Dropzone has been often cited as one of the best Defender variants of all time, even going as far as saying it's even better than its source of inspiration. At the time of release, Dropzone was given rave reviews on both C64 and Atari press, and today, it's still highly regarded by retrogamers. The Atarimania section for the 8-bit computers has it currently at number 4 on the visitors top ratings list of all time with a spectacular 8.8 score from a total of 1,858 votes, and the C64 version has a 7.7 from 107 votes at Lemon64. Rest of the scores are taken from MobyGames: NES - 1.6 with 1 vote; Game Gear - 2.7 with 2 votes; Game Boy - 4.7 with 2 votes; and Game Boy Color - 3.8 with 1 vote. Not very convincing, but it's something.
For most casual retrogamers out there, Archer MacLean would probably sound the most familiar in context with his later hit titles, International Karate and it's even more famous sequel. Dropzone was not only his commercial debut, but also the first game he ever set on to program at all. Considering the high status the game still has, I'd say we're talking about a seriously ambitious game developer here. After his International Karate games, though, he only made Jimmy White's Whirlwind Snooker on the 16-bits, and since then, has only been involved in the various remakes of Dropzone and IK, so I wouldn't exactly call him a particularly inventive one.
Dropzone cannot be properly described without having played Defender first, and to be honest, my acquaintance with early arcade shooters is shoddy at best, so I had to give myself a brief history lesson that has been woefully long time in coming. Therefore, I apologize if this entry feels more like a versus battle between Defender and Dropzone instead of a comparison between versions of the same game, but until a certain point, I believe it needs to be just that. See, the two games are unmistakably very much alike in the basic idea and execution - you fly a spacecraft (or in case of Dropzone, a spaceman wielding a jetpack) in a horizontally and bi-directionally scrolling circularly wrapped area, while shooting at alien spacecraft and rescuing your planet's inhabitants from the claws of alien invaders. But although the idea is basically the same, it's the gameplay that has all the difference what makes Dropzone feel exactly what Defender should have been from the beginning. I'll explain it all to you as well as I can in the next section.
There is no denying, that like Defender, Dropzone is a very difficult game. It's one where your hand-eye coordination skills must be honed to perfection, and your familiarity with your controlled character's controllability has to be better than your familiarity with the contents of your trousers. For a beginner, it can feel a bit overwhelming at first, but simultaneously, Dropzone has a high probability factor of getting you hooked into it. I would say it's a highly recommendable game to any shooter fan, but gamers with low reaction times will very likely have a hard time getting themselves to enjoy it.
One cannot deny that Defender was innovative at the time. When it was released in early 1981, there was nothing like it on the market. It was the first shoot'em-up game to feature bi-directional scrolling, a minimap and a second active goal. But it had its own share of problems as well, such as the randomly acting hyperspace function, which might send you to a straight collapse with an enemy. My personal favourite thing to hate about the game is the stupidly narrow laser beam that your ship fires, because you have to be firing all of the time to have any sort of chance of hitting anything at all. It doesn't really help that you can also shoot the men you're supposed to be rescuing. Unfortunately, both of these elements are kept in Dropzone, which doesn't help with writing my comparison.
What Dropzone has much to recommend itself over Defender, though, is one simple thing: the controls. Whereas in Defender, you turn your spacecraft around by pushing a "reverse" button, you can just steer your jetpacking spaceman in Dropzone. Also, your spaceman is always at the center of the screen here, while the spacecraft in Defender is at either end of the screen, depending on your direction. Besides, Defender has a joystick and five buttons, while Dropzone only requires a joystick and two additional buttons from the keyboard. Sort of makes it easier, I suppose. But then again, in Defender, your spacecraft just sort of floats in spot if you don't do anything, whereas Dropzone gives you inertia and gravity to deal with. And with gravity, you get an additional difficulty in getting your jetman stay on level above the ground when rescuing the wandering blue inhabitants of your planet, because your man bounces off of the ground (or more precisely, the drop-off level) if he has to fall from any height.
Instead of having an hyperspace jump function, you have a cloaking device in Dropzone, which allows you to go on a hunting frenzy with no fear of getting killed for a small period of time. The cloaking device then recharges for a longer while before you can use it again. The difference about rescuing your planet's fellow citizens here is that while in Defender, you have no need to actually deal with the citizens until they get captured, in Dropzone, you must pick them up and drop them at the clearly assigned dropzone. So the most effective way to clear out a stage is to kill all the enemies first with the cloaking device on, as far as you're able to, and then rescue all your citizens. For further aidance in both games, you can use a Strata Bomb to kill all enemies on the screen at once. And speaking of enemies, there are 8 types of enemies in Dropzone, while Defender only has 6 types. And although I'm sure there are some aspects in both games that I haven't mentioned yet, herein concludes my comparison of Defender and Dropzone.
Now, the comparison of the six versions of Dropzone begins with comparing the two first ones. Since both versions were written by Archer MacLean himself, you could expect a high percentage of similarities, and of course you would be correct. As it is well known, MacLean developed the game on an Atari 800, and converted it for the C64 shortly afterwards. Here's a famous direct quote from the creator himself, taken from Zzap!64 magazine issue 5: "Those who can reach Megastar status on the 64 should have had enough practice to attempt an Atari supervised Dropzone mission. The Atari, being the Porsche of home computers, is capable of running Dropzone 2.5 times faster than the 64 and can handle any amount of blobs on screen, even when you release a Strata Bomb. It is visually, sonically etc, identical and about 12K shorter. However, the 64 is still a respectable BMW316." Well, I'm not sure if I'd put it exactly like that, but he might have a point about something. Read the whole article - a guide to playing Dropzone - from the Zzap!64 magazine's web archives: PAGE 1 and PAGE 2. I admit to being still very much a novice, and I can barely get further than the 3rd wave on either of the originals, and you need to be able to complete at least the second wave in order to get to the high scores list, so I'm not able to confirm MacLean's comment on skills. I shall have to take his word on it.
The other versions are notably easier. There are less enemies on your radar in the early stages, the action isn't quite as frantically quick, but most notably, your laser beam is a bit wider so it's easier to hit things with it. Either it's because none of the Nintendo hardware couldn't reproduce such small pixels, or because MacLean had gotten enough of hatemail for making the game too damn difficult because of the irritatingly thin laser beam. I'd be more willing to bet on the issues with hardware, to be honest, because the fanbase for this game seems to be almost religiously supportive of the originals - particularly the Atari version.
Although both the Game Boy versions suffer from a similar lack of screen width as the Game Gear version, the latter has some additional graphical differences that affect the gameplay in a small way. Your jetman is proportionately larger to all the other things on the screen, the screen feels slightly zoomed in compared to the other versions. Because the game is still very quick, you're going to have a difficult time not bumping into anything hostile, but happily, the level of difficulty is otherwise very similar to all the Nintendo versions. So in a way, the Game Gear version has been balanced to be closer to the originals in difficulty and style of gameplay. The basic gameplay is very much the same in all the latter editions of Dropzone, only the screensize and proportions are a bit different. I'm not really sure if it makes all that much difference, since the gameplay is quite frantic in any case. If it weren't for the Game Boy versions being even easier than either the NES version or the Game Gear version, I would have said all the handheld versions were equal, but as it is, I'd say all the Nintendo versions are equal in their own particular way.
To make things easier for all you retrogamers out there, who might be eager to test this game out on all machines, here's a quick guide to all the controls. For more detailed instructions, consult the game's instructions manual.
Fire button - fires one laser pulse for each up and down motion.
Joystick - up and down for vertical thrust, left and right for horizontal.
Space bar - detonates a Strata Bomb.
Any button other than ESC (Atari) / F1 (C64) or Space bar - toggles the cloaking device.
ESC (Atari) / F1 (C64) - pause.
D-pad - does what joystick does above.
button A - fire button.
button B - Strata Bomb.
Select - toggles the cloaking device.
button 1 - fire button.
button 2 - Strata Bomb.
buttons 1+2 - toggles the cloaking device.
The thing is, Dropzone was designed to be played with a joystick - and a proper joystick at that. Archer MacLean himself has said that the best sorts of joysticks are "ones that give a nice tactile click when they've switched into position and have as little movement from side to side as possible. This is because some of the big waggly ones give no idea as to what position it's in unless you look at the screen, by which time you've been blown up." So basically, if you have a QuickShot II or worse, you won't be expected of getting past the first wave.
Personally, I think space shooters all look alike in one way or another, so forgive me if I'm not all that impressed by any of the graphical elements that Dropzone has to offer. I do admit that the scrolling is fast and smooth enough to be called spectacular, particularly for its time, but I don't really think the game essentially looks any better than, say, Choplifter or Armalyte. Now that I've gotten that out of my chest, let's start this section properly.
Loading screens and intro/credits sequences. Top row, left to right: Atari 8-bit, Commodore 64, NES, Sega Game Gear.
I decided to forgo the loading times comparison section this time (the Atari tape version takes over 10 minutes to load while the C64 tape loads in 3 and a half minutes), because there were more cartridge-only versions out there than tapes or disks. So the loading screens are clumped in with all the other start-up screens in all the versions out there. This will have no effect on the graphics comparison as such, you can consider it just a little bonus.
Title screens. Top row, left to right: Atari 8-bit, Commodore 64, NES.
Middle row: Sega Game Gear. Bottom row: Nintendo Game Boy / Game Boy Color.
The game starts with a brief animation sequence of the Dropzone logo coming down from above the screen borders in a flat angle, and midway through the screen, it slows down and turns slightly towards the camera and settles itself at the top of the screen. Then, the credits and the adversary list comes on the screen. The Dropzone logo and the "Dropzone Adversaries" text scroll colours in different ways; at least they do in the original versions and on the NES. The only effect that the handheld versions have intact from the originals is that the adversaries are animated, but because of the screen resolution, they need to be shown in three groups of threes.
High score tables. Top left: Atari 8-bit. Top right: Commodore 64. Bottom left: NES. Bottom right: Sega Game Gear.
Middle row, left to right: Nintendo Game Boy, Game Boy Color - black version, GBC - white version.
If you wait for long enough on the title screen, the screen will clear out apart from the game logo, which will drop down in a machine-specific way, and settle itself at the bottom of the screen. Above it will be formed the game's high scores list (or Hall of Fame, if you will), which in most cases will do the multicolour effect on the screen titles. Also, in most cases, the player ranked at #1 will be shown with some sort of a clear separation from the others - only the Game Boy versions have the list completely solid and boring. The transition effect on the ATARI is probably the most impressive, if you can consider any of them particularly impressive.
For two reasons, I didn't take screenshots that are particularly busy: because I'm not very good at playing Dropzone, and because when it becomes busy, taking screenshots without an additional hand or two becomes nigh on impossible. In any case, the game is meant to be seen in action, so any solid screenshot is useless at making the game seem as exciting as it really is. Because of this, I have decided to break my own rules a bit and include video links for all versions separately, and without asking for permission. If any of the video posters are somehow offended with this, you are free to consider yourselves a stinking pile of cowpat.
In-game screenshots from the Atari 8-bit version.
Only as screenshots, the original ATARI version of Dropzone doesn't really offer much to look at. Yes, you get the picture: the game takes place in the "airspace" of another planet, which is clearly of a volcanic sort. Only the lava looks curiously grey here, but I suppose in outside of our more familiar Earth, anything is possible. But then, apparently the volcano will erupt if you fail to rescue any civilians, so there's a possibility that something will happen in a rather graphical manner, but I have yet to witness this occurrence, because I always manage to die before anything like that can happen. Perhaps some YouTube clip will show this happening - here's a random YouTube link for the original, if you care to see the game in action. If you do, you can see quite clearly that there's lots and lots of flash effects and fancy colour usage going on in the game, which cannot be captured by mere screenshots.
Otherwise, the basic layout is as it is on the Atari: about 75% of the screen is taken by the action, while the bottom 25% has a radar map screen, mission status display, score display, lives and Strata Bombs indicators and the cloaking device power indicator.
The C64 version looks only marginally different in both still shots and video. The screen is slightly wider, but a bit lesser in height, but this is actually a good thing, since you are allowed to see more of the action in width, which is more important. This is also reflected in the lower section of the screen with the indicators and all that. Both the ATARI and C64 versions have some differences in colour and detail, but it's really in the speed of the game and the special effects that the ATARI has a small upper hand. Whether you like one version over the other is entirely your own business, and will most likely reflect your capabilities as a player, but speaking strictly in performance terms, the ATARI version wins this battle by an inch.
In-game screenshots from the NES version... with slightly corrupted graphics.
There didn't seem to be a completely working combination of any NES emulator to go with any of the cartridge image files, so unfortunately the screenshots are slightly garbled at the bottom. Fortunately, you can see the game in action on YouTube with no garbles or glitches.
It's a bit of a double-edged sword, this one. In action, the game doesn't look quite as flashy and colourful as the original, but the sprites and background graphics are slightly upgraded. For a conversion released as late as 1992, the upgrade isn't a particularly impressive one, but at least the game doesn't look like 98% of all the other NES games with clearly tiled graphics. Against my better judgment, I actually like this one better than the originals, but it doesn't mean I will actually give it a better score.
In-game screenshots from the Nintendo Game Boy (top) and Game Boy Color (middle/bottom) versions.
Because I am such a lousy shot, I was very happy to find out that the lower screen resolution on the GAME BOY made the game easier to play. Of course, the lower resolution also make the graphics a bit blockier than what they were 8 years before on computers of lower tech hardware, but not by much. And then the strictly grayscale graphics on the original Game Boy don't really allow for much colour. It took Nintendo six years (from the release of this game) to launch the GBC, so it took about seven years before the GB version of Dropzone was upgraded to a colourful version - 15 years after the original game was released! And still, it wasn't much of an improvement. What the new version changed graphically to the actual game was not much more than the score and cloak display at the top of the screen, which were now flipped from the original Game Boy version, and some of the texts were also made in a different font. Also, the GBC version was compatible with the old Game Boy, but the white background option on the GBC is just that - an option for the GBC. If you try to play the GBC cartridge on the original Game Boy, you will get to play a version otherwise identical to the original GB version, but at the top of the screen, the score display and cloak display have swapped placed. Anyway, considering the hardware, the GB Dropzone really looks only as good as you would expect it to: rather good, but not quite as nice as the non-handhelds.
In-game screenshots from the Sega Game Gear version.
Finally, we get to the GAME GEAR version. As I mentioned earlier, the main character is bigger here, and seems to take more room in a smaller screen. I've found out that the reason for this is, that there was originally a conversion in the making for the Sega Master System, which featured upgraded, more detailed graphics, as you see here to some extent. The difference in screen resolution between the SMS and GG wasn't taken into account when doing the conversion, so the Game Gear players are stuck with a bigger player sprite. Sure, it looks rather nice in action, but it's not very suitable for the screen. Even when compared to the GAME BOY versions, which are already a small step in the wrong direction, the GAME GEAR version looks very awkward and clunky beyond the redrawn and reanimated sprites.
Enter your name for the Dropzone Hall of Fame. Top row, left to right: Atari 8-bit, Commodore 64, NES, Sega Game Gear.
Bottom row: Nintendo Game Boy / Game Boy Color.
One of the most peculiar things about this game is the strangely psychedelic screen where you get to enter your name on the high scores list. The level of psychedelia is in straight relation to the release date of the game - the older the release, the more you get for your money. Only the GAME BOY versions don't have any of that, and they don't even give you a ranking as the other versions do. Also, if nothing else has proven you so far, then it is this where the ATARI shows its capabilities in the use of colour, at least where this particular game is concerned.
When the game designer is so well in terms with the machine that the game in question was originally designed for, it will come as no surprise to anyone that it is where the game is most at home in all areas. Although the C64 version comes very close to the ATARI original, it just doesn't quite match. Still, it's better than the NES, where the action within all the action is clearly of a lesser volume. And quite predictably, the handhelds are what they are.
The main focus for MacLean in originally making Dropzone was clearly on all the mechanics and minute details of gameplay, so it shouldn't come as much of a surprise to anyone, that there was no music in the original game. I haven't found out whether it was because there was no room for it, or because MacLean being solely responsible for the game didn't have the ability to write music, or because he didn't want to have any music in the game. It does seem like a conscious choice to not have any music, because that way, it feels more like an early arcade game - most coin-ops at the time didn't have any sort of theme tunes (for a good reason, I might add).
Both the ATARI and C64 versions are quite rich in sound effects, however. Everything imaginable has a very good and recognizable sound effect: you get a sound for your jetpack, for picking up a man and delivering him to the dropzone, both for shooting and for killing something, using a bomb, and most importantly, the guy whistling for your attention when an enemy planter is closing in on him with an android. Your death is marked with a huge explosion - both graphically and sonically. To be honest, my ears are more accustomed to the SID sounds, so I cannot really say which machine actually has the better sounds for the game, but from the two SID chips, I'd recommend you to play this game with a 6581. Apart from that, I'd say they're equal, because my expertise is more on the musical aspects of sound, and everyone will like the other one better in any case.
Eight years later, the NES version gets released with a fairly faithful rendition of everything you'd wish for, including the in-game sounds. But lo and behold, Neil Baldwin from the NES conversion team has given us something extra: a bloody fantastic and unique 45-second theme tune that rivals the best of them, even Tim Follin's Solstice tunes. For this reason alone, this is my favourite version of the game, and I wish every other version had the tune.
The monochrome GAME BOY version was released the same year as the NES version, and the conversion was made by the same team apparently. Neil Baldwin must have not been involved with the Game Boy version, however, since you don't get any sort of music here - instead, the title sequence only plays random in-game sound effects on top of the very familiar jetpack noise. The in-game sound effects are good enough, although not quite as effective as on any of the above, and perhaps shockingly, I do prefer a quiet arcade-like title screen over this randomness. The GBC version has the exact same soundtrack, so no news there.
If the Game Boy version felt a bit strange with its title screen soundscape, the SEGA GAME GEAR version might shock you in a completely different manner altogether. You do get a theme tune here, but instead of having a good original tune like on the NES, the Codemasters' team decided to go wild an include a full bleepy rendition of Bach's "Toggata and Fugue in D minor". As if that hadn't been used enough in early games already. Perhaps they thought that being an old game, they would go properly retro and include a tune that was overutilized at the time anyway, but play it in all its glory. Although I do enjoy some proper Bach every now and then, this is not my idea of a good joke. There is another tune in the Game Gear conversion, which is played when you get to the high scores table, and it also feels like another classical tune, but I can't really figure out if it is one or an original made to sound like one. The in-game sounds are about as good as those in the Game Boy version, so all in all, I'd say the Game Gear version is just an inch ahead of it in this regard.
Although Dropzone was written and released almost 4 years after Defender came into the arcades, the game industry hadn't progressed far enough that this game could have been called anything like outdated. Instead, it explored the capabilities of the Atari and C64 hardware in a way no other game had been able to do until then. Does the game's status on the original machines give it more importance than the latter versions? Perhaps, but does it make the originals any better than the latter versions? I would say, it depends more on the player's skills. Dropzone is definitely an essential gaming experience for any home computer/console gaming enthusiast, particularly for a shoot'em-up fanatic, so if you still don't have one, do yourself a favour and hunt one down for your collection.
I couldn't put it any clearer even if I tried to explain it through opinions. Dropzone is a very recommendable game on all the non-handheld platforms, and if you feel an uncontrollable urge to play the game in a car, your best choice is the coloured Game Boy version. Although the C64 and NES versions are undeniably very good, the ATARI is where the game should be experienced, if possible.
Then again, you might enjoy the only official sequel more - titled Super Dropzone, available on the Super Nintendo, Game Boy Advance and Sony PlayStation. It adds new weapon types and end-level bosses into the mix, which could be more attractive to shooter addicts who require a slightly more modern touch in their games.
Thanks again to ewgf for making the request, I hope this meets your approval! And thanks to all the rest of you for reading once again - hope you enjoyed it. Corrections, suggestions and other comments are as welcome as ever!


AT&T coughing up free MicroCells to MVCs?
Looks like some of AT&T's "most valuable customers" are receiving a letter offering them a free MicroCell. The box, which sits in your home or office and re-routes your cell phone -- including iPhone -- over your broadband network can often work miracles in low signal areas... for a price.
What's less clear than the reception boost, however, is just who's being offered the feebie.
Though his calls do frequently drop at home, Jason says he wasn't terribly vocal about the issue and only pays around $180 per month for his family plan -- the only thing that might possibly qualify him, in his opinion, is that his contract was set to expire.
Anyone else get offered a free MicroCell? Anyone else contacting AT&T about it?


Sommelier Dana Frank and food stylist and author Andrea Slonecker will guide you through the fun of putting on an epic bubbles-fueled brunch. While sipping sparkling wines, attendees will cook along with Dana and Andrea as they share recipes from their brand new book, Wine Food: New Adventures in Drinking and Cooking. After setting the scene with flowers, plenty of wine glasses, and beautiful tablewares from local artisans, everyone will grab a seat to enjoy a mid-day feast, easy like Saturday morning.


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Q: Adding image objects to wpf with code I'm a rookie at C# and WPF and I'm trying to create a simple car-simulator. Mainly the idea of the simulator is that I have C#-class that creates car-objects that have for example speed variable that can be changed and timer for moving from left to right. I want to do movement with timer and not for example doubleanimation. In WPF I have AddCarButton for adding cars in certain points in Canvas.
The problem is I dont know how to add cars to Canvas. This is very frustrating because it doesn't sound like a big thing to do but I feel like I have tried everything and not succeeded.
This is latest attempt with car-class. I have tried using Canvas.Set-methods but failed.
class car
{
    private int speed;

    public car(int s)
    {
        speed = s;
        Bitmap bmp = new Bitmap(
        System.Reflection.Assembly.GetEntryAssembly().
        GetManifestResourceStream("MyProject.Resources.car.png"));
        Graphics g = Graphics.FromImage(bmp);
        //Canvas.SetBottom(g, 0);
        //Canvas.SetLeft(g, 0);
        //Canvas.SetBottom(bmp, 0);
        //Canvas.SetLeft(bmp, 0);
    }
    public void addCar(car c)
    {
        Canvas.SetBottom(c, 0);
        Canvas.SetLeft(c, 0);
    }

A: If you're coding on WPF you shouldn't use Windows Forms stuff. To work with images you use BitmapSource and its derived classes, and to access your resources programmatically you usually use pack URIs. It's not the only way, though.
Here is a little example that draws some images on a canvas control.
The XAML code for the canvas could be like this (it's just an example):
<Canvas Height="400" HorizontalAlignment="Left" Margin="0" Name="canvas1" VerticalAlignment="Top" Width="400" />

and your main window code...
public partial class MainWindow : Window
{
    BitmapImage carBitmap = new BitmapImage(new Uri("pack://application:,,,/Images/BlueCar.png", UriKind.Absolute));
    Image[] carImg = new Image[5];
    Random rnd = new Random();

    public MainWindow()
    {
        InitializeComponent();
        double maxX = canvas1.Width - carBitmap.Width;
        double maxY = canvas1.Height - carBitmap.Height;
        for (int i = 0; i < carImg.Length; i++)
        {
            carImg[i] = new Image();
            carImg[i].Source = carBitmap;
            carImg[i].Width = carBitmap.Width;
            carImg[i].Height = carBitmap.Height;
            Canvas.SetLeft(carImg[i], rnd.NextDouble() * maxX);
            Canvas.SetTop(carImg[i], rnd.NextDouble() * maxY);
            canvas1.Children.Add(carImg[i]);
        }
    }
}

Obviously you need change the name of your image resource. By the way, to add an image go to Project > Add existing item... and select your image file, now your image will appear in the Solution explorer (by default, Visual Studio stores image resources in a folder called "Images"), if you select it you'll see in the Properties window that its Build action is Resource, don't change this! (some people think it should be Embedded resource but that's incorrect).
If you don't get this new Uri("pack://application:,,,/Images/BlueCar.png", UriKind.Absolute), you should read this link on pack URIs.

A: You need to put your bitmap in an Image (and not Graphics), and then you need to add the image to the canvas:
Canvas.Children.Add(image);

redpajama_set_name: RedPajamaStackExchange


The Gate documents the strength of the Bahá'í community in overcoming hatred and persecution to spread a message of peace and quality.
A new documentary film, The Gate: Dawn of the Bahá'í Faith, is giving the silver screen treatment to the founding of the Bahá'í faith. Directed by Bob Hercules, the movie delves into the historical and religious elements of the Bahá'ís. The Bahá'ís are not often depicted in major motion films, making The Gate a cinematic treat for those who are interested in seeing their faith portrayed on the big screen and for people who want to learn more about the Bahá'í Faith.
The film's Executive Producer Steve Sarowitz believes that the impetus for the film stems from the mysterious nature of Bahá'ís to many in the west. The Bahá'í Faith is a religious group founded in Persia during the mid-19th century. One of the central religious figures is known as The Báb, which translates to "The Gate." The Báb was a prophet that is said to be the latest divine messenger of God. The Báb claimed that the religions preceding Bahá'í Faith are part of an ongoing evolution of faith. In this faith, the Christians, Muslims, and Jews are all part of a cycle of revelations from God's messengers. As a result, the Bahá'ís believe that all people and all religions stem from one God and that the Báb was sent to guide the faithful towards a singular purpose and religion that would unite all people.
The ideology the Bahá'ís embrace will be a central part of the documentary. Unique elements such as female empowerment and the concept of religious oneness rather than divisiveness are examined through the religious and political climates in the mid to late 19th century. The history of the Bahá'í Faith is one that is rife with a struggle for acceptance in a time when religious schisms were reaching a boiling point. Ultimately, the film documents the strength of the Bahá'í community in overcoming hatred and persecution to spread a message of peace and quality.
The Gate is set to be broadcast and screened in theaters on Sunday, May 13. As the first documentary film to capture the founding of the Bahá'í Faith through reenactments and interviews with historical experts, the film is poised to be a groundbreaking religious movie. Aside from the historical explanation of the religion's chief figures, The Gate will have the capability to reach millions of new viewers along with the millions of Bahá'ís, exposing people across the nation to a new religious experience. Following the initial premiere of the documentary, the film will continue to be broadcast on various networks.


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Tag: Connected
March 6, 2020 Cinema Bravo Trailer
WATCH: First 'Connected' trailer shows family roadtrip, robot uprising
Saving the world can be a trip. Watch the official trailer for Connected, from the minds behind Spider-Man: Into the Spider-Verse.
Sony Pictures Animation's Connected is an original animated comedy from director Mike Rianda (Gravity Falls) and producers Phil Lord and Christopher Miller (Spider-Man: Into the Spider-Verse, The Lego Movie) about an everyday family's struggle to relate while technology rises up around the world!
When Katie Mitchell (voiced by Abbi Jacobson), a creative outsider, is accepted into the film school of her dreams, her plans to fly to college are upended when her nature-loving dad Rick (voiced by Danny McBride) determines the whole family should drive Katie to school together and bond as a family one last time. Katie and Rick are joined by the rest of the family, including Katie's wildly positive mom Linda (voiced by Maya Rudolph), her quirky little brother Aaron (voiced by Mike Rianda), and the family's delightfully chubby pug Monchi for the ultimate family road trip. Suddenly, the Mitchells' plans are interrupted by a tech uprising: all around the world, the electronic devices people love – from phones, to appliances, to an innovative new line of personal robots – decide it's time to take over. With the help of two friendly malfunctioning robots, the Mitchells will have to get past their problems and work together to save each other and the world!
The Mitchell Family: Aaron (Michael Rianda), Rick (Danny McBride), Katie (Abbi Jacobson) and Linda (Maya Rudolph) with their dog Monchi in Columbia Pictures and Sony Pictures Animation's CONNECTED.
Connected is directed by Mike Rianda, co-directed by Jeff Rowe and written by Mike Rianda and Jeff Rowe.
The film is produced by Phil Lord, Christopher Miller, Kurt Albrecht; the executive producers are Will Allegra, Louis Koo.
The cast is led by Abbi Jacobson, Danny McBride, Maya Rudolph, Mike Rianda, Eric Andre and Olivia Colman.
In Philippine cinemas this September, Connected is distributed by Columbia Pictures, local office of Sony Pictures Releasing International. #ConnectedMovie
Katie (Abbi Jacobson) in Columbia Pictures and Sony Pictures Animation's CONNECTED.
March 1, 2020 Cinema Bravo Movie
LOOK: New animated comedy 'Connected' reveals first-look photos
It's time to plug in as Sony Pictures Animation reveals the first-look images of its upcoming comedy Connected.
Check out the images below and watch Connected in Philippine cinemas soon.
Sony Pictures Animation's Connected is an original animated comedy from director Mike Rianda (Gravity Falls) and producers Phil Lord and Christopher Miller (Spider-Man: Into the Spider-Verse, The Lego Movie).
Connected is distributed in the Philippines by Columbia Pictures, local office of Sony Pictures Releasing International. #ConnectedMovie

redpajama_set_name: RedPajamaCommonCrawl


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Home	Featured	National Llama Day
National Llama Day
by Annelise Hanshaw December 10, 2021 0 comment
El Capitan Canyon welcomes visitors to celebration; two llamas join the herd
Kenneth Song/News-Press Photos
Two young llamas join the herd at El Capitan Canyon about Highway 101 near the Gaviota Coast. They are awaiting names.
The llamas that prance, sunbathe and stretch along Highway 101 in Gaviota are typically only accessible to El Capitan Canyon guests and those involved in partnership programs, such as 4H.
But the resort opened pastures Thursday, National Llama Day, to the public.
Richard Good, general manager, hopes this year will set a tradition for more Llama Day celebrations with the community.
Two additions to the herd arrived just 48 hours before the Big Day: a female and male llama each around eight months old. Community members, guests and staff are submitting name suggestions for these young llamas.
When El Capitan Canyon bought the land (which Mr. Good describes as having a "million dollar view") in 2000, the staff inherited 30 female llamas from the previous owner.
Resident farmer and maintenance manager Larry Miller — often called the "Goat Whisperer" — carries a baby goat while its mother follows.
In captivity, llamas live to be about 20 years old. There are 30-year-old llamas lounging in the resort's field.
Mr. Good thinks resident farmer and maintenance manager Larry Miller — often called the "Goat Whisperer" — has something to do with the herd's longevity.
One such senior llama, Oreo (perhaps named for her cookies-and-cream, freckly face), resides with the sheep in the smaller pasture. She can't walk far, so Mr. Miller placed her with the sheep. He didn't want her to feel the pressure to keep up with the llamas.
Visitors from the resort and the general public watch a variety of animals.
Mr. Miller came from Ohio in 2005, where he worked in agricultural education, to take care of the resort's animals.
He enjoys working with Santa Ynez 4H, the Waldorf School — and anyone who is curious enough to learn about animals.
Sometimes, interested guests witness an animal's birth. Mr. Miller has many stories where families staying at the ranch became involved in the birthing process.
Stella Purcell catches the attention of sheep as she holds hay and waits to feed them.
He brings bottle-fed baby goats to the Waldorf School, where the students learn to nurture the animals. A Waldorf preschool student arrived at the Llama Day celebration Thursday, smiling as she handed hay to docile sheep.
The wool sheared from the animals is used for fiber arts at the Waldorf School.
As Mr. Miller fed the llamas, a particularly rambunctious goat named Lily stood up on the fence, looking at the small group that pooled around the new arrivals.
Lily was bottle-fed by a third-grade class at Waldorf School that helped raise her. Now she loves attention, Mr. Good said.
He said she didn't like being evacuated with the other goats during the Alisal Fire. The resort had help from the Santa Barbara Equine Assistance and Evacuation Team — its selected charity for the month of December.
While llama's small snouts and beady eyes look cute, Mr. Miller said they are bred for fighting off coyotes and protecting sheep, though he also has fencing in place to prevent such encounters.
The two new llamas were bred in Temecula, and the owner wanted to make sure their new home had smaller species around for them to serve their protective duty.
The resort plans to introduce the llamas and celebrate them more elaborately in a guests-only event Saturday.
"Whether you're five or 50, this is a big highlight of the resort experience," Mr. Good said. "And for me, I think a lot of what the resort offers is this opportunity to commune with nature and spend time in nature — and this is a big extension of that."
email: ahanshaw@newspress.com
Annelise Hanshaw
News-Press Staff Writer
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I've always like epinions both in concept and execution. However, I've only written on review - all negative - so far. So to start tipping the scales, I wrote a review of 2001 - the best movie ever.
Best film every made. You should see this film, but only under the right conditions. This is two generations talking.
This film was meant to be watched in a theater where you could take an intermission. It was not cut with the idea that you'd watch it at home on TV. With either some work or the right large screen setting this might now work at home, but see it in a theater if you can.
I never wanted to see 2001 through a TV screen. I only wanted to see it projected on a screen. But I have seen it at least three times on TV. Once was without commercial interruption on TNT on New Year's Eve 2001 (and I was surprised a bigger hype was not in the air at that time). Two other times have been from DVD - which has no special features. These two times have been with my son, who is now a high school senior. During our last viewing, after complaining at several time during the movie about the slow pace at the end he asked, "What is the point?"
I explained that his question is the point. Nearly all other movies telegraph the point. They have a point of view. You can read the ending. Why should a movie be like a novel or other written story? Did you miss the chase scene and the running joke? Can't a movie be like a piece of art? Or a poem instead of a story? What is the point of most modern art?
My son now wants to show it in the theater at school.
Don't expect a movie. Throw out all of your experiences with other movies. Visit an art museum first. Then go to the theater to watch this masterpiece. Be amazed at how undated it is. Watch, don't worry about the written story.
Or in your home, work very hard to not be interrupted and to be patient as you are in a theater. Low lights to reduce distraction. Turn off all of the phones. Turn up the sound, please. Make it as much like a theater as possible. And when you are done watching, I'll hope you'll be convinced to watch it in a theater next time.
Enjoy the masterpiece. This is a special film that deserves your attention.
I don't know exactly how many times I've seen 2001, but I did once borrow the projector and the film after being the projectionist. Oh the images!


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Over the years, SDSC has served more than 10,000 researchers at 300 academic, government and industrial institutions in the United States and around the world. Today, these scientists and engineers increasingly rely on the availability of globally accessible data cyberinfrastructure tools to drive research and education. This focus on data cyberinfrastructure provides a broad and useful spectrum of integrated technologies to support increasingly complex, large-scale and cooperative scientific endeavors.
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Start Hub v1.0.1 is perfect Responsive WordPress Theme for Website like Business, Corporate, Blog and much more. This Theme is based on Warp 7 Framework and made for all who wants a lightweight and modular website. This Theme has clean and modern design is perfect to create a website for your business. At the top of the page you can insert a text logo and slideshow or static image. And all 50+ widget positions are collapsible and have different styles which can be selected in WordPress Theme settings. for more information about this WordPress theme please click on Demo Button.


MeteoFax32: Weatherfax or Radiofax decoding software with high sensitivity modem. Worldwide coverage.
The only system to receive for free, regular and reliable weather charts, satellite pictures, text weather forcast, notices to mariners on all the seas of the world WITHOUT INTERNET CONNECTION.
PRINCIPLE: MeteoFax32 is a weatherfax decoding system. It decodes the Radiofax, RTTY, Sitor and Navtex formats using a specially designed modem. This modem provides filtering and digital signal processing with optimal performance making it usable from SSB pocket radios to HF marine transceiver. Only a precise and sensitive modem makes it possible to obtain a worldwide coverage.
System recognized by the NOAA. (National Oceanic and Atmospheric Administration).
METEOFAX32 DOES NOT REQUIRE INTERNET CONNECTION.
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The only system that really achieve worlwide coverage at sea.
Do not use satellites and therefore does not require precise antenna pointing impossible to get on a boat agitated.


Now you never need to worry about making conversion from print file like PRN to image format like PNG in your Mac OS system because the development of the application PRN to PNG Converter for Mac OS will do you a great favor from now on.
It is an excellent application which is able to convert print file such as PCL, PXL, PRN, SPL, etc. to several of image formats like BMP, PNG, JPG, TIFF, etc. At the same time, PRN to PNG Converter for Mac OS is able to make settings for the target file in conversion procedure.
So if you want to download the application, please click here.Then you need to double click the installer to install PRN to PNG Converter for Mac OS on your Macintosh via following the installation wizard. You can do it well as this is really an easy process. When it comes to the end, please double click the application icon to open it and you can see its main interface on your screen. Please see it in Figure 1.
By clicking Add File (s) button, you can open the file picker window and then please choose PRN document to add it into the file list which is used to list the converted document. By clicking Remove button, you can delete the file from file list one by one. By clicking Clear button, you can make the file list clear one time. By clicking Setting button, you can open Setting dialog box to make settings for the target file. Please see Setting dialog box in Figure 2.
In this dialog box, there are several things you can do. At first, if you want to convert PRN to PNG, please choose the output format as .png in Convert to spin box. If you want to set the image page size for target file, please check Resize Page option. Then you are allowed to input page width and height in Page Size edit box. If you want to set image resolution, you need to check Reset Resolution option. Then you can input horizontal and vertical resolution in Resolution edit box. If you need to set color depth for PNG image, please choose 1-bit, 8-bit or 24-bit in Color Depth spin box. If you want to set these parameters again, you can click Reset button. Or click OK button to continue.
At last, please input the location for target file in Output Path text box or choose one location in the window which is opened by clicking the button beside. For running the conversion from PRN to PNG, please click Convert button and you just need to wait for several seconds until it is done.


From 1996 until 2010, Zone 87 at the Troilus mine in Quebec was responsible for the majority of the 2 million ounces of gold and 70,000 tonnes of copper that was produced at the open-pit mining operation.
The Z87 pit ultimately ran 350 metres deep and had a strike length of about 900 metres.
Now junior explorer Troilus Gold (TSXV: TLG) is trying to bring that zone and others on its property back into production and has completed 36,000 metres of drilling this year.
The results should have a "meaningful impact" on an updated resource estimate that the company plans to finish before the start of 2019, the company's CEO, Justin Reid, says.
Currently Troilus has a resource of 44 million indicated tonnes grading 1.27 grams gold per tonne and 0.12% copper for 1.8 million ounces of contained gold and 117 million pounds of copper. Inferred resources add 18.7 million tonnes grading 1.03 grams gold and 0.08% copper for 622,000 ounces of gold and 34.8 million pounds of copper.
Drilling this year at Z87 was designed in part to expand the underground portion of the resource down dip and along strike below the historic pit. Results released today demonstrate that the mineralization extends an additional 180 metres below the lowest level of the current inferred resource estimate.
Highlights include 1.88 grams gold per tonne and 0.1% copper over 52 metres from 675 metres downhole in Z87-018; 1.58 grams gold and 0.1% copper over 67 metres starting from a depth of 832 metres, including 2 metres of 10.03 grams gold in hole Z87-044; and 1.44 grams gold and 0.13% copper over 81 metres from 689 metres downhole in hole Z87-035.
The company notes that two smaller scale historic open pits, J4 and J5, 200 metres and 1 km northeast of Z87, have the same mineralization and geology as Z87. Both J4 and J5 remain open at depth and along strike.
In addition, the company is undertaking regional exploration focusing on the extension and identification of mineralization to the northeast and southwest of the existing resource, while structural and geophysical studies are being combined with regional mapping to outline potential drill targets that should be included in Troilus Gold's 2019 exploration program.
The Southwest Zone is one area of significant interest. The zone, about 3.5 km southwest of Z87, is located along the margin of the Troilus Diorite and surrounding volcanics. Historic intercepts from that zone included 36 metres of 1.23 grams gold and 18 metres of 1.06 grams gold.
The 4,700-hectare Troilus is northeast of the Val-d'Or district within the Frotet-Evans Greenstone Belt.
The company's shares closed at $0.50 per share, down 9% on the day.
Over the last year Troilus has traded within a range of $0.40 and $2.25 per share.


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Jesse Gussow
For a lot of people their first introduction to the art world is more than likely Saturday morning cartoons. Montreal artist Andrew Da Silva is no exception, except he's let it heavily influence his "monstertoons". With his signature thick bold line work, cartoony monster characters, and bright vibrant colours, his work is an absolutely stunning visual. With the growing art scene in Montreal, especially its street art and graffiti scene, and galleries like Matthew Namor, I'm sure we'll see a lot more of Andrew and his "monstertoons".
I am from Montreal, Quebec, Canada.
How did you get interested in art?
What got me interested in art was, as a child, waking up early every Saturday morning to watch cartoons. As a child I was obsessed with cartoons, and this obsession lead to me wanting to create my own cartoon creations.
What was the first serious piece you made? What happened to it?
The first serious painting was for my first exhibition I had at a bar a few years back. It was a painting of a group of monsters, in various poses and facial expressions. I just remember being proud of the piece. It was my first "serious" painting, and once I finished it I instantly became addicted to painting monsters and continued to paint more. The piece was later sold at my exhibition.
How do you describe your work?
I would describe my work as "cartoon art". It is heavily character-based but most certainly not limited to this description. As I evolve as an artist I am constantly soaking up inspiration and ideas, both aesthetically and conceptually. My monsters, which I call "Monstertoons", are a hybrid of monster meets old fashion cartoon aesthetics, which helps distinguish my personal style and gives my art a distinctive edge.
What influences you in your artwork?
Having grown up on a hefty diet of comic books and animation, I was always drawn towards these mediums of storytelling. Comic book artist Jeff Smith (Bone), Marvel comics, and Ren and Stimpy creator John K, have inspired me to no end. Once I became aware of the graffiti and lowbrow art movements, my whole perspective on art changed completely. The rawness of graffiti inspired me to embrace a more spontaneous approach to how I create my work. While lowbrow's absurdity pushed me to not be afraid of making art that does not fit comfortably in any genre of art.
Are you a dog or cat person? Or maybe a dinosaur person?
I would say I'm more of a dog person, but cats are cool, too. I do not own any pets, but having a dinosaur, probably a herbivore one, would be neat. I'd give that lil dude a bowl of kale or something.
What is your creative process for making a piece from start to finish?
My creative process is different with each piece. I'm not an artist that finds inspiration easily, I have to work at it. With that said I usually do some research on the internet, animation stuff, graffiti, drawings and stuff. Surprisingly I find really bad clip art inspiring, and good source material. I do not always use a sketch to go off of, and many times find myself with an image in my head that I try to replicate on canvas. For me, I'm in love with the original line, that line you can never get back if replicated, that rawness...this is why spontaneity plays a great part in my work. Once my sketch is done I apply the paint, and then finish with my trademark bold line work.
What is the best/worst thing someone has said about your work?
One time while exhibiting at the Montreal Comic Con, I had made these black, white, and red paintings, which were pretty popular. I remember one man had passed by my table and referred to these particular pieces as new age Inuit art. When I corrected him on my style of art, he then proceeded to argue with me insisting that these paintings were Inuit art lol. Not necessarily the worst thing ever said about my work, but a weird experience none the less. The best response is just when people understand or relate to what I do as an artist, people that appreciate my style and just connect with a particular piece or pieces.
How do you feel about the term "lowbrow" to describe art?
The term lowbrow does not bother me. It is a term that has been around for a long time, and just another way to put a label on a genre or style of art. Some may like it, others not so much; to me what matters is the quality of the work, rather than what it is referred to. Personally I just consider myself an artist.
How is the art scene where you are from?
The Montreal art scene is extremely competitive. We have a huge Graffiti and Street art scene, as well as fine artists, illustrators and everything in between. In my opinion, maybe I'm a little biased hehe, but I strongly believe that Montreal has some of the best artists in the world. The community here is quite strong, everyone knows each other and collaboration is a common practice amongst peers.
Do you prefer Oreo or Fudgee-O cookies?
At this point in my life I tend to eat fairly healthy, but if I had to choose, it would be Fudgee-O cookies.
You can find Andrew Da Silva on social media, Facebook, Instagram and Pinterest, or check out his personal website. I personally am really digging his work on skateboards. Been meaning to start an art collection on skateboards, and now seems like a good a time as any.


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Most of the colors offered match their larger cousin for that tone on tone design or can be used as a contrast by mixing with their texture, color or dimensions. Tumbled mosaic tiles are popularly used in and around bath walls, tub surrounds, pool decking, flooring accents, kitchen back-splash and nooks.


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Keep it Klassy, Salem!
Irreverently chronicling life in Salem, Massachusetts. Politics, education, and day to day living on the edge of the sea.
Salem News Columnist Brian Watson is klasshat of the day.
Today's klassy Salem award winner is Salem News columnist Brian T. Watson.
I considered awarding him for his ridiculous column about how Salem should embrace a methadone clinic. In fact, he did so twice. Note that Mr. Watson doesn't, of course, reside in Salem. I'm wondering why he isn't advocating for the locating of said clinic in his home town of Swampscott. But I never got around to awarding Mr. Watson for his "your backyard" mentality.
But Watson has gone too far today, and now he is the klasshat of the day. Please go read Mr. Watson's piece on the upcoming vote for State Auditor.
Brian T. Watson is talking about this race for one reason, and one reason only. Bump is in real trouble in this race. She risks losing this position that has long been akin to "keeper of Dem secrets." He practically admits as much when he talks about the fact that currently nobody knows what the auditor does, or who he is. The job of auditor is to be the taxpayer's watchdog, and shine light on corruption, waste, and misuse of funds in government. Clearly that hasn't happened with a Dem watching the Dems for the last twenty years.
Suzanne Bump is a lifelong democrat, and Deval Patrick loyalist, in a state with a legislature that is nearly exclusively Democrat. She's even served in said legislature for numerous years. Ask yourself this. If you were a farmer, and had a henhouse, would you ask a fox to guard it for you? Hiring a Democrat insider is akin to hiring that fox to watch your tax money hen house. Ms. Bump also previously worked as a lobbyist, or as they should be called, enemy of the taxpayer. When she was a state rep she was fined by the ethics commission for accepting an improper gift from a lobbyist. (Mr. Watson strangely failed to consider this.) She'll surely safeguard your tax dollars. For these reasons alone, Mr. Watson's choice in this race makes not a bit of sense. But oh, there's more.
Mr. Watson left out some extremely key points to be considered in this race, all of which favor Mary Z. Connaughton, the only person running for any office in this state that voters should be excited about.
First, Mary Connaughton is a CPA and auditor, running for auditor. Ms. Bump is neither. I'm not sure how that gives Ms. Bump, as Mr. Watson states, "a bigger quiver of skills for the job..." What a ludicrous idea. Being an insider, when your job is to police the insiders, makes you less, not more, likely and qualified to perform your job with vigor. These are Ms. Bump's friends. She's more likely to protect them than expose them. Ms. Connaughton, on the other hand, has always been an outspoken advocate for taxpayers, as her constant clashes with her fellow board members of the Massachusetts Turnpike Authority show. That "in the interests of the taxpayers" attitude, combined with her outsider status, making her not beholden to those who run the governors office and legislature, and her actual qualifications as a CPA and auditor, which again, Bump lacks, make her FAR more qualified for the position.
Second, and more importantly, Ms. Bump, who is seeking to be the taxpayer's watchdog, has been cheating on her own taxes for the last several years, or is incapable of figuring out how to pay them correctly. The Boston Globe recently exposed the fact that Ms. Bump has been claiming primary residence exemptions in two different towns. When confronted with this tax cheating, Ms. Bump argued that it was legit, though any thinking person could clearly see that it wasn't. She then claimed that "they" told her it was OK. Sure they did, because she didn't tell "them" that she was getting the exemption elsewhere. Read the last three paragraphs of the Scot Lehigh piece linked below.
I predict that Scot Lehigh, one of the left leaning columnists from the Boston Globe, who rarely, if ever, votes for or endorses Republicans, will soon endorse Ms. Connaughton, over Ms. Bump. He laid the groundwork for this in his recent column.
Somehow, Mr. Watson failed to even mention or consider this ridiculousness in his piece. Ask yourself, does this sound like the person that should be auditing the spending of your tax dollars? I have to conclude that she's either not smart enough, or not honest and ethical enough for the job. I have no such concerns with Ms. Connaughton. Mr. Watson's column is titled "Voters should take close look at tight auditor's race." It's clear from his opinion, and key omissions, that he didn't follow his own advice. And for that, he is the klasshat of the day.
So, in closing, bump Bump, and vote for Mary Z. Connaughton, CPA and auditor, for state auditor. Do so, and we'll finally learn a lot about what's going on in our state government.
Posted by G at 9:38 AM
Labels: Asshat, fail
Mike Blatty October 25, 2010 at 12:41 PM
How do you know all this stuff? Where do you find the time?
In any case, Brian Watson is a good and thoughtful guy as well as a fine writer. It may be true that he is not always right. But he usually is!
G October 25, 2010 at 1:26 PM
Welcome Mr. Blatty! It's nice to see the perpetual candidate from Ward 3 here. Seriously. City Council would be better if you were on it.
I read the news a lot. Probably as much time as you spend posting on Salemweb and fighting with Fallon. Believe it or not, I also get a fair amount of correspondence from readers via email. Look for a reader submitted update on serial shoplifter Monique Gonyea tomorrow. The news isn't good for local businesses.
As for Mr. Watson, I've never met him. I can't say I always disagree with him, as I don't. I also have no issues with his writing. In these two instances he's just plain wrong.
I know that you lean (at least a little) to the left. If you were ever going to vote for the Republican, this is the race to do it. Mary Z. has always been an outspoken advocate for the common man. Don't ask the fox to guard the taxpayers henhouse where her little friends plays with our eggs.
Don't forget, keep it klassy!
Visits since July 2010
Your Super Legit Guide to the Salem Elections
Fourscore and seven years ago, our forefathers embarked upon this interminable election season that we, gentle readers, have the duty, nay p...
Lies, Damn Lies, and Statistics (An Open Letter to the Salem School Committee)
Dear Salem School Committee: Fact #1: According to Dr. Brendan Walsh, the Salem School Committee is responsible for everything that happe...
Just sit right back, Salem folk, and you'll hear a tale,
... a tale of a sneaky superintendent who lies, I think even to the school committee who hired her. Superintendent Ruiz Let's ju...
Rockmore Company and owner Peter Noyes
The early leader in the clubhouse for klassiest, assiest, dickhead of the year is Peter Noyes and the Rockmore Company. This super klassy i...
The tale of the very special broflake
OK... Let's talk about a very special broflake, and his broflake-enabling Salembrity lawyer. Do any of you guys remember Dillon Destef...
The Point, and Better News
I generally don't talk about the Point neighborhood much. There are a few reasons for this. First, it's not really part of my regula...
city government fail election Crime Watch Salem Schools Government Salem wharf Darwinism Warlock Winning Derby Lofts just an ass Asshat Shirley Walker Peter Noyes admin Meet the Candidate Segways Salem News Sosnowski Asshole of the year Power Plant parks Drugs Salem State
Contact this blog!
Email us at KeepItKlassySalem@gmail.com
Salem Resources
Tierney-Hudak updates
The ad causing the controversy.
Congressional race gets classier
Salem News Columnist Brian Watson is klasshat of t...
Frankenstien's (sic) Laboratory
A letter from a reader.
UPDATED: A few October observations
Tierney is simply tone deaf. Oh, and a liar.
More Klassy congressman Tierney
Adding to the Tierney klass
Klassy Congressman Tierney and family
Klassy copper thieves


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Hanson Road and Port River Expressway traffic changes
As part of the Northern Connector Project, the Department of Planning, Transport and Infrastructure (DPTI) advises night works will be undertaken at the Hanson Road and Port River Expressway interchange between the hours of 7pm and 6am on Wednesday 19 April and Thursday 20 April 2017.
Darlington Upgrade Project - Night works commencing Tuesday 18 April 2017
As part of the Darlington Upgrade Project, the Department of Planning, Transport and Infrastructure (DPTI) advises night works will be undertaken at the Main South Road intersection with Ayliffes Road and Shepherds Hill Road, and on Sturt Road between Bradley Grove and University Drive.
New travel time signs for motorists travelling home this Easter
The Department of Planning, Transport and Infrastructure (DPTI) encourages motorists travelling home from the Yorke Peninsula or Mid North to use the latest travel time signs to reduce their delays.
Safety to be improved on the Dukes Highway
Safety on a section of the Dukes Highway will be improved with more than 3.5 kilometres of resealing commencing on Wednesday, 19 April 2017.
REMINDER - closure of Outer Harbor and Grange rail line, 14 April to 24 April, and Gawler rail line, 14 April to 20 April
The Department of Planning, Transport and Infrastructure (DPTI) advises that the Outer Harbor and Grange rail lines will be temporarily closed from Good Friday 14 April, to Monday 24 April 2017 and the Gawler rail line will be temporarily closed between Adelaide and Mawson Lakes from Good Friday 14 April to Thursday 20 April 2017 to allow works to continue for the Torrens Rail Junction Project.
Jetty Road tram tracks upgrade
The $2.7 million contract for the Jetty Road Tram Rail Replacement Project has been awarded to a Joint Venture, comprising of Downer EDI Works and South Australian Company York Civil Pty Ltd.
Safety to be improved on the Sturt and Dukes Highways
Safety on a section of the Sturt Highway and Dukes Highway will be improved with more than 560 metres of pavement rehabilitation and surfacing works commencing on Tuesday, 18 April 2017.
Northern Connector - St Kilda Road works continue
As part of the Northern Connector Project, the Department of Planning, Transport and Infrastructure (DPTI) advises that works are continuing along St Kilda Road at Waterloo Corner from 7am to 5pm on weekdays and Saturdays, until late May 2017.
Temporary closure of the Old Murray Bridge, 19 April and 21 April 2017
The Department of Planning, Transport and Infrastructure (DPTI) advises that the Old Murray Bridge will be temporarily closed to traffic between 8.30am and 5.30pm on Wednesday 19 and Friday 21 April 2017 for essential maintenance works.
Closure of city bound platform at Bowden Railway Station
As part of the Torrens Rail Junction Project, the city bound platform at Bowden Railway Station will be closed after the last service on Tuesday 11 April 2017 until the end of October 2017.


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Transancestral GWAS of alcohol dependence reveals common genetic underpinnings with psychiatric disorders.
Liability to alcohol dependence (AD) is heritable, but little is known about its complex polygenic architecture or its genetic relationship with other disorders. To discover loci associated with AD and characterize the relationship between AD and other psychiatric and behavioral outcomes, we carried out the largest genome-wide association study to date of DSM-IV-diagnosed AD. Genome-wide data on 14,904 individuals with AD and 37,944 controls from 28 case-control and family-based studies were meta-analyzed, stratified by genetic ancestry (European, n = 46,568; African, n = 6,280). Independent, genome-wide significant effects of different ADH1B variants were identified in European (rs1229984; P = 9.8 × 10 ) and African ancestries (rs2066702; P = 2.2 × 10 ). Significant genetic correlations were observed with 17 phenotypes, including schizophrenia, attention deficit-hyperactivity disorder, depression, and use of cigarettes and cannabis. The genetic underpinnings of AD only partially overlap with those for alcohol consumption, underscoring the genetic distinction between pathological and nonpathological drinking behaviors.
Walters RK Walters Raymond K RK Stanley Center for Psychiatric Research, Broad Institute of MIT and Harvard, Cambridge, MA, USA.
Polimanti R Polimanti Renato R Department of Psychiatry, Yale School of Medicine and Veterans Affairs Connecticut Healthcare Center, West Haven, CT, USA.
Johnson EC Johnson Emma C EC Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
McClintick JN McClintick Jeanette N JN Department of Biochemistry and Molecular Biology, Indiana University School of Medicine, Indianapolis, IN, USA.
Adams MJ Adams Mark J MJ University of Edinburgh, Division of Psychiatry, Edinburgh, UK.
Adkins AE Adkins Amy E AE Department of Psychology & College Behavioral and Emotional Health Institute, Virginia Commonwealth University, Richmond, VA, USA.
Aliev F Aliev Fazil F Virginia Commonwealth University, Department of Psychology, Richmond, VA, USA.
Bacanu SA Bacanu Silviu-Alin SA Virginia Commonwealth University Alcohol Research Center; Virginia Institute for Psychiatric and Behavioral Genetics; Department of Psychiatry, Virginia Commonwealth University, Richmond, VA, USA.
Batzler A Batzler Anthony A Mayo Clinic, Psychiatric Genomics and Pharmacogenomics Program, Rochester, MN, USA.
Bertelsen S Bertelsen Sarah S Icahn School of Medicine at Mount Sinai, Department of Neuroscience, New York, NY, USA.
Biernacka JM Biernacka Joanna M JM Mayo Clinic, Department of Health Sciences Research, and Department of Psychiatry and Psychology, Rochester, MN, USA.
Bigdeli TB Bigdeli Tim B TB Department of Psychiatry and Behavioral Sciences, State University of New York Downstate Medical Center, Brooklyn, NY, USA.
Chen LS Chen Li-Shiun LS Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Clarke TK Clarke Toni-Kim TK University of Edinburgh, Division of Psychiatry, Edinburgh, UK.
Chou YL Chou Yi-Ling YL Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Degenhardt F Degenhardt Franziska F Institute of Human Genetics, University of Bonn; and Department of Genomics, Life & Brain Center, University of Bonn, Bonn, Germany.
Docherty AR Docherty Anna R AR University of Utah, Department of Psychiatry, Salt Lake City, UT, USA.
Edwards AC Edwards Alexis C AC Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Department of Psychiatry, Richmond, VA, USA.
Fontanillas P Fontanillas Pierre P 23andMe, Inc, Mountain View, CA, USA.
Foo JC Foo Jerome C JC Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Fox L Fox Louis L Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Frank J Frank Josef J Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Giegling I Giegling Ina I Martin-Luther-University Halle-Wittenberg, Department of Psychiatry, Psychotherapy and Psychosomatics, Halle, Germany.
Gordon S Gordon Scott S QIMR Berghofer Medical Research Institute, Brisbane, Queensland, Australia.
Hack LM Hack Laura M LM Department of Psychiatry and Behavioral Sciences, Emory University School of Medicine, Atlanta, GA, USA.
Hartmann AM Hartmann Annette M AM Martin-Luther-University Halle-Wittenberg, Department of Psychiatry, Psychotherapy and Psychosomatics, Halle, Germany.
Hartz SM Hartz Sarah M SM Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Heilmann-Heimbach S Heilmann-Heimbach Stefanie S Institute of Human Genetics, University of Bonn; and Department of Genomics, Life & Brain Center, University of Bonn, Bonn, Germany.
Herms S Herms Stefan S Human Genomics Research Group, Department of Biomedicine, University of Basel Institute of Medical Genetics and Pathology, University Hospital Basel, Basel, Switzerland.
Hodgkinson C Hodgkinson Colin C NIH/NIAAA, Laboratory of Neurogenetics, Bethesda, MD, USA.
Hoffmann P Hoffmann Per P Human Genomics Research Group, Department of Biomedicine, University of Basel Institute of Medical Genetics and Pathology, University Hospital Basel, Basel, Switzerland.
Jan Hottenga J Jan Hottenga Jouke J Department of Biological Psychology, Amsterdam Public Health Research Institute, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands.
Kennedy MA Kennedy Martin A MA University of Otago, Christchurch, New Zealand.
Alanne-Kinnunen M Alanne-Kinnunen Mervi M Institute for Molecular Medicine Finland (FIMM), University of Helsinki, Helsinki, Finland.
Konte B Konte Bettina B Martin-Luther-University Halle-Wittenberg, Department of Psychiatry, Psychotherapy and Psychosomatics, Halle, Germany.
Lahti J Lahti Jari J Department of Psychology and Logopedics, University of Helsinki, Helsinki, Finland.
Lahti-Pulkkinen M Lahti-Pulkkinen Marius M Department of Psychology and Logopedics, University of Helsinki, Helsinki, Finland.
Lai D Lai Dongbing D Department of Medical and Molecular Genetics, Indiana University School of Medicine, Indianapolis, IN, USA.
Ligthart L Ligthart Lannie L Department of Biological Psychology, Amsterdam Public Health Research Institute, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands.
Loukola A Loukola Anu A Institute for Molecular Medicine Finland (FIMM), University of Helsinki, Helsinki, Finland.
Maher BS Maher Brion S BS Johns Hopkins Bloomberg School of Public Health, Baltimore, MD, USA.
Mbarek H Mbarek Hamdi H Department of Biological Psychology, Amsterdam Public Health Research Institute, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands.
McIntosh AM McIntosh Andrew M AM University of Edinburgh, Division of Psychiatry, Centre for Cognitive Ageing and Cognitive Epidemiology, Edinburgh, UK.
McQueen MB McQueen Matthew B MB Department of Integrative Physiology, University of Colorado Boulder, Boulder, CO, USA.
Meyers JL Meyers Jacquelyn L JL Henri Begleiter Neurodynamics Laboratory, Department of Psychiatry and Behavioral Sciences, SUNY Downstate Medical Center, Brooklyn, NY, USA.
Milaneschi Y Milaneschi Yuri Y Department of Psychiatry, Amsterdam Public Health Research Institute, VU University Medical Center/GGz inGeest, Amsterdam, The Netherlands.
Palviainen T Palviainen Teemu T Institute for Molecular Medicine Finland (FIMM), University of Helsinki, Helsinki, Finland.
Pearson JF Pearson John F JF Biostatistics and Computational Biology Unit, University of Otago, Christchurch, New Zealand.
Peterson RE Peterson Roseann E RE Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Department of Psychiatry, Richmond, VA, USA.
Ripatti S Ripatti Samuli S Department of Public Health, University of Helsinki, Helsinki, Finland.
Ryu E Ryu Euijung E Mayo Clinic, Department of Health Sciences Research, Rochester, MN, USA.
Saccone NL Saccone Nancy L NL Washington University School of Medicine, Department of Genetics, St. Louis, MO, USA.
Salvatore JE Salvatore Jessica E JE Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Department of Psychiatry, Richmond, VA, USA.
Sanchez-Roige S Sanchez-Roige Sandra S University of California San Diego, Department of Psychiatry, San Diego, CA, USA.
Schwandt M Schwandt Melanie M NIH/NIAAA, Office of the Clinical Director, Bethesda, MD, USA.
Sherva R Sherva Richard R Department of Medicine (Biomedical Genetics), Boston University School of Medicine, Boston, MA, USA.
Streit F Streit Fabian F Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Strohmaier J Strohmaier Jana J Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Thomas N Thomas Nathaniel N Department of Psychology & College Behavioral and Emotional Health Institute, Virginia Commonwealth University, Richmond, VA, USA.
Wang JC Wang Jen-Chyong JC Icahn School of Medicine at Mount Sinai, Department of Neuroscience, New York, NY, USA.
Webb BT Webb Bradley T BT Virginia Commonwealth University Alcohol Research Center; Virginia Institute for Psychiatric and Behavioral Genetics; Department of Psychiatry, Virginia Commonwealth University, Richmond, VA, USA.
Wedow R Wedow Robbee R Department of Sociology, Harvard University, Cambridge, MA, USA.
Wetherill L Wetherill Leah L Department of Medical and Molecular Genetics, Indiana University School of Medicine, Indianapolis, IN, USA.
Wills AG Wills Amanda G AG University of Colorado School of Medicine, Department of Pharmacology, Aurora, CO, USA.
23andMe Research Team
Boardman JD Boardman Jason D JD Institute of Behavioral Science and Department of Sociology, University of Colorado, Boulder, CO, USA.
Chen D Chen Danfeng D Stanley Center for Psychiatric Research, Broad Institute of MIT and Harvard, Cambridge, MA, USA.
Choi DS Choi Doo-Sup DS Mayo Clinic, Department of Molecular Pharmacology and Experimental Therapeutics, Rochester, MN, USA.
Copeland WE Copeland William E WE Duke University Medical Center, Department of Psychiatry and Behavioral Sciences, Durham, NC, USA.
Culverhouse RC Culverhouse Robert C RC Washington University School of Medicine, Department of Medicine and Division of Biostatistics, St. Louis, MO, USA.
Dahmen N Dahmen Norbert N Department of Psychiatry, University of Mainz, Mainz, Germany.
Degenhardt L Degenhardt Louisa L National Drug and Alcohol Research Centre, University of New South Wales, Sydney, New South Wales, Australia.
Domingue BW Domingue Benjamin W BW Stanford University Graduate School of Education, Stanford, CA, USA.
Elson SL Elson Sarah L SL 23andMe, Inc, Mountain View, CA, USA.
Frye MA Frye Mark A MA Mayo Clinic, Department of Psychiatry and Psychology, Rochester, MN, USA.
Gäbel W Gäbel Wolfgang W Department of Psychiatry and Psychotherapy, University of Düsseldorf, Düsseldorf, Germany.
Hayward C Hayward Caroline C MRC Human Genetics Unit, Institute of Genetics and Molecular Medicine, University of Edinburgh, Edinburgh, UK.
Ising M Ising Marcus M Max-Planck-Institute of Psychiatry, Munich, Germany.
Keyes M Keyes Margaret M University of Minnesota, Department of Psychology, Minneapolis, MN, USA.
Kiefer F Kiefer Falk F Department of Addictive Behavior and Addiction Medicine, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Heidelberg, Germany.
Kramer J Kramer John J University of Iowa Roy J and Lucille A Carver College of Medicine, Department of Psychiatry, Iowa City, IA, USA.
Kuperman S Kuperman Samuel S University of Iowa Roy J and Lucille A Carver College of Medicine, Department of Psychiatry, Iowa City, IA, USA.
Lucae S Lucae Susanne S Max-Planck-Institute of Psychiatry, Munich, Germany.
Lynskey MT Lynskey Michael T MT Addictions Department, Institute of Psychiatry, Psychology & Neuroscience, King's College London, London, UK.
Maier W Maier Wolfgang W Department of Psychiatry, University of Bonn, Bonn, Germany.
Mann K Mann Karl K Department of Addictive Behavior and Addiction Medicine, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Heidelberg, Germany.
Männistö S Männistö Satu S Institute for Health and Welfare, Helsinki, Finland.
Müller-Myhsok B Müller-Myhsok Bertram B Department of Statistical Genetics, Max-Planck-Institute of Psychiatry, Munich, Germany.
Murray AD Murray Alison D AD The Institute of Medical Sciences, Aberdeen Biomedical Imaging Centre, University of Aberdeen, Aberdeen, UK.
Nurnberger JI Nurnberger John I JI Department of Psychiatry, Indiana University School of Medicine, Indianapolis, IN, USA.
Palotie A Palotie Aarno A Department of Medicine, Department of Neurology and Department of Psychiatry, Massachusetts General Hospital, Boston, MA, USA.
Preuss U Preuss Ulrich U Vitos Hospital Herborn, Department of Psychiatry and Psychotherapy, Herborn, Germany.
Räikkönen K Räikkönen Katri K Department of Psychology and Logopedics, University of Helsinki, Helsinki, Finland.
Reynolds MD Reynolds Maureen D MD University of Pittsburgh, School of Pharmacy, Pittsburgh, PA, USA.
Ridinger M Ridinger Monika M Department of Psychiatry and Psychotherapy, University of Regensburg Psychiatric Health Care Aargau, Regensburg, Germany.
Scherbaum N Scherbaum Norbert N LVR-Hospital Essen, Department of Psychiatry and Psychotherapy, Department of Addictive Behaviour and Addiction Medicine, Medical Faculty, University of Duisburg-Essen, Duisburg, Germany.
Schuckit MA Schuckit Marc A MA University of California San Diego, Department of Psychiatry, San Diego, CA, USA.
Soyka M Soyka Michael M Psychiatric Hospital, Ludwig-Maximilians-University, Munich, Germany.
Treutlein J Treutlein Jens J Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Witt S Witt Stephanie S Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Wodarz N Wodarz Norbert N Department of Psychiatry and Psychotherapy, University of Regensburg, Regensburg, Germany.
Zill P Zill Peter P Psychiatric Hospital, Ludwig-Maximilians-University, Munich, Germany.
Adkins DE Adkins Daniel E DE University of Utah, Department of Sociology, Salt Lake City, UT, USA.
Boden JM Boden Joseph M JM University of Otago, Christchurch, New Zealand.
Boomsma DI Boomsma Dorret I DI Department of Biological Psychology, Amsterdam Public Health Research Institute, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands.
Bierut LJ Bierut Laura J LJ Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Brown SA Brown Sandra A SA University of California, San Diego School of Medicine, Department of Psychology, San Diego, CA, USA.
Bucholz KK Bucholz Kathleen K KK Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Cichon S Cichon Sven S Human Genomics Research Group, Department of Biomedicine, University of Basel Institute of Medical Genetics and Pathology, University Hospital Basel, Basel, Switzerland.
Costello EJ Costello E Jane EJ Duke University Medical Center, Department of Psychiatry and Behavioral Sciences, Durham, NC, USA.
de Wit H de Wit Harriet H NIAAA Intramural Research Program, Bethesda, MD, USA.
Diazgranados N Diazgranados Nancy N NIAAA Intramural Research Program, Bethesda, MD, USA.
Dick DM Dick Danielle M DM Department of Human & Molecular Genetics, Virginia Commonwealth University, Richmond, VA, USA.
Eriksson JG Eriksson Johan G JG Department of General Practice and Primary Health Care, University of Helsinki, and National Institute for Health and Welfare, Helsinki, Finland.
Farrer LA Farrer Lindsay A LA Departments of Neurology, Ophthalmology, Epidemiology, and Biostatistics, Boston University Schools of Medicine and Public Health, Boston, MA, USA.
Foroud TM Foroud Tatiana M TM Department of Medical and Molecular Genetics, Indiana University School of Medicine, Indianapolis, IN, USA.
Gillespie NA Gillespie Nathan A NA Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Department of Psychiatry, Richmond, VA, USA.
Goate AM Goate Alison M AM Icahn School of Medicine at Mount Sinai, Department of Neuroscience, New York, NY, USA.
Goldman D Goldman David D NIH/NIAAA, Office of the Clinical Director, Bethesda, MD, USA.
Grucza RA Grucza Richard A RA Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Hancock DB Hancock Dana B DB Center for Omics Discovery and Epidemiology, Behavioral Health Research Division, RTI International, Research Triangle Park, NC, USA.
Harris KM Harris Kathleen Mullan KM Department of Sociology and Carolina Population Center, University of North Carolina at Chapel Hill, Chapel Hill, NC, USA.
Heath AC Heath Andrew C AC Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Hesselbrock V Hesselbrock Victor V University of Connecticut School of Medicine, Department of Psychiatry, Farmington, CT, USA.
Hewitt JK Hewitt John K JK University of Colorado Boulder, Institute for Behavioral Genetics, Boulder, CO, USA.
Hopfer CJ Hopfer Christian J CJ University of Colorado Denver, School of Medicine, Denver, CO, USA.
Horwood J Horwood John J University of Otago, Christchurch, New Zealand.
Iacono W Iacono William W University of Minnesota, Department of Psychology, Minneapolis, MN, USA.
Johnson EO Johnson Eric O EO RTI International, Fellows Program, Research Triangle Park, NC, USA.
Kaprio JA Kaprio Jaakko A JA Department of Public Health, University of Helsinki, Helsinki, Finland.
Karpyak VM Karpyak Victor M VM Mayo Clinic, Department of Psychiatry and Psychology, Rochester, MN, USA.
Kendler KS Kendler Kenneth S KS Virginia Commonwealth University Alcohol Research Center; Virginia Institute for Psychiatric and Behavioral Genetics; Department of Psychiatry, Virginia Commonwealth University, Richmond, VA, USA.
Kranzler HR Kranzler Henry R HR University of Pennsylvania Perelman School of Medicine, Center for Studies of Addiction, Department of Psychiatry and VISN 4 MIRECC, Crescenz VAMC, Philadelphia, PA, USA.
Krauter K Krauter Kenneth K University of Colorado Boulder, Department of Molecular, Cellular, and Developmental Biology, Boulder, CO, USA.
Lichtenstein P Lichtenstein Paul P Department of Medical Epidemiology and Biostatistics, Karolinska Instituet, Stockholm, Sweden.
Lind PA Lind Penelope A PA QIMR Berghofer Medical Research Institute, Brisbane, Queensland, Australia.
McGue M McGue Matt M University of Minnesota, Department of Psychology, Minneapolis, MN, USA.
MacKillop J MacKillop James J Peter Boris Centre for Addictions Research, McMaster University/St. Joseph's Healthcare Hamilton; Michael G. DeGroote Centre for Medicinal Cannabis Research, Hamilton, Ontario, Canada.
Madden PAF Madden Pamela A F PAF Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Maes HH Maes Hermine H HH Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Richmond, VA, USA.
Magnusson P Magnusson Patrik P Department of Medical Epidemiology and Biostatistics, Karolinska Instituet, Stockholm, Sweden.
Martin NG Martin Nicholas G NG QIMR Berghofer Medical Research Institute, Brisbane, Queensland, Australia.
Medland SE Medland Sarah E SE QIMR Berghofer Medical Research Institute, Brisbane, Queensland, Australia.
Montgomery GW Montgomery Grant W GW The Institute for Molecular Bioscience, University of Queensland, Brisbane, Queensland, Australia.
Nelson EC Nelson Elliot C EC Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Nöthen MM Nöthen Markus M MM Institute of Human Genetics, University of Bonn School of Medicine & University Hospital Bonn, Bonn, Germany.
Palmer AA Palmer Abraham A AA University of California San Diego, Institute for Genomic Medicine, San Diego, CA, USA.
Pedersen NL Pedersen Nancy L NL Department of Medical Epidemiology and Biostatistics, Karolinska Instituet, Stockholm, Sweden.
Penninx BWJH Penninx Brenda W J H BWJH Department of Psychiatry, Amsterdam Public Health Research Institute, VU University Medical Center/GGz inGeest, Amsterdam, The Netherlands.
Porjesz B Porjesz Bernice B Henri Begleiter Neurodynamics Laboratory, Department of Psychiatry and Behavioral Sciences, SUNY Downstate Medical Center, Brooklyn, NY, USA.
Rice JP Rice John P JP Washington University School of Medicine, Department of Psychiatry, St. Louis, MO, USA.
Rietschel M Rietschel Marcella M Department of Genetic Epidemiology in Psychiatry, Central Institute of Mental Health, Medical Faculty Mannheim, Heidelberg University, Mannheim, Germany.
Riley BP Riley Brien P BP Virginia Commonwealth University Alcohol Research Center; Virginia Institute for Psychiatric and Behavioral Genetics; Department of Psychiatry, Virginia Commonwealth University, Richmond, VA, USA.
Rose R Rose Richard R Department of Psychological & Brain Sciences, Indiana University Bloomington, Bloomington, IN, USA.
Rujescu D Rujescu Dan D Martin-Luther-University Halle-Wittenberg, Department of Psychiatry, Psychotherapy and Psychosomatics, Halle, Germany.
Shen PH Shen Pei-Hong PH NIH/NIAAA, Laboratory of Neurogenetics, Bethesda, MD, USA.
Silberg J Silberg Judy J Virginia Commonwealth University, Virginia Institute for Psychiatric and Behavioral Genetics, Department of Psychiatry, Richmond, VA, USA.
Stallings MC Stallings Michael C MC University of Colorado Boulder, Institute for Behavioral Genetics, Boulder, CO, USA.
Tarter RE Tarter Ralph E RE University of Pittsburgh, School of Pharmacy, Pittsburgh, PA, USA.
Vanyukov MM Vanyukov Michael M MM University of Pittsburgh, School of Pharmacy, Pittsburgh, PA, USA.
Vrieze S Vrieze Scott S University of Minnesota, Department of Psychology, Minneapolis, MN, USA.
Wall TL Wall Tamara L TL University of California San Diego, Department of Psychiatry, San Diego, CA, USA.
Whitfield JB Whitfield John B JB QIMR Berghofer Medical Research Institute, Brisbane, Queensland, Australia.
Zhao H Zhao Hongyu H Department of Biostatistics, Yale School of Public Health, Yale University, New Haven, CT, USA.
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Gelernter J Gelernter Joel J Departments of Psychiatry, Genetics, and Neuroscience, Yale University School of Medicine, Veterans Affairs Connecticut Healthcare System, New Haven, CT, USA. joel.gelernter@yale.edu.
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LASTNAME FORENAME INITIALS AFFILIATION
Agee Michelle M
Alipanahi Babak B
Auton Adam A
Bell Robert K RK
Bryc Katarzyna K
Elson Sarah L SL
Fontanillas Pierre P
Furlotte Nicholas A NA
Hinds David A DA
Huber Karen E KE
Kleinman Aaron A
Litterman Nadia K NK
McCreight Jennifer C JC
McIntyre Matthew H MH
Mountain Joanna L JL
Noblin Elizabeth S ES
Northover Carrie A M CAM
Pitts Steven J SJ
Sathirapongsasuti J Fah JF
Sazonova Olga V OV
Shelton Janie F JF
Shringarpure Suyash S
Tian Chao C
Tung Joyce Y JY
Vacic Vladimir V
Wilson Catherine H CH
TITLE: Nature neuroscience
ISOABBREVIATION: Nat. Neurosci.
MONTH: Dec
MEDLINETA: Nat Neurosci


text:
By Jacqueline Pitts on January 31, 2017 • ( 1 Comment )
EXCLUSIVE: School choice, justice reform, medical review panels and more left on Gov. Bevin's 2017 to-do list
In an exclusive sit down interview with The Bottom Line, Gov. Matt Bevin said he has heard a lot of great feedback on the laws already passed in Kentucky during the first five days of the 2017 session and expects great results from this new political atmosphere as the legislature still has more to do this year.
"People are delighted. This is what they expect folks in Frankfort to do is actually do the people's work and to it with a sense of urgency and purpose," Bevin said of the unprecedented first week of the 2017 session where lawmakers passed multiple bills during a time normally reserved for organizational tasks.
The Bottom Line: Gov. Matt Bevin says the state is already seeing positive effects of right-to-work and prevailing wage repeal laws, school choice should be increased through public charter schools to any community that could see value, medical review panel legislation needs to be passed to take a serious step on legal liability reform, justice reform has to be done to save state dollars and give people a second chance, and transparency should be brought to all areas of spending including workforce investments.
On right-to-work, Bevin said the state has received a lot of interest from companies and site selectors since Kentucky passed the law making union membership optional for an employee (at 2:00 in the interview below.) The Republican governor said making Kentucky the 27th right-to-work state helps show the Commonwealth is open for business which he believes will attract more jobs and economic growth.
Repealing the state's prevailing wage, Bevin said, will help the state as the artificial wage set by the government was causing taxpayers to overspend on projects and stifling construction of schools and other public building projects.
"On many fronts, the taxpayers have won, the people of Kentucky have won, the economic possibility has increased, so I am excited about what the future holds," Bevin said.
As for what's left on the to-do list this session, Bevin discussed the following issues as priority legislation:
Legal liability reform (tort reform) in the form of medical review panel legislation (discussed at 5:00 in the interview)
Increasing school choice options with legislation to allow charter schools in Kentucky (discussed at 7:00 in the interview)
Tackling criminal justice issues through bills and executive actions (discussed at 9:00)
Increasing transparency of workforce dollars and other areas of state spending (discussed at 11:20)
Watch the full part one interview segment below:
Bevin also discussed the work on pension and tax reforms he feels the state needs to address in 2017, likely in a special session of the General Assembly later in the year. Check back on The Bottom Line tomorrow for part two of the interview with the governor where he discusses those topics.
Categories: Economy, Education, Kentucky Competitiveness, Labor, Politics, Workforce Development
Tagged as: Area Development Districts, Charter Schools, Gov. Matt Bevin, Justice Reforms, medical review panels, Prevailing Wage, right to work, workforce
Anthony Feigel says:
He should be concerned about several other MAJOR issues, like URLTA Statewide – with HB380 finally passing the House last year, and, again was left to die by the Senate. Too many of Kentucky's poor are victims of KY being one of 2 states that do not have a Landlord-Tenant Law, landlords can rent housing with no liability, nor any obligation to repair or even have running water or heat in 116 of 120 counties. But the Gov. continues to ignore this. Also, We cannot get any response on the fact that we have the highest percentage of homeless students in the US. at 30,000+ and creating more scholarships is only going to enhance this. As for his #BantheBox on state jobs. Most state employment positions will have a background check, regardless of that "box", so the "Fair Chance" is moot.
This is our story, this is what happens when you have no Landlord-Tenant laws for a majority of your citizens – https://www.gofundme.com/my-familys-relocation-fund . I only hope, that eventually someone will confront this GOP fueled lack of initiative on the subjects.


Though he is an incredibly skilled fighter, the real secret to success for Starscream is: Never fight fair. He's always sure to bring a bigger, more powerful weapon to battle than his opponent, and he never takes on someone he's not sure he can handle.
Recolors: This mold was recolored into Dark of the Moon Thundercracker (2011), Dark of the Moon Skywarp (2011, Japan), and Movie Advanced Starscream (2014, Japan).


2、Effect of cellular immune supportive treatment on immunity of esophageal carcinoma patients after modern two-field lymph node dissection.Ai Zheng. 2007 Jul;26(7):778-81. Chinese.
4、Diagnostic application of detecting AgNOR in peripheral blood T lymphocyte in patients with esophageal carcinoma. Ai Zheng. 2004 May;23(5):577-80. Chinese.
14、Proteomics-based identification of autoantibody against CDC25B as a novel serum marker in esophageal squamous cell carcinoma. Biochem Biophys Res Commun.2008 Oct 24;375(3):440-5. Epub 2008 Aug 21.
15、Prognostic relevance of Centromere protein H expression in esophageal carcinoma. BMC Cancer. 2008 Aug 13;8:233.
16、Negative implication of C-MYC as an amplification target in esophageal cancer. Cancer Genetics and Cytogenetics,2006,165:20–24.


With a new government in place and aid on the way, the country could start to recover from months of violence.
The United Nations High Commissioner for Human Rights, Navi Pillay, has issued a warning that the Central African Republic has reached a critical point.
A new transitional government is finally in place and a huge envoy of trucks with food from the UN has arrived in Bangui after several days of travel.
But delivering aid to the lawless and violent country's 100,000 displaced people has proved to be expensive and dangerous.


BDP has won the competition to design the new bus station in Gloucester which will be built as the initial phase of Stanhope's Kings Quarter retail development. BDP beat Roberts Limbrick and AHR (Aedas) in the final stages of the competition, and was one of over 70 practices to submit expressions of interest.
The brief was to deliver a functional and yet architecturally stunning bus station within budget constraints and integrate it into the proposed retail scheme with improved pedestrian links to the railway station and city centre.
The £6.4m facility will include bus stands for 12 vehicles arranged in chevron format to allow a DIRO (drive in, reverse out) method of operation. The public concourse is separated by a full height glazed facade which will have automatically controlled doors allowing access to waiting buses.
The building is highly transparent in order to provide maximum visual contact with its surroundings and a calm, airy environment. The width of the public concourse will allow sufficient circulation space as well as waiting and seating areas for individual stands. Passenger information systems, timetable displays and interactive information points will also form part of the facilities.
BDP are partnered by AECOM (transport consultants) and Consensus who will be facilitating the public consultation process. A planning application is expected to be made by the beginning of August 2015. It is hoped work will start in spring 2016 and will be completed within 12 months.