during the 2014 Toronto International Film Festival at Winter Garden Theatre on September 7, 2014 in Toronto, Canada. (Photo by Tommaso Boddi/Getty Images); Credit: Tommaso Boddi/Getty Images

British actor Simon Pegg has had the chance to take on some pretty fun roles. He’s battled zombies in Shaun of the Dead. He’s taken on the role of Scotty in the J.J. Abrams reboot of "Star Trek." And he plays an Impossible Missions Force technician alongside Tom Cruise in the Mission Impossible film series.

In his latest film release, Pegg plays Hector, a psychiatrist who decides his life is just too “beige,” so he sets out into the world to find out what makes people truly happy.

Pegg joins Take Two to talk about what Hector’s journey brings him in “Hector and the Search for Happiness.”

“Hector and the Search for Happiness” opens in the U.S. September 19th.

Interview Highlights:

On prepping to play the psychiatrist, Hector:

“Rosamund Pike and I…had dinner with a psychiatrist prior to starting shooting just to see, sort of, how he felt about dealing with people who have problems which aren’t necessarily, real problems, you know; which are what people call first world problems on Twitter.”

Why Hector sets out on his journey:

"I think Hector, at the beginning of the film, has a life that is very satisfactory; and to that degree, he’s unhappy…And, you know, what he learns is, you need more than that emotionally in your life to truly be happy. You know, if everything’s kind of just beige, you’re never going to be happy. You need to know misery, you need to know fear, and you need to know abandonment."

A little perspective:

"It was a very interesting thing to be shooting in Johannesburg, and to get out into…the townships…and see societies which contend with just abject poverty, and hardship everyday; but seeing so many smiles, and so many people genuinely joyful. And then get into the interior of Johannesburg, where there’s a lot of white people living in, sort of, gated communities, terrified...And see less smiles. It’s a very odd thing. And very, in keeping with the message of the film, which is, avoiding unhappiness is not the root to happiness.”

On his favorite emotion to convey as an actor – happiness, sadness, or anger:

“It’s a weird thing, I think, acting, sometimes. I sometimes almost resent it because you go through this sort of Pavlovian trauma sometimes because you have to recreate certain things that are sometimes a bit stressful.”

“Happiness is always a nice one because it’s fun to laugh on screen or to recreate moments of joy or euphoria, cause you do get a buzz from it, you know, you get this…vicarious, sort of, happiness in yourself. But that works as well for having to replicate sadness, or fear, or anger, or love even. “

“Your body thinks, ‘Oh, are we doing this now? Are we in love with someone here? Are we scared of something [laughs]?’ And you have to constantly intellectualize and remind your hormones that you’re actually – ‘No. This is fake, okay. You’re actually not about to die.’”

File: Queen's Freddie Mercury has his mustache groomed.
; Credit: Steve Wood/Express/Getty Images

The new Queen compilation "Queen Forever" includes three previously unreleased tracks, but the one that has people talking is a collaboration between two legends: Freddie Mercury and Michael Jackson.

The new song, "There Must Be More to Life Than This," was an unfinished track recorded during studio sessions for the 1981 Queen album "Hot Space," according to a press release on the new compilation. Queen also looked at the song for 1984's "The Works," but still don't go with it — the song finally landed, sans Jackson, on 1985's Mercury solo album "Mr. Bad Guy."

Listen to the new version of the song here:

Michael Jackson/Queen Soundcloud

Listen to the originally recorded version of the Queen/Jackson collaboration below:

Michael Jackson/Queen collabo

The new version was produced by William Orbit, who also did a remix of the song.

"Hearing Michael Jackson's vocals was stirring. So vivid, so cool, and poignant, it was like he was in the studio singing live. With Freddie's vocal solo on the mixing desk, my appreciation for his gift was taken to an even higher level," Orbit said in a press release.

The song is a call for peace, talking human rights in a general way. It almost didn't end up on the album — Queen's Brian May said that working with the Jackson family and Jackson's estate was like "wading through glue," according to Philly.com, but the track ended up making the cut.

The album also includes unreleased song "Let Me In Your Heart Again" and a new version of a song Mercury released solo, an acoustic take on "Love Kills." "Let Me In Your Heart Again" was previously recorded and released by May's wife Anita Dobson.

"Freddie sounds as fresh as yesterday," May said at a press conference while the new compilation was in the works.

Listen to Mercury's solo version of "There Must Be More to Life Than This" below:

There Must Be More To Life Than This, solo

Listen to Anita Dobson's version of "Let Me In (Your Heart Again)" below:

Anita Dobson track

Lisa Emery, left, and Lois Smith are in the world premiere of Jordan Harrison’s “Marjorie Prime” at the Center Theatre Group/Mark Taper Forum. ; Credit: Craig Schwartz

Lois Smith has had a long and varied acting career. She made her Broadway debut in 1952 and three years later was cast opposite James Dean in “East of Eden.” She was in “Five Easy Pieces” with Jack Nicholson and — more recently — she had a role on HBO’s “True Blood.”

Now, the 83-year-old Smith is starring at the Mark Taper Forum in the world premiere of “Marjorie Prime” — a play by Jordan Harrison about aging, memory and artificial intelligence.

Smith spoke with The Frame's John Horn about the play and her role.

Interview Highlights

Smith on how "Marjorie Prime" addresses the notion of memory

"One character at some point says, 'I don't know what memory's made of. Is it sedimentary layers?' The play [is] not a meditation, but a riff, perhaps, on that subject. Jordan [Harrison, the playwright] said at some point, 'This play is the intersection of perhaps humanity and technology.' The play takes place a bit in the future. Not a long time — we'll all recognize ourselves very well — but that's one of its surprises."

Smith on the evolution of becoming a character

"It's been extremely interesting. I suppose in every play [the process] deepens and stretches out. This one, no doubt about it...it's elusive in a lot of ways and I think, 'Oh good, I'm getting there, I'm finding out.' And then I think, 'Oh, farther to go.'" 

Smith on how audience members of different ages react to the play's take on aging

"One friend saw it in regards to [her] mother, who's becoming forgetful. [That] mother saw her own very aged father. They laughed about what they each brought up, because they had just been sitting at the same performance of the same play."

Smith on her role, which isn't too physically taxing

"I'm not doing much walking around. I walk on, I walk off, I walk on — and that's about it. I sometimes say, 'It's almost as good as a bed part,' because I spend time in a recliner, which is pretty nice."

Liam Neeson stars as Matthew Scudder in "A Walk Among the Tombstones." ; Credit: Universal Pictures

Screenwriter and director Scott Frank has been trying to make “A Walk Among the Tombstones” for more than a decade, but it wasn't until Liam Neeson signed on that his efforts finally came into view.

Based on the Lawrence Block novel, “Tombstones” stars Liam Neeson as Matthew Scudder, an ex-cop working as an unlicensed private investigator. He agrees to help a well-to-do drug trafficker hunt down the kidnappers who have brutally murdered his wife.

Frank wrote the screenplay and, after the departures of other attached directors, Frank decided to step behind the cameras himself. 

When he came by The Frame studio, Frank spoke with host John Horn about Neeson's great strengths as an action hero and how he convinced Neeson to sign on to the project.

Interview Highlights:

John Horn: Liam Neeson has evolved in a fascinating way as an action hero. When did you start having conversations with him about this movie, and what was it about him as an actor that made it feel like the right fit?

"Well, what's interesting is that Larry Block, the novelist, had always said, going way back to 2003 or something, that the perfect actor for this, after [he saw] 'Michael Collins'...would be Liam Neeson. Chris Andrews, who is Liam's agent, always loved the script and was always trying to find a way to put it together, and he's the one who gave it to Liam back when D.J. [Caruso] was going to direct. So the first time I met Liam to talk about the movie, I was talking to him as the writer, not as the director of the movie. And then when D.J. fell out to go do a different movie at Sony...we had a conversation about directing the movie.

JH: Was this before or after the first "Taken" had come out?

This was well after the first 'Taken,' this was right before the second 'Taken.'

JH: So Liam is...succeeding as a version of that character, and I wonder if that success cuts both ways, that maybe there's a reluctance on his part to not do something that's quite as similar? Or is that part of your conversation that you have with him? 

It absolutely cuts both ways, and that was a huge part of the conversation because there's a kidnapping in this story, and there he is on the telephone for a few minutes at the end of the movie talking to kidnappers, and there are similarities [to 'Taken']. And he knew that was the way to sell the movie, and so he was very reluctant. And I talked to him and I had him watch 'Klute,' and I said, "That's the movie we're gonna make. We're not going to make 'Taken,' we're going to make a movie that's like 'Klute,' or a little bit like 'Dirty Harry,' or one of those old-school '70s films. It's going to feel more like that than an action movie."

JH: Liam Neeson's not physically imposing, but there's something about him that really kind of makes the hair on the back of your neck stand up. What is it about him as an actor in this kind of part?

Well, there's a couple things. One: you believe him. No matter what he's talking about, it seems authentic and true...he has this thing about him that, whatever he's doing, you believe him. Two: he's one of those actors like Gene Hackman where he can convey exposition and make it feel like character. He can talk pages of exposition and make it all feel like it's character and drama — it's a great thing. The other thing about him is that he has this real gravitas, and it almost borders on sadness sometimes; it's interesting when you watch him and you feel like there's all this other life going on behind him.

JH: That he has nothing to lose, in other words.

Nothing to lose, and he says that at one point in the film, but I think it's those things that are all at work at the same time.

The relationship between pianist Justin Kauflin and trumpeter Clark Terry is at the heart of the documentary, "Keep On Keepin' On."; Credit: COURTESY OF RADiUS-TWC

Trumpeter Clark Terry played in Count Basie's and Duke Ellington's bands. He was the first African American hired for The Tonight Show band. He mentored the teenage prodigies Miles Davis and Quincy Jones. But Terry isn't as well known as you might think he'd be. 

Thanks to the new documentary, "Keep On Keepin' On," you can see Clark Terry — or C.T., as everyone calls him — in action. The film tells the story of Terry's early love of the trumpet, his quick rise through the jazz ranks, and how he's devoted much of his life to inspiring other musicians — all with a sparkle in his eye.

The movie is directed by first time filmmaker Alan Hicks and made on a shoestring budget. Hicks is himself a drummer and had been one of Terry's students. Originally it was going to be a short film about Terry and Hicks' relationship, funded by the Australian Broadcasting Company. (Hicks is from Australia.) When that financing fell through, Hicks improvised. Determined to tell the world about Terry, he and a childhood buddy, Adam Hart, decided to do it themselves — despite having no filmmaking experience. They bought a camera and plane tickets to the U.S. and began following Terry.

For many years their schedule was to shoot until they ran out of funds, usually about three months, work for a few months to save more money, then go back to shooting. To demonstrate how Terry mentors his students, they followed one young man in particular. Justin Kauflin is a blind jazz pianist with stage fright who would spend days and nights practicing at Terry's bedside. Over the course of the film, as we learn about Terry's past, we see the aging trumpeter in the present (he's now 93) — struggling with advanced diabetes, but always composing riffs from his bed late into the night.  

In one moving scene, Kauflin is riddled with anxiety as he prepares to compete in the Thelonious Monk International Jazz competition. Terry sends him an audio letter and some lucky socks for inspiration.

Years into the project, when Quincy Jones came to visit Terry, he met Kauflin and the filmmakers. Eventually Jones signed on as an executive producer of "Keep On Keepin' On" — as is only fitting given that, at age 13, he'd been Terry's first student.

Jones, Hicks and Kauflin spoke with The Frame about Terry and his unparalleled talent as a musician and as a mentor.

Kevin Smith with a room full of his own strain of pot, created for his new film, "Tusk." ; Credit: James Kim/KPCC

When Kevin Smith records his podcast, Smodcast, he says, "I'm usually blazed." Which, if you've heard the episode where Smith comes up with the entire story for his new film, "Tusk," it should come as no surprise.

The film is about a man who takes another man hostage and turns him into a walrus. While the movie itself doesn't mention or include any weed, Smith thought medical marijuana would be a nice complement to the viewing experience. 

A24, the film distribution company, came to Smith with a marketing idea: create strains of weed for the film. Smith thought it was genius. Buds and Roses — a cannabis dispensary in Studio City — was approached by Smith and his team to make medical marijuana specifically for the film. The dispensary came up with two strains called "Mr. Tusk" and "White Walrus." 

We met up with the director at Buds and Roses to see why the green substance was a perfect pairing for the film: 

Interview Highlights:

Smith knows that some people enjoy going to the movies stoned: 

"This movie, out of all movies, seems like a real head trip of a flick. So if they have their medical marijuana card, by all means, enjoy the movie. Don't feel the need to go back if you don't remember anything. It's not a gimmick to make them go twice or anything. But in a world where people are gonna smoke medicinal marijuana, having a 'Tusk' sticker on there just makes me smile. Kind of makes sense for this movie." 

How Fleetwood Mac and weed helped his writing:

"I put on Fleetwood Mac's 'Tusk' over and over on repeat and would just sit there and blaze while I wrote. And you know, I blaze in the way that I used to smoke cigarettes. So, I'll light it and put it in an ashtray, let it burn and stuff. So it fills the room like incense if you will. But, yeah, for a movie like 'Tusk,' I guess you gotta be pretty stoned to make the guy-who-makes-a-guy-into-a-walrus movie. And I'm kinda glad I did. It's weird. People are calling it the best movie I've ever made and I was like, 'Well, this is the only one I made stoned.' So I'm like, 'Guess what I'm doing, kids!'"

Smith used to be against drugs: 

"I smoked weed in my life, but I would never consider myself a stoner. In fact, I still had the '80s [attitude] lingering, 'Just say no,' and,  you know, 'Oh my lord! It's a drug!' It wasn't until I became older — age 38 — when I started smoking weed on a regular basis. I was like, 'This is not a drug. This is ridiculous! It grows in the Earth.' So once I got past the bias that was pounded into us in the '80s, suddenly I was like, 'Heavens. I like who I am here.' It doesn't make you a better person, kids. It doesn't make you more creative. What it does is it kind of knocks fear on its ass. You face your fears a little better." 

Disclaimer: Smith wants you to know that he does not endorse marijuana for anyone under 21:

"Kids, teenagers... I'm talking to you. The teenage brain is stunted by marijuana smoking so you guys have to wait 'til you're older. I didn't start smoking 'til I was 38 years old. I'm not saying wait 'til then. That was a stupid mistake on my behalf. But wait until you're legit. Wait until you're 21 before you start smoking." 

Source: Streetwise Reports 10/28/2024

Atlas Lithium Corp. (ATLX:NASDAQ) announced that it has received the operational permit for its Neves Project. This marks a significant milestone for the company's ambitions in lithium production. The permit, approved by the Minas Gerais government in Brazil, allows Atlas Lithium to assemble and operate its processing plant, develop open-pit mining operations, and produce lithium concentrate. The unanimously voted October 25 decision officially progressed with the publication in Minas Gerais' government gazette the following day.

The Neves Project permit, a comprehensive triphasic license (LI/LP/LO), enables a more streamlined development, encompassing initial, installation, and operating permissions.

"Permitting is widely considered the most critical risk in any mining project," said Atlas Lithium CEO Marc Fogassa in the news release. The company's success in obtaining this permit underscores its commitment to sustainable, responsible operations in Brazil's "Lithium Valley."

The Allure of The Lithium Market

According to Visual Capitalist on September 29, battery metal prices have recently "struggled as a surge in new production overwhelmed demand." However, with battery demand projected to increase ninefold by 2040, companies positioned to produce high-quality lithium concentrate, such as Atlas Lithium, are likely to see enhanced market relevance as the demand trajectory for lithium-ion batteries strengthens significantly over the coming decades.

Jake Sekelsky from Alliance Global Partners reaffirmed his "Buy" rating for Atlas Lithium, setting a price target of US$45.00.

As Forbes wrote on October 8, 2024, recent industry dynamics have shown that "a 50% rise in the price of a downtrodden lithium producer has boosted investor hopes that a revival in the battery metal is possible after two grim years of oversupply and low prices."

This improvement in lithium prices reflects a broader trend that may positively impact companies like Atlas Lithium, whose operational progress aligns with the gradual sector recovery. The recent permitting for Atlas Lithium's Neves Project positions it to capitalize on these trends as it advances its lithium production capabilities.

On that same day, Barry Dawes of Martin Place Securities commented that "the lithium market is showing strong signs of upturn," anticipating "lithium shortages post-2027." This outlook emphasizes the sector's potential for heightened demand and supply constraints, which is particularly beneficial for projects advancing toward production. Atlas Lithium's strategy, which includes a modular processing plant and environmentally responsible operations, underscores the company's readiness to meet this anticipated demand.

What's Driving Atlas Forward?

Atlas Lithium's Neves Project's recent permit positions the company to advance toward its production goals with key environmental and operational clearances in place. According to the company's September 2024 investor presentation, this approval aligns with an expedited project timeline and enhances the company's potential to become a low-cost lithium concentrate producer. With Brazil's favorable mining conditions and Atlas Lithium's established partnerships with Tier 1 global companies, the Neves Project is poised for cost-effective operations and market alignment.

Atlas's modular processing plant, currently in the final pre-shipment stage, also demonstrates a strategic focus on efficiency and ESG standards. This advanced plant is set for rapid assembly and installation. It reflects Atlas Lithium's intention to minimize environmental impact and expedite production ramp-up, contributing to a streamlined path toward production in Brazil's burgeoning lithium sector.

Analysts On Atlas

Jake Sekelsky from Alliance Global Partners reaffirmed his "Buy" rating for Atlas Lithium, setting a price target of US$45.00. He described the recent operational permit issuance for the Neves Project as a "significant de-risking event," emphasizing that this milestone positions the project to move forward with construction and operations. Sekelsky highlighted that the approval "marks the final step in the permitting process" and grants Atlas Lithium the authorization to proceed with assembling its processing facility and initiating open-pit mining operations. This development aligns with a clear production path, with Sekelsky noting that the project is now at "shovel-ready status," a critical advancement toward fulfilling Atlas Lithium's strategic objectives. [OWNERSHIP_CHART-11040]

Sekelsky also pointed to the current market environment for lithium, expressing optimism regarding "signs of an upcoming recovery" in lithium prices. He interpreted recent merger and acquisition activities within the sector, including other acquisitions in Brazil's Lithium Valley, as indicators that larger players anticipate a rebound. Sekelsky remarked that this resurgence could benefit advanced hard-rock lithium projects, such as Neves, which "continue to command attention from potential suitors."

Ownership and Share Structure

About 34% of Atlas Lithium is owned by management and insiders. About 11% of the shareholders are institutional. Strategic partners hold another 12%. The rest, about 43%, is retail.

Top shareholders include Waratah Capital Advisors Ltd. with 4.34%, Mitsui & Co. Ltd. with 12.27%, and Candace Shira Associates LLC with 1.39%, according to Reuters.

Its market cap is about US$165 million. It trades in a 52-week range of US$34 and US$6.25.

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1) James Guttman wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.

2) This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

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( Companies Mentioned: ATLX:NASDAQ, )

Drew Arriola Sands, left, sings in the South Gate band Trap Girl at La Conxa, 2017.; Credit: Amina Cruz

Growing up, Drew Arriola-Sands' music was "too weird for the weird kids." Her first band couldn't even get a backyard gig, but since Sands transitioned in 2013, her current band, Trap Girl, have been at the center of an exploding queer hardcore scene in Los Angeles. 

NOTE: Trans Pride L.A. is taking place this weekend, Saturday June 17, at the Los Angeles LGBT Center. To hear a preview of the event with organizer Gina Bigham, listen to the extra audio on this post.

Sands is 28 now, but she's always been drawn to glamorous women with big hair. Her mirror is adorned with pictures of Ronnie Spector, Dolly Parton, and Jayne Mansfield. Wig idols, she calls them. Sands has a large collection of wigs, and even makes her own, but it all started 20 years ago.

"When I was a little kid, my mom always had short black hair," Sands remembers. "And then one day, getting ready for school, she walked out of the bathroom with a long, thick, black braid with a ribbon on it, and it freaked me out, because I never saw her with long hair. So I was like, 'That’s weird! What is it?'" She was eight years old. For weeks to come, Sands would lock herself in the bathroom and stare at the extension braid in it's clear, Avon box until her mother threw it away without warning. The seed had been planted, though.

Her love of singing came at an early age too. As a child, Sands would stand up on a chair while watching baseball with her father to sing the national anthem. Her mother would scold her for being loud and tell her that she could sing at a baseball game when she was older. At 11, her father put her in little league.

We look at a picture of young Drew in a baseball jersey. Sands was a chubby little kid, biting down a smile, and burying her hand in her mitt. "I was a 'catcher' even then," laughs Sands.

"I was told I was gay before I even knew I was gay, because people saw I was feminine, did things a little different, spoke a little different, a little more sensitive," says Sands. Bullying was a consistent part of her childhood, with no one incident standing out because there was always "80 more horrible ones," she says. But she found ways to cope through her hobbies.

Her father said if she wasn't going to play a sport, she had to play an instrument. The first instrument she started with in earnest was the guitar, before picking up bass and more. "Nirvana was still the biggest band in the world. Everyone at my junior high who played guitar learned how to play 'Rape Me' or 'Smells like Teen Spirit' as their first song" says Sands. The first song sands learned on guitar was Nirvana's "About a Girl," and the first album she bought was Hole's "Live Through This."

"One of my first jobs, actually, was making burnt cd’s for a guy who sold them at the alley, and he made me copy Trina cd’s, ten at a time. She had songs on there like 'Nasty Bitch,' things like that, and I just loved it! But it was like a guilty pleasure, 'cause I was still a rock kid."  - Drew Arriola-Sands

By her early twenties, she started her first real band, The Glitter Path; Sands describes it as something like Daniel Johnston, the schizophrenic outsider musician, mixed with Patsy Cline - extremely emotional, "lying across the road, ready to die type of music." It didn't fit in in the "very straight, very cis, surf rock-indie" backyard scene, says Sands. She can't remember the band playing more than two or three shows, anywhere, but she says she doesn't hold any grudges.

The Glitter Path's "Wear a Wig"

We look at another photo of Sands from her Glitter Path days. She points out the increasing number of women’s accessories she was wearing at the time. She was starting to feel a change coming.

"I was in a relationship in 2013 with an artist, but I was male presenting, and I had these feelings of identity and gender, and I expressed them to him, and he accepted them," Sands says,  "but didn’t know how to deal with me and I didn’t know how to deal with myself." Sands boyfriend broke up with her, and she reevaluated her emotional state. "My mental health was not going to get better if I did not come out [as a trans person]," she decided.

She had a much easier time dating after transitioning, and one chance hook-up set Sands down a new musical road.

"So this guy I was hooking up with at the time would play the Damned in the room while we were hooking up. I had a guitar in the room, and he didn’t know I played music and said, 'Do you play guitar?' I said, 'Yeah.' He said, 'Well, you should start a band, like the Damned, and play guitar. It’d be good, looking the way you do, and wear ball gowns.'” - Drew Arriola-Sands

Sands started Trap Girl, not as guitarist, but as lead singer, in 2014.

The early shows were backyard gigs in South Central. Songs like “Dead Men Don’t Rape” went over well, but Sands wasn’t out as a trans performer yet. Maybe people could read between the lines though, with a name like Trap Girl. Sands offers a few definitions for Trap Girls/Trap Queens (though she has never settled on just one).

• A woman who helps out a "trap lord," or drug dealer
• A very convincing transvestite
• A girl trapped in a man's body

Throughout 2015, Trap Girl built their following Downtown and on the Eastside, with Sands finally out as a trans artist.

Trap Girl live at Xicana PUNK Night

"I started this band alone," explains Sands. "I didn’t know any queer people, I didn’t know any trans people, I didn’t know who was gonna help this band. Who was gonna give us a shot? So, I was ready to defend this band, even though there was no one defend it from."

Rather, Trap Girl were embraced and found sisterhood in bands like Sister Mantos and Yaawn. In 2016, Sands took it a step further and organized the first annual Transgress Fest (at the Santa Ana LGBT Center), for trans performers. "We had people as young as twelve to people as old as sixty in the audience," she says. "We had a huge turnout. I never expected that."

Transgress Fest is coming back in November. In the meantime, Trap Girl are getting ready to release their second EP, "The Black Market." The title track grapples with the question of whether or not a trans person needs surgery.

"Being a woman doesn’t mean you have to look like a woman. I didn’t know any trans people at all before I transitioned, so automatically, my idea was to think that I needed to present as feminine to be accepted as a trans person, but little did I know, that that’s the last thing you need to be a trans person. Not all people can pass, and that’s ok." - Drew Arriola-Sands

Sands says the takeaway from "The Black Market" is not to risk your life with black market cosmetic procedures. "These girls are killing themselves to achieve their looks," says Sands. "They’re getting it offline [sic], off Craigslist. You know, they go to someone’s basement and get their ass injected with cement, and then they go home and get a blood clot in their lungs, and they die." "The Black Market" EP is due for release this summer.

Trap Girl is singer Drew Arriola-Sands, bassist Ibette Ortiz, drummer Jorge Reveles, and guitarist Estevan Moreno.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Hollywood billboard queen, Angelyne was featured on the first Off-Ramp episode producer Chris Greenspon ever heard.; Credit: Creative Commons via Flickr user Thomas Hawk

After a few semesters of college radio at Mt. San Antonio College, I landed my first radio job: Board Operator! At struggling KFWB Newstalk 980. My career in radio began the way it does for so many, working odd hours and weekends.

A few months into my new gig, I was leaving for work and I thought, “You know, if I’m going to work in radio, I should listen to the radio.” I drove over the bridge on Hacienda Boulevard in La Puente, heading towards the 60, and right in front of my on-ramp, there was a big, orange billboard for KPCC. Why not 89.3?

The first thing I heard (and I should clarify that this was also my first time ever hearing public radio) was Janis Joplin getting her star on the Hollywood Walk of Fame, on Off-Ramp. Clive Davis, the CBS A&R executive who signed Joplin, told the crowd about how Joplin had suggested sealing their new relationship by having sex (though he demurred), and that his heart was broken when she died. Then Kris Kristofferson sang “Me & Bobby McGee,” and I was smiling, until I heard a chorus of hippies singing "Mercedes Benz." Pee-yew!

“Should I stay?” I asked myself. How could I not, when someone named Dylan Brody came on and told a story about letting his dogs poop on the neighbor’s lawn? But then, the real cheese, for a 20-something year old, biracial kid who loved space ships and tough punk girls; "Love and Rockets" cartoonist Jaime Hernandez talking about drawing for Junot Diaz.

All this was to say nothing of the loud, defiant-sounding host, who kept saying. "This is Off-Ramp, I’m John Rabe." I listened to him slide between all of these topics, and even report from the field himself, talking about museums in a way that wasn’t – boring. After a few more pieces and a few more uses of the Off-Ramp theme song, I had a new favorite show. And I suspect a few other people did too.

That was November 2013. Five months later, I was on the show. At the end of the episode, I noticed that they had an intern in the credits, and after many repeated scourings of the KPCC careers page, the position finally opened up. So what’d I do? I went out with my chintzy audio recorder, and recorded a story so if I got an interview, I wouldn’t go in empty-handed. I didn’t get the internship then, but John did buy the piece. Remember the one about the Burmese Café run by an ex-biologist?

I kept freelancing after that, and honestly, I got a lot of my ideas from stuff that Off-Ramp wasn’t doing. John would have Angelyne, and her famous Hollywood billboard, but what about the giant neon sign at Rose Hills Cemetery in Pico Rivera? Kevin Ferguson would hang out with Mike Watt from the Minutemen, but what about punk supergroup, the Flesh Eaters? And could we talk about a domestic violence shelter in a Thanksgiving Special, or the fact that a home-abortion movement started in Los Angeles?

John eventually asked me to intern after turning the Jim Tully mini-documentary in, and even after joining the company, writing these kinds of stories for Off-Ramp was still not easy, but there was room for all of them. I would be beyond thrilled if somebody heard even one of them when they heard Off-Ramp for the first time.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Catcus garden at the Getty Museum (Creative Commons via Flickr user Prayitno); Credit:

'Off the 405' is a free night of music, agua-fresca cocktails, and immeasurable views. The Getty Museum stacks their performance calendar with great artists, sometimes indie, sometimes local, always energetic; this Saturday's line-up features the great, all-Angelena rock group, La Luz.

The band's sound was deemed "surf-noir" by Stereogum, complete with bright lyrics and haunting harmonies. The band quickly gained notoriety in LA for the energy of their live performances, and Soul-Train style dance competitions during their sets.

https://www.youtube.com/watch?v=WlUiwINM5lM

'Off the 405' takes place from 6pm to 9pm and will feature a cash bar, some light bites, and an opening DJ set as the sun goes down.

It doesn't get more scenic and quintessentially Los Angeles than this. So enjoy a free night out, a craft cocktail, and some fantastic music. Don't forget to snap a skyline-selfie and send it to Team Off-Ramp!

The Getty Center is located at 1200 Getty Center Drive in LA, roughly 12 miles northwest of downtown. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp producer Queena Kim acts on behalf of millions of Angelenos. The meter didn't stand a chance.

; Credit: John Rabe/KPCC

Off-Ramp began eleven years ago, just as digital technology was beginning to overtake radio. No more cassette tape or mini-discs; host John and producer Queena Kim thought they could take on all of Los Angeles with two digital audio recorders and a different approach to public radio.

Short-handed as they were, John and Queena had to adopt slash-and-burn tactics to get each show produced on time. The majority of interviews were conducted in the field; at the homes, workplaces, and favorite hang-outs of their subjects (instead of waiting for guests to come to the station) and many of the stories were edited as simple two-way interviews with life in Southern California picked up as ambient, background noise. After all, a show called Off-Ramp had better be ready to brave some LA traffic.

At this juncture, John feels free to say what he has always wanted to, but hasn't for fear of self-aggrandizement: "I think we were trendsetters. I think Marketplace and NPR heard the stuff we were doing, and started doing stuff like it." Once again, Kim chalks it up to being in the right place at the right time technologically, and the two person team's willingness to break out of the old-school, public radio way writing a story: with a very clear sonic difference between studio narration and field audio.

Of course, it wasn't just Marantz recorders and minimal rewriting that gave Off-Ramp its flavor. There was a whole lot of weird spewing up out of Los Angeles during the show's formative years and Kim's tenure (2006-2010). She recalls covering a ten-theremin orchestra at Disney Hall, and the excitement of working on a show that let her (and the listeners, vicariously) do things she always wanted to do. "It was almost like having a free pass to the city."

In order to capture what was new and exciting, John and Queena both agree that it was absolutely vital to abandon the reporter's instinct for safely packaging the story ahead of time. John cites his editor at Minnesota Public Radio's philosophy, Mike Edgerly; "Go find what the story is, go out and explore and figure out what the story is. Don't figure it out at your desk first." The collaboration between John's ideas and Kim's sense of logistics formed a dialectic relationship, valuing the "third, better idea" over either of their original perspectives. In light of that, John says Queena Kim was the perfect person with whom to start Off-Ramp. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Stones Throw DJ Peanut Butter Wolf spinning.; Credit: Photo by Maris Kaplan via Flickr Creative Commons

For the final Off-Ramp recommendation, we scoured the internet far and wide for options that really speak to Angeleno culture and the show's mission of spreading LA love far and wide. However, upon thoughtful reflection, we've decided the show has always been about getting out and trying fun, new things and learning something. Every engaged community member getting out in Southern California adds to the cultural wealth of the city and so this weekend, let's get out and play/shake it fast and loose.

LA has multiple cheap or free events this weekend to get you out into the city, meeting new people, and that will have you considering shaking your groove-thang on a sliding scale, from gingerly to furiously.

1. Dance DTLA

During summer, The Music Center celebrates multicultural dance with alternating lessons and performances, each Friday. Friday the 30th will feature a DJ set curated by local label Stones Throw's golden boy Peanut Butter Wolf. The night will include sets by Peanut Butter Wolf, DJ Steve, Vex Ruffin, and Jimi Hey playing the 80's and 90's hits that inspired their music careers. The performances will include Funk, Soul, Disco, New Wave, and Rap reimaginings. The event is entirely free and begins at 9pm at 200 N Grand Ave, Los Angeles, 90012.

2. Grand performances: First peoples, New voices.

As part of their free summer concert series, Grand Performances has curated a line-up of fantastic Hip-Hop performers, emboldened with an indigenous perspective. The MCs are encouraging Hip-Hop fans to come experience "raw lyrics, urgent poetry, and iconic dance" by a selection of performers representing native Southern California groups, spreading their culture and passion. The event runs 8pm-10:30pm on Saturday at 350 S Grand Ave, Los Angeles, 90071.

3. House Party LA + DoLA: The Biggest Dollar Party Ever!

Event group House Party LA has outdone themselves on this Saturday's event. Yes, there will be great performers: Tiger, Suga Shay, Gianna Lee, and DJ Damage. Yes, admission is $1, or $5 without a facebook RSVP. But here is the real draw: slices of pizza are just $1. Cheap fun, music, and cheap pizza? That is the selling point to end all selling points. Unless they were giving out free cars and puppies... which we can't rule out just yet, you had best to go and investigate for yourself. The event starts at 9pm and will run until 2am at the Regent, located at 448 S Main St, Los Angeles, 90013.

A fond farewell to all the Off-Ramp recommendation readers and takers. It's been a pleasure.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp host John Rabe and Mayor Eric Garcetti playing backgammon in John’s car. Julian “The First Lady of Off-Ramp” Bermudez in the passenger seat with camera. ; Credit: Andrea Garcia

John Rabe’s last show coincides with Eric Garcetti’s inauguration for his second term as Mayor of Los Angeles. In John's car, the two talked about:

• The joys of exploring Los Angeles
• The time the future Mayor's mom and dad took his drivers' license away
• Where Justin Trudeau should visit when he comes to LA
• And how the drop in crime has led to more people doing the Off-Ramp thing

The Mayor also did some slam poetry, and then played a competitive game of backgammon. Listen with the audio player to see who was brown and who was white. And listen to Off-Ramp on the radio to find out who won the game! (Saturday at noon/Sunday at 6pm)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Brad and George Takei, the new typical American married couple.; Credit: John Rabe/Grant Wood/Michael Uhlenkott

UPDATE: “Allegiance” will be performed Feb. 21-April 1, 2018, at the Aratani Theater at the Japanese Cultural and Community Center in downtown L.A.'s Little Tokyo.

ORIGINAL STORY: In an intimate interview, George Takei tells Off-Ramp host John Rabe about crafting the Japanese-American internment camp history into compelling Broadway musical theater. "Allegiance," with Takei, Lea Salonga and Telly Leung, played at the Longacre Theater.

George Takei and his husband Brad were putting their house in mothballs when I arrived for our interview in August. They'd already been spending a lot of time in New York because of George's recurring role on "The Howard Stern Show," but now, with the Broadway opening of "Allegiance" just a couple months away, they were preparing to move for as long as the musical brings in the crowds.

While Brad went off to deal with the mundane domestic tasks around the move, I sat with George in their living room to talk about turning one of America's most shameful episodes — the internment of some 120,000 loyal Japanese-Americans during World War II — into a musical that could make it on the Broadway stage.

George, you just sent an email to your fans with the subject line: "I've Waited 7 Years to Send You this Email. Seven years!" Inside, you wrote: "Few things are as difficult and complex as taking a show to ‪Broadway‬. It's both thrilling and terrifying." What was terrifying?

"The terrifying part is, you've poured your passion, your energy, your resources ...  you make all that investment in that project, and then you're hoping the seats are going to be filled.That 'what if' is terrifying. But in San Diego, we had a sold-out run and broke their 77-year record. But now we're going to Broadway, and that same fear is there. Will they come? What will the critics say? Because it's life or death."

It took a long time just to get a Broadway theater.

"It took a long time to get a theater.You think there are a lot of Broadway theaters, but there are even more productions that want those chunks of New York real estate. So we thought we'd get in line. But then the other discovery we made is that the theater owners have relationships with grizzled old producers who have brought them a vast fortune with enormous hits, and they can cut in line. They have a track record. And so, 'will we ever get a theater' became a big question. But we have this time now — let's use it creatively, productively."

So, Takei says, the team tweaked the show, removing parts that didn't work didn't advance the story, inserting numbers that worked better and kept the story moving. They doubled down on social media, building and proving demand in the show.

"We have a Shubert theater (the Longacre), and Bob Wankel is head guy there, and I remember pouring my heart out, telling the story of my parents, hoping that touches. And he was understanding, but I understood his problem, too. Everybody is trying to get a theater and he has to make a good business decision and was initially skeptical. An internment camp musical? But music has the power to make an anguished painful situation even more moving, even more powerful. It hits you in the heart."

Highlights from "Allegiance" at the Old Globe in San Diego

This is your Broadway debut, right? Are you petrified?

"Yes, yes. I've done a lot of stage work, and I've done a lot of public speaking, but it's Broadway, and I'm a debutante... at 78 years old! And it's the critics, too. The New York Times, Ben Brantley. That's who I'm going to be facing, and so it's both exciting and absolutely filling me with ecstasy, but what makes it ecstatic is the fear."

For much more of our interview with George Takei, listen to the audio by clicking the arrow in the player at the top of the page ... and hear George Takei and John Rabe's duet of "Tiny Bubbles."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Full Text:

After 16 years of dedicated planning and engineering, scientists at the U.S. Department of Energy's (DOE) Brookhaven National Laboratory have completed a 3.2 gigapixel sensor array for the camera that will be used in the Large Synoptic Survey Telescope (LSST), a massive telescope that will observe the universe like never before. The digital sensor array is composed of about 200 16-megapixel sensors, divided into 21 modules called "rafts." Each raft can function on its own, but when combined, they will view an area of sky that can fit more than 40 full moons in a single image. Researchers will stitch these images together to create a time-lapse movie of the complete visible universe accessible from Chile. Currently under construction on a mountaintop in Chile, LSST is designed to capture the most complete images of our universe that have ever been achieved. The project to build the telescope facility and camera is a collaborative effort among more than 30 institutions from around the world, and it is primarily funded by DOE's Office of Science and the National Science Foundation.

Image credit: SLAC National Accelerator Laboratory

Full Text:

Many wild southern sea otters in California are infected with the parasite Toxoplasma gondii, yet the infection is fatal for only a fraction of sea otters, which has long puzzled the scientific community. A National Science Foundation-funded study identifies the parasite's specific strains that are killing southern sea otters, tracing them back to a bobcat and feral domestic cats from nearby watersheds. The study marks the first time a genetic link has been clearly established between the Toxoplasma strains in felid hosts and parasites causing fatal disease in marine wildlife. The study's results highlight how infectious agents like Toxoplasma can spread from cat feces on land to the sea, leading to detrimental impacts on marine wildlife.

Image credit: Trina Wood/UC Davis

Full Text:

How do galaxies such as our Milky Way come into existence? How do they grow and change over time? The science behind galaxy formation has long been a puzzle, but a University of Arizona-led team of scientists is one step closer to finding answers, thanks to supercomputer simulations. Observing real galaxies in space can only provide snapshots in time, so researchers who study how galaxies evolve over billions of years need to use computer simulations. Traditionally, astronomers have used simulations to invent theories of galaxy formation and test them, but they have had to proceed one galaxy at a time. Peter Behroozi of the university's Steward Observatory and colleagues overcame this hurdle by generating millions of different universes on a supercomputer, each according to different physical theories for how galaxies form. The findings challenge fundamental ideas about the role dark matter plays in galaxy formation, the evolution of galaxies over time and the birth of stars. The study is the first to create self-consistent universes that are exact replicas of the real ones -- computer simulations that each represent a sizeable chunk of the actual cosmos, containing 12 million galaxies and spanning the time from 400 million years after the Big Bang to the present day. The results from the "UniverseMachine," as the authors call their approach, have helped resolve the long-standing paradox of why galaxies cease to form new stars even when they retain plenty of hydrogen gas, the raw material from which stars are forged. The research is partially funded by NSF's Division of Physics through grants to UC Santa Barbara's Kavli Institute for Theoretical Physics and the Aspen Center for Physics.

Image credit: NASA/ESA/J. Lotz and the HFF Team/STScI

Source: Streetwise Reports 11/07/2024

Drilling and field operations at Golden Cariboo Resources Ltd.'s (GCC:CSE; GCCFF:OTC; A0RLEP:WKN; 3TZ:FSE) past-producing Quesnelle project in British Columbia's Cariboo Gold District continue to find the yellow metal throughout the project, from visible gold in drill cores to mineralization in outcrop samples.

President and Chief Executive Officer Frank Callaghan told Streetwise Reports that despite the high level of experience on his team, several geologists had never seen visible gold before, and their first views of it were "priceless."

"It was on the outside of this piece of core," Callaghan said. "And then the core had split … and there was more gold on the inside of it, as well."

Callaghan said he's drilled "hundreds and hundreds" of holes, but he "can count on my hands how many times I've seen it (visible gold)."

He said the company is seeing the gold in "every drill hole," so they keep moving forward chasing the deposit and working at the site 24 hours a day.

And according to Callaghan, the structure of the mineralization is "thickening up" as they drill. The technical team has also recognized multiple types of quartz veins that can contain gold, a common feature in large gold deposits of similar nature.

Last month, the company announced it was even forced to stop drilling in a vein zone at the property due to proximity to Osisko Development Corp.'s nearby mineral claims. Drill hole QGQ24-17 was terminated at a depth of 477.32 meters, and the "only thing that stopped us from drilling further was the claim boundary with Osisko," Callaghan said at the time.

On Tuesday, the company announced rock sample results from its 2024 field campaign, which found up to 8.47 grams per tonne gold (g/t Au) in one outcrop in the Halo zone and 1.13 g/t Au in another outcrop near the Pioneer showing.

"Although there is a lot of glacial cover on this project, our geologists still managed to find new gold-bearing outcrops in areas of great significance," Callaghan said in a release announcing the results. "We have now expanded the surface footprint of gold mineralization at the Halo zone to the northeast and increased the strike length of our gold trend. We're in a very large gold system that is being demonstrated by multiple, varied work programs."

Drilling 'Nonstop' and 'Underbudget'

Golden Cariboo, a Canadian explorer-developer, is targeting a potential multimillion-ounce gold resource at the 3,814-hectare Quesnelle project, where gold, silver, lead and zinc were produced historically, according to its Investor Presentation.

The company's neighbors in the mining district include Osisko's Cariboo Gold Project, Spanish Mountain Gold Ltd. (SPA:TSX.V) (Spanish Mountain deposit), Omineca Mining and Metals Ltd. (OMM:TSX.V; OMMSF:OTCMKTS) (Wingdam mine) and Taseko Mines Ltd. (TKO:TSX; TGB:NYSE.MKT) (Gibraltar mine).

Callaghan began rediscovering the Cariboo Camp in the mid-1990s as Barkerville Gold Mines Ltd. He and his then team discovered a gold deposit at Bonanza Ledge and advanced the project to production. He also assembled and developed the Cariboo Gold Project. Ultimately, Osisko Royalties acquired Barkerville and the assets in 2015 for US$338M. Osisko is about to restart mining operations in the camp.

Subsequently, in 2019, Callaghan acquired the Quesnelle Gold Quartz project, where he aims to repeat his previous successes, given the property's geology is similar to that of the other two projects.

Previously, the company reported observing multiple instances of visible gold in several holes earlier this fall and summer.

"Visible gold in current drilling indicates potential for high-grade assays from mineralized targets," Couloir Capital Senior Mining Analyst Ron Wortel wrote in a recent research report.

Given that Golden Cariboo is continuing its exploration program at Quesnelle throughout 2024, near-term catalysts include drill and assay results demonstrating significant grades or widths and better-defined mineralization controls and trends, according to Wortel.

Callaghan told Streetwise Reports that drilling continues to be "nonstop" and underbudget."

External catalysts include market transactions in the junior mining space involving projects or companies in the Cariboo region. Reports by Osisko Development of project advancements or production results relative to adjacent land also could boost Golden Cariboo's stock price.

The Catalyst: Index Also Confirms Bull Run for Junior Stocks

Experts agreed gold is in a bull market and expect it to go higher. However, after hitting a record high of US$2,790.15 per ounce last week, spot gold was down more than 3% to a three-week low on Wednesday morning as investors moved to the U.S. dollar after Donald Trump's election as U.S. president on Tuesday, Reuters reported.

Market participants are also looking ahead to the Federal Reserve's interest rate decision on Thursday for further clues on the bank's easing cycle, Reuters said.

"A clear presidential victory when the market has been pricing in a contested result, removal of an element of risk, Trump-trades include the dollar's strengthening this morning and the combination of the two has brought gold lower," StoneX analyst Rhona O'Connell said, according to Reuters.

Gold's rise has "resulted in big returns for the investors who bought in earlier this year," Angelica Leicht reported for CBS News last month. "For example, the investors who purchased gold in March when it hit US$2,160 per ounce have seen their gold values increase by nearly 27% in the time since. That's a huge uptick in value in a matter of months, especially on an asset that's known more for long-term growth."

Recently polled London Bullion Market Association members indicated they believe the gold price could reach US$2,940/oz during 2025, reported Stockhead on Oct. 28.[OWNERSHIP_CHART-11131]

"Combined with expectations of lower global interest rates, this further enhances gold's attractiveness as an investment," the article noted.

As for gold equities, the S&P/TSX Venture Composite Index (SPCDNX) confirmed a bull run for junior, intermediate, and senior mining stocks when it closed above 1,000 recently, Stewart Thomson with 321Gold wrote. The index is a key indicator of the health of the general gold, silver, and mining stocks market.

Ownership and Share Structure

According to Golden Cariboo, management and insiders own 30% of Golden Cariboo Resources. President and CEO Frank Callaghan owns 16.45% or 6.93 million shares; Elaine Callaghan has 0.97% or 0.41 million shares; Director Andrew Rees has 0.79% or 0.33 million shares; and Director Laurence Smoliak has 0.3% or 0.13 million shares.

Retail investors hold the remaining. There are no institutional investors.

The company said it has 50.3 million shares outstanding, 24.83 million warrants, and 3.8 million options.

Its market cap is CA$9.63 million. Over the past 52 weeks, Golden Cariboo has traded between CA$0.08 and CA$0.36 per share.

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Important Disclosures:

1. Omineca Mining and Metals Ltd. is a billboard sponsor of Streetwise Reports and pays SWR a monthly sponsorship fee between US$4,000 and US$5,000.
2. Golden Cariboo Resources Ltd. has a consulting relationship with Street Smart an affiliate of Streetwise Reports. Street Smart Clients pay a monthly consulting fee between US$8,000 and US$20,000.
3. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Golden Cariboo Resources Ltd. and Omineca Mining and Metals Ltd.
4. Steve Sobek wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.
5. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

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( Companies Mentioned: GCC:CSE; GCCFF:OTC; A0RLEP:WKN;3TZ:FSE, )

A teen gets a dose of Pfizer's COVID-19 vaccine at Holtz Children's Hospital in Miami on May 18. Nearly 7 million U.S. teens and pre-teens (ages 12 through 17) have received at least one dose of a COVID-19 vaccine, so far, the CDC says.; Credit: Eva Marie Uzcategui/Bloomberg via Getty Images

It's been a little more than a month since adolescents as young as 12 became eligible in the United States to receive the Pfizer vaccine against COVID-19, and nearly all reports have been positive: The vaccine is very effective in this age group, and the vast majority of kids experience mild side effects, if any — the same sore arm or mild flu-like symptoms seen among adults who get the shot.

The Centers for Disease Control and Prevention has recommended that everyone 12-years-old and older get vaccinated against COVID-19, and the rollout is well underway: According to the CDC, nearly 7 million U.S. teens and pre-teens (ages 12 through 17) have received at least one dose of a COVID-19 vaccine, so far.

Still, soon after the FDA authorized the use of Pfizer's vaccine in young people, federal agencies began receiving reports of mild chest pain or other signs of possible heart inflammation (known as myocarditis) in a very small percentage of recently vaccinated teens.

CDC director Rochelle Walensky said at a White House briefing Friday that there have been more than 300 cases of heart inflammation reported among more than 20 million teens and young adults who have received one of the vaccines made by Moderna or Pfizer. She said that in the "vast majority" of cases, the inflammation went away.

An expert advisory committee to the health agency is expected to review the cases in more depth at a meeting Friday.

So, in the meantime, should parents of teens hesitate to have their kids vaccinated against COVID-19? Vaccine experts and the American Academy of Pediatrics say no, don't hesitate. It's good for doctors and patients to be aware that there might be a connection between the mRNA vaccines and heart inflammation, and to report to their pediatrician anything they see in that first week after vaccination. But it is also important, the CDC notes, to recognize that even if this does turn out to be an extremely rare side effect of the vaccine, "most patients who received care responded well to medicine and rest and quickly felt better." And the serious risks of COVID -19 — even for young healthy people — outweigh the risks of any possible side effects from the vaccine. Here are some questions you may have, and what's known:

What exactly is myocarditis?

Myocarditis is an inflammation of the heart muscle, and pericarditis, also being investigated, is an inflammation of the sac around the heart.

Long before the pandemic, thousands of cases of myocarditis were diagnosed in the U.S. and around the world each year, often triggered by the body's immune response to infections. SARS-CoV-2 can trigger it, and so can cold viruses, and staph and strep and HIV. Other causes include toxins and allergies.

Symptoms include chest pain and shortness of breath. It's often mild enough to go unnoticed, but a full-blown case in adults can cause arrhythmias and heart failure that require careful treatment with multiple medications, and several months of strict rest. In a case study of seven teenagers who got myocarditis following vaccination published last week in the journal Pediatrics, all seven got better after routine treatment with anti-inflammatory drugs.

Pediatric cardiologist Dr. Stuart Berger of the Northwestern University Feinberg School of Medicine, a spokesperson for the American Academy of Pediatrics, says vaccine-related myocarditis in teens is not all that worrisome. "Although they appear with some symptoms of chest pain, and maybe some findings on EKGs, all of the cases we've seen have been on the mild end of the spectrum," he says.

So, what's the concern?

Several hundred reports about the inflammation have been filed with the federal government's Vaccine Adverse Event Reporting System (VAERS); that's a repository of reports sent in by health professionals and patients about any health events they spot in the hours or days after vaccinations. Many of the events reported turn out to be coincidental — not caused by a vaccine. The database is just meant as a starting point for further investigation and not proof of cause and effect. But as NPR's Geoff Brumfiel noted this week, "when millions of people are vaccinated within a short period, the total number of these reported events can look big."

That said, anecdotes reported by doctors in medical journals and reports to VAERS suggest that both of the mRNA vaccines authorized for use in the U.S. — the Pfizer and Moderna vaccines — might slightly increase the incidence of myocarditis in young people. In 2003, a report in the New England Journal of Medicine estimated the background incidence of myocarditis to be 1.13 cases in 100,000 children per year.

Paul Offit, professor of pediatrics at the Children's Hospital of Philadelphia and a member of a Food and Drug Administration vaccine advisory committee says there likely is a causal link between the heart inflammation some doctors are seeing in these teens and the second dose of vaccine. "I think it's real," he says, but hastens to add that the effect is exceedingly small – based on the data collected so far, maybe one in 50,000 vaccinees between the ages of 16 and 39. "And the good news is at least so far it looks to be transient and self-resolving."

Still, maybe I should wait to get my teen vaccinated and see how this plays out?

Uhm, no, according to several vaccine experts contacted by NPR. And this is where a little math comes in handy.

"Take a stadium full of 100,000 people between the ages of 16 and 39, which is the subset that appears to be at greater risk," Offit says. "Vaccinate all of them, and two might get myocarditis." But if you don't vaccinate any of the 100,000, he estimates that about 1,300 would eventually get COVID-19. And those numbers are likely to increase this winter.

About one in 1,000 children who get COVID-19 have gone on to develop a condition called MIS-C (multisystem inflammatory syndrome in children), says Offit, and most of those kids have had some level of myocarditis. In addition, the new coronavirus has directly caused myocarditis in some children and adults. Which of the two stadiums in Offit's metaphor would have more cases of myocarditis — the vaccinated children or unvaccinated kids — is not known precisely. But Offit says he suspects it would be the unvaccinated group. And there's no doubt that 1,000 unvaccinated children would suffer more COVID-19-related illnesses. "A choice not to get a vaccine is not a choice to avoid myocarditis," he says. "It's a choice to take a different risk — and I would argue a more serious one" — of developing a bad case of COVID-19 or long-COVID or COVID-caused myocarditis.

Are the experts advising their own kids in this age group to get vaccinated?

Yes. "I understand people having concerns," says Dr. Judith Guzman-Cottrill. She's a parent and professor of pediatric infectious diseases at the Oregon Health and Science University, as well as the senior author on a small study that came out this month in the journal Pediatrics. In the report, Guzman-Cottrill and her colleagues analyzed the cases of seven boys around the country who developed myocarditis within four days of receiving the Pfizer-BioNTech vaccine.

She and her family recently faced the vaccination decision for her own 13-year-old daughter — and said a whole-hearted yes to the shot.

Guzman-Cottrill suspects there may turn out to be a slightly increased risk of heart inflammation from vaccination in young people, but she and her co-authors note in the Pediatrics report that a direct cause-and-effect connection — even in these seven cases — has yet to be established. And she's impressed that despite the millions of doses that have so far been delivered to teens, no clear and serious post-vaccination problems have shown up. "The emergency departments and urgent care clinics are not filled with teenagers complaining of chest pain," she says.

She's treated unvaccinated teens who developed severe myocarditis from an infection with the COVID-19 virus, and others who developed COVID-19 pneumonia and respiratory failure. Seeing those teens struggle — teens who lacked the powerful immune protection the vaccine provides — was enough for her to suggest vaccination to her daughter, who got her second vaccination earlier this week.

"She saw it as a pathway back to a normal post pandemic life," Guzman-Cottrill says.

And that's where public health comes in. "We really need a highly vaccinated student body when kids return to the classroom this fall," says Guzman-Cottrill, "so we don't see surges in COVID-19 cases."

Joanne Silberner, a former health policy correspondent for NPR, is a freelance journalist living in Seattle.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The pandemic has taken a massive toll on people's mental health. But a new report by the U.S. Centers for Disease Control and Prevention confirms what many of us are seeing and feeling in our own lives: The impact has been particularly devastating for parents and unpaid caregivers of adults.

Two-thirds of survey respondents who identified as unpaid caregivers said they experienced mental health challenges during the pandemic, such as symptoms of anxiety or depression, or suicidal thoughts.

Only one-third of people with no caregiving responsibilities reported the same symptoms.

Of the more than 10,000 survey respondents, more than 40% identified as being unpaid caregivers.

"What is striking here is just how widespread unpaid caregiving responsibilities are in the population and how much of a burden and a toll these responsibilities" are having, says Shantha Rajaratnam, a co-author of the study and a psychologist at the Turner Institute of Brain and Mental Health at Monash University in Australia.

The study also found that people who care for both children under 18 and adults — many of them part of the sandwich generation — are faring the worst, with 85% of this group experiencing adverse mental health symptoms.

"It's an extremely important study," says psychologist Dolores Gallagher-Thompson, professor emeritus at Stanford University who has researched family caregivers and their challenges.

The study is the first to document the problems caregivers have experienced during COVID-19, she notes, and underscores "the importance of paying attention to caregiver issues, caregiver mental health" and the need for education and resources to better support them.

The contrast between caregivers and others is stark

The study, part of ongoing research by The COVID-19 Outbreak Public Evaluation (COPE) Initiative, is based on surveys conducted in December 2020 and February-March 2021.

More than half of those who identified as caregivers said they had experienced symptoms of anxiety or depression, or of disorders like PTSD related to the stress and trauma of COVID-19.

A significant number of caregivers said they had contemplated suicide. Nearly 40% reported having passive suicidal thoughts, meaning "wishing that they had gone to bed and didn't wake up," says study co-author Mark Czeisler, a graduate student at Monash University and a research trainee at Brigham and Women's Hospital in Boston.

And more than 30% had seriously considered taking their own life — about five times the number of noncaregivers, the study found.

Across the board, mental health impacts have been more severe for people who care for both children and adults. Half of this group said it had seriously considered suicide in the past month.

The pandemic worsened the challenges caregivers face

Even before the pandemic, being an unpaid caregiver was stressful and associated with a higher risk of mental health issues, says Gallagher-Thompson. The COVID-19 pandemic has made things even harder.

For instance, the pandemic has taken away many formal and informal sources of support for caregivers.

That was the case for Dr. Nicole Christian-Brathwaite. She's a Boston-based child psychiatrist and lives with her husband, her mother, her husband's father and two sons, who are 4 and 6.

Before the pandemic, her father-in-law, who has dementia, went to a day program for seniors with cognitive decline. Her mother, a survivor of breast and lung cancers, went to physical therapy twice a week, doctor appointments and met with friends.

When the pandemic hit, they lost those services and social support — at the same time Christian-Brathwaite and her husband began working from home while taking care of their sons and parents.

Life at home became much more complicated. Her sons developed behavioral problems with the transitions and stresses of the pandemic. Her mother struggled with chronic pain, and was hospitalized during the pandemic. And there were days when her father-in-law was confused, disoriented or aggressive.

"Many days I was walking around on edge waiting for something to happen because our entire setup was so very fragile and vulnerable," says Christian-Brathwaite. "It's been exhausting."

And her mental health has suffered. "I certainly was dealing with insomnia," she says. "I was short tempered. I was more irritable. I didn't have the same tolerance for things."

More support needed to help caregivers cope

The new study highlights the extent to which unpaid caregivers have struggled during the pandemic, says Gallagher-Thompson.

"There are some serious issues here that shouldn't be ignored," she says.

And yet caregivers are often ignored by the health system, which is set up to focus only on patients.

"Family members are rarely asked, 'How does this affect you? What is difficult? How can we help you? How can we support you in being able to carry out your role, your tasks, your responsibilities?'" Gallagher-Thompson says.

As the new study shows, support can make a big difference — respondents who could rely on others for help with caregiving had a lower incidence of mental health symptoms.

So it's important to educate and support caregivers. For example, physicians can start by screening their patients' caregivers for mental health symptoms and provide more resources to those who need it, says Gallagher-Thompson.

Christian-Brathwaite hopes the new study will help physicians recognize that family caregivers are just as important to consider while treating patients.

"We really need to take a step back and look at the village that's around them because our patients can't be successful without having the support from family," she says.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Chiquita Brooks-LaSure, administrator of the Centers for Medicare & Medicaid Services, leads some of the Biden administration's efforts to expand Medicaid access.; Credit: Caroline Brehman/CQ-Roll Call, Inc via Getty Imag

The Biden administration is quietly engineering a series of expansions to Medicaid that may bolster protections for millions of low-income Americans and bring more people into the program.

Biden's efforts — which have been largely overshadowed by other economic and health initiatives — represent an abrupt reversal of the Trump administration's moves to scale back the safety-net program.

The changes could further boost Medicaid enrollment — which the pandemic has already pushed to a record 80.5 million. Some of the expansion is funded by the COVID-19 relief bill that passed in March, including coverage for new mothers.

Others who could also gain coverage under Biden are inmates and undocumented immigrants. At the same time, the administration is opening the door to new Medicaid-funded services such as food and housing that the government insurance plan hasn't traditionally offered.

"There is a paradigm change underway," said Jennifer Langer Jacobs, Medicaid director in New Jersey, one of a growing number of states trying to expand home-based Medicaid services to keep enrollees out of nursing homes and other institutions.

"We've had discussions at the federal level in the last 90 days that are completely different from where we've ever been before," Langer Jacobs said.

Taken together, the Medicaid moves represent some of the most substantive shifts in federal health policy undertaken by the new administration.

"They are taking very bold action," said Rutgers University political scientist Frank Thompson, an expert on Medicaid history, noting in particular the administration's swift reversal of Trump policies. "There really isn't a precedent."

The Biden administration seems unlikely to achieve what remains the holy grail for Medicaid advocates: getting 12 holdout states, including Texas and Florida, to expand Medicaid coverage to low-income working-age adults through the Affordable Care Act.

And while some of the recent expansions – including for new mothers -- were funded by close to $20 billion in new Medicaid funding in the COVID relief bill Biden signed in March, much of that new money will stop in a few years unless Congress appropriates additional money.

The White House strategy has risks. Medicaid, which swelled after enactment of the 2010 health law, has expanded further during the economic downturn caused by the pandemic, pushing enrollment to a record 80.5 million, including those served by the related Children's Health Insurance Program. That's up from 70 million before the COVID crisis began.

The programs now cost taxpayers more than $600 billion a year. And although the federal government will cover most of the cost of the Biden-backed expansions, surging Medicaid spending is a growing burden on state budgets.

The costs of expansion are a frequent target of conservative critics, including Trump officials like Seema Verma, the former administrator of the Centers for Medicare & Medicaid Services, who frequently argued for enrollment restrictions and derided Medicaid as low-quality coverage.

But even less partisan experts warn that Medicaid, which was created to provide medical care to low-income Americans, can't make up for all the inadequacies in government housing, food and education programs.

"Focusing on the social drivers of health ... is critically important in improving the health and well-being of Medicaid beneficiaries. But that doesn't mean that Medicaid can or should be responsible for paying for all of those services," said Matt Salo, head of the National Association of Medicaid Directors, noting that the program's financing "is simply not capable of sustaining those investments."

Restoring federal support

However, after four years of Trump administration efforts to scale back coverage, Biden and his appointees appear intent on not only restoring federal support for Medicaid, but also boosting the program's reach.

"I think what we learned during the repeal-and-replace debate is just how much people in this country care about the Medicaid program and how it's a lifeline to millions," Biden's new Medicare and Medicaid administrator, Chiquita Brooks-LaSure, told KHN, calling the program a "backbone to our country."

The Biden administration has already withdrawn permission the Trump administration had granted Arkansas and New Hampshire to place work requirements on some Medicaid enrollees.

In April, Biden blocked a multibillion-dollar Trump administration initiative to prop up Texas hospitals that care for uninsured patients, a policy that many critics said effectively discouraged Texas from expanding Medicaid coverage through the Affordable Care Act, often called Obamacare. Texas has the highest uninsured rate in the nation.

The moves have drawn criticism from Republicans, some of whom accuse the new administration of trampling states' rights to run their Medicaid programs as they choose.

"Biden is reasserting a larger federal role and not deferring to states," said Josh Archambault, a senior fellow at the conservative Foundation for Government Accountability.

But Biden's early initiatives have been widely hailed by patient advocates, public health experts and state officials in many blue states.

"It's a breath of fresh air," said Kim Bimestefer, head of Colorado's Department of Health Care Policy and Financing.

Chuck Ingoglia, head of the National Council for Mental Wellbeing, said: "To be in an environment where people are talking about expanding health care access has made an enormous difference."

Mounting evidence shows that expanded Medicaid coverage improves enrollees' health, as surveys and mortality data in recent years have identified greater health improvements in states that expanded Medicaid through the 2010 health law versus states that did not.

Broadening eligibility

In addition to removing Medicaid restrictions imposed by Trump administration officials, the Biden administration has backed a series of expansions to broaden eligibility and add services enrollees can receive.

Biden supported a provision in the COVID relief bill that gives states the option to extend Medicaid to new mothers for up to a year after they give birth. Many experts say such coverage could help reduce the U.S. maternal mortality rate, which is far higher than rates in other wealthy nations.

Several states, including Illinois and New Jersey, had sought permission from the Trump administration for such expanded coverage, but their requests languished.

The COVID relief bill — which passed without Republican support — also provides additional Medicaid money to states to set up mobile crisis services for people facing mental health or substance use emergencies, further broadening Medicaid's reach.

And states will get billions more to expand so-called home and community-based services such as help with cooking, bathing and other basic activities that can prevent Medicaid enrollees from having to be admitted to expensive nursing homes or other institutions.

Perhaps the most far-reaching Medicaid expansions being considered by the Biden administration would push the government health plan into covering services not traditionally considered health care, such as housing.

This reflects an emerging consensus among health policy experts that investments in some non-medical services can ultimately save Medicaid money by keeping patients out of the hospital.

In recent years, Medicaid officials in red and blue states — including Arizona, California, Illinois, Maryland and Washington — have begun exploring ways to provide rental assistance to select Medicaid enrollees to prevent medical complications linked to homelessness.

The Trump administration took steps to support similar efforts, clearing Medicare Advantage health plans to offer some enrollees non-medical benefits such as food, housing aid and assistance with utilities.

But state officials across the country said the new administration has signaled more support for both expanding current home-based services and adding new ones.

That has made a big difference, said Kate McEvoy, who directs Connecticut's Medicaid program. "There was a lot of discussion in the Trump administration," she said, "but not the capital to do it."

Other states are looking to the new administration to back efforts to expand Medicaid to inmates with mental health conditions and drug addiction so they can connect more easily to treatment once released.

Kentucky health secretary Eric Friedlander said he is hopeful federal officials will sign off on his state's initiative.

Still other states, such as California, say they are getting a more receptive audience in Washington for proposals to expand coverage to immigrants who are in the country without authorization, a step public health experts say can help improve community health and slow the spread of communicable diseases.

"Covering all Californians is critical to our mission," said Jacey Cooper, director of California's Medicaid program, known as Medi-Cal. "We really feel like the new administration is helping us ensure that everyone has access."

The Trump administration moved to restrict even authorized immigrants' access to the health care safety net, including the "public charge" rule that allowed immigration authorities to deny green cards to applicants if they used public programs such as Medicaid. In March, Biden abandoned that rule.

KHN correspondent Julie Rovner contributed to this report.

KHN (Kaiser Health News) is a national newsroom that produces in-depth journalism about health issues. Together with Policy Analysis and Polling, KHN is one of the three major operating programs at KFF (Kaiser Family Foundation). KFF is an endowed nonprofit organization providing information on health issues to the nation.

This content is from Southern California Public Radio. View the original story at SCPR.org.