In the title salt, C6H16N22+ ·H2P2O72−, the complete dication is generated by a crystallographic centre of symmetry with the methyl groups in equatorial orientations. The complete dianion is generated by a crystallographic twofold axis with the central O atom lying on the axis: the P—O—P bond angle is 135.50 (12)°. In the crystal, the di­hydrogen diphosphate anions are linked by O—H⋯O hydrogen bonds, generating (001) layers. The organic cations bond to the inorganic layers by way of N—H⋯O and C—H⋯O hydrogen bonds. A Hirshfeld surface analysis shows that the most important contributions for the crystal packing are from O⋯H/H⋯O (60.5%) and H⋯H (39.4%) contacts.

Lopinavir is a potent protease inhibitor that is used as a first-line pharmaceutical drug for the treatment of HIV. The multi-component solvated Lopinavir crystal, systematic name (2S)-N-[(2S,4S,5S)-5-[2-(2,6-di­methyl­phen­oxy)acetamido]-4-hy­droxy-1,6-di­phenyl­hexan-2-yl]-3-methyl-2-(2-oxo-1,3-diazinan-1-yl)butanamide–ethane-1,2-diol–water (8/3/7) 8C37H48N4O5·3C2H6O2·7H2O, was prepared using evaporative methods. The crystalline material obtained from this experimental synthesis was characterized and elucidated by single-crystal X-ray diffraction (SC-XRD). The crystal structure is unusual in that the unit cell contains 18 mol­ecules. The stoichiometric ratio of this crystal is eight Lopinavir mol­ecules [8(C37H48N4O5)], three ethane-1,2-diol mol­ecules [3(C2H6O2)] and seven water mol­ecules [7(H2O)]. The crystal packing features both bi- and trifurcated hydrogen bonds between atoms.

Reaction of 2-amino-5-iodo­pyridine (5IAP) with concentrated HBr at room temperature yielded 2-amino-5-iodo­pyridinium bromide, C5H6IN2+·Br− or (5IAPH)Br. The complex formed pale-yellow crystals, which exhibit significant hydrogen bonding between the amino and pyridinium N—H donors and bromide ion acceptors. Halogen bonding is also observed. Similarly, reaction of 5IAP with cobalt(II) chloride in mixed HCl/HBr in 1-propanol yielded 2-amino-5-iodo­pyridinium (2-amino-5-iodo­pyridine-κN1)bromido/chlorido­(0.51/2.48)cobalt(II), (C5H6IN2)[CoBr0.51Cl2.48(C5H5IN2)] or (5-IAPH)[(5IAP)CoCl2.48Br0.51], as blue block-shaped crystals. Two of the three halide positions exhibit mixed occupancy [Cl/Br = 0.797 (5):0.203 (5) and 0.689 (6):0.311 (6)], while the third position is occupied solely by a chloride ion. Extensive hydrogen and halogen bonding is observed.

In the title mol­ecule, C20H18ClN3O2, the 2-chloro­phenyl group is disordered to a small extent [occupancies 0.875 (2)/0.125 (2)]. The phenyl­acetamide moiety is nearly planar due to a weak, intra­molecular C—H⋯O hydrogen bond. In the crystal, N—H⋯O hydrogen bonds and π-stacking inter­actions between pyridazine and phenyl rings form helical chains of mol­ecules in the b-axis direction, which are linked by C—H⋯O hydrogen bonds and C—H⋯π(ring) inter­actions. A Hirshfeld surface analysis was performed, which showed that H⋯H, C⋯H/H⋯C and O⋯H/H⋯O inter­actions to dominate the inter­molecular contacts in the crystal.

Two new zinc(II) complexes, tri­ethyl­ammonium di­chlorido­[2-(4-nitro­phen­yl)-4-phenyl­quinolin-8-olato]zinc(II), (C6H16N){Zn(C21H13N2O3)Cl2] (ZnOQ), and bis­(tri­ethyl­ammonium) {2,2'-[1,4-phenyl­enebis(nitrilo­methyl­idyne)]diphenolato}bis­[di­chlorido­zinc(II)], (C6H16N)2[Zn2(C20H14N2O2)Cl4] (ZnBS), were synthesized and their structures were determined using ESI–MS spectrometry, 1H NMR spectroscopy, and single-crystal X-ray diffraction. The results showed that the ligands 2-(4-nitro­phen­yl)-4-phenyl­quinolin-8-ol (HOQ) and N,N'-bis­(2-hy­droxy­benzyl­idene)benzene-1,4-di­amine (H2BS) were deprotonated by tri­ethyl-amine, forming the counter-ion Et3NH+, which inter­acts via an N—H⋯O hydrogen bond with the ligand. The ZnII atoms have a distorted trigonal–pyramidal (ZnOQ) and distorted tetra­hedral (ZnBS) geometries with a coord­ination number of four, coordinating with the ligands via N and O atoms. The N atoms coordinating with ZnII correspond to the heterocyclic nitro­gen for the HOQ ligand, while for the H2BS ligand, it is the nitro­gen of the imine (CH=N). The crystal packing of ZnOQ is characterized by C—H⋯π inter­actions, while that of ZnBS by C—H⋯Cl inter­actions. The emission spectra showed that ZnBS complex exhibits green fluorescence in the solid state with a small band-gap energy, and the ZnOQ complex does exhibit non-fluorescence.

The title organic–inorganic hybrid salt, C2H7IN+·I−, is isotypic with its bromine analog, C2H7BrN+·Br− [Semenikhin et al. (2024). Acta Cryst. E80, 738–741]. Its asymmetric unit consists of one 2-iodo­ethyl­ammonium cation and one iodide anion. The NH3+ group of the organic cation forms weak hydrogen bonds with four neighboring iodide anions, leading to the formation of supra­molecular layers propagating parallel to the bc plane. Hirshfeld surface analysis reveals that the most important contribution to the crystal packing is from N—H⋯I inter­actions (63.8%). The crystal under investigation was twinned by a 180° rotation around [001].

The unit cell of the title compound, [Ni(C16H10ClN6)2]·2CH3OH, consists of a neutral complex and two methanol mol­ecules. In the complex, the two tridentate 2-(3-(4-chloro­phen­yl)-1H-1,2,4-triazol-5-yl)-6-(1H-pyrazol-1-yl)pyridine ligands coordinate to the central NiII ion through the N atoms of the pyrazole, pyridine and triazole groups, forming a pseudo­octa­hedral coordination sphere. Neighbouring tapered mol­ecules are linked through weak C—H(pz)⋯π(ph) inter­actions into monoperiodic chains, which are further linked through weak C—H⋯N/C inter­actions into diperiodic layers. The inter­molecular contacts were qu­anti­fied using Hirshfeld surface analysis and two-dimensional fingerprint plots, revealing the relative contributions of the contacts to the crystal packing to be H⋯H 32.8%, C⋯H/H⋯C 27.5%, N⋯H/H⋯N 15.1%, and Cl⋯H/H⋯Cl 14.0%. The average Ni—N bond distance is 2.095 Å. Energy framework analysis at the HF/3–21 G theory level was performed to qu­antify the inter­action energies in the crystal structure.

Monoclinic single crystals of Cd5(TeO3)4(NO3)2 (space group P21/c), penta­cadmium tetra­kis­[oxidotellurate(IV)] dinitrate, and of Cd4Te5O14 (space group C2/c), tetra­cadmium penta­oxidotellurate(IV), were obtained under the same hydro­thermal conditions. Whereas the crystal structure of Cd5(TeO3)4(NO3)2 is distinctively layered, that of Cd4Te5O14 exhibits a tri-periodic framework. In Cd5(TeO3)4(NO3)2, the three CdII atoms have coordination numbers (CN) of 7, 6 and 6. The two types of [CdO6] and the [CdO7] polyhedra [bond lengths range from 2.179 (3) to 2.658 (2) Å] share corners and edges, resulting in layers extending parallel to (100). Both TeIV atoms are coordinated by three oxygen atoms in a trigonal–pyramidal shape. The oxygen atoms of the isolated [TeO3] groups [bond lengths range from 1.847 (3) to 1.886 (3) Å] all are part of the cadmium–oxygen layer. The electron lone pairs ψ of the TeIV atoms are directed away from the layer on both sides. The available inter­layer space is co-occupied by the nitrate group, which is directly connected with two of its O atoms to the layer whereas the third O atom is solely bonded to the N atom and points towards the adjacent layer. In Cd4Te5O14, all three unique CdII atoms are coordinated by six oxygen atoms, considering Cd—O distances from 2.235 (2) to 2.539 (2) Å. By edge- and corner-sharing, the distorted [CdO6] polyhedra form an open framework that is partially filled with three different stereochemically active TeIV atoms. All of them exhibit a CN of 4, with Te—O bonds in a range from 1.859 (2) to 2.476 (2) Å. The corresponding [TeO4] units are linked to each other by corner- and edge-sharing, forming infinite helical 1∞[Te10O28] chains extending parallel to [203]. The connectivity in the chains can be described as (⋯–⋄–⋄=⋄–⋄–⋄–⋄–⋄=⋄–⋄–⋄–⋯)n where ‘⋄’ denotes a [TeO4] unit, ‘–’ a linkage via corners and ‘=’ a linkage via edges. Such a structural motif is unprecedented in the crystal chemistry of oxidotellurate(IV) compounds.

A new uranium metal–organic complex salt, [U(C10H9O2)2O2(C2H6O)], with benzoyl acetone, namely, bis­(benzoyl­acetonato)(ethanol)dioxidouranium(VI), was synthesized. The compound has monoclinic P21/n symmetry. The geometry of the seven-coordinate U atom is penta­gonal bipyramidal, with the uranyl oxygen atoms in apical positions. In the complex, the ligands bind to the metal through oxygen atoms. Additional weak O—H⋯O contacts between the cations and anions consolidate the three-dimensional arrangement of the structure. On the Hirshfeld surface, the largest contributions come from the short contacts such as van der Waals forces, including H⋯H, O⋯H and C⋯H. Inter­actions including C⋯C and O⋯C contacts were also observed; however, their contribution to the overall cohesion of the crystal structure is minor. A packing analysis was performed to check the strength of the crystal packing.

In the title compound, (C5H7N2)5[TeV9O28], the tellurium and vanadium atoms are statistically disordered over two of the ten metal-atom sites in the [TeV9O28]5– heteropolyanion. The anions stack along [100] and are extended into a three-dimensional supra­molecular network through N—H⋯O and weak C—H⋯O hydrogen bonds involving the self-assembled 2-amino­pyridinium penta­mers, which are linked by C—H⋯π and π–π stacking inter­actions. The most important contributions to the Hirshfeld surface arise from O⋯H/H⋯O (54.8%), H⋯H (17.8%) and C⋯H/H⋯C (13.4%) contacts.

This work introduces X-Ray Calc (XRC), an open-source software package designed to simulate X-ray reflectivity (XRR) and address the inverse problem of reconstructing film structures on the basis of measured XRR curves. XRC features a user-friendly graphical interface that facilitates interactive simulation and reconstruction. The software employs a recursive approach based on the Fresnel equations to calculate XRR and incorporates specialized tools for modeling periodic multilayer structures. This article presents the latest version of the X-Ray Calc software (XRC3), with notable improvements. These enhancements encompass an automatic fitting capability for XRR curves utilizing a modified flight particle swarm optimization algorithm. A novel cost function was also developed specifically for fitting XRR curves of periodic structures. Furthermore, the overall user experience has been enhanced by developing a new single-window interface.

X-ray crystallography is an established tool to probe the structure of macromolecules with atomic resolution. Compared with alternative techniques such as single-particle cryo-electron microscopy and micro-electron diffraction, X-ray crystallography is uniquely suited to room-temperature studies and for obtaining a detailed picture of macromolecules subjected to an external electric field (EEF). The impact of an EEF on proteins has been extensively explored through single-crystal X-ray crystallography, which works well with larger high-quality protein crystals. This article introduces a novel design for a 3D-printed in situ crystallization plate that serves a dual purpose: fostering crystal growth and allowing the concurrent examination of the effects of an EEF on crystals of varying sizes. The plate's compatibility with established X-ray crystallography techniques is evaluated.

This study reports the synthesis and crystal structure determination of a novel CrTe3 phase using various experimental and theoretical methods. The average stoichiometry and local phase separation of this quenched high-pressure phase were characterized by ex situ synchrotron powder X-ray diffraction and total scattering. Several structural models were obtained using simulated annealing, but all suffered from an imperfect Rietveld refinement, especially at higher diffraction angles. Finally, a novel stoichiometrically correct crystal structure model was proposed on the basis of electron diffraction data and refined against powder diffraction data using the Rietveld method. Scanning electron microscopy–energy-dispersive X-ray spectrometry (EDX) measurements verified the targeted 1:3 (Cr:Te) average stoichiometry for the starting compound and for the quenched high-pressure phase within experimental errors. Scanning transmission electron microscopy (STEM)–EDX was used to examine minute variations of the Cr-to-Te ratio at the nanoscale. Precession electron diffraction (PED) experiments were applied for the nanoscale structure analysis of the quenched high-pressure phase. The proposed monoclinic model from PED experiments provided an improved fit to the X-ray patterns, especially after introducing atomic anisotropic displacement parameters and partial occupancy of Cr atoms. Atomic resolution STEM and simulations were conducted to identify variations in the Cr-atom site-occupancy factor. No significant variations were observed experimentally for several zone axes. The magnetic properties of the novel CrTe3 phase were investigated through temperature- and field-dependent magnetization measurements. In order to understand these properties, auxiliary theoretical investigations have been performed by first-principles electronic structure calculations and Monte Carlo simulations. The obtained results allow the observed magnetization behavior to be interpreted as the consequence of competition between the applied magnetic field and the Cr–Cr exchange interactions, leading to a decrease of the magnetization towards T = 0 K typical for antiferromagnetic systems, as well as a field-induced enhanced magnetization around the critical temperature due to the high magnetic susceptibility in this region.

Coherent diffractive imaging with X-ray free-electron lasers could enable structural studies of macromolecules at room temperature. This type of experiment could provide a means to study structural dynamics on the femtosecond timescale. However, the diffraction from a single protein is weak compared with the incoherent scattering from background sources, which negatively affects the reconstruction analysis. This work evaluates the effects of the presence of background on the analysis pipeline. Background measurements from the European X-ray Free-Electron Laser were combined with simulated diffraction patterns and treated by a standard reconstruction procedure, including orientation recovery with the expand, maximize and compress algorithm and 3D phase retrieval. Background scattering did have an adverse effect on the estimated resolution of the reconstructed density maps. Still, the reconstructions generally worked when the signal-to-background ratio was 0.6 or better, in the momentum transfer shell of the highest reconstructed resolution. The results also suggest that the signal-to-background requirement increases at higher resolution. This study gives an indication of what is possible at current setups at X-ray free-electron lasers with regards to expected background strength and establishes a target for experimental optimization of the background.

The increasing structural complexity and downscaling of modern nanodevices require continuous development of structural characterization techniques that support R&D and manufacturing processes. This work explores the capability of laboratory characterization of periodic planar nanostructures using 3D X-ray standing waves as a promising method for reconstructing atomic profiles of planar nanostructures. The non-destructive nature of this metrology technique makes it highly versatile and particularly suitable for studying various types of samples. Moreover, it eliminates the need for additional sample preparation before use and can achieve sub-nanometre reconstruction resolution using widely available laboratory setups, as demonstrated on a diffractometer equipped with a microfocus X-ray tube with a copper anode.

The two most abundant CaCO3 polymorphs, calcite and aragonite, are universally recognized for the richness of their morphology to which different twins make relevant contributions. The epitaxial transformation calcite ↔ aragonite has long been debated. While the twinning has been thoroughly treated, the homo-epitaxy occurring within each of these minerals has, inexplicably, been overlooked to date, both experimentally and theoretically. Twinning can be deceptive to the point where it can be mistaken for homo-epitaxy, thus making the proposed growth mechanism in the crystal aggregate wrong. Within the present work, the first aim is a theoretical investigation of the homo-epitaxies among the three {10.4}-cleavage, {01.2}-steep and {01.8}-flat rhombohedra of calcite. Accordingly, the specific adhesion energies were calculated between facing crystal forms, unequivocally showing that the {01.2}/{01.8} homo-epitaxy competes with the generation of both {01.2} and {01.8} contact twins. Secondly, the calculation of the specific adhesion energy was extended to consider homo-epitaxy for the {10.4} rhombohedron. The two-dimensional geometric lattice coincidence has been tried for the {00.1} pinacoidal form as well.

Here, a morphologically based approach is used for the in situ characterization of 3D growth rates of facetted crystals from the solution phase. Crystal images of single crystals of the β-form of l-glutamic acid are captured in situ during their growth at a relative supersaturation of 1.05 using transmission optical microscopy. The crystal growth rates estimated for both the {101} capping and {021} prismatic faces through image processing are consistent with those determined using reflection light mode [Jiang, Ma, Hazlehurst, Ilett, Jackson, Hogg & Roberts (2024). Cryst. Growth Des. 24, 3277–3288]. The growth rate in the {010} face is, for the first time, estimated from the shadow widths of the {021} prismatic faces and found to be typically about half that of the {021} prismatic faces. Analysis of the 3D shape during growth reveals that the initial needle-like crystal morphology develops during the growth process to become more tabular, associated with the Zingg factor evolving from 2.9 to 1.7 (>1). The change in relative solution supersaturation during the growth process is estimated from calculations of the crystal volume, offering an alternative approach to determine this dynamically from visual observations.

Hard X-ray microscopes with 20–30 nm spatial resolution ranges are an advanced tool for the inspection of materials at the nanoscale. However, the limited efficiency of the focusing optics, for example, a Fresnel zone plate (ZP) lens, can significantly reduce the power of a nanoprobe. Despite several reports on ZP lenses that focus hard X-rays with 20 nm resolution – mainly constructed by zone-doubling techniques – a systematic investigation into the limiting factors has not been reported. We report the structural effects on the focusing and imaging efficiency of 20–30 nm-resolution ZPs, employing a modified beam-propagation method. The zone width and the duty cycle (zone width/ring pitch) were optimized to achieve maximum efficiency, and a comparative analysis of the zone materials was conducted. The optimized zone structures were used in the fabrication of Pt-hydrogen silsesquioxane (HSQ) ZPs. The highest focusing efficiency of the Pt-HSQ-ZP with a resolution of 30 nm was 10% at 7 keV and >5% in the range 6–10 keV, whereas the highest efficiency of the Pt-HSQ-ZP with a resolution of 20 nm was realized at 7 keV with an efficiency of 7.6%. Optical characterization conducted at X-ray beamlines demonstrated significant enhancement of the focusing and imaging efficiency in a broader range of hard X-rays from 5 keV to 10 keV, demonstrating the potential application in hard X-ray focusing and imaging.

Klarna has secured a deal to offload BNPL loans that it...

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Source: Scott Searle 11/08/2024

Gogo Inc. (GOGO:NASDAQ) reported its Q3/24 financial results, and they slightly exceeded expectations, reported Scott Searle, managing director at Roth MKM, in a Nov. 5 research note.

The company provides in-flight connectivity services to business aviation markets through its North American terrestrial air-to-ground network.

137% Potential Return

Roth maintained its target price of US$15.50 per share on Gogo, noted Searle.

"We believe this provides a reasonable 12-plus-month target given the expected impact from two major new product cycles as we enter 2025," he wrote, referring to Galileo, the company's global inflight broadband service, and its 5G product line.

In comparison, the company's share price at the time of the report was about US$6.55 per share. From this price, the return to target reflects 137% upside.

Gogo remains a Buy.

Quarter's Highlights

Searle reported that Gogo's Q3/24 service revenue was a beat. At US$81.9 million (US$81.9M), it was slightly higher than that in Q2/24 and driven by modestly better-than-expected aircraft online, Searle reported. This revenue exceeded Roth's estimate by about US$300,000.

Also of note, Galileo is on track to launch in Q4/24, and Gogo continues to grow its portfolio of supplemental type certificates and partners around the world.

A Look Ahead

Gogo's outlook for 2024 of US$400-410M encompasses consensus' estimate, noted Searle. The company, though, has "pulled long-term guidance ahead of the Satcom Direct [acquisition] closing."

Roth expects Galileo and 5G will lead recovery, expected in late 2025.

In other news, noted Searle, Gogo Chairman and Chief Executive Officer Oakleigh Thorne will present at Roth's NYC Tech Event on Nov. 20.

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Disclosures for Roth MKM, Gogo Inc., November 5, 2024

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Disclosures: ROTH makes a market in shares of Gogo, Inc. and as such, buys and sells from customers on a principal basis.

ROTH Capital Partners, LLC expects to receive or intends to seek compensation for investment banking or other business relationships with the covered companies mentioned in this report in the next three months. The material, information and facts discussed in this report other than the information regarding ROTH Capital Partners, LLC and its affiliates, are from sources believed to be reliable, but are in no way guaranteed to be complete or accurate. This report should not be used as a complete analysis of the company, industry or security discussed in the report. Additional information is available upon request. This is not, however, an offer or solicitation of the securities discussed. Any opinions or estimates in this report are subject to change without notice. An investment in the stock may involve risks and uncertainties that could cause actual results to differ materially from the forward-looking statements. Additionally, an investment in the stock may involve a high degree of risk and may not be suitable for all investors. No part of this report may be reproduced in any form without the express written permission of ROTH. Copyright 2024. Member: FINRA/SIPC.

( Companies Mentioned: GOGO:NASDAQ, )

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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.’”

The original cast of The Cosby Show. ; Credit: Frank Carroll/Associated Press

Thirty years ago, on September 20,"The Cosby Show" debuted on NBC and went on to dominate our screens for almost a decade.

The award-winning sitcom introduced us to the Huxtables, an upper-middle class black family  made up of Heathcliff, Clair and their five children. Plus a cast of ugly sweaters.

"The Cosby Show" covered familiar territory; from children getting body piercings, bad boyfriends and maintaining a long term relationship as parents with professional lives.

Speaking to Take Two's Alex Cohen, Mark Anthony Neal, professor of African and African American Studies at Duke University said "The Cosby Show" broke down racial stereotypes.

"It  really was the first program to present not just a middle class, or upper-middle class black family, but a professional family. Clair and Heathcliff Huxtable were educated, they had advanced degrees. It was an image we hadn't seen before."

From 1985 to 1990, "The Cosby Show" held the number one spot in the TV ratings war, appealing to audiences across color lines. Black viewers in particular welcomed a broader representation of African American life on screen, building on the success of shows such as "The Jeffersons", "Sanford and Son" and "Good Times". 

"Bill Cosby was very honest about the fact that when he conceived the character of Heathcliff Huxtable, he was looking for images that countered, say, Fred Sanford who was a junk dealer, or James Evans, Jr. in 'Good Times' who was always struggling to find a job. Bill Cosby wanted to bring a different view of the black family into the mix."

Despite its popularity, some people took issue with how "The Cosby Show" tackled race issues.

"It's not that black Americans didn't enjoy the show, but there were criticisms because it didn't explore the broader world of African Americans." says Professor Neal. "The Huxtable family became a stand in for the successes of the civil rights movement. It became the rationale that if the Huxtables can do it, why can't other African Americans do it?"

Today's media landscape is very different to the one "The Cosby Show" existed in. For this reason, says Professor Neal, its success has been difficult to replicate.

"Right after it went off the air, cable TV takes hold and we get this niche programming.  Many African American programs ended up on Fox, UPN and the WB, so there was no incentive for the major networks to do any Cosby-like programming with a black family at the center."

With the debut of ABC's "Blackish" on September 24, it's hoped this will go some way to fill the Cosby-shaped void. In the meantime there's always YouTube and re-runs. Just be thankful Heathcliff's ugly sweaters are a thing of the past.

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, )

L-R Access Hollywood film critic Scott Mantz moderates a talk by Neil deGrasse Tyson at the Aero Theatre in Santa Monica, June 9, 2017. Courtesy of the American Cinematheque; Credit: Robert Enger

Neil deGrasse Tyson came onto the science-themed, late night talk show circuit with some clout. The "Cosmos" host, author, educator, and Hayden Planetarium director's first guest when StarTalk "jumped species" from podcast to television was Whoopi Goldberg. 

On Friday June 9, 2017, Tyson opened up a screening of "Star Trek II: The Wrath of Khan" at the American Cinematheque's Aero Theatre in Santa Monica with a talk on his career as an astrophysicist-turned-broadcaster. Access Hollywood's film critic, Scott Mantz, moderated the event and asked Tyson for his three favorite StarTalk guests.

1. Nichelle Nichols

While StarTalk was still just a podcast, Nichols appeared on StarTalk twice. Tyson learned that Star Trek had been a holdover gig for Nichols while paying her dues to land dancing parts on Broadway. Tyson didn't think being Lieutenant Uhura was anything to sneeze at. "She is actually in the chain of command to be captain of the ship," remarked Tyson.

Early on into the series, Nichols decided it was time to go back to New York and find her dream job, Tyson said. However, before leaving she attended a party where she bumped into Dr. Martin Luther King Jr. 

"And he says, 'Oh, my children! We line up at night, and you make us all proud.' And she said, 'Oh, thank you, but I'm going back to New York,' and he said, 'You can't do that. There are no other black people on television. Much less, what there are, they're not in any kind of role of responsibility, and integrity, and dignity.' And he convinced her to stay with the series." - Neil deGrasse Tyson

Tyson teared up, searched for tissues, and said he opened up a bottle of wine at eleven in the morning during the taping with Nichols. "And then, I think it was only one and a half glasses of wine," Tyson said, before he asked Nichols about her and William Shatner's interracial kiss on Star Trek, one of the first interracial kisses on television. Tyson said Nichols told him that the producers of the show wanted to film a version of the scene without the kiss, but that she and Shatner purposefully kept messing up the non-kiss until they ran out of filming time so that the editors of the show wouldn't have any such scene to work with.

Nichols then asked Tyson if he wanted to see what a "racial kiss" was, and then she kissed him.

Tyson also recognized Nichols for her role in recruiting women and people of color for NASA space missions from engineering schools across the United States. Tyson said Nichols was able to find these recruits by looking where NASA had not been looking.

"You were only looking at the U.S. Naval Academy and not Tuskegee Institute where they have a huge engineering group. So she laid out this recipe, and that first astronaut class: it had black people, it had Asians, it had women. And they were at the top of their class when they came out of college and graduate school, so she shaped the modern view of NASA."

2. Biz Stone

"The name doesn't even sound real," said Tyson, referring to the co-founder of Twitter. Tyson counts Stone among the great entrepreneurs who never finished college: Bill Gates, Michael Dell, Mark Zuckerberg.

"Until he described how he envisioned Twitter, I had not fully appreciated what it was," said Tyson. Stone asked Tyson if he had ever seen birds suddenly take flight and flock together after behaving independently, and then, just as swiftly as they started, return to their posts and be "individuals again."

"Twitter is a flocking mechanism for humans," Tyson said. "I live near Ground Zero in New York City," Tyson recalled what could be described as a Twitter moment from 2011. "I'm watching TV, all of a sudden I heard noises in the street. Crowds were developing. I said, 'What's going on?'" While Tyson was sitting in his home, it had been announced that Osama Bin Laden had been killed.

Tyson got on the internet and read the news. "I missed all that, but all these people got the tweet, and everyone gathered back at Ground Zero." That realization of the nature of social media made Biz Stone Tyson's number two guest.

3. Kareem Abdul-Jabbar

Jabbar's appearance on StarTalk is from the upcoming season, so Tyson did not want to reveal the topics of the episode, but he could not resist including Jabbar because of his numerous qualifications.

• He has written a novel about Sherlock Holmes' older brother, Mycroft Holmes (which Jabbar talked with Off-Ramp about in 2015)
• He had a column in Time Magazine
• His high scores on Celebrity Jeopardy
• He's the highest scorer ever for the NBA, with 38,387 career points (Kobe Bryan is third with 33,643 points)
• He played in the All-Star Game 19 times out of his 20 NBA seasons
• He has six NBA Championship rings
• And he was in "Airplane!" and Bruce Lee's "Game of Death"

Tyson gives us one giveaway though, from Jabbar's interview. The one film role that Jabbar is disappointed about never being cast in was Chewbacca in "Star Wars."

Neil deGrasse Tyson's new book is Astrophysics for People in a Hurry. Thanks to him and the American Cinematheque for allowing us to excerpt their presentation on Off-Ramp.

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

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

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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

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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

US-based fintech Felix Pago has announced a partnership...

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, )