text:
Watch a Demo: Fullstack Academy's Remote Immersive
Want help finding the best school for you?
Get Matched!
SCHOOLS IN THIS ARTICLE
Fullstack Academy
After successfully launching Grace Hopper Academy and acquiring Starter League, the team behind Fullstack Academy is expanding into the world of online education with the Remote Immersive. We connected with founders David and Nimit to answer all of our questions about the Remote Immersive (we're talking time commitment, admissions standards, and employment opportunities). We'll get a demo of the Remote Immersive platform so you know exactly where you'll be learning. Plus, they explain how high-quality remote immersives could actually help to democratize bootcamps.
First, tell us about this newest online offering from Fullstack Academy.
Nimit: Half of the US population lives outside of metro areas, and therefore lack access to an in-person coding bootcamp. There are clearly a lot of very smart and motivated people out there who want to learn at Fullstack Academy, but we previously weren't able to reach them.
The Remote Immersive is something that we've been wanting to do since 2014. Since this is the 4th program that our curriculum is supporting, scaling the curriculum to support separate programs has been the easy part; now we're just getting the technology right. After successfully launching Grace Hopper Academy and our campus in Chicago through Starter League, we're now very comfortable with entering the online frontier.
How is the new Chicago campus going??
Nimit: The first class actually started last Monday at 1871 in Chicago, and it's going super well. It's very surreal to know that there's another city in the world that's teaching the Fullstack Academy curriculum.
David: I'm actually going there tomorrow so we really believe that it's happening!
Do you think there's something inherent about learning to code that almost lends itself to learning online?
David: I think that's a great intuition. Right now, we're asking ourselves, "Can we actually use this online medium to deliver an excellent experience to students, improve the amount of coaching, improve the tools that you need to be a good programmer, and reduce distraction?"
Nimit: Yeah, learning online has some great benefits: reducing distractions, even cutting down on commute time is a big saver. We're also able to experiment with tools that aren't being used in education right now, like virtual reality. Pedagogically, those opportunities are very exciting for us.
Fullstack Academy has delivered other intro programs online, too. What lessons did you learn from those programs?
David: Yes, JavaScript Jumpstart and Remote Bootcamp Prep are both done entirely online. Remote Bootcamp Prep is part-time, but synchronous (class is in real-time with an instructor).
Nimit: Something that we learned from Remote Bootcamp Prep is that our instructor to student ratio is not an area where we can scale just because it's remote. We learned that we need to make the same number of instructors and teaching assistants available as we do in an in-person setting. That's a key thing that everyone should know; Fullstack's Remote Immersive is different from a mentor-lead program where you have one hour a week with your mentor. In the Remote Immersive you are interacting with instructional staff 8+ hours per day.
David: Plus, we learned a lot about communication tools. For example, we thought a lot about activities that people can do online to feel more connected than just using videos or Slack. Slack is great if you know the person you're Slacking with. But if you don't know them already, it doesn't do a lot to make you feel more connected. We're trying to leverage a lot of other tools that make people feel like they're in the same classroom, even though they're online.
What's the time commitment expected of students in the Remote Immersive?
Nimit: The exact same time-commitment that we expect of in-person immersive students (Monday-Friday with optional CS Saturdays).
What are you looking for in applicants? Do they need specific qualifications? Are you using the same admissions standards as the in-person?
David: Just because Remote Immersive is online, doesn't mean we'll open the floodgates to people who are not prepared for our curriculum. Being prepared for the curriculum and structure is key to a student's success. So in terms of the admissions requirements, there's no difference between the Remote Immersive and our New York or Chicago campuses, because the curriculum is the same. We think our Remote Immersive cohort will be made up of the same students who apply to in-person, but can't move to New York or Chicago for three months.
Nimit: Bootcamps themselves are making education more accessible, but having to move to our campus cities to take the Fullstack bootcamp is a very real burden. It actually ends up decreasing diversity in the bootcamp space in general, because it requires a certain level of economic flexibility etc. In some ways, I think the Remote Immersive (and the rise of high quality remote bootcamps) will be a democratizing force in bootcamps.
How about time zone? Do applicants need to be in a certain location or time-zone to take the Remote Immersive?
Nimit: Time zone is such an important facet of launching a synchronous, online class. Class will start at 10:00 am EST (7am PST) making it convenient for people in North America.
How will students in the Remote Immersive be learning the curriculum?
Over the last year and a half, we've been building out Learn Dot, our internal learning software, and closely measuring how students and instructors are performing. For Remote, we've had to do some technical buildout for the platform itself, but it was already pretty robust internally. Now we get to focus on how to build the online community and make the coaching supremely effective.
Which tools will you use in the Remote Immersive?
David: We're experimenting with that right now, but in our initial launch, our main tools will be Zoom for video conferencing, Full Bits for pairing and group work, and a whiteboarding tool that was built by former Fullstack students. Along with Learn Dot as the Learning Management System, for content, workshops, and assessments.
Will there be interaction between the in-person and the online immersive cohorts? Will their instructors be the same?
Nimit: The instructors for Remote do come from the same staff - students can expect to be taught by the same experienced instructors. As far as the students themselves, we think of Remote Immersive as a new campus, so they won't be interacting with our New York or Chicago campus students.
David: It's not like the Remote Immersive has a video feed into our New York campus. There're pro and cons to that setup. It's cool to see other students live, but I think that's the last vestige of the current educational system; it's just not interactive enough.
When we teach a remote class, the instructor will know each of the students personally. They'll be able to take questions from them, pause when one of the remote students has a question, etc.
Since this is the first cohort, I'm assuming that there will be some hurdles. How are you preparing yourself for feedback?
David: We are both huge believers that a strong start is essential to future success. Nimit and I will both personally be overseeing the operations of the first cohort. We're letting students know that this is our first time doing the Remote Immersive, but it's not our first time doing immersive education. Thinking back to our Fullstack New York and Grace Hopper launches, the first cohort is particularly exciting because it's a very collaborative and engaged process.
Nimit: We recognize that remote is a new medium, but we've gained valuable experience by teaching Bootcamp Prep online, and using Zoom internally. We've also extensively tested all the tools, and the thing that really makes us successful is our willingness to iterate based on evidence. I don't have any loyalty to Zoom, for example; I'm loyal only to having the highest quality educational experience for our students. We will be paying very close attention to what students are saying in the first cohort. We're also investing in the Remote Immersive through a new Scholarship Fund, to provide more opportunities to attend.
Speaking of remaining loyal to tools and technologies, I heard you recently dropped the M from "MEAN Stack." Can you tell us about that change?
David: We actually personally know the engineer at Mongo who coined that term "MEAN" very well. It's not a slight to Mongo that we cut it out of the curriculum, but our loyalties lie with our students and ensuring that they can get jobs. A lot of companies like what they're seeing with Mongo but they need developers who know SQL. In the past, we've emphasized Mongo and taught SQL, and now we're just reversing that. We're emphasizing SQL, and students still see a little bit of a Mongo. We're using Postgres as our SQL database because they've really developed their documentation capabilities. If you look at recent dev technology usage trends, you'll see that SQL, along with JavaScript, are some of the most popular technologies, which was another important factor in our switch to SQL.\
Are you hearing concerns or excitement from employers about hiring students who learned to code in an online program?
Nimit: I've never heard an employer complain about the medium of education. You hear them complaining about the quality of education. I think that what you learn is much more important than the medium. We're communicating to employers that we maintain the exact same quality, educational standards, and outcomes for all programs.
David: Another interesting thing is we get requests from employers asking for things like "10 developers in Lexington, Kentucky." We could be helping people in those areas skill-up and get those jobs, but not with the current in-person ecosystem. That's one area where Remote Immersive will be very valuable.
What's your advice to employers who still aren't comfortable hiring engineers from a coding bootcamp?
There's no magic dust that makes someone a senior engineer overnight. However, I think that companies need to very much understand what bootcamp grads are good at and how they fit into an organization and a career path. I've heard from recruiters at Google and Facebook who are now looking to bring on hundreds of coding school engineers. Google has been hosting 2-3 day long seminars for coding bootcamp graduates to navigate the Google engineering hiring process.
Those companies recognize that coding bootcamps are a great source of talent, and the student bodies are very heterogeneous compared to what they're seeing in Computer Science programs. In fact, just within the last 6 months, 3 Fullstack grads have gotten software development jobs at Google, and Facebook recently hired a graduate from Grace Hopper Academy as an engineer. When you see the most selective tech companies hiring bootcamp grads, I think that sends a signal that the hiring market is getting past its unreasonable fear of these programs.
When does the first Remote Immersive cohort start?
David: The 'Foundations' pre-course starts in September, and the full-time portion starting in October.
To learn more, read Fullstack Academy reviews on Course Report or visit the Fullstack Academy website.
Liz is the cofounder of Course Report, the most complete resource for students researching coding bootcamps. Her research has been cited in The New York Times, Wall Street Journal, TechCrunch, and more. She loves breakfast tacos and spending time getting to know bootcamp alumni and founders all over the world. Check out Liz & Course Report on Twitter, Quora, and YouTube!
Also on Course Report


text:
Catalog models
Home Interior Design (Photo)
Schemi per lavori a maglia gratis
Subscribe to new articles:
Knitting for woman
Pullovers (243)
Tippets (1)
Knitting for children
Pullovers and sweaters (17)
Hats for childrens (2)
Knitting for men
Jackets for men (1)
Pullovers for men (4)
Vests for men (1)
Crocheting for woman
Berets (2)
Handbag (3)
Home Knits
Knit Pillows (1)
Knitted napkins (4)
Сrochet napkins (1)
Lace Knit Stitch Pattern
Published: 01/08/17
Category: Eyelet, Lace Knit Stitches
Tags: knitting chart | Lace Knit Stitch | Lace Knit Stitch Pattern | Lace Knitting Stitch Pattern | Lace Knitting Stitches
Cast on 69 stitches + 2 selv sts and work according to chart.
The chart shows only RS rows.
On WS rows, work all sts and yos P.
Row 1: k5, yo, skp, k2, yo, skp, k8, k2tog, yo, k5, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k2tog, yo,
Row 1: k5, yo, skp, k2, yo, skp, k8, k2tog, yo, k5, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k2tog, yo, k2tog, yo, k4, k2tog, yo, k10, yo, skp, k2, yo, skp, k4
Row 3: k3, k2tog, yo, k1, yo, skp, k2, yo, skp, k6, k2tog, yo, k1, yo, skp, k4, yo, skp, yo, skp, yo, skp, k3, k2tog, yo, k2tog, yo, k2tog, yo, k4, k2tog, yo, k1, yo, skp, k6, k2tog, yo, k1, yo, skp, k2, yo, skp, k3
Row 7: k1, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k3, k2tog, yo, k2, k2tog, yo, k6, yo, skp, yo, skp, yo, k3tog_tbl, yo, k2tog, yo, k2tog, yo, k5, k2tog, yo, k2, k2tog, yo, k4, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k1
Row 9: k2tog, yo, k2, k2tog, yo, k3, yo, skp, k2, yo, skp, k4, yo, k3tog, yo, k8, yo, skp, yo, skp, yo, k3tog_tbl, yo, k2tog, yo, k8, yo, k3tog, yo, k4, k2tog, yo, k2, k2tog, yo, k3, yo, skp, k2, yo, skp
Row 11: k2, yo, skp, k2, yo, k3tog_tbl, yo, k2, k2tog, yo, k6, k2tog, yo, k10, yo, skp, yo, skp, yo, k3tog_tbl, yo, k9, k2tog, yo, k7, yo, skp, k2, yo, k3tog_tbl, yo, k2, k2tog, yo, k2
Row 13: k3, yo, skp, k2, yo, skp, k1, k2tog, yo, k6, k2tog, yo, k1, yo, skp, k9, yo, skp, yo, skp, yo, skp, k8, k2tog, yo, k1, yo, skp, k6, yo, skp, k2, yo, skp, k1, k2tog, yo, k3
Row 15: k4, yo, skp, k2, yo, k3tog_tbl, yo, k6, k2tog, yo, k3, yo, skp, k6, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k6, k2tog, yo, k3, yo, skp, k6, yo, skp, k2, yo, k3tog_tbl, yo, k4
Row 17: k5, yo, skp, k2, yo, skp, k6, k2tog, yo, k2, k2tog, yo, k6, k2tog, yo, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k2, k2tog, yo, k8, yo, skp, k2, yo, skp, k4
Row 19: k3, k2tog, yo, k1, yo, skp, k2, yo, skp, k7, yo, k3tog, yo, k6, k2tog, yo, k2tog, yo, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k6, yo, k3tog, yo, k7, k2tog, yo, k1, yo, skp, k2, yo, skp, k3
Row 21: k2, k2tog, yo, k3, yo, skp, k2, yo, skp, k6, k2tog, yo, k6, k2tog, yo, k2tog, yo, k2tog, yo, k3, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k7, k2tog, yo, k3, yo, skp, k2, yo, skp, k2
Row 23: k1, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k4, k2tog, yo, k1, yo, skp, k3, k2tog, yo, k2tog, yo, k2tog, yo, k5, yo, skp, yo, skp, yo, skp, k3, k2tog, yo, k1, yo, skp, k4, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k1
Row 25: k5, yo, skp, k2, yo, skp, k6, k2tog, yo, k3, yo, skp, k2, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k2tog, yo, k2tog, yo, k2, k2tog, yo, k3, yo, skp, k7, yo, skp, k2, yo, skp, k4
Row 27: k3, k2tog, yo, k1, yo, skp, k2, yo, skp, k5, k2tog, yo, k2, k2tog, yo, k4, yo, skp, yo, skp, yo, skp, k3, k2tog, yo, k2tog, yo, k2tog, yo, k3, k2tog, yo, k2, k2tog, yo, k6, k2tog, yo, k1, yo, skp, k2, yo, skp, k3
Row 29: k2, k2tog, yo, k3, yo, skp, k2, yo, skp, k6, yo, k3tog, yo, k6, yo, skp, yo, skp, yo, skp, k1, k2tog, yo, k2tog, yo, k2tog, yo, k6, yo, k3tog, yo, k6, k2tog, yo, k3, yo, skp, k2, yo, skp, k2
Row 31: k1, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k5, k2tog, yo, k8, yo, skp, yo, skp, yo, k3tog_tbl, yo, k2tog, yo, k2tog, yo, k7, k2tog, yo, k6, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k1
Row 33: k2tog, yo, k2, k2tog, yo, k3, yo, skp, k2, yo, skp, k3, k2tog, yo, k1, yo, skp, k7, yo, skp, yo, skp, yo, k3tog_tbl, yo, k2tog, yo, k7, k2tog, yo, k1, yo, skp, k3, k2tog, yo, k2, k2tog, yo, k3, yo, skp, k2, yo, skp
Row 35: k2, yo, skp, k2, yo, k3tog_tbl, yo, k2, k2tog, yo, k4, k2tog, yo, k3, yo, skp, k7, yo, skp, yo, skp, yo, k3tog_tbl, yo, k7, k2tog, yo, k3, yo, skp, k4, yo, skp, k2, yo, k3tog_tbl, yo, k2, k2tog, yo, k2
Row 37: k3, yo, skp, k2, yo, skp, k1, k2tog, yo, k5, k2tog, yo, k2, k2tog, yo, k9, yo, skp, yo, skp, yo, skp, k7, k2tog, yo, k2, k2tog, yo, k6, yo, skp, k2, yo, skp, k1, k2tog, yo, k3
Row 39: k4, yo, skp, k2, yo, k3tog_tbl, yo, k8, yo, k3tog, yo, k8, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k8, yo, k3tog, yo, k8, yo, skp, k2, yo, k3tog_tbl, yo, k4
Row 41: k5, yo, skp, k2, yo, skp, k8, k2tog, yo, k8, k2tog, yo, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k7, k2tog, yo, k10, yo, skp, k2, yo, skp, k4
Row 43: k3, k2tog, yo, k1, yo, skp, k2, yo, skp, k6, k2tog, yo, k1, yo, skp, k5, k2tog, yo, k2tog, yo, k2tog, yo, k1, yo, skp, yo, skp, yo, skp, k5, k2tog, yo, k1, yo, skp, k6, k2tog, yo, k1, yo, skp, k2, yo, skp, k3
Row 47: k1, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k3, k2tog, yo, k2, k2tog, yo, k3, k2tog, yo, k2tog, yo, k2tog, yo, k5, yo, skp, yo, skp, yo, skp, k2, k2tog, yo, k2, k2tog, yo, k4, k2tog, yo, k2, k2tog, yo, k1, yo, skp, k2, yo, skp, k1
Lace Cable Knit Patterns (10)
Relief Knit Patterns (1)
Drop Stitches (1)
Fancy Knit Stitches (11)
Diamond Knit Stitches (12)
Diagonal Knit Stitches (1)
Cable Knit Stitches (28)
Eyelet, Lace Knit Stitches (46)
Crochet Stitches (1)
Leaf Knit Stitches (37)
Wavy Knit Patterns (22)
Subscribe to (Free Knitting Patterns) Knitting.
Beret and Scarf with Cables
Pullover with Cable Pattern
Sweater with Cables
Double Hat for Girl
Sweater in Textured Pattern
Sweater with Voluminous Flowers
Knitting Pattern Branch with Leaves
Band Collar Pullover
Long Pullover with Leaf Pattern
Free Knitting Patterns.
Knitting and crocheting patterns. Collection of knitted models, descriptions, patterns, charts.

redpajama_set_name: RedPajamaCommonCrawl


DisplayLink Display Adapter 0438 is a USB Display Adapters hardware device. The Windows version of this driver was developed by DisplayLink Corp.. In order to make sure you are downloading the exact right driver the hardware id is USB/VID_17e9&PID_0438.
Download the setup file for DisplayLink Corp. DisplayLink Display Adapter 0438 driver from the link below. This is the download link for the driver version 7.7.60366.0 dated 2015-02-12.
Driver rating 4 stars out of 96129 votes.
Take a look at the list of detected driver updates. Scroll the list down until you find the DisplayLink Corp. DisplayLink Display Adapter 0438 driver. Click the Update button.


Brief letter from Oregon Senator Morse, dated March 31, 1947, on U.S. Senate Committee on Armed Services letterhead stationery, to Paul H. Farrier, Director of Admissions at Virginia Polytechnic Institute.
Permission to publish material from Wayne Morse Letter must be obtained from Special Collections, Virginia Tech.
Researchers wishing to cite this collection should include the following information: Wayne Morse Letter, Ms1947-001, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va.
This letter was aquired by Newman Library prior to 1947.
The processing, arrangement, and description of the Wayne Morse Letter was completed prior to 2010. Additional description was completed in November 2010.
Wayne Morse was a Republican (1944-52), Independent (1952-55), Democrat (1955-68) United States Senator for Oregon. He ran for President in 1960 as the Democrat candidate.
Mr. Paul H. Farrier was the Director of Admissions at Virginia Polytechnic Institute. He was also involved in the recording of the actions taken by the University in the admission of the first African Amercian Student, Irving L. Peddrew III.
Sources: Office of the President, Walter S. Newman, RG 2/10, Special Collections, University Libraries, Virginia Polytechnic Institute and State University.
Brief letter from Morse, dated March 31, 1947, on U.S. Senate Committee on Armed Services letterhead stationery, to Paul H. Farrier, Director of Admissions at Virginia Polytechnic Institute. The letter discusses the Morse's thanks to Farrier for sending him some articles from The Courier-Journal.


text:
Brexit: implications for frontier workers
On January 31, 2020 the United Kingdom left the European Union and a transitional period took effect that lasts until December 31, 2020. During this period all EU rules and laws continue to apply and the EU and the United Kingdom will negotiate about their relationship in the period after January 1, 2021.
Not much will change for UK citizens and their family members who were already living in the Netherlands before January 1, 2021. In recent months, the Dutch Immigration and Naturalization Service (INS) actively invited this group to apply for a residence permit, so that they may also continue to live and work in the Netherlands after the transitional period. The permit is granted under the current condition for their residence as EU national and the requirements have thus not become stricter. Also after the transitional period, Dutch employers will not require a work permit for these individuals.
Moreover, this does not only apply to UK citizens, but also to their family members who do not have an EU nationality themselves.
UK frontier workers in the Netherlands
A special group of workers for whom Brexit may have important implications are UK citizens who live in the United Kingdom and work in the Netherlands as frontier workers.
For those working in the Netherlands as a frontier worker before January 1, 2021, they may, regardless of the outcome of the negotiations, continue to work in the Netherlands as of January 1, 2021 without requiring a work permit for this. However, they must have a Frontier Worker document, which can be used to show that they are entitled to travel to and from the Netherlands.
The Frontier Worker document must be applied for online, but the INS has not yet published the specific conditions that must be complied with or how to submit the application. This will become clear in the coming months.
For UK citizens who intend to only start working as a frontier worker in the Netherlands after January 1, 2021, it is still unclear whether a work permit is required. This depends on the outcome of the negotiations. If no agreements are made about this, a work permit will be required.
It is still unclear whether a work permit for this group can be granted under flexible conditions. An application must, in any case, be submitted to the Dutch Employee Insurance Agency (Uitvoeringsinstituut Werknemersverzekeringen; UWV) and the procedure may take five weeks.
Dutch frontier workers in the United Kingdom
There are also many Dutch citizens who live in the Netherlands but work as frontier workers in the United Kingdom. It is also important for them which agreements are made.
The UK government recently published new policy for all EU frontier workers who work in the United Kingdom. Current frontier workers who started working as frontier workers no later than December 31, 2020 will retain their status and may continue to work in the United Kingdom also after the transitional period if they apply for a frontier worker permit.
Similar to the situation in the Netherlands, the United Kingdom will also announce a special procedure later this year that allows frontier workers to submit an application online free of charge. The intention is that the application can be made both from the United Kingdom and the Netherlands.
Until July 1, 2021 current frontier workers will be allowed to travel to the United Kingdom using only their passport or a valid ID card. However, as of July 1, 2021 they will also be required to have a valid frontier worker permit.
Depending on the personal situation, a frontier worker permit will be issued for five or for two years.
Heleen Snieders
snieders.heleen [at] kpmg.com Breda
For the pdf version click below
Brexit frontier workers update sep 2020.pdf


As soon as you leave home, determine to put all problems out of your mind.
Tell yourself the more you allow your mind to focus on the joy of the present moment, the more you will be able to focus your world lens on having a meaningful experience. You can enjoy the wisdom, teachings, love and connectivity of other highly conscious individuals.
Decide before you arrive that you'll be open and willing to growth, but at the same time dwell in the peaceful place of knowing that you'll get exactly what you came for. If you have that expectation in place when you arrive, it will manifest.
Enjoy the life-enhancing power of being part of a collective and creative process.
Trust in the process Allow. You came for a reason, it will be revealed.
Disconnect from technology so you can reconnect to you soul. A yoga retreat provides the perfect opportunity to be inwardly attentive, to still the mind, feed the soul, and deepen your yoga practice… but that's not going to happen if you keep checking your phone.
Disconnect from technology so you can reconnect to you soul.
Have a plan and be ready to break it. Retreats and festivals have a lot to offer.
Look at and schedule the things you want to attend before you arrive.
You can take a break from what's on the schedule and go for a walk in nature. There are events in the evening like listening to uplifting music, spiritual movies and quality time with like-minded people. Always allow for the inspiration of the moment, don't be locked into anyone's agenda – even your own.
Take the time to journal.
the friendships and connections you made.


text:
Murder She Wrote 2
Puzzle Games / By zoe
Murder She Wrote 2 Game Review
For those of you who are fans of the Murder She Wrote television series and indeed the original game you will be glad to hear the all new second edition of this game is one of the best detective games you ware ever likely to play. We found the plot of Murder She Wrote 2 and the implementation of it to be truly sensational and one of the best gaming experiences we have had.
The graphics are pretty basic but this does not really matter as they deliver all that is needed for the game as a whole. Game play is outstanding and this aspect of the game is what makes it so good as it is both fun and challenging.
We have compiled a Review System for this, of which is Rated as Four Stars, the second highest possible score from the Games Reviews team.
The website address for Legacy Games is: http://www.legacygames.com
The website address for Murder She Wrote is: http://www.murdershewrotegame.com/


text:
Home > Volume 95 Issue 1 > 2017 ACS national award winners > Alfred Bader Award in Bioinorganic or Bioorganic Chemistry: Kim D. Janda
Kim D. Janda
Credit: The Scripps Research Institute
Sponsor: Alfred R. Bader Fund
Citation: For his ability to integrate the principles of chemistry, molecular biology, immunology, and neuropharmacology to create molecules engendered with both biological and chemical function.
Current position: professor of chemistry and immunology; Ely R. Callaway, Jr. Chair in Chemistry; and director, Worm Institute of Research & Medicine at the Scripps Research Institute
Education: B.S., clinical chemistry, University of South Florida; M.S., chemistry, University of Arizona; Ph.D., chemistry, University of Arizona
Janda on what he hopes to accomplish in the next decade: "There are two things I hope to accomplish: To have one of my vaccines for treating drugs of abuse receive FDA approval. I anticipate that one of my vaccines for opioid addiction, which has reached epic proportions in recent years, will gain approval in this timeframe. And to develop a field-ready diagnostic for river blindness, a neglected tropical disease."
What his colleagues say: "He has been working at the chemistry-biology interface longer than most, displaying a remarkable ability to combine the principles of chemistry and immunology to tackle unmet medical needs and chart bold new directions."—Dale L. Boger, the Scripps Research Institute


text:
By Janne Wass on March 5, 2019 • ( 4 Comments )
Famed for its special effects shots of a floodwave destroying New York City, this 1933 RKO production built up hype as it was thought lost for many decades. When it finally resurfaced, it was met with a collective "meh", as all the action was packed in the first 15 minutes of the film, and then settled into a wobbly post-apocalyptic romance helmed by a first-time director. 5/10
Deluge. 1933, USA. Directed by Felix E. Feist. Written by John Goodrich & Warren Duff. Based on novel by Sydney Fowler Wright. Starring: Peggy Shannon, Lois Wilson, Sidney Blackmer, Fred Kohler, Edward van Sloan. Produced by Samuel Bischoff, Burt Kelly & William Saal. IMDb score: 6.3/10. Tomatometer: N/A. Metascore: N/A.
Poster.
"The best moments in the film are those concerned with the excited weather men". That's not a sentence one expects to read in a movie review, but there it is, written by the New York Times film critic Mordaunt Hall in 1933, no less. The moments that Hall is referring to take place in the very first fifteen minutes of the independently produced disaster movie Deluge, and the excited weather men in question are a group of scientists led by the crack character actor duo of Edward van Sloan and Samuel Hinds. With the aid of some nautical and aerial stock photography, the movie wastes no time in getting to the chase, as scientists in New York are baffled by super storm that seems to envelop the entire world, and it's heading toward the city. In their conversations and radio messages we hear that Europe has been all but wiped out, and citizens are called upon to evacuate the cities and try and get to high ground. But finally, van Sloan's professor admits that there is no escape. We are doomed.
New York City flooded.
Cutting away from excited weather men, we meet the three main characters of this pre-Code curiosity: accountant Martin (Sidney Blackmer), his wife Helen (Lois Wilson) and the feisty young champion swimmer Claire (Peggy Shannon). And when introductions are done, mother nature hurls her anvil at New York City, and we get what is easily the most famous scene of the film: the destruction of the Big Apple by an enormous wave that shatters the skyscrapers as if they were glass, sending tons of concrete crashing down on panicked inhabitants, finally swallowing the city whole in its watery embrace.
We then meet up again with Claire and Martin, in that order. Claire has managed to escape thanks to her athleticism, as washes ashore in a skimpy little swimsuit (or is it underwear?) by a shack inhabited by the brute Jephson (Fred Kohler) and the shifty Norwood (Ralf Harolde). After being initially well-received, Claire realises that the two men are fighting amongst themselves about which one is going to "have" her, and efter she fights off a rape attempt from the smaller Norwood, she again drops her clothes and flees into the ocean – but with an enraged Jephson on her tail, in a boat.
Jephson (Fred Kohler) "rescuing" Claire (Peggy Shannon).
Claire then arrives at the next shack, this one inhabited by Martin, our hero, who was separated from his wife and children during the disaster, and now believes his family dead. The independent Claire slowly warms to Martin's charms, and Martin, quick to forget his lost family, falls madly in love with Claire. In a fit of passion, Martin declares that he cannot have Claire staying with him unless she agrees to symbolically marry him then and there on the spot. Whether you call this emotional blackmail or something else, she agrees, seemingly quite willingly, and soon also professes her deep love for him. To make a long story short, Jephson somehow manages to follow Claire's trail through the water almost directly to Martin's shack, and also manages to find a group of bandits in the vicinity, with whom he teams up, as they are all eager to both hunt down the only free woman in the territory, as well as confiscate Martin's supplies. This leads to a rather prolonged shootout in a mining tunnel, which is punctuated by Claire brutally pickaxing Jephson to death, at the same time as the cavalry comes to the rescue.
Martin (Sidney Blackmer) and Claire (Peggy Shannon) hiding out tin the mines.
The cavalry, in this instance, is a group of survivors who have set up a new, fledgling society in a nearby abandoned mining town that has miraculously survived the deluge. We have previously met with the town's unofficial leader, Tom (Matt Moore) and – in a twist that surprises no-one – Martin's wife Helen and their children, who are very much alive. Women, as we have seen, is a scarcity in this new world, and as a result the townspeople have laid down a law according to which all women of child-bearing age must marry one of the men, in order to re-populate the Earth. And Tom, it seems, has a good eye for Helen, who has tentatively agreed to marry him, although in her heart she believes that Martin is still alive somewhere, so she stalls. And of course things become complicated when Martin arrives, alive and with a second wife by his side. But we'll get to that in a moment.
While the problem with the two wives is momentarily on hold, Martin sorts out the problem of distributing all the loot from the mine's storerooms among the townsfolk by using his accounting knowledge to create a credit-based bartering system. Tom sees in Martin the leader that the town has been looking for, and proposes to make him mayor of the town. But Martin refuses, saying this is something that all the inhabitants must have a say in, and so organises an election, which he naturally wins. In his acceptance speech, he lays out a future for a better world, a world not soiled by the evils of progress and civilisation: a simple world governed not by bureaucracy and committee, but by the simple truths and morals of the simple man, by cooperation and democracy and good will toward all. Hooray for Martin!
Tom (Matt Moore), Martin (Sidney Blackmer) and Claire (Peggy Shannon).
But then at the very end of the film, the romantic problem naturally needs a solution as well. Martin, although remarried, naturally can't abandon his old wife and kids. But neither does he want to push away Claire, his new flame. The source novel, written in 1928, had a daring solution to the problem: the two women actually renounced the town's rules and the Western/Christian tradition of monogamy, and instead chose to both remain married to Martin. Martin, naturally, didn't complain. Despite some of the film's otherwise rather risky pre-Code content, it draws the line at polygamy and settles for a much more boring solution, which I won't reveal here.
For many decades Deluge took on an almost mythical reputation as a great white whale among film buffs, because of the fact that the film was considered lost. Although mildly successful at the box office, distributor RKO figured that they could make more money out of it by selling off the rights to the "spectacular" special effects scenes than re-releasing the movie, so they basically locked the film in their vault, selling the special effects footage to Republic, who used it in serials like S.O.S. Tidal Wave (1939) and King of the Rocket Men (1949). So history became legend, legend became myth, and Deluge passed out of all knowledge. Then in 1981 this original American disaster film was discovered with much fanfare in a film archive in Rome, as a nitrate print dubbed in Italian. After adding English subtitles, it was re-released on VHS and on screen at film festivals to a resounding … "meh". Astonishingly, in 2016 an English language nitrate print was found, and restored by Lobster Films, and is now available on DVD.
New York crumbling to dust.
Let's address that "meh". Deluge isn't a bad film, in fact is a rather enjoyable one, and has a refreshingly irreverent pre-Code edge to it. But as film buffs, many of them probably not having read Sydney Fowler Wright's source novel, were expecting high-octane disaster scenes, they a bit disappointed when in turned out that after the excitement early in the picture, it then settled for a talky and rather clumsy melodrama. In fact, "disaster film" doesn't really do the film justice, as it should more accurately be described as a post-apocalyptic social drama.
But hey, at least those legendary scenes of the destruction of New York are awesome, right? Well … OK, they are pretty awesome, but in a sort of campy Godzilla way rather than in the way that the effects of King Kong (1933, review) are impressive even today. The crumbling of the skyscrapers is genuinely cool, but the flooding scenes are very miniaturey, and for example shots of ships being thrown around look auspiciously flimsy. The composite shots are clumsily made, albeit with some nice editing flair to hide the flaws. In one scene a very small tree, barely reaching the top of Martin's two-story cottage, falls and completely demolishes his house, which is quite hilarious. Someone might point out that the footage was probably more impressive back in the day, which is undoubtedly true, but even Mordaunt Hall at the NY Times pointed out that some of the footage was recycled multiple times and that some of the shots of the water were badly out of focus. That said, it IS a fun and very effective sequence, especially as inter-edited with the "excited weather men".
Excited weather men.
The rest of the film isn't bad, but just sort of a letdown. Felix Feist directs in a flat and dull manner: some of the movie has the feel of a cheap serial, especially the tunnel shootout. The movie shows nothing of the desolated world after the flood, which the book describes in hauntingly atmospheric detail (of course, budget was an issue, but still), and most of all, the script sort of sets up cool ideas that are botched. Claire is set up as an independent take-no-shit adventurer, but completely crumbles as soon as she falls into the arms of Martin. I do respect that they at least give her the pleasure of pickaxing her would-be rapist to death, at least. It sets up a refreshingly anarchist and egalitarian picture of society, and then ruins it by showing us that the town's two single black inhabitants are lazy and stupid. Hey, we need some comedy in the film, stick a couple of Negro jokes in there!
Another thing about this film is that it has no sense of geography or distance. Everything seems to be just around the corner. Claire swims out from one beach in broad daylight, and in the next scene we see her arriving at another beach in broad daylight. There's no indication of how long she has been swimming, or what distance. The two beaches look virtually the same. A little while later Jephson lands with his boat on the same beach. We don't know how he's been able to track her through the water (??), nor how she knows that she swam ashore on that specific beach. Jephson fails to see Martin's hut, but just literally seems to stroll over a bluff when he chances upon the band of bandits. How is it that they seem to camp just below Martin's shack, but he's never encountered them? Martin's hut, the bandits' camp, the abandoned mines and the village all seem to be within short walking distance from each other, but we never get a sense of just how close, as we seem to be magically transported from one to the other in no-time. And it's not just the transportation and travel scenes that are missing: often it feels as if key parts of the movie have been either edited out or never written in. The most egregious omission must be that there's no reunification scene between Martin and Helen. Martin just hugs his kids, and then that's that.
Jephson (Fred Kohler) and Norwood (Ralf Harolde) carefully examining the unconscious Claire (Peggy Shannon).
Despite some botched ideas, the over-arching story of Deluge is original and interesting enough to make this film enjoyable. It's not the first disaster film ever made, although some critics stubbornly refer to it as such. In 1913 Danish director August Blom made a nearly 2-hour long epic, Atlantis, about the sinking of the Titanic, and that same year Italy produced not one, but two films called The Last Days of Pompeii. Blom followed up in 1916 with the end-of-the-world epic aptly named The End of the World (review), very loosely based on Camille Flammarion's novel of the same name. This was most probably the first post-apocalyptic film, and featured a flooded world, not unlike that described in Noah's deluge. Abel Gance again used Flammarion's novel for inspiration in his 1931 film The End of the World (1931, review), however, this time the film ended with the end. However, it is probably the one up to that point with the most original ideas, and it is thankfully devoid of heavy religious lecturing. A film depicting the actual Biblical deluge was Noah's Ark, directed in 1928 by Michael Curtiz for Warner. While it was the biblical epics that he made in Germany that caught the eye of Warner, he never became the studio's answer to Cecil B. DeMille that one might have expected: Noah's Ark was the only Biblical epic he made in Hollywood, and that also with a modern parallel story. However, that film is best known today for Curtiz' reckless endangering of the extras on set during the impressive flooding scenes.
Peggy Shannon and Sidney Blackmer.
Another thing that makes Deluge watchable is the decent acting from the three leads. Sidney Blackmer is stockily handsome as Martin and pulls off the job of carrying the film well, even if he is given the movie's most bizarre character arc and dumbfounding dialogue. Blackmer would go on to become one of Hollywood's most reliable character actors, best known for his role as the elderly cult leader/neighbour in Rosemary's Baby (1968).
Lois Wilson almost surprisingly good in her nothing-role of Helen, showing some genuine human emotion and complexity in he sort of role that could very easily have been cardboard. Wilson was a veteran of the silent era, and one of the forgotten stars of early Hollywood, even if she, like so many others, made a successful transition into talkies. However, outshone by bigger and young stars, she spent much of the late silents and the sound era in B-movies, most of them forgotten today. She showed up in one other sci-fi film, the 1935 mad doctor romp Life Returns, opposite Onslow Stevens.
Sidney Blackmer and Lois Wilson as Helen.
Peggy Shannon is phenomenal as Claire, and one laments the fact that nothing more was done with the role. Especially in the beginning of the film, before the character loses its edge, Shannon shines. Whatever that elusive "it" factor is that just makes some actors so loved by the camera, Shannon had it. The average film goer today probably doesn't remember Peggy Shannon's name, as her film career started to slide almost as soon as it began, and was tragically cut short by her death of a heart attack, brought on by a liver ailment caused by alcoholism, in 1941, when she was only 34 years old. Discovered as Broadway girl, Shannon was thrust straight into the limelight when she was brought on by Paramount to replace Clara Bow, who had suffered a nervous breakdown, in the 1932 film This Reckless Age (though she had done some minor work, mostly in shorts, prior). But pushed by the studio to work reckless hours, sometimes on multiple films at once, and under pressure to become "the new Clara Bow", Shannon developed a severe drinking problem, and a reputation for being extremely difficult to work with. Despite a couple of semi-high profile lead roles, she was quickly being shopped around different studios and got stuck in B-movies. She returned briefly to Broadway, but was quickly replaced, "because of a tooth infection". Already by 1933, the 26-year-old actress had developed the kind of stigma that it usually takes a decade or so to work up in Hollywood, and her career was on a downward slope, which would never improve. This does not make the work she does in the film any less impactful.
Peggy Shannon.
The rest of the film is filled up with mostly bit-part regulars, and there are some worthy of mention. The most recognisable is naturally Edward van Sloan, he of Universal horror movie fame, who probably doesn't need further introduction. He is seconded by another white-haired professorial type, Samuel Hinds. Never a marquee name, Hinds was often cast as kindly authority figures, and is one of those faces that turn up in well-remembered films, whose face seems familiar, but whom you can't really place.
Another face which will seem familiar is that of Fred Kohler's, playing the brute Jephson. Kohler was a big man with powerful features and a menacing scowl, and the added bonus of two partly severed fingers on his right hand (reportedly due to a mining accident), and was a top pick for playing heavies in B-westerns in the twenties and thirties. Kohler does bring a certain kind of charisma to the role of Jephson, and adequately grunts his way through the movie.
Fred Kohler.
Among the uncredited performers we find John Elliott as a preacher, another prolific bit-part actor with over 300 credits in 20 years. He did a handful of appearances in science fiction productions — genre fans might want to take note of his participation in the so-bad-it's-good debacle that is The Mad Monster (1942, review), starring the Z-team of monster movies, George Zucco and Glenn Strange, and directed by quickie specialist Sam Newfield. Fred "Snowflake" Toones plays one of the lazy, dumb black inhabitants of the utopian village, one of the many racially stereotyped performances of his career, which spanned from 1931 to 1951. Toones, or Snowflake, which was his primary stage name, was one of the most prolific black actors in the thirties and forties, inhabiting the the racist trope of the simple-minded African American with a high-pitched voice and a childlike demeanour. He appeared in over 200 films, almost always in roles such as bellboys, porters or shoeshines. His only other sci-fi credit is from The Invisible Ray (1936, review), in which he plays the native who first sees Boris Karloff glow with radioactivity.
Snowflake Toones. The black actress in the background is Billy Williams.
One interesting character is Lane Chandler. Chandler is one of the many people who became Hollywood actors not so much because of any acting talent, but for their experience with horses and riding. He started getting small parts in the late twenties, and was quickly catapulted into second leads and even the occasional first lead in fairly high-profile movies, acting opposite stars like Gary Cooper, Clara Bow, Wallace Beery, Fay Wray, Greta Garbo and Nils Asther. In 1930-1932 he had a short string of heroic leading roles in B-westerns, but his stardom was cut short as abruptly as it had started, as it was clear that his lack of experience with speaking roles made him ill suited as dramatic lead in the talkie era. While steadily employed in film and TV until the early sixties, he was mostly relegated to uncredited bit-parts or minor supporting characters, with the odd exception in Poverty Row westerns. Considering that he is primarily remembered as a western actor today, Chandler was involved in a surprising number of science fiction productions. He appeared in all the major SF serials of the late thirties and early forties, including The Phantom Empire (1935), Flash Gordon (1936, review), Undersea Kingdom (1936, review), The Phantom Creeps (1939), Buck Rogers (1939), The Green Hornet (1940) and The Purple Monster Strikes (1945). He also had small roles in the feature films Invisible Agent (1942, review), The Lady and the Monster (1944, review), Creature with the Atom Brain (1955, review) and Space Master X-7 (1958).
Empire State Building can't get no slack on 1933. After Kong, now this.
As stated, Deluge is based on British author Sydney Fowler Wright's 1928 novel of the same name. It is sometimes described as the first modern novel to use the Biblical theme of the Flood in depicting a cataclysmic event, but this is not the case. Wright was preceded here by at least Garrett P. Serviss, whose novel The Second Deluge was published in 1912. Serviss goes as far as to having a modern Noah (a scientist) build an ark for a chosen few to survive the deluge. Serviss was an astronomer, and described at length and in detail the science behind his flood. Wright was a poet and accountant, and cared little for the scientific reasons for the deluge, just like in the film, the novel simply presents the cataclysm as a fact that has scientists befuddled.
Wright was still a rather unknown name when Deluge was published. He had put out some poetry and one moderately successful science fiction novel called The Amphibians (1924), in which amphibians had inherited the Earth after humans. Although his debut had garnered some positive reviews, he wasn't able to sell his second novel to any publisher, and thus decided to put it out through his own publishing company. When it turned out to be a best-seller, it was picked up by Cosmopolitan Books for mass distribution. Wright went on to publish over a dozen more SF books between 1930 and 1954. None of them are particularly well-known today outside of genre fans, but Wright has been characterised by author and scholar Brian Stableford as the "most important British SF writer between H.G. Wells and the moderns".
Covers of Deluge.
A common theme in Wright's books is the moral degeneration of man through progress, civilisation and industrialisation. Wright was a conservative political activist who thought that the comforts of the modern age had turned humans lazy and self-centered, and that so-called progress was a progress for machines rather than for mankind. He abhorred bureaucracy as a repression of the individual, and saw communism as the ultimate tool of repression. This in stark contrast to socialist H.G. Wells, who wrote extensively about how mankind's ultimate salvation would come from the marriage of socialism and science into a form technocracy. This theme is strong in Deluge, and it's carried on to the film almost undiluted. The book does have a lenghtier discussion on breaking free from the social and religious norms of society in the end, where the case of polygamy comes up. The film touches on it, but only to swiftly discard it, although it must be admitted that the film's ending is certainly more cinematic. I wasn't personally as impressed with the novel as some SF scholars and critics have been: I found the characterisations very bland and the book on a whole a bit dry, ironically. Unfortunately I also found it rather prejudiced and thought the female characters in particular were unrealistically written. Now, in a Burroughs book you accept the latter on the premise of it being cheap pulp, but since this novel sets a "nobler" goal, I also hold its literary values under a larger microscope. That said, it is an essential book for the avid SF reader, and has its moments of brilliance, especially in the descriptions of the flooded London area. It's also refreshing to have a both physically and mentally strong and active female character.
Peggy Shannon shows a lot of skin in the movie, to the delight of the male pre-Code audience.
Unfortunately the film cuts out one of my favourite parts of the book, which is Claire's struggle against drowning on her long swim, and her subsequent arrival at a house inhabited by an old stoic and his daughter. I realise why they cut it: It's non-essential for the plot, but still a pity. One logical adaptation is that the setting of the story has been changed from London to New York. Another major change from the novel is that in the book Jephson doesn't follow Claire after the attempted rape. From a cinematic point of view the change is also understandable, as the filmmakers wanted to have a clear-cut villain in the film. It does strain credibility, though.
Another issue that strains credibility both in book and film is the lack of women in the new society. Why have such an disproportionately large number of women died in the deluge? This is a central story element, but it is never explained. The underlying logic is naturally that women as "the weaker sex" would have succumbed to the hardships of the disaster in larger numbers than men, but this doesn't really make sense. Sure, in a touch-and-go situation someone with greater physical strength might stand a slightly better chance of climbing a tall building or swimming long distances, but that's just not how a tsunami works. Either you're in a situation where you're able to save yourself or then you're not. When a mudslide hits you or a skyscraper tumbles on top of you, it really doesn't matter how much you bench-press. If anything, women should have stood a greater chance of outnumbering men after the deluge, since in the thirties they would have made up a significantly smaller number of first responders, the military and other groups which would have deliberately put themselves in harm's way.
Sidney Blackmer and Peggy Shannon.
Then there's the idea that a tsunami would wipe away all the continents of the world, that is, of course, ridiculous. Garrett P. Serviss actually dealt with this in his book in a satisfactory way: Without getting into specifics, his general idea was that the amount of existing water on Earth suddenly multiplied because of our planet's collision with a "watery nebula". Wright doesn't explain the cause of his storm, which is all fair, sometimes no explanation is better than a bad one: but the problem is that he tries to eat his cake and have it. If you create a floodwave that is so immensely powerful that it kills dead basically everyone on the planet — including those who live 5 000 feet above sea level and hundreds of miles from the nearest coast — you can't have the sole survivors living in coastal areas like London or New York. If you're able to swim(!) to safety in New York, then surely the good people of Colorado or North Dakota can't even have gotten the soles of their shoes wet?
The Deluge.
These illogical twists don't ruin the film, but they are glaring enough to make the viewer stop and think, which does pull you out of the experience somewhat. Combined with other plot holes and odd character motivations (the world just ended, and you're going to spend your time and energy chasing down and killing a girl you've just met because she wouldn't let you rape her?) they do make for a rather contrived viewing experience. The book, like the film, play with the idea of mankind saved from the sin-eating flood in order to start anew, making a better world. But especially the film loses its moral edge by making this new society not so much a new garden of Eden, as a free-for-all rape-and-kill-fest. If this new, simpler society is supposed to bring out the best in man, then should we look to Jephson or the bandits for role models? Or the townspeople who would happily turn over their power to the first dictator who comes along with a degree in accounting? In fact, when Tom takes a posse to wipe out the bandits, he explicitly tells the townsmen not to rape the women while they're gone. Now, tell me again how this is a better society. I'm not going to go into politics here, but even based on its own logic, Wright's vision for society seems clouded. Again, this sort of thing I'd happily glance over in a film where the main plot revolves around fighting green men from Mars, but as the whole book is one massive social statement, it must also hold up to scrutiny.
Lobby card.
That said, for all its flaws and shortcomings, Deluge is an entertaining enough disaster movie, and an interesting addition to the post-apocalyptic subgenre, as Mordaunt Hall writes: a "rumbling and gurgling thriller". Although he adds: "The dialogue never rises above the action of the story and the players deserve sympathy." Paul Mavis at the DVD Drive-In states that the destruction scenes in the beginning are impressive for their time, but that the rest of "the post-apocalypse survival storyline is unfortunately less successful". Richard Scheib at Moria reprises this sentiment: "The downside is that the film gives us its best scene at the start. The rest of it slips into being a fairly standard post-holocaust and Last People on Earth story."
Jim Tudor at Zekefilm writes: "To watch Deluge, in all its base-level pandering, is to confront the reality that movie allure hasn't altogether cheapened since Hollywood's golden age. Collectively we carry a notion that movies in the 1930s were classy, unlike today when we've lost out to the likes of Transformers, The Day After Tomorrow, and San Andreas. Deluge is ambitious, unapologetic proof that if they could've made Transformers movies in 1933, replete with high-end mass destruction and Megan Fox bending over motorcycles, all for the lowest common denominator, they likely would've been. […] Deluge […] demonstrates that even on a meager budget and mishandled and disregarded by its parent studio at every turn, Hollywood storytellers were keen to realize the B-movie model as A-movie spectacle."
Desolation.
I don't have much more to add to the above statements about the film. It's a decent B-roll and would perhaps be regarded as a minor rough gem today if it wasn't for the fact that it was so hyped for the many years it was considered lost, on the basis of the surviving effects in other works, that many film buffs were slightly underwhelmed when it was finally unearthed. It has moments where Russell Lawson's matte paintings create an eerie, desolate atmosphere, but director Felix Feist simply doesn't have the budget or the chops to turn the script into anything more than the words on the page, and the direction is mostly prosaic. And hack screenwriters John Goodrich and Warren Duff fall back on the novel, without adding much in the terms of a vision of their own, which in its own way can be commended. It's just that in not choosing a clear thread to focus on, the script becomes a bit meandering and rudderless. They have tried turning the throw-away character of Jephson from the book into the main antagonist of a plot that doesn't have a main antagonist, but without attaching Jephson to the political and philosophical ruminations of the story, the whole thing becomes somewhat lop-sided. For two thirds of the film we worry about Claire being hunted by Jephson, and when he is killed, it feels like the emotional climax of the movie, although at this point we already know that Helen is alive, so we know that the Helen/Claire situation must also come to a head. Unfortunately the screenwriters still try to sandwich in the third story, which was the main theme of the book, namely the rebuilding of society with Martin getting elected mayor, and so forth — leaving the Helen/Claire situation dangling awkwardly for a good amount of time. Simply put: the film is just sloppily structured.
Sidney Blackmer as Martin.
Deluge was produced by Samuel Bischoff, Burt Kelly and William Saal for the aptly named K.B.S. Productions, a Poverty Row company put together by Bischoff in 1931 after working for a number of years as head of production for Columbia. Kelly and Saal were both fresh faces in the industry, and he latter would disappear from the scene pretty soon after K.B.S. disbanded in 1933. Kelly is best known today for producing three B-horror comedies for Universal in the early forties starring Boris Karloff, Bela Lugosi and Basil Rathbone: Black Friday (1940), The Invisible Woman (1940, review) and The Black Cat (1941). Bischoff later worked for Warner, Columbia and RKO, turning out mostly B-movies. He was already known in Hollywood in 1933 as an efficient producer able to churn out passable films for a low cost. Thus RKO felt fairly secure when they entered into collaboration with K.B.S. over Deluge, with a very modest budget of 75 000 dollars. However, due to Feist's elaborate special effects and other factors, the budget ballooned to around 175 000 dollars. RKO had counted on making a modest profit on the budget of 75 000, but ended up losing money instead, which is why they later hawked out its special effects sequences to other films. Whatever the overall qualities of the film, the images of New York being hit by a tsunami have ingrained themselves in the pop-cultural subconscious, and were reportedly used as a template for a similar scene in the 2004 disaster film The Day After Tomorrow.
Townsfolk.
If the feeling of the film is that the direction is a bit shaky, then it could be explained by the fact that this was director Felix E. Feist's feature film debut. Feist was born into Hollywood, as his father was a sales manager at MGM, and started out doing numerous small jobs in the movie industry in the late twenties, getting his first credits as composer and lyricist, and worked uncredited on a few screenplays. He had only directed one short film in 1933, at the time only 23 years old, when he was shoved into the limelight with Deluge — with the hopeless job of creating an apocalyptic epic on pocket change. In retrospect, the only director who would take on the task would probably have been an inexperienced and energised young lad who didn't know enough to see that the task was impossible — which it proved to be as the film went twice over budget. One educated guess is that Feist had tremendous help by seasoned cinematographer Norbert Brodine, who went on to become nominated thrice for Oscars and won an Emmy. The man responsible for the special effects was Ned Mann, who in 1936 directed the SFX for the flawed epic that was William Cameron Menzies' and H.G. Wells' Things to Come (review).
Left: Cinematographer Norbert Brodine with his Emmy alongside actress Paulette Godard. Middle: Director Felix E. Feist in later years. Right: Author S. Fowler Wright.
In the thirties Feist only made short movies for MGM. In 1943 he moved to Universal and later RKO, and started directing feature films, most of which are either forgotten or forgettable. In the beginning of the fifties he went freelance on Poverty Row, before turning to television in 1953. His best known film is one of his very last, the science fiction cult classic Donovan's Brain (review), based on the 1942 novel by horror legend Curt Siodmak. In 1965 he directed an episode for the TV series The Outer Limits, and in 1964-1965 a handful of episodes of Voyage to the Bottom of the Sea. However, he is best known in TV for producing the series The Californians (1957-1959) and Peyton Place (1965).
Interestingly enough, it was author S. Fowler Wright who originally pitched Deluge the movie to Hollywood, complete with a script that he had written himself. K.B.S./RKO ended up not using his script, and even though the film stays pretty close to the book, Wright was reportedly very critical of the changes made. He especially took affront to the changes to the ending of the movie. According to Brian Stableford he wrote in his diary "that he felt the film was 'ghastly' and advised his children not to see it".
The film is available since 2017 on a Kino Lorber Blu-ray, which some reviewers have been rather enthusiastic about.
Deluge. 1933, USA. Directed by Felix E. Feist. Written by John Goodrich & Warren Duff. Based on novel by Sydney Fowler Wright. Starring: Peggy Shannon, Lois Wilson, Sidney Blackmer, Matt Moore, Fred Kohler, Ralf Harolde, Edward van Sloan, Samuel S. Hinds, Lane Chandler, John Elliott, Fred "Snowflake" Toones. Music: Val Burton. Cinematography: Norbert Brodine. Editing: Rose Loewinger. Settings: Ralph M. DeLacy. Sound engineer: Corson Jowett. Special effects: Ned Mann, Russell Lawson, William Williams. Produced by Samuel Bischoff, Burt Kelly & William Saal for K.B.S. Productions.
Categories: Apocalypse, Empty World, Post-Apocalypse, Utopia
Tagged as: Felix Feist, Film, Movies, S. Fowler Wright, Sci-fi, Science Fiction
The Whispering Shadow
An Invisible Man Walks the City
Pingback: Frankenstein – scifist 2.0
Pingback: Life Returns – scifist 2.0
Pingback: She – scifist 2.0
Pingback: Flash Gordon – scifist 2.0


text:
Governor says aid for Ohio renters, businesses coming soon
COLUMBUS (AP) — People struggling to pay rent, along with small businesses and nonprofits hurt by the pandemic and the weak economy, could have details by next week on an aid package to help them, Republican Ohio Gov. Mike DeWine said Tuesday.
DeWine acknowledged that people and businesses may need more help than the state can provide from its share of federal aid dollars. The length of the economic downturn created by efforts to slow the spread of the coronavirus is also unclear, the governor said.
He called it a "mental health issue" for those with months of unpaid rent agonizing over how they'll make payments.
"We're battling back, we're doing things, but we still have a lot of people hurting and we need to give them some relief," DeWine said.
Ohio must balance the use of the federal pandemic aid dollars for such assistance while reserving money for testing, and some of the state's approach depends on whether Congress will pass another aid package, the governor said.
But even as he was making those comments, President Donald Trump announced he was ending talks with congressional Democrats over another stimulus package and that no additional aid would be negotiated until after the election.
Ohio brought in $8.7 million more than expected last month, or just 0.5% above what it anticipated, with sales tax from car purchases making up for drops in other tax revenue. The state's commercial activities tax on businesses was above what was anticipated but remains down for the business year beginning July 1, the state Office of Budget and Management reported Tuesday.
Meanwhile, unemployment claims in Ohio have ticked upward in recent days after weeks of declines from their record highs at the start of the pandemic. First-time claims rose for the second time in two weeks, the state said on Oct. 1, jumping to 17,944 for the week ending Sept. 26, a 3% increase from the previous week.
Also Tuesday, DeWine announced both the Cincinnati Bengals and the Cleveland Browns can boost the number of spectators to 12,000 per game for their remaining home games, up from 6,000.
The governor also said he is looking into anecdotal reports from superintendents concerned that most students quarantined after contact with people who tested positive for the coronavirus don't ever get sick.
The governor offered continued prayers for Trump's own recovery from the coronavirus, but also offered an uncharacteristic criticism of the president.
"I wish the president would wear the mask more," DeWine said. "I wish he would wear it all the time in public."
After returning to the White House on Monday night from Walter Reed hospital, the president removed his mask and gave a double thumbs-up from the South Portico terrace, where aides had arranged American flags for the sunset occasion. He entered the White House, where aides were visible milling about the Blue Room, without wearing a face covering.
Ohio has seen more than 160,000 confirmed and probable cases of coronavirus, including 1,335 new cases reported by the Health Department Tuesday, well above the 21-day average of 1,039. The Health Department reported 4,947 deaths from confirmed and probable cases of COVID-19.
Hi! A visitor to our site felt the following article might be of interest to you: Governor says aid for Ohio renters, businesses coming soon. Here is a link to that story: http://www.wnewsj.com/news/147995/governor-says-aid-for-ohio-renters-businesses-coming-soon


Managers need to tap tools of the trade to win top-level support for technology spending priorities.
Like the cobblers children who go without shoes, an IT department may be fully engaged in equipping enterprise profit centers with the latest management tools and yet find itself without effective budgeting aids or processes. eWeek Labs, therefore, offers the following perspectives on how to get those priorities supported with funds and with non-IT management commitments.
Who are the users of enterprise information assets, and how will we make those assets accessible to them?
What is our current portfolio of IT assets, and how are we assessing the returns on the capital thus employed and the cash flows thus committed?
How do we acquire the assets needed to support new IT initiatives, and are we doing so in ways that minimize present-value cost and technical risk?
What are the effective "lines of business" within the IT function, and are we in those lines of business out of habit or because theyre actually the best way to meet enterprise needs?
Does the IT budget accurately reflect the costs of assuring privacy of data, security of systems and continuity of operations?
Are other enterprise functions well-served by IT in obtaining the information that they need to achieve their goals?
The breadth and depth of IT budgeting systems must grow to meet this increasingly complex charter of more difficult decisions. But IT staff, with above-average confidence in its ability to use such stick-shift tools as spreadsheets and e-mail, may not recognize the handicap they impose on themselves by failing to capture data and manage their budget workflow with automated (or at least well-streamlined) aids. Challenged to show quick paths to compelling returns on new investment, IT needs the leverage of modern budgeting technologies—including the standards-based, Web-oriented facilities they are probably promoting to others.
Even experienced IT managers may never have encountered the skeptical, even hostile climate that their spending proposals may have to face for perhaps another year or more.
Entering the 00s, its been a shock to both sellers and buyers to deal with a new paradigm of IT budgeting against a base line of near saturation. Almost every apparent IT need has been met—in many cases by a second- or even third-generation solution—and general management has developed a critical eye thats quick to focus on anything that looks like upgrading out of habit, without a demonstrable business benefit.


Melisa Turner - Blossom MinistriesAngela Craig has an innate ability to see others Strengths, Abilities and Leadership Traits often before they are aware of them themselves. Courts of justice in one state will, out of comity, enforce the laws of another state, if by such enforcement they will not violate their own laws or inflict an injury on their own citizen … s. It was in this context that the of 1572 in Paris came to be seen as a product of Machiavellianism, a view greatly influenced by the Innocent Gentillet, who published his Discours contre Machievel in 1576, which was printed in ten editions in three languages over the next four years. David Reif, working artist, co-founder, Institute for Perennial Studies, authored numerous articles and reviews appearing in Southern Mercury and Global Times , as well as in web journals. Given the nature of some Machiavellian schemes, they might not always provide you the courtesy of such a clue in return. Well-meaning but naïve, the public does not know what the powerful are doing and why they are doing it, which makes them vulnerable to propaganda.
Here, legality is an important factor. Self-interest is the most often and valid impetus of most conscious action for the narcissist. Risk can never be eliminated, but it can be contained by those who plan ahead and take appropriate action. The prince should endeavour to show himself as the bearer of righteousness, fidelity, and religion, without endangering his own power. Macbeth understands the… 1363 Words 6 Pages Macbeth is without a doubt one of the most captivating plays, in my opinion written by William Shakespeare. In short, in this circumstance, Machiavelli would argue that it was better to kill those people even though killing is an immoral action because it would be better for the ruler and arguably for the country as a whole. Britt found 14 defining characteristics common to each: 1.
First, the ruler does not show any violation of the law. Good symbolism makes you feel what the character feels when reading a story. The revelations unveiled by this brilliant Florentine diplomat in his disquisitions on realpolitik in his book The Prince Il Principe caused a furor in his day because of his honest, accurate, and comprehensive treatment of the subject of politics and propaganda and his analysis of political intrigue during the centuries preceding him. Punish the disobedient; love the loyal. The prince therefore should act to preserve, strengthen, and protect his position from danger, whether external or internal, without due moral consideration. Unfortunately, the Machiavellian method is not limited to politics.
Both and emotion recognition have been shown to have negative correlations with Machiavellianism. But Nixon was eventually felled by his political overreach when his Machiavellian power plays were exposed by modern media. What Aquinas emphasized is the excesses of unscrupulous rule — a condition which would be punished by God. Through the use of dramatic irony, symbolism and soliloquies, Shakespeare denotes the happenings of a tragic hero who ambles on the verge between moral and immoral; the inception after which humanity cascades to pieces. The mothers should make a decision to buy the washing machine before the end of the festival season to enjoy the special offer. He focused on how to preserve the state by any effective means.
The sales message on the hand bill, pamphlet, and folder, on the magazine or the news paper is complete only if it makes the consumer to move towards the sales counter. And those same obstacles provide barriers to competitors, down the road. In my book I call them Foxes, after the fox in the fable of the fox and the crow. A greater tendency to lie, being one of the core aspects of the Machiavellian character, has been tightly connected to psychopathy. According to an inflexible Draconian logic, all sentences should be consecutive, because every offence, as a separate case of criminal liability, would justify the exaction of a separate penalty. Tenet Six: The prince should avoid inconsistency. Machiavelli's contribution in this arena was to demonstrate, through an analysis of history, that behind a veneer of pretended morality, honesty, integrity, and Christian practices and virtues there dwelt another sphere of action, a dark world, dominated by greed, ruthlessness, hypocrisy, lies, intrigue, deception, and even murder.
What are the Machiavellian principles?
Machiavelli, ultimately, was unseated from his diplomatic position through a reversal in fortune, and he wrote The Prince to ingratiate himself with those currently in power in order to obtain a new office. Learn that sometimes lying is the only option. While the truth was that he had been involved in an endless string of unsuccessful ventures until he landed himself in the political machine of boss Tom Pendergast where he prospered. Through these machinations, Christie seems to have demonstrated his understanding of one of Machiavelli's most honored principles: It's better to be feared than to be loved. Political authority became increasingly secularized both within and outside of religious practice. General Critique In order to provide a more comprehensive criticism against Machiavellian politics, there is a need to draw important propositions from different thinkers and theories. In fact, when fortune fades away, the prince may become unable to defend himself from disconcerting threats.
Both leaders used executions to intimidate opponents and keep the public in fear, which allowed them to rule by decrees without any resistance or opposition to their policies. The scariest point is where you ask for the sale or ask them whether they actually do agree fully with you. It has in recent times been adapted and applied to the context of the workplace and organizations by many writers and academics. Pundits have accused Christie, a , of strategically creating alliances with a few Democratic leaders as a means of sowing distrust within the Democratic Party. Definition of Narcissistic Personality Disorder from Psychology Today. You can get attention in many ways--a good way is to surprise them.
. There is often a national police force with virtually unlimited power in fascist nations. Machiavellianism was seen as a foreign virus infecting English politics, originating in Italy, and having already infected France. This is the magic stage when they take action on their desires and actually buy the product or agree to your proposals. We can trust our enemies to criticize us when we deserve to be criticized.
It requires the new prince to be an outstanding and outspoken public figure who secretly does everything necessary to further the goals of his rule. Few are likely to have a solid understanding of political affairs today without a thorough understanding of our debt to the prominent, fifteenth-century Italian political thinker, Niccolò Machiavelli 1469-1527. Of the utmost important lies of choosing to be loved than feared and avoiding hatred at all costs. Where there are truly two or more incursions into criminal conduct, consecutive sentences will generally be appropriate. We look to other races and cultures for scapegoats for why we never accomplish anything. Machiavelli list two other principles that are important to becoming a successful leader. Machiavellian leaders believe the ends justify the means.
Marc has a Master's degree in environmental planning from the University of California, Berkeley, and an undergraduate degree from the University of Texas at Austin. This enabled us to see each other more clearly, grow in our friendships, and deepen our effectiveness as we worked together on building a strong vision as a team. Other times elections are manipulated by smear campaigns against or even assassination of opposition candidates, use of legislation to control voting numbers or political district boundaries, and manipulation of the media. The state, however, would remain intact because the instrument of power resides not in the prince but in the people. Wells J stated at 92-3:. I believe the one characteristic left off is something I would call pitting. First, one should determine whether the consequence and intensity of political actions.


Some of the comments are about plot – such as, how to keep the tension going – others are about developing the relationship between characters. Then there are queries about logic – such as, how can Daisy Belle see out of the whale tank when the tank is covered in a cloth?!
This means I have lots to think about over the coming weeks. Some of the editor's queries can be answered quickly and easily (e.g., I just need to remove the cloth from the whale tank!), others could take days as I mull them over and start to re write.
Thank you again for your ongoing support. I was thrilled last week to take part in the Borderlines Book Festival in Carlisle, where I spoke briefly about Daisy Belle. This weekend I was invited to attend the Hampstead Heath Mixed Pond Swimming Association's AGM and it was wonderful to talk to modern day swimmers from the pond where Daisy Belle is set.
Some supporters have been confused by Unbound's updates about the progress of the novel, so I thought I'd explain. Last month you were told that the final manuscript had been handed in, and yesterday that it was going for a developmental (structural) edit. It has in fact now had the developmental edit (as you can see above) and so I need to re write it again. This will take me around a month. After that comes the copy edit – a chance to tidy things up rather than (hopefully) make major changes – followed by a proof read. And then the cover is designed and the countdown to publication will begin…!


text:
Professor James Banks
Professor David Batty
Department of Epidemiology & Public Health
Kate Coughlin
English Longitudinal Study of Ageing
DATA & DOCUMENTATION
Accessing ELSA data
Genetic data access
Study documentation
The data we collect
ELSA COVID-19 Survey content
Lifestyle sub-study
Dementia sub-study (HCAP)
Better later life
Experience of dementia during COVID-19
HEEEAT
Wave reports
Tell us about your ELSA research
User Day presentations
Wave report launch presentations
The ELSA Podcast
Linking your data
About ELSA
Study team
International sister studies
In ELSA, we have provided the genetic data for detailed analyses of a wide range of age-related traits and outcomes in association with the genetic factors in our large and phenotypically well-characterised sample of older people born in England.
Because there may be some researchers who wish to employ genetic data in their research without access to the necessary tools or knowledge to carry out robust quality control or imputation of the untyped genotypes, we have carried out all of these within the team and made the data available for all to use.
Therefore, several genetic data products derived from our sample are available as detailed below.
Directly genotyped data
Available data Directly genotyped data for 7,412 ELSA participants and 2,230,767 SNPs. These data are for researchers who wish to use directly genotyped genome-wide genotypes without imputation or wihtout having to undertake specific quality control steps. Having access to raw genotypes gives researchers an opportunity to employ their own quality-control steps and choose their preferred methods for imputing genotypes that were not assayed. Access These data are accessed via the European Genome-phenome Archive (EGA). In detail
The genome-wide genotyping was performed at University College London (UCL) Genomics in 2013-2014, funded by the ESRC.
This involved genotyping of 7,597 ELSA participants of European ancestry using the llumina HumanOmni2.5 BeadChips (HumanOmni2.5-4v1, HumanOmni2.5-8v1.3), which measures ~2.5 million markers that capture the genomic variation down to 2.5% minor allele frequency. Genotyping was performed in two batches.
Allele frequencies were compared between the batches after filtering for 5% of missingness. The correlation was calculated between the batches for a number of chromosomes and exceeded 99%.
After post-genotyping quality assurance, such as excluding ethnic outliers (self-reported) and duplicates, the GWAS data was available for total 7,412 ELSA participants and 2,230,767 SNPs.
For more information, contact the ELSA Team.
Quality controlled genetic data
Using methods employed in the Heath and Retirement Study, we carried out robust quality control of the genotyped genetic data in ELSA. In total, 7,183 samples (96.9% of 7,412 original cohort) and 1,372,240 (61.5% of 2,230,767) variants remained after quality control. These data are for researchers who would like to utilise directly genotyped genome-wide genotypes but do not have access to the necessary tools or knowledge to carry out the robust quality controls necessary for these types of studies. We have carried out quality controls and quality assurance of our GWAS data and made these available to all ELSA data users. Access These data are accessed directly from the ELSA Team. In detail
Quality control was performed using PLINK [1], R and VCFtools [2]. The full QC procedure is depicted in Figure 1.
QC based on individual level. The samples for whom the recorded sex phenotype was inconsistent with genetic sex were removed. Duplicated samples and cryptic relatedness between each pair of participants was evaluated using pairwise genome-wide estimates of three coefficients corresponding to the probabilities of sharing 0, 1 or 2 alleles between two individuals that are identical by descent [3]. There are two methods for estimating the identical by descent (IBD) probabilities - method of moments and method of maximum likelihood. Both methods have been shown to give very similar results [4]; thus, we report results from method of moments implemented in PLINK 1.9 [5].
IBD were estimated using autosomal SNPs where IBD=1 highlights presence of duplicates or monozygotic twins, IBD=0.5 shows that first-degree relatives are present in the sample, IBD=0.25 and IBD=0.125 highlights presence of second-degree and third-degree relatives, respectively [6]. Owing to genotyping error, linkage disequilibrium (LD) and population structure, it is expected to observe some variations around these theoretical values.
Therefore, it is normal to remove one individual from each pair with an IBD value of >0.2, which is halfway between the expected IBD for third- and second-degree relatives [7]. We identified individuals with an IBD value of >0.2 and excluded one of each pair at random.
QC based on SNP level. Heterozygosity refers to carrying of two different alleles of a specific SNP. Excessive heterozygosity may imply a sample contamination, while less heterozygosity than expected may imply inbreeding [7].
In ELSA, the checks for heterozygosity were performed on a set of SNPs which were non-(highly) correlated. To generate a list of non-(highly) correlated SNPs, we excluded four regions that are known to contain clusters of highly correlated SNPs. These were the Lactase Gene (LCT) (chromosome 6, 12578740 to 135837195 bp), human leukocyte antigen (HLA) (chromosome 2, 2550000 to 3350000 bp) and two inversion regions located on 8p23.1 (chromosome 8, 81305000 to 1200000 bp) and 17q21.31 (chromosome 17, 40900000-45000000 bp) 8. We then pruned the SNPs using the '10 5 0.1' parameters.
These pruning parameters use a sliding window method that considers blocks of 10 SNPs and removes SNPs with r2 >0.10 afterward shifting the window by 5 SNPs. Those individuals with extremely low or high heterozygosity score (>3 standard deviations from the mean) were removed. Further, the genotyped data with a call rate of <98% was removed. SNPs in sex chromosomes and SNPs with a minor allele frequency (MAF) of <0.01 were excluded. SNPs whose genotype distributions deviated significantly from the Hardy-Weinberg equilibrium (HWE) (p<10-4) and with missingness <0.02 were also removed.
Finally, to ensure a large overlap between the GWAS summary statistics (i.e., base file) and the ELSA (i.e., target) data, we have converted all present platform specific ids (i.e., kgps) to rsids. However, not all kgps were able to be successfully updated; those SNPs for which the kgps were not updated were removed.
Population structure. To investigate population structure, we use principal components analysis (PCA)9 implemented in PLINK 1.9 [5]. We used the PCA approach with two aims; first, to identify those individuals who deviated from the ethnic population they self-reported to be (i.e., ethnic outliers), and second, to provide sample eigenvectors which will then be used for adjusting for possible population stratification in the association analyses [9,10].
It has been shown that in PCA, the usefulness of certain principal components (PCs) may be limited by clusters of highly correlated SNPs at specific locations, such as the LCT, HLA, 8p23.1 and 17q21.31 [4,8] in whole-genome arrays [8]. To address this pitfall, the SNPs that were used in PCA were selected by LD pruning from an initial pool consisting of all autosomal SNPs with a missing call rate <5% and MAF >5%. In addition, the 2q21 (LCT), HLA, 8p23, and 17q21.31 regions were excluded from this initial pool.
The LD pruning process, using all unrelated ELSA participants selected 147,070 SNPs with all pairs having r2 <0.1 in a sliding 10 Mb window. PCs were obtained using PLINK software; we retained the top 10 PCs to account for any ancestry differences in genetic structures that could bias results [9]. Initially, we performed PCA on all study subjects; however, the visual inspection of the PCs distribution highlighted the present of ancestral admixture in the 65 individuals. We removed these outliers and re-calculated PCs using the updated samples.
Download the detailed report
Figure 1. QC steps that were undertaken as part of quality control in ELSA (Download the image)
1 Purcell, S. et al. PLINK: a tool set for whole-genome association and population-based linkage analyses. American journal of human genetics 81, 559-575, doi:10.1086/519795 (2007).
2 Danecek, P. et al. The variant call format and VCFtools. Bioinformatics (Oxford, England) 27, 2156-2158, doi:10.1093/bioinformatics/btr330 (2011).
3 Huff, C. D. et al. Maximum-likelihood estimation of recent shared ancestry (ERSA). Genome Res 21, 768-774, doi:10.1101/gr.115972.110 (2011).
4 Laurie, C. C. et al. Quality control and quality assurance in genotypic data for genome-wide association studies. Genet Epidemiol 34, 591-602, doi:10.1002/gepi.20516 (2010).
5 Chang, C. C. et al. Second-generation PLINK: rising to the challenge of larger and richer datasets. Gigascience 4, 7, doi:10.1186/s13742-015-0047-8 (2015).
6 Anderson, C. A. et al. Data quality control in genetic case-control association studies. Nat Protoc 5, 1564-1573, doi:10.1038/nprot.2010.116 (2010).
7 Marees, A. T. et al. A tutorial on conducting genome-wide association studies: Quality control and statistical analysis. Int J Methods Psychiatr Res 27, e1608, doi:10.1002/mpr.1608 (2018).
8 Novembre, J. et al. Genes mirror geography within Europe. Nature 456, 98-101, doi:10.1038/nature07331 (2008).
9 Price, A. L. et al. Principal components analysis corrects for stratification in genome-wide association studies. Nat Genet 38, 904-909, doi:10.1038/ng1847 (2006).
10 Wang, D. et al. Comparison of methods for correcting population stratification in a genome-wide association study of rheumatoid arthritis: principal-component analysis versus multidimensional scaling. BMC Proc 3 Suppl 7, S109 (2009).
11 Kunkle, B. W. et al. Genetic meta-analysis of diagnosed Alzheimer's disease identifies new risk loci and implicates Abeta, tau, immunity and lipid processing. Nature genetics 51, 414-430, doi:10.1038/s41588-019-0358-2 (2019).
Genetic imputation
Data available For those researchers who wish to utilise the cleaned genetic data with genotypes estimated through imputation that were not assayed, we conducted imputation of the untyped genotypes using the Haplotype Reference Consortium (HRC.r1-1.GRCh37) as the reference panel and subsequently carried out robust quality control of the imputed data. Access Imputed data, either raw or quality controlled, are available directly from the ELSA team. In detail
To estimate genotypes that were not assayed, imputation was performed on the Michigan Imputation Server [1] running SHAPEIT for pre-phasing [2], and Minimac3 for imputation [3,4] using the Haplotype Reference Consortium (HRC.r1-1.GRCh37) [1,5] as the reference panel. All variants aligned to human genome build 19 (hg19).
After imputation, we required very high imputation quality (INFO>0.95), low missingness (<1%) for further quality control. We limited our analyses to variants genotyped or imputed with HWE P-value>10− [5]. We further applied stringent pruning to remove markers in high linkage disequilibrium (r2>0.1) and excluding high linkage disequilibrium genomic regions. In order to investigate population structure, we chose less correlated SNPs for principal components analysis.
The SNP pruning was performed following the procedure:
i) Consider a window of 50 SNPs
ii) Calculate linkage disequilibrium between each pair of SNPs in the window
iii) Remove one of a pair of SNPs if the linkage disequilibrium is greater than 0.5
iv) Shift the window 5 SNPs forward and
v) Repeat the procedure.
Altogether, 1,083,252 autosomal SNPs remained after the SNP pruning and were used to run principal components analysis. The top 10 principal components retained to account for any ancestry differences in genetic structures that could potentially bias the results [6].
After the sample quality control, 7,179,780 variants and 7,183 samples were kept.
More detail can be downloaded here
Genetic imputation using the reference from 1000 Genomes Project
Prior to the method described above, genetic imputation was carried out using the reference panel from the 1000 Genomes Project.
1 Das, S. et al. Next-generation genotype imputation service and methods. Nat Genet 48, 1284-1287, doi:10.1038/ng.3656 (2016).
2 Delaneau, O., Zagury, J. F. & Marchini, J. Improved whole-chromosome phasing for disease and population genetic studies. Nature methods 10, 5-6, doi:10.1038/nmeth.2307 (2013).
3 Fuchsberger, C., Abecasis, G. R. & Hinds, D. A. minimac2: faster genotype imputation. Bioinformatics (Oxford, England) 31, 782-784, doi:10.1093/bioinformatics/btu704 (2015).
4 Howie, B., Fuchsberger, C., Stephens, M., Marchini, J. & Abecasis, G. R. Fast and accurate genotype imputation in genome-wide association studies through pre-phasing. Nature genetics 44, 955-959, doi:10.1038/ng.2354 (2012).
5 McCarthy, S. et al. A reference panel of 64,976 haplotypes for genotype imputation. Nature genetics 48, 1279-1283, doi:10.1038/ng.3643 (2016).
Polygenic Score Data (PGS)
Data available Polygenic Score Data (PGS) are available for a number of behavioural, emotional and health-related phenotypes. Access These data are available to download from the UK Data Service: https://beta.ukdataservice.ac.uk/datacatalogue/studies/study?id=8773 In detail
Polygenic scores (PGSs) are usually constructed from a weighted sum of allelic count [1-3] and are presented as continuous scores. They are specific to each individual and represent an individual load for the common variants that are associated with a trait under study. PG scores are increasingly used to predict disease risks [1]. This is usually done through linear regression analyses where the PGS for a given trait is used a predictor for an outcome adjusting the analyses for various covariates, which usually age, gender and principal components to account for any ancestry differences in genetic structures that could bias results [4].
Another popular way if using the PGSS is to derive a binary predictor from the continuous PGS, where the top 10% or 20% of the PGS is coded as "high risk" group and the remaining is coded as "low risk" group based on an individual loading for the common SNPs. In turn, genomic prediction of disease risks might have implications in designing more individualised preventive or screening strategies for patients [1]. For example, earlier screening for breast cancer may be warranted for those having a high genetic risk for the disease as measuring the PGS [5].
Furthermore, PGSs have been shown to be suitable for a number of scientific aims beyond the risk prediction including identification of shared aetiology among traits using such an analytical tool as GCTA (Genome-wide Complex Trait Analysis) [6], testing for genome-wide G*E and G*G interactions [7], Mendelian Randomisation to infer causal relationships, and for patient stratification and sub-phenotyping [5,8].
Thus, PGSs represent not only an individual genetic prediction of phenotypes but open possibilities for interrogating a wide range of hypotheses via association testing.
Polygenic scores
In ELSA, the methods employed for creating PGSs are those outlined by the Health and Retirement Study (HRS) [10]. This was done in order to harmonise the research across age-related longitudinal studies by adopting a consistent methodology for creating PGSs. By making these PGSs publicly available, it is hoped that they will facilitate wide use among the ELSA data users.
PGSs for each phenotype are based on a single, replicated genome-wide association study (GWAS). These scores will be updated as sufficiently large GWAS are published for new phenotypes or as updated meta-analyses for existing phenotypes are released. Polygenic Score Data and detailed report describing the methods employed and full list of PGSs available in ELSA can be found here.
For any other questions related to PGSs in ELSA, please contact the ELSA Team.
Polygenic index (PGIs) for 47 phenotypes
As a resource for researchers, Dr Aysu Okbay, Professor Daniel Benjamin, Professor David Cesarini, and Dr Patrick Turley, in collaboration with colleagues from 11 cohorts, used a consistent methodology to construct Polygenic indexes (PGIs) for 47 phenotypes in 11 datasets. To maximize the PGIs' prediction accuracies, PGIs were constructed using genome-wide association studies—some of which are novel—from multiple data sources, including 23andMe and UK Biobank. It is hoped that these PGIs would present a theoretical framework to help interpret analyses involving PGIs; thus, the PGIs for 47 phenotypes excluding the data from the ELSA study along a user guide, can be downloaded from the link.
1 So, H. C. & Sham, P. C. Improving polygenic risk prediction from summary statistics by an empirical Bayes approach. Scientific reports 7, 41262, doi:10.1038/srep41262 (2017).
2 Purcell, S. M. et al. Common polygenic variation contributes to risk of schizophrenia and bipolar disorder. Nature 460, 748-752, doi:10.1038/nature08185 (2009).
3 Dudbridge, F. Power and predictive accuracy of polygenic risk scores. PLoS Genet 9, e1003348, doi:10.1371/journal.pgen.1003348 (2013).
5 Mavaddat, N. et al. Prediction of breast cancer risk based on profiling with common genetic variants. Journal of the National Cancer Institute 107, doi:10.1093/jnci/djv036 (2015).
6 Yang, J., Lee, S. H., Goddard, M. E. & Visscher, P. M. GCTA: a tool for genome-wide complex trait analysis. American journal of human genetics 88, 76-82, doi:10.1016/j.ajhg.2010.11.011 (2011).
7 Mullins, N. et al. Polygenic interactions with environmental adversity in the aetiology of major depressive disorder. Psychological medicine 46, 759-770, doi:10.1017/s0033291715002172 (2016).
8 Natarajan, P. et al. Polygenic Risk Score Identifies Subgroup With Higher Burden of Atherosclerosis and Greater Relative Benefit From Statin Therapy in the Primary Prevention Setting. Circulation 135, 2091-2101, doi:10.1161/circulationaha.116.024436 (2017).
9 Wray, N. R. et al. Research review: Polygenic methods and their application to psychiatric traits. Journal of child psychology and psychiatry, and allied disciplines 55, 1068-1087, doi:10.1111/jcpp.12295 (2014).
10 Ware EB et al. Method of Construction Affects Polygenic Score Prediction of Common Human Trait. BiorXiv, 1-13 (2017).
Genetic data linked to phenotypic data
For details on the process of applying for access to genetic data linked to phenotypic data, please go to https://www.elsa-project.ac.uk/genetic-data-access.
If you have any questions about the ELSA genetic data products, contact the ELSA Team and we will be happy to help you.
Dementia study
User day
Accessibility | Disclaimer | Copyright | Contact Us
© English Longitudinal Study of Ageing 2019
Website design by Amber Simpson


text:
class AddApprovedFieldToRelic < ActiveRecord::Migration
  def change
    add_column :relics, :approved, :boolean, :default => false
  end
end

redpajama_set_name: RedPajamaGithub