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

Energy-dispersive Laue diffraction (EDLD) is a powerful method to obtain position-resolved texture information in inhomogeneous biological samples without the need for sample rotation. This study employs EDLD texture scanning to investigate the impact of two salivary peptides, statherin (STN) and histatin-1 (HTN) 21 N-terminal peptides (STN21 and HTN21), on the crystallographic structure of dental enamel. These proteins are known to play crucial roles in dental caries progression. Three healthy incisors were randomly assigned to three groups: artificially demineralized, demineralized after HTN21 peptide pre-treatment and demineralized after STN21 peptide pre-treatment. To understand the micro-scale structure of the enamel, each specimen was scanned from the enamel surface to a depth of 250 µm using microbeam EDLD. Via the use of a white beam and a pixelated detector, where each pixel functions as a spectrometer, pole figures were obtained in a single exposure at each measurement point. The results revealed distinct orientations of hydroxyapatite crystallites and notable texture variation in the peptide-treated demineralized samples compared with the demineralized control. Specifically, the peptide-treated demineralized samples exhibited up to three orientation populations, in contrast to the demineralized control which displayed only a single orientation population. The texture index of the demineralized control (2.00 ± 0.21) was found to be lower than that of either the STN21 (2.32 ± 0.20) or the HTN21 (2.90 ± 0.46) treated samples. Hence, texture scanning with EDLD gives new insights into dental enamel crystallite orientation and links the present understanding of enamel demineralization to the underlying crystalline texture. For the first time, the feasibility of EDLD texture measurements for quantitative texture evaluation in demineralized dental enamel samples is demonstrated.

X-ray scattering has become a major tool in the structural characterization of nanoscale materials. Thanks to the widely available experimental and computational atomic models, coordinate-based X-ray scattering simulation has played a crucial role in data interpretation in the past two decades. However, simulation of real-space pair distance distribution functions (PDDFs) from small- and wide-angle X-ray scattering, SAXS/WAXS, has been relatively less exploited. This study presents a comparison of PDDF simulation methods, which are applied to molecular structures that range in size from β-cyclo­dextrin [1 kDa molecular weight (MW), 66 non-hydrogen atoms] to the satellite tobacco mosaic virus capsid (1.1 MDa MW, 81 960 non-hydrogen atoms). The results demonstrate the power of interpretation of experimental SAXS/WAXS from the real-space view, particularly by providing a more intuitive method for understanding of partial structure contributions. Furthermore, the computational efficiency of PDDF simulation algorithms makes them attractive as approaches for the analysis of large nanoscale materials and biological assemblies. The simulation methods demonstrated in this article have been implemented in stand-alone software, SolX 3.0, which is available to download from https://12idb.xray.aps.anl.gov/solx.html.

This article presents a web-based framework to build a database without in-depth programming knowledge given a set of CIF dictionaries and a collection of CIFs. The framework consists of two main elements: the public site that displays the information contained in the CIFs in an ordered manner, and the restricted administrative site which defines how that information is stored, processed and, eventually, displayed. Thus, the web application allows users to easily explore, filter and access the data, download the original CIFs, and visualize the structures via JSmol. The modulated structures open database B-IncStrDB, the official International Union of Crystallography repository for this type of material and available through the Bilbao Crystallographic Server, has been re-implemented following the proposed framework.

Slow-cooled CF8M duplex stainless steel is used for critical parts of the primary coolant pipes of nuclear reactors. This steel can endure severe service conditions, but it tends to become more brittle upon very long-term aging (tens of years). Therefore, it is essential to understand its specific microstructure and temporal evolution. As revealed by electron backscatter diffraction (EBSD) analyses, the microstructure consists of millimetre-scale ferritic grains within which austenite lath packets have grown with preferred crystallographic orientations concerning the parent ferritic phase far from the ferrite grain boundaries. In these lath packets where the austenite phase is nucleated, the lath morphology and crystal orientation accommodate the two ferrite orientations. Globally, the Pitsch orientation relationship appears to display the best agreement with the experimental data compared with other classical relationships. The austenite lath packets are parallel plate-shaped laths, characterized by their normal n. A novel methodology is introduced to elucidate the expected relationship between n and the crystallographic orientation given the coarse interfaces, even though n is only partly known from the observation surface, in contrast to the 3D crystal orientations measured by EBSD. The distribution of retrieved normals n is shown to be concentrated over a set of discrete orientations. Assuming that the ferrite and austenite obey the Pitsch orientation relationship, the determined lath normals are close to an invariant direction of the parent phase given by the same orientation relationship.

VMXm joins the suite of operational macromolecular crystallography beamlines at Diamond Light Source. It has been designed to optimize rotation data collections from protein crystals less than 10 µm and down to below 1 µm in size. The beamline has a fully focused beam of 0.3 × 2.3 µm (vertical × horizontal) with a tuneable energy range (6–28 keV) and high flux (1.6 × 1012 photons s−1 at 12.5 keV). The crystals are housed within a vacuum chamber to minimize background scatter from air. Crystals are plunge-cooled on cryo-electron microscopy grids, allowing much of the liquid surrounding the crystals to be removed. These factors improve the signal-to-noise during data collection and the lifetime of the microcrystals can be prolonged by exploiting photoelectron escape. A novel in vacuo sample environment has been designed which also houses a scanning electron microscope to aid with sample visualization. This combination of features at VMXm allows measurements at the physical limits of X-ray crystallography on biomacromolecules to be explored and exploited.

Geological samples are inherently multi-scale. Understanding their bulk physical and chemical properties requires characterization down to the nano-scale. A powerful technique to study the three-dimensional microstructure is X-ray tomography, but it lacks information about the chemistry of samples. To develop a methodology for measuring the multi-scale 3D microstructure of geological samples, correlative X-ray micro- and nanotomography were performed on two rocks followed by scanning electron microscopy with energy-dispersive spectroscopy (SEM-EDS) analysis. The study was performed in five steps: (i) micro X-ray tomography was performed on rock sample cores, (ii) samples for nanotomography were prepared using laser milling, (iii) nanotomography was performed on the milled sub-samples, (iv) samples were mounted and polished for SEM analysis and (v) SEM imaging and compositional mapping was performed on micro and nanotomography samples for complimentary information. Correlative study performed on samples of serpentine and basalt revealed multiscale 3D structures involving both solid mineral phases and pore networks. Significant differences in the volume fraction of pores and mineral phases were also observed dependent on the imaging spatial resolution employed. This highlights the necessity for the application of such a multiscale approach for the characterization of complex aggregates such as rocks. Information acquired from the chemical mapping of different phases was also helpful in segmentation of phases that did not exhibit significant contrast in X-ray imaging. Adoption of the protocol used in this study can be broadly applied to 3D imaging studies being performed at the Advanced Light Source and other user facilities.

The design and first results of a high-transmission soft X-ray spectrometer operated at the X-SPEC double-undulator beamline of the KIT Light Source are presented. As a unique feature, particular emphasis was placed on optimizing the spectrometer transmission by maximizing the solid angle and the efficiencies of spectrometer gratings and detector. A CMOS detector, optimized for soft X-rays, allows for quantum efficiencies of 90% or above over the full energy range of the spectrometer, while simultaneously offering short readout times. Combining an optimized control system at the X-SPEC beamline with continuous energy scans (as opposed to step scans), the high transmission of the spectrometer, and the fast readout of the CMOS camera, enable the collection of entire rapid resonant inelastic soft X-ray scattering maps in less than 1 min. Series of spectra at a fixed energy can be taken with a frequency of up to 5 Hz. Furthermore, the use of higher-order reflections allows a very wide energy range (45 to 2000 eV) to be covered with only two blazed gratings, while keeping the efficiency high and the resolving power E/ΔE above 1500 and 3000 with low- and high-energy gratings, respectively.

The Takagi–Taupin equations are solved in their simplest form (zero deformation) to obtain the Bragg-diffracted and transmitted complex amplitudes. The case of plane-parallel crystal plates is discussed using a matrix model. The equations are implemented in an open-source Python library crystalpy adapted for numerical applications such as crystal reflectivity calculations and ray tracing.

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

The Australian Synchrotron Imaging and Medical Beamline (IMBL) uses a superconducting multipole wiggler (SCMPW) source, dual crystal Laue monochromator and 135 m propagation distance to enable imaging and computed tomography (CT) studies of large samples with mono-energetic radiation. This study aimed to quantify two methods for CT dose reduction: wiggler source operation at reduced magnetic field strength, and beam modulation with spatial filters placed upstream from the sample. Transmission measurements with copper were used to indirectly quantify the influence of third harmonic radiation. Operation at lower wiggler magnetic field strength reduces dose rates by an order of magnitude, and suppresses the influence of harmonic radiation, which is of significance near 30 keV. Beam shaping filters modulate the incident beam profile for near constant transmitted signal, and offer protection to radio-sensitive surface organs: the eye lens, thyroid and female breast. Their effect is to reduce the peripheral dose and the dose to the scanned volume by about 10% for biological samples of 35–50 mm diameter and by 20–30% for samples of up to 160 mm diameter. CT dosimetry results are presented as in-air measurements that are specific to the IMBL, and as ratios to in-air measurements that may be applied to other beamlines. As CT dose calculators for small animals are yet to be developed, results presented here and in a previous study may be used to estimate absorbed dose to organs near the surface and the isocentre.

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Source: Streetwise Reports 11/07/2024

Sanu Gold Corp. (SANU:CSE; SNGCF:OTCQB; L73:FRA) commenced inaugural phase one drilling, to comprise about 19 holes for up to 2,000 meters (2,000m), at its Diguifara project in Guinea, as announced in a news release. Diguifara is one of this Canadian mineral explorer's three claim blocks totaling 280 square kilometers in the country's Siguiri Basin, a prolific gold district in West Africa. The other two assets are Daina and Bantabaye.

The company plans to drill test three priority targets, Dig 1, Dig 2, and Dig 3, which cover a cumulative strike length of 3.2 kilometers (3.2 km). Auger-in-saprolite samples from these targets showed gold grades up to 4.8 grams per ton (4.8 g/t). Along with auger sampling of bedrock, Sanu previously completed extensive and systematic surface geochemistry and ground geophysical surveys at Diguifara.

Capital Ltd. will complete the drilling, using a large multipurpose rig to drill air core and reverse circulation holes. This company is experienced in drilling large deposits in Guinea, and its investment arm, Capital DI, is a Sanu shareholder. Capital will collect samples on-site and submit them to MSALABS in Bamako, Mali, for analysis.

Sanu Gold is excited to drill at Diguifara because it contains kilometer-scale geochemical and geophysical gold trends and strong gold mineralization in the weathered bedrock and is located within trucking distance to a large operating gold mine, President and Chief Executive Officer (CEO) Martin Pawlitschek told Streetwise Reports in an interview. He said the company could potentially monetize even a modest discovery of about 200,000–300,000 ounces (200–300 Koz) on the block due to this proximity to a major mine. Although it is important to point out that our target here is to make multi-million-ounce discoveries, our targets are large enough to potentially deliver this.

Diguifara is close to AngloGold Ashanti Plc.'s (AU:NYSE; ANG:JSE; AGG:ASX; AGD:LSE) Siguiri mine and mill, which produced gold since the mid-1990s, specifically 214 Koz last year. This South African gold miner owns 14% of Sanu.

"[AngloGold Ashanti has] a very hungry mill that will welcome additional ore feed from satellite deposits, and we're right in the range," said Pawlitschek.

In other news, Sanu announced separately that it added a new prospective gold target, Salat East, at its Daina claim block in the southeastern corner. There, artisanal miners started extracting mineralized material along a 500m-long, northeast-trending line of workings from a 5–8m wide structure dipping to the west. Daina already has an impressive pipeline of large footprint targets that will see drilling once the rig finishes at Diguifara.

"Salat East represents a new target with possible significant gold ounce potential," Pawlitschek said in the release.

Sanu intends to evaluate this target, with rock chip sampling, geological mapping and geophysics, prior to deciding whether or not to drill it.

Working to Discover Deposits

At Diguifara, Daina and Bantabaye, Sanu Gold is looking to discover multimillion-ounce gold deposits. The trio, in the Siguiri Basin, is surrounded by world-class operating mines and major new discoveries. Société Minière de Dinguiraye SA's Lefa, Hummingbird Resources Plc's (HUM:AIM) Kouroussa and Robex Resources Inc.'s (RBX:TSX.V) Kiniero and Predictive Discovery (PDI:ASX) with its 5.4million ounce Bankan project are some.

"We believe there is definitely that big potential on all three blocks," Pawlitschek told Streetwise.

Guinea and West Africa are pro-mining and looking to expand the industry, noted Sanu's CEO. Since the mid-1990s gold has been mined in Guinea. Last year, gold output there was 10% higher than in 2022, making Guinea the world's 23rd largest producer of the metal, according to GlobalData.

With contributions from operations in Guinea, and Ghana, Burkina Faso and Mali, West Africa has become a key gold mining region, reports the data analytics firm. It forecasts total gold production in West Africa this year will be 11,830,000 ounces.

Gold Continues Historic Climb

The gold price broke through the US$2,800 per ounce (US$2,800/oz) Wednesday, marking its fourth consecutive monthly gain, Reuters reported on Oct. 31. After, gold retreated, to end today at US$2756/oz.

"You're going to see a bit more consolidation," David Meger, director of metals trading at High Ridge Futures, told Reuters. "We have a lot of major impactful news next week, the U.S. election on Tuesday, Fed meeting on Wednesday. So it's really not surprising to see some traders take profits."

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

A reversal of outflows from gold exchange-traded funds occurred during Q3/24, and inflows during the quarter amounted to 95 tons, as reported by the World Gold Council, reported Ron Struthers of Struthers Resource Stock Report on Oct. 30. Positive inflows during the quarter came from all geographical regions, for holdings of 3,200 tons.

"All regions saw positive inflows during the quarter, which ended with collective holdings of 3,200 tons," the newsletter writer added. "Next year, we should be back to levels of 2020 and 2021. This will be fuel for a continued bull market."

Experts predict the gold price will continue its historic climb. Recently polled London Bullion Market Association members indicated they believe the gold price could reach US$2,940/oz during 2025, reported Stockhead.

Also, for 2025, InvestingHaven predicts US$3,100/oz gold. This is based on leading gold price indicators, including heightened inflation and increasing central bank demand, and from patterns on long-term gold charts, it noted.

The Catalysts: Drill Results

With drilling underway at Diguifara, results from the program could catalyze Sanu's stock, said Pawlitschek. They will be released when ready in about six to eight weeks.

Meanwhile, the gold company will tackle preparations for drilling untested targets at Daina, which will start soon. The scope of the campaign planned for Daina matches that is being carried out at Diguifara. [OWNERSHIP_CHART-10892]

"We have multiple targets that are going for 3, 4, up to 9 km strike lengths, some of them," the CEO said, referring to Diguifara and Daina.

When the initial phase at Daina is complete and results from Diguifara are back, we will likely go back to Difuifara for follow up drilling.

Ownership and Share Structure

According to the company's latest presentation, the largest share holders include strategic investors Anglo Gold Ashanti at 14 % and Capital at 10%.

Institutional investors include Scotia Global Asset Management, US Global Investors, Lowell Resources Funds Management, and Palos Management, which collectively make up 17% of the shareholders.

Management, founders and insider own around 22% with another 22% being held by high net worth individuals. 15% is held by retail investors.

The market cap for Sanu Gold is CA$17-18million with 238.5 million common shares. The 52-week range for the stock is CA$0.03 and CA$0.15.

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Important Disclosures:

1. Sanu Gold Corp. is a billboard sponsor of Streetwise Reports and pays SWR a monthly sponsorship fee between US$4,000 and US$5,000.
2. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Sanu Gold Corp.
3. Doresa Banning wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an independent contractor.
4. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

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( Companies Mentioned: SANU:CSE;SNGCF:OTCQB;L73:FRA, )

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

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

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

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

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

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

Facebook: #RedBandSociety ad

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

Photo: New ad via Facebook

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We explore a special class of periodic graphs, ladder graphs, whose edges can coincide when embedded vertices are moved. Many of these exhibit additional non-crystallographic graph symmetries.

We enumerate the 55083357 iso-edge subdivisions of six-dimensional translational lattices. We report on the use of the method of canonical forms that allows us to apply hashing techniques used in modern databases.

"Dispersion" (detail). Acrylic ink and paint on canvas. (Courtesy of Kenyatta A.C. Hinkle); Credit:

Kenyatta A.C. Hinkle's "The Evanesced" was inspired by the #SayHerName movement against police violence, as well as Los Angeles's Grim Sleeper serial killer. Hinkle depicts black women in the nude, twisting and writhing, as though they're sinking back into the canvas. Or are they reemerging from it?

Deputy Director of the California African American Museum Naima Keith says Hinkle's exhibit looks at the "historical present," the way in which history still affects us today, harkening back to slavery and Jim Crow. Keith says the main issue Hinkle is addressing is the invisibility of black women, especially those who are abused or in danger. 

Hinkle was particularly inspired by the South LA serial killer "The Grim Sleeper." He is accused of murdering over one hundred women from the 1980's onward, until being captured in 2007. Many of his victims were women of color according to the Los Angeles Police Department.

"He had been killing prostitutes and runaways and drug addicted women," says Keith, noting that some saw these deaths as occupational hazards.

Most of Hinkle's subjects in the paintings and sketches in "The Evanesced" are clearly nude. This was a deliberate choice to showcase femininity, according to Keith. She says:

She’s talking about being women... There’s love, there’s joy, there’s pain. All things we experience as all women... But [nudity], I think, allows us to focus on the female form, not necessarily get caught up on what they are wearing or what they’re doing.

In the artwork, viewers can see that every face, body, and hair style is completely unique to each sketch or painting. Keith says this helps the viewer appreciate the diversity amongst women of color. She says:

You have women that are smiling. You have women that are looking at you- you know- lovingly, shyly. Not every one, not every image in the show is about negativity, disappearance, or sadness. There is a bit of celebration. There’s interaction between multiple women. That’s what makes the body of work so interesting: it’s not just seeing women of color through one lens. There’s the possibility of seeing them through, like I said, disappearance, and also the freedom to have a wide range of emotions.

There is one painting that continues to draw Naima Keith back to it. It is called "Uproot 2017" and it features a feminine figure with three exposed breasts. She says this painting speaks to her about motherhood and the connection women have with their changing bodies. Keith says:

I asked Kenyatta why she depicts women with multiple [extra] breasts and we had a conversation about being moms. Kenyatta and I are both mothers of young children... As moms, we just kinda talked about how things aren't what they used to be, in terms of where they used to be. Like I said, becoming mothers, you have this different relationship with your body in relation to someone else.

Kenyatta A.C. Hinkle's "The Evanesced" runs at the California African American Museum through June 25, 2017.

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

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

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

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

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

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

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

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

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

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

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

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

The Glitter Path's "Wear a Wig"

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

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

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

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

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

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

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

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

Trap Girl live at Xicana PUNK Night

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The back cover photo splash from Ruth Batchelor's album "Songs for Women's Liberation: Reviving a Dream"; Credit:

I’ve been a member of the LA Film Critics Association since 1999. LAFCA is a good group - collegial and filled with real movie lovers. But it has a problem.

It's a professional organization, meaning a baseline for membership is you have to have a job, and film criticism is overwhelmingly white and male. 78 percent of the top critics listed on RottenTomatoes are male, and women write only 18 percent of the major reviews. So LAFCA is like the profession itself: overwhelmingly a platform for white men.

It's trying to diversify. It has been for years. But how do you do that when the pool you draw from has a huge institutional bias? According to film critic Claudia Puig, "Criticism has been a white male dominated field for very long. And it continues to be. And not just white males, but middle aged."

Claudia is the current LAFCA president - and a legendary critic, who wrote lead reviews for 14 years at USA Today, and now appears regularly on KPCC’s Film Week.

"Very few movies pass the Bechdel Test. Women are often just girlfriends, wives, mothers. They don't get to have a story arc of their own. But if you had more women reviewing these movies, they would point out certain things that people might not notice as potentially offensive. Because we have been harassed, or we have experienced any number of things. It's something I've grappled with through my entire career." - Claudia Puig

I'm on a committee with Claudia for the LA Film Critics. The concept is to mentor young writers - to generate diversity, from the ground up. One idea is to have a scholarship for aspiring female film critics. We thought it would be good to name it after a prominent woman from the group's past.

So I went to Myron Meisel, who joined LAFCA in 1979, just four years after it formed, and I asked him, "Is there a woman you can think of who played an especially prominent role in the history of the LA Film Critics Association?" "Oh!," Myron said. "Ruth Batchelor was the founder and driving force..." "Wait, what?" I asked. "LAFCA was founded by a woman?"

"We weren't shocked. You had Ruth, who was very much concerned with creating a Los Angeles equivalent to the New York Film Critics Association. Which she largely pulled together by force of will. While Ruth was the moving force, you really can't discount her ability to martial the enthusiastic support of Charles Champlin as a co-founder, and the imprimatur of the Los Angeles Times behind him. Ruth had an enviable ability to make everything she undertook seem inevitable." - Myron Meisel

It's poignant, isn't it? And a little creepy. A prestigious group commits to gender diversity, and somehow, it doesn't have the institutional memory to know that the pivotal figure in its history was a woman.

How could we forget Ruth? Batchelor was nothing if not memorable. Before she became a pundit, she was a successful pop songwriter in the style of Neil Sedaka, or Goffin and King. She wrote dozens of songs, recorded by everybody from Phil Spector to the Partridge Family. She wrote Elvis Presley numbers, including "Cotton Candy Land," which might be the most hated track in the Presley catalogue.

But Batchelor also wrote "Where Do You Come From?", which is beautiful.

Elvis Presley performing Ruth Batchelor's "Where do you come from?"

Where do you come from, Ruth?

It wasn't easy to find out.

Batchelor's New York Times obituary was full of false leads. It said she was a critic for National Public Radio. She wasn't, but when NPR searched their archives, they unearthed a lead: a Film Comment article from 1982, where Batchelor is described as "Ruth Batchelor of National Public Radio's 'As it Happens.'" "As It Happens" airs on Canada's CBC.

So I placed a call. And I waited.

Meanwhile, I found a blog post about Batchelor as a songwriter on an excellent site called "Zero to 180 - 3 Minute Magic." The title of the post was riveting: "First 'Women's Liberation LP.'"

It turns out in 1971, Ruth Batchelor self-produced and financed a concept album called "Songs for Women's Liberation: Reviving a Dream." 

Myron Meisel told me about Ruth's earthy sense of humor, and it's right there in the first write-up's, where her working title is "A Quarter for the Ladies Room." A Billboard article from August 1971 quotes Batchelor about the album: "Right now I have an album of dirty Women's Liberation poems recorded, and I'm trying to sell the master." Then she laughs. "The last record company I recorded for folded."

Batchelor shopped her record. There were no takers.

But Batchelor proved unstoppable. She created her own record company and called it Femme Records. Then she put out what the leftist journal Broadside called "the first feminist record album," all by herself. "Reviving a Dream" is forgotten, bordering on lost. It's never been available for streaming, or released on CD.

Batchelor's record is a pastiche of radio styles from her era. There's Joan Baez folk, two drawling country laments, even some call and response stuff Batchelor probably learned from Phil Spector and his girl groups.

Are Batchelor's songs any good? They're amazing. Amazing just because they exist.

She fits into the churning sea of anonymous faces so seamlessly it takes awhile to realize: She's Ruth Batchelor. The woman who founded the LA Film Critics. A group currently struggling with gender diversity.

LAFCA prez Claudia Puig agreed to an interview knowing it had to do with LAFCA, but not what it was about. I played her Batchelor's song "Drop the Mop." Batchelor intended it as an anthem, scored to a tempo of marching feet.

The listen was awkward - like force feeding a roommate your iTunes playlist. Claudia took notes the whole time, to occupy her critical mind, but I could see when it ended that she was moved.

 "Yeah, it's a really interesting song," Claudia said. "My reaction is sort of...ummm..."

Claudia hesitated, looking for words.

"And this was the origin of the group. Yeah. It really kind of... It is really interesting. I'd never heard of her. She was right there, fighting that fight." 

"And here, we were looking for an avatar," I said.

"Right. Right. It means something. This is a really important discovery that you made."

A piece of the portrait was missing - an essential one. It came courtesy of Kevin Robertson, a producer for "As It Happens" at the CBC. Batchelor had been the show's "Hollywood Correspondent" in the early 1980s. There was audio in the archives. Kevin provided me with five MP3s.

Batchelor's CBC brand was gender traditional. She was the tinseltown gadfly, a niche created by Hedda Hopper and Louella Parsons in the 1930s. There was gossip about Burt Reynolds and Loni Anderson. Richard Burton's widow. Marvin Hamlisch. TV's "Gomer Pyle."

It was kitsch heaven, so I wasn't disappointed. Not exactly. But it was still a bit like listening to Wonder Woman try to be ordinary, because hey, we all gotta eat.

Ruth Batchelor's "Mr. Principal"

The LA Film Critics get a cameo in Batchelor's Oscar season broadcast, when she mentions her LAFCA Awards vote. For awhile, I thought that would be the only audio connecting the "As It Happens" Ruth Batchelor to the feminist fireball she wanted to be.

Then Batchelor starts riffing on "Partners," a buddy cop farce about a straight cop who goes undercover as a gay man. The film had sparked protests from the gay community. Batchelor is unsympathetic, which is surprising in a civil rights pioneer. Her reasoning is devastating.

"You know if women got angry every time there was a movie against women," Batchelor says, "there wouldn't be any movies."

Batchelor died of cancer early - she was just 58. 25 years later, men still direct most mainstream movies - 93 percent as of 2015. They have 70 percent of the speaking parts, and play 88 percent of the leads.

While women get to be naked twice as often in American movies.

Men review almost all movies too. Maybe that's why Ruth Batchelor founded the LA Film Critics. Because she lived in that world. She covered it. Spoke to it. Fought hard against it.

And then left behind a hidden legacy.

"She is our avatar," Claudia says, as our interview time runs out. "It sort of makes me want to redouble our efforts to honor her spirit."

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

L-R: Three Southern California retro fanatics, John Rabe, Chris Nichols, and Charles Phoenix; Credit: John Rabe/KPCC

Is it possible that the two titans of retro Southern California - Charles Phoenix and Charles Nichols - have never been on Off-Ramp at the same time? But maybe that brings up a larger question. Is it even possible for them to exist in the same place, at the same time, or would their meeting cause a cosmic singularity, an undarnable rending of the time-space continuum?

The answers are, stupidly, yes; and thankfully, yes.

Over the 11 years of Off-Ramp, "God Bless Americana" author Charles Phoenix and Los Angeles Magazine's Chris Nichols have played a large part in bringing interesting and endangered places to our listeners. From Pomona to Chatsworth to Bellflower to Anaheim, both men have made careers of highlighting and preserving things that in their day were seen as expendable, flavor-of-the-month, mass marketed creations. Like programmatic architecture (buildings that look like what they're selling or making, i.e. the Donut Hole in La Puente, the Idle Hour - a giant wine cask - in NoHo).

Yet, with hindsight, we've been able to see them as archetypal and important touchstones of our region.

For their final appearances on the show, they got in the Mercedes and shared their love of getting lost in Southern California.

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

Full Text:

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

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

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