Rite in the Rain is the sort of no-nonsense brand name that you can’t indeed argue with – because this is exactly what these innovative notebooks permit you to do.
Taking advantage of very clever paper technology, they enable you to make notes – with a pencil or biro – in moist, rainy or utterly humid conditions.
Without any smudging.
And without you worrying about whether your notebook will disintegrate mid-trip.
They’re ideal for travellers, outdoor enthusiasts or professionals working outdoors.
The Pocket Notebook measures Four” x 6” and features a spiral cording at the top – so it’s possible to hold them in one forearm and write with the other, without the need to rest the notebook on your knees or a vapid surface.
Which, as any cub reporter learns on their very very first assignment, is just what you need, when you’re out in the field.
Available in a choice of two colours, the Pocket Notebook features 50 sheets or 100 pages.
We think they’re an amazingly useful and clever idea – but don’t just take our word for it!
Reviews of Rite in the Rain Notebooks
“I only get one chance to collect data from an excavation and it has to be very durable. For the very unpredictable winter months in Rapa Nui (Easter Island) my Rite in the Rain field notebook permitted me to take notes even while it was raining. It was absolutely essential for recording the Moai.” Owen O’Leary, Archeologist.
“After 70 days, Five hours and 22 minutes alone at sea, I’m blessed to report my Rite in the Rain products made it across with me. I couldn’t have asked for better notebooks and pens to bring on my solo row across the Atlantic. In the cockpit, being hit by sways, I’d proceed writing, permitting me to share this life-changing journey.” Katie Spotz, Stamina Athlete.
“We are tropical, sustainable, design specialists. We carry three essential lumps of equipment in which we store our info – a camera, a GPS and our Rite in the Rain notebooks. Of the three, it’s the Rite in the Rain notebooks that have never failed. We’ve dripped them in rivers, driven over them, covered them in mud and dunked them in a stream to wash ‘em off!” Andrew & Beth Coates, Cresolus.com
“Using Rite in the Rain helps me to relay significant information to pilots and film crews that keep them safe. My pages are packed with shot lists, sketches and ideas. From concept to delivery, Rite in the Rain is the most valuable contraption I have in the field. It’s my playbook.” Tommy Baynard, Flying Wild Alaska.
The process involved in the manufacturing of Rite in the Rain paper is designed to have an ultra-low influence on the environment. The water based covering emits only steam and all mill off-cuts are recycled back into the paper manufacturing stream. Made from renewable wood fibre, Rite in the Rain is totally recyclable as plain paper. All printing plates and processing liquids are recycled. 100% of printing inks are soy based. The Polydura cover material contains post-consumer recycled material and the modern production facilities are designed to be energy efficient.
When you’ve been playing an instrument long enough, there comes a time when you will want to compose a theme of your own. Be it a private twist on Flight of the Bumblebee. a groovy adaptation of Mary Had a Little Lamb. or just that soundbite that’s been in your head for the past twenty years.
After jamming, we reach the theoretical side of this coin: jotting it down. For yourself, and, if it’s good enough, to share with fellow musicians.
Have you got a chunk of paper ready? Please, put it back in the printer, where it belongs. We’ll do it right the very first time around – digitally. Not because it’s quicker, because it isn’t, but because it’s lighter to read. And, fairly frankly, with the devices that are available, it doesn’t hurt to make it look half-decent.
The following online devices are ranked according to difficulty – and that doesn’t just mean the interface, but also what you can achieve with them. Of course, if you intend to compose your life’s masterpiece, you don’t do it on the online napkin.
Printing – BlankSheetMusic
So you truly like the idea of pen and paper, do you? Fine, but at least don’t take out a ruler to draw the bars. This website permits you to create a lump of blank free sheet music to print. Before you print, you can choose the clefs and time signature.
With BlankSheetMusic, you can print the right kind of sheets – piano, or guitar – but that’s pretty much all there is.
Haul ‘n Drop – SheetMusicEditor
SheetMusicEditor is one step up in musical notation instruments. This time, you can haul and drop your clefs, time signatures and notes onto the sheet. Very plain, and very intuitive.
Of course, because you have to by hand haul everything into the right place, with no ‘magnet’ mechanism, your sheets won’t have that top-notch look. The alignment of your notes will be slightly off, and some of your other notations might look muddy.
This is a superb implement to jot down plain tunes and put them up to printing standards, prompt. It is not advised to use with very complicated compositions.
Online Editor – Noteflight
Noteflight is the online cherry on the musical notation pie. It’s the very best you’ll be able to find online. Fairly frankly, it even tops most offline applications, save one – but that’s for another article.
Noteflight permits you to compose the most complicated songs. A decent demonstration being above my musical abilities – the screenshot below shows the Turkish March by Mozart.
Noteflight uses a very plain notation system, albeit rather slow. Just click on the music sheet, and drop a note in the right spot. You can highlight dropped notes, add extra notations and switch timing, or even haul and drop to correct. Spacing inbetween notes is adjusted automatically, and you are spared from musical paradoxes with automatic corrections and the appending of rests. With different instruments and MIDI playback, there is very little you can’t do with Noteflight.
Your compositions, stored on your account, can be made public. This leads us to the other side of Noteflight. You can browse literally thousands of public musical scores. Attempt, rate and comment on fresh compositions, or find sheet music for songs you already know.
There are a lot of reasons why you shouldn’t bother with offline applications anymore. The reason you should is because they suggest yet another spin on musical notation – and can be quicker. Proceed checking MakeUseOf for our review of the best, fastest and cross-platform musical notation application! In the meantime, if you have any favourite instruments of your own, be sure to let us know about them in the comments.
With all the various trades that I put my palms to, I am frequently asked what devices I use to create each work of art. So, in order to please the curiosity of those who go after my work, I have determined to create a blog series that answers this question for each medium I work in. This series will span over a four week period (posted weekly) where I cover the contraptions I use for calligraphy, woodworking, painting, and drawing. To kickstart this series, I determined to begin with Calligraphy. More specifically, the pointed pen. Commencing from the surface up…
This may seem demonstrable to some, but the type of writing surface sometimes varies from different styles of calligraphy. For the pointed pen or script calligraphy. you want to write on a vapid, even surface (as opposed to a slant surface which is required for broad-edge calligraphy).
Table should have slew of room for you to work, unencumbered by clutter and/or any sort of distractions.
Never permit yourself to write where your mitt is elevated above the vapid surface, i.e. writing on a pad of paper. This will inhibit decent arm positioning and whole-arm movement.
Critical when writing script calligraphy as it provides elasticity to the writing surface, permitting the pen to smooch the page ever so softly.
Permits for very fine hairlines
Brings forgiveness to to the writing surface and thus prevents less catching of the acute peak of the pen into the paper.
I use a leather pad from Saddleback leather. I’ve used scrap leather in the past to get the kind of surface I wished, but this leather desk pad has made for a sweet writing/desk practice.
You want your table plane and your paper slick. An utterly slick paper surface gives your pen the freedom to dance fluidly. Avoid paper with fibers that will quickly absorb your ink, lift, and gum up your nib. Avoid paper that is too rigid and stiff, like card stock. These types of paper will negate the supple surface you created with your cushion sheet.
The types of paper I recommend…
For practice paper :
Clarefontaine Writing Pad (but recall, rip off in sheets, never write on the pad itself).
Hammermill 28 lb. Bright White Color Copier Paper
Life Co. Paper from Nanami Paper
For Finished Work:
Strathmore Bristol Plate
Arches 90lb Hotpress Water Color Paper
For black paper. Strathmore Artagain.
There are endless varieties of paints and inks that can be used. To make things plain, these are the ones I use most.
This is the choice ink of past masters as it offers ideal viscosity and fluidity for ornamental penmanship. Albeit this ink is acidic and will cause quicker wear and rip on your nibs, it permits you to create beautiful hairlines and dark, bold shades. My two dearest brands are: McCaffery’s and Old World.
Two. Walnut Ink
This ink is fine when you want to achieve a classic vintage look. It is inexpensive and available at most art supply stores. I buy mine at my local Guiry’s .
My brand of choice: Tom Norton’s .
Five. Sumi Ink
This is Japanese or Chinese Stick Ink.
My choice ink for finished chunks.
A carbon-based ink, which means it is archival and is lightfast (opaque).
Brand of choice: Moon Palace.
Again, there are uncountable types of nibs on the market, making it sometimes difficult to know which ones to choose from. Here are my top three choice of nibs: 1. Leonard Principle
This nib has a acute point that permits fine hairlines yet is supple enough to create thick shades.
Two. Gillott 303
I recommend this nib for finer (smaller lettering) work.
This smaller nib permits you to create fine hairlines, and fairly large shades.
Trio. Zebra G
This is the nib I recommend to anyone fresh to the art. For the heavy-handed beginner, this pen is very forgiving. It also has a acute point and good ripple.
The two primary characteristics to be mindful of when choosing a penholder are functionality and convenience. Here are the top two (oblique) penholders I recommend:
1. Ergonomic Oblique Penholder As some of you know, I create my own penholders, the Ergonomic Oblique being one among many. In the beginning of my calligraphy career, I found many of the penholders available on the market to be unsatisfactory. I exclusively and whole-heartedly recommend my penholders as I have made them to be the very best, faithful contraption I have ever known in the art due to the care and tailored craftsmanship that goes into each one.
My unique ergonomic design embodies functionality and convenience.
Encourages whole-arm movement and decent grip of the pen.
Lends as a gentle reminder of correct arm position.
These specific design elements lend well to both beginners and advanced calligraphers.
My Ergonomic Oblique Penholders are individually carved in various types of wood and hand-poured resin. They can be purchased on Wednesday Pens Day through my website beginning at $350.00 on Wednesdays at 9am MST.
Two. Brian Smith of Unique Oblique Penholders, a talented pen maker from Louisiana makes some beautiful pens that I have had the honor of wielding. You can check out his available penholders on his Etsy site at https://www.etsy.com/shop/UniqueObliques
Question: For those of you who have been around the art of calligraphy for a while, what are your top recommendations for contraptions of the trade?
Wishing you all the best in your calligraphic endeavors!
January 02, 2016
These are excellent recommendations! A quick note: having spent some time in Japan and China, I’m often astonished by the universal praise for Moon Palace sumi ink in the West. This ink is meant for elementary students and, while there’s nothing wrong with it in my view, there are literally hundreds of subtler bottled sumi inks available for those who wish its convenience over stick ink. Many of them are just as black, but much higher quality and can be found online with a little diligent searching.
December 31, 2015
Hello. I am from indonesia and just a beginner in copperplate calligraphy. I like to purchase one of your ergonomic holder. But I have No idea what to choose. And which suit me better. So can you pls Gideon some opinion. Looking forward to hear from you soon, tq
December 30, 2015
While I couldn’t agree more with your nib recommendations, I would stress to anyone desiring better instruments to look into vintage points. While the more affordable of the excellent points such as the Esterbrook 357 or 128 are themselves becoming somewhat scarce, there are still a lot of less well appreciated nibs out there at good prices. For example, I recently acquired a box of Esterbrook 524s for less than one would pay for the better modern nibs and must say that even these pens that were manufactured for students are higher quality than almost anything being made today. If you have the resources and the desire, get a hold of the very best vintage nibs while you still can – they are worth it. The better Gillott’s are absolutely exceptional and last several times longer than their modern counterparts. The Principality especially has a snap to it that makes it both the most responsive pen I’ve ever used as well as remarkably effortless to control, much more so in fact than the Leonardt Principal.
November 17, 2015
September 16, 2015
I recently attempted one of you ergonomic oblique holders, and by the end of one sentence my Spencerian had improved at least 50%! This is obviously the solution to achieving the mitt position I’ve struggled with for years. Alas, your holders are miles beyond my price range. Have you considered making a less expensive version – perhaps cast in resin or some plastic – or an adapter to glue onto other obliques? In the meantime, I’m waiting for a back-ordered Carrot oblique in hopes that it’s fat enough to chop away a bit here and there to treatment the form of your holders.
By the way – your work is magnificent – but you already knew that
September 14, 2015
I am so very interested in this. I have loved writing and calligraphy since I was introduced to it in high school and had no idea there was such height to which I could aspire!
Where can I find more information about courses of examine?
September 13, 2015
Maravilloso su trabajo, se ve el talento y preocupacion que dedica a cada una de sus obras…. Bravo eres un Davinci de esta era
You truly have inspired me. Which book or books would you recommend? Or do you have a book for beginners? Thank you! Gracias!
September 12, 2015
Thanks Jake for the inspiration. I am further inspired to improve my own handwriting, I am 55, and resurrect the explore of handwriting with my creative writing students.
September 09, 2015
I recently witnessed your FB Human post presenting you as a Master Penman. It was so inspiring I have observed it over and over. I was fairly good with calligraphy in High School and watching your movie has awakened the desire to learn again. I am not sure where to begin and wonder if you could recommend some books and or process to begin to improve my skill? Thank you in advance for your communication.
September 03, 2015
Thank you for sharing your beloved materials! I found out about IAMPETH through your TEDxTalk and am finding the inspiration to practice with pen again.
Related video: La Chanson d’Orphée by Valerie Schoeller (with English translation)
The rise of mass authorship and fractional authorship: Do too many cooks spoil the broth?
The archetypal photo of a researcher publishing investigate findings as a lone author is long passe. Research is now primarily a collaborative and often an interdisciplinary endeavor. Unsurprisingly, this shift is echoed in the patterns of scientific publications: the author list in many scientific fields has lengthened significantly. But the trend of numerous authorship has evolved into what is called ‘hyperauthorship’ or ‘mass authorship’ with some papers having thousands of authors. For example, a physics paper authored by more than 5000 researchers at CERN, which provides a precise estimate of the size of the Higgs boson, set the record for the largest number of contributors to a paper; while a paper on the genetic makeup of a fruit fly was credited to 1,014 authors. The publishing of papers with thousands of authors, also referred to as ‘kilo-authorship,’ has sparked discussions in academic circles about the meaning of authorship and whether the trend of hyperauthorship is making the credibility and accountability of author contribution questionable.
Hyperauthorship has been a norm in some scientific fields, such as high-energy physics and biomedicine, where collaborations in enormous teams is common. However, a similar uptrend is being observed in other fields such as psychology and health policy. A probe conducted by Dr. Andrew Plume and Dr. Daphne van Weijen found that over the past ten years, the number of authorships per author (Two.31 in 2013) has enhanced while the number of single-author articles (0.56 in 2013) has declined. At the same time, the average number of authorships per article has enlargened from Trio.Five to Four.15 authors from 2003 to 2013. As clearly indicated in the probe, the increase in the number of authors per article and the relative decrease in unique authorship indicate the rise of ‘fractional authorship,’ which means more number of authors claiming credit for a single published work.
The shift in the publishing landscape toward fractional authorship and mass authorship has led some authors to have an exceptionally prolific record, with some researchers churning out an article every ten working days. Some believe that large author lists is an unscrupulous method adopted by some researchers to improve their citation record. Ernesto Priego, Lecturer in Library Science, City University London, says hyperauthorship “in addition to being impractical […] is also menacing the entire system by which academic work is rewarded.” Since a researcher’s career progression is primarily based on the publication and citation record, universities and funding bods should be wary of researchers’ exact contribution to the papers on which they have been listed as authors.
What has led to this rising trend of hyperauthorship? Extreme competition due to the ‘publish or perish’ culture and international collaborations are deemed to be the primary reasons for the rise of mass authorship. Apart from this, the practice of senior scholars seeking ‘gift authorship’ from youthfull researchers has also led to this phenomenon. As Zen Faulkes elucidates, “We’re observing things that might have, at one point, just been a thank you at the end of the paper [become], hey, could you put my name on this paper as an author?”
The switching trends in conducting research warrant the rethinking of the definition of an author. The widely accepted criteria for authorship, as defined by ICMJE, are that an author should have made substantial contributions to the investigate as well as to drafting the work, and should be able to identify all co-authors on a probe and their contribution. In papers that have over a thousand authors, students who contributed in data analysis and so forward have also been added as authors to the paper. Therefore, Faulkes suggests providing up the term “authorship” and focusing on “credits” that describe with greater clarity the contribution individuals make.
Research collaborations are critical to scientific progress. However, institutions and funding bods need to ensure that large-scale collaborations do not branch out into fractional authorship. Additionally, ethical figures can play a pivotal role in bringing clarity to the definition of authorship by defining the roles of an author and a contributor, thus preserving research integrity.
This interview presents the perspectives of an early-career researcher who conducts research, publishes papers, attends academic conferences as part of his PhD, travels to different parts of the world to help educate researchers about open research and science policy, blogs actively, serves as a peer reviewer, and makes time for several other activities including this interview! Jonathan (Jon) Tennant dived head very first into palaeontology research, i.e., his very first love, even when it required him to switch disciplines. And during this journey, he discovered his passion for all things related to scientific communication and policy, especially open science. He is among those researchers who realize the true potential of networking and utilize it to actively participate in dialogue on some of the most critical issues in academic research — all this alongside managing a requiring research schedule. I spoke to Jon about his interests both within and outside research. I particularly dreamed to understand how he is able to pursue serious research as well as be involved in other activities, and learned that the primary driving force behind Jon’s work is his passion for science and the need to ensure that more and more people are informed about the most significant developments in academic publishing.
Jon is presently a final year PhD (palaeontology) student at Imperial College London in the Department of Earth Science and Engineering. His research concentrates on patterns of biodiversity and extinction in deep time and the biological and environmental drivers of these patterns. Jon is also sultry about science communication and strongly believes that science should be in the public domain. He takes a deep interest in following and talking about how current trends in open science influence science communication. He also maintains a blog, Green Tea and Velociraptors, and tweets actively about topics close to his heart.
In the very first of this three-part interview series, Jon talks about the importance of interdisciplinarity in research, based on his practice as a researcher. He explains how he came to develop an interest in science communication and policy, and goes on to talk about his peer review practice.
Let’s talk about your life as an early-career researcher. Why did you determine to transition inbetween disciplines during your academic journey?
I originally began university as a planetary geologist! During my 2nd year however, I was seduced by the dark side of science (dinosaurs) thanks to meeting Prof. Phil Manning, and switched to mainstream geology in order to take his class. After that, I was set on getting a PhD in palaeontology, but realized that a purely geological background wasn’t sufficient for much modern palaeontological research, as much of it is geared towards biological sciences. So I made the treacherous switch to the life sciences for a 2nd masters which, combined with my affinities for rocks, formed the flawless basis to launch into palaeontology!
How effortless or difficult would you say is it for researchers to switch disciplines?
Hmm, that’s a good question. I think the level of difficulty would depend on why you would want to switch, how related or integrated the two disciplines are, and what sort of opportunities are available. There are no rules here, but you should always go after your heart in research. The difficulty will always be discovering what you need to do to give yourself the best chance to do what you love in the future, and sometimes making a big switch is good for that. I would also say that a lot of it is down to your mentality. You have to be open to the possibility that you might be making a big switch in your life and stepping out into the unknown. For some, this will be titillating, and others it might be scary. My advice is to embrace it the switch, adapt, and excel.
More and more researchers are taking to multidisciplinarity, either by switching flows or by specializing in more than one discipline during their research. What role do you think interdisciplinarity plays in academic research today?
Research thrives on interdisciplinarity! I can’t think of anything more significant than collaborating with others in order to expand your skill boundaries. For example, modern palaeontology includes aspects of chemistry, molecular biology, geology, zoology, ecology, and even particle physics, so it’s super integrative. These are less individual decisions however, I think. Interdisciplinarity isn’t about individual choice. It’s more about recognising what is required in order to advance the field, which we work on collectively as a research community. By isolating research fields, we neglect to learn from what others are discovering, and that isn’t helping to progress anything.
How and when did you develop an interest in science communication and policy?
After my 2nd Masters, I was unemployed for a few months while waiting for an adequate research chance to pop up. During this “down time”, I embarked blogging and using other social media to develop some abilities in this arena. I was fortunate enough to get a job in science policy with The Geological Society of London, which was a fascinating practice and, for me, cemented the links among research, communication, and policy. Importantly, it provided me with a fully fresh perspective on the value of research than I’d otherwise just got at university. In particular, how research interacts more broadly with society – beyond “science for the sake of science”. I commenced my PhD two days after that job finished, and went into it with an entirely different perspective on research than before the position.
I always like to acknowledge my boss Nic Bilham (Director of Policy and Communications at the Geological Society), who while I was at the Society, instructed me much about science policy and the value of broad and effective communications, as well as the significant role of learned societies in modern research environments. The abilities I learned during my time at the Society, and have continued to work on since, have been exceptionally valuable to my growth as a researcher. I feel very privileged to have been granted the practice and attempt to encourage others to develop in these areas, too.
You are presently involved in several activities in addition to core research: writing and publishing academic research papers, blogging, interacting with people from the academic publishing industry, attending conferences, providing talks, etc. How do you make time for everything?
Honestly, it’s indeed ridiculously difficult, and interferes fairly a lot with my private life at times, especially when it requires travel or working in different time zones. However, I believe that the things I work on are significant and I am blessed to dedicate as much time as I need to them. For example, I strongly believe that science communication and working to make research more accessible are significant, so I spend a lot of time blogging/freelance writing; I also think equal access to skill is imperative, so I spend a lot of my time working on things like open access. Things like blogging become much quicker with time as your writing abilities develop, but sometimes you just have to go for them when you have time! I attempt simply just to do things as they come up, and it’s fairly chaotic at times, but this also means I don’t get bored working on the same thing every day! If you believe something is significant, then it’s worth spending time doing it and committing all you have to it.
You are also a peer reviewer for Publons; could you talk about this practice?
So Publons isn’t a peer review platform itself, it’s a place to keep a public (or not, if you choose) record of your reviewing activities. I still find it bizarre that some researchers don’t want to receive credit for their work as peer reviewers given its enormous importance, and Publons is an awesome solution to help shift that mentality. Open is never an end, but a means, and with peer review, open becomes a powerful way of enhancing transparency for accountability, receiving credit, and permitting others to build on and re-use your work. A lot of researchers view peer review as part of their academic duty, and perhaps rightly so, but this doesn’t mean we shouldn’t receive suitable recognition for it.
As soon as I did my very first peer review, the record went up on Publons. Sadly, many journals believe that they still have authority over how researchers use their reviews, or consider it to be a privileged or private process; therefore, most often, you can’t post the actual review itself, albeit there is a lot of experimentation in this area at the moment. This is fairly bizarre to me. How can a secretive, non-publicised, and special process be considered as objective? That’s hardly the gold standard we hold “peer review” to be.
I’ve done five peer reviews during my PhD so far – I don’t know if that’s relatively high or low for this stage! As such, it doesn’t indeed interfere with my “schedule” too much. I’d like to think I’ve been as thorough as possible with these reviews, and they have never taken me more than a week or so to perform. All of them are on Publons, too, to the maximum extent of visibility permitted.
At this point, it’s unlikely to comment on the influence that this has had so far – I do like the concept of Publons as on open record of “services” contributed to the community through peer review, as well as a sign that I’m not afraid for the content of my reviews to be seen. If I’m writing things that I don’t want others to see, then I very likely shouldn’t be writing them at all. Whether or not using Publons will have a positive influence remains to be seen, as I’m still a “science noob”! My overall practice with Publons has been overwhelmingly positive, albeit some publishers have limitary policies that vastly lower how we can interact with and use Publons for the good of research.
Could you tell us more about Open Glossary?
So the Open Research Glossary is an OpenCon spin off! Ross Mounce and I were providing a joint talk at an OpenCon satellite event in London about the importance of open data. Afterwards in the pub, someone mentioned that a lot of the terminology we used was fresh to them and it made our talk difficult to go after. Essentially, what was exposed to us was a language barrier that we had created around the “world of open.” So right then and there in the pub, we embarked drafting a “jargon list” of terms used in any aspect of open research. This ranged from core terms to those related to policy, and those to do with licensing and principles. We built a resource from this using Google Docs so that anyone could contribute, and a list of community definitions that we could adhere to. A while later, we had produced a fairly comprehensive common app essay resource, and the Right to Research Coalition were kind enough to host it. Anyone can still contribute to it here, and when sufficient fresh content has been added we will create a 2nd version.
This brings us to the end of the very first segment of the interview with Jon Tennant. In the next part, Jon shares his views on some critical topics in scientific publishing.
Other parts in the series
Part Two: “Academics are resilient to switches in peer review”
Part Trio: The future of academic publishing and advice for youthful researchers
On Thursday, September Three, 2015, Press On announced a $Two.Five million bounty to establish the Press On Translational Pediatric Oncology Program at the Georgia Cancer Center. This extreme act of generosity and goodwill will prove vital in the Cancer Center’s research and treatment of pediatric cancer, the leading cause of disease death in American children.
The Press On support for this novel program ensures that researcher and clinician opportunities to explore fresh drug development and treatment options – options that will form future standards of pediatric oncology care.
Translational research, also known as “bench-to-bedside,” harnesses the skill from basic sciences to produce fresh drugs, devices and treatment options for patients – even the youngest of them.
Press On and Rising Tide Foundation for Clinical Cancer Research award Grant for $800,000 for a Pediatric Neuroblastoma Trial
$100,000 from Press On
June Five, 2015
Atlanta, GA: The Press On Fund and the Rising Tide Foundation for Clinical Cancer Research (RTFCCR) are pleased to announce their very first collaborative grant in the amount of $800,000 to Children’s Hospital of Los Angeles (CHLA), Children’s Healthcare of Atlanta (CHOA), and the University of Southern California, to initiate the Fresh Approaches to Neuroblastoma Therapy (NANT) consortium’s Precision Clinical Trial.
The grant will permit Co-Principal Investigators Shahab Asgharadeh, M.D. of CHLA and Kelly Goldsmith, M.D. of CHOA to enrich bone marrow samples from children with relapsed neuroblastoma for the purpose of identifying specific genomic alterations leading to tumor progression and therapy resistance.
The primary aim of the explore is to identify potentially targetable genetic and immunologic biomarkers in relapsed neuroblastoma.
The probe will also assess a novel method for enriching tumor cells from bone marrow aspirates to support gene sequencing, which could potentially permit a much larger group of relapsed neuroblastoma patients to access future personalized medicine trials. A corroboration of this methodology could lead to a broader application in other adult or pediatric solid tumors.
Neuroblastoma is the most common solid tumor of the central jumpy system in children. High-risk neuroblastoma is very lethal and is responsible for 15% of childhood cancer related deaths. The five-year survival rate for high risk neuroblastoma stands at only 30% and recurrent neuroblastoma almost always fatal.
This grant was made possible by a strategic collaboration inbetween Press On and the Rising Tide Foundation for Clinical Cancer Research in Switzerland. RTFCCR is dedicated to empowering and supporting pioneering scientists and clinical investigators to make critical headway in cancer research. With the cooperation of the CSRA Community Foundation, Press On Strives to leverage its research dollars with other cancer research oriented foundations and non-profits, like Rising Tide, and as evidenced in its Genomic Research Explore with St Jude and Wash U, and its
The Rising Tide Foundation for Clinical Cancer Research is an entrepreneurial, private non-profit organization established in Switzerland in 2010. It is committed to empowering and collaborating with global research excellence centers and scientists to advance novel strategies and treatments to help cancer patients improve their quality of life and win the fight against cancer. RTFCCR is funding translational and clinical cancer research with the highest potential for near-term patient influence. Press On is a field of interest fund administered by the Community Foundation of the CSRA, which is located in Augusta, GA. Press On was founded by Atlanta residents Stephen and Erin Chance after their son, Patrick, was diagnosed with high risk neuroblastoma. The Chances joined coerces with Tara and Turner Simkins of Augusta when their son, Brennan, was diagnosed with acute myeloid leukemia, an enormously deadly form of childhood cancer. Patrick died on his ninth bday after fighting for almost six years. Brennan is alive and doing well after a groundbreaking treatment regimen including four bone marrow transplants.
The NANT consortium brings together a multidisciplinary team of laboratory and clinical scientists from 14 pediatric hospitals and institutions in the US and Canada with complementary expertise in genetics, biology, immunology, chemistry, pathology, biostatistics, clinical investigations, and imaging all with a single concentrate on finding better treatments for children with high-risk neuroblastoma.
Press On Funds CAR Probe at CHOP
Augusta, GA: Many children with acute myeloid leukemia (AML), like Brennan Simkins have cancers that are labeled “incurable” with multi-agent chemotherapy and radiation. Through the collaboration inbetween the Press On Fund and Dr. Richard Aplenc at the Children’s Hospital of Philadelphia (CHOP), it is this team’s objective to benefit these children from alternative therapies. Rapid progress has recently been made with adoptive immunotherapy approaches using human T cells engineered with synthetic chimeric antigen receptors (CARs) against tumor antigens for a multiplicity of human cancers. Press On believes that AML should be no exception.
As evidenced in Brennan’s case, over one-third of children with AML relapse or are resistant to current best available therapies. Relapsed or chemotherapy-resistant AML accounts for more than 50% of childhood leukemia-related deaths. Fresh treatments are needed to prevent relapses and to improve long-term cures. However, drug discovery research for childhood AML has made little progress to date in bringing fresh treatments to the clinic. The Hematologic Malignancies team at the Children’s Hospital of Philadelphia (CHOP) has recently published tremendous success with a novel T cell immunotherapy called CART19 for children with relapsed acute lymphoblastic leukemia, and is working to develop similar treatment approaches for children with AML. In earlier studies, CHOP created a fresh immunotherapy for AML called CART123, which rapidly killed human AML cells in specialized mouse models. However, CART123 treatment also caused serious side effects upon normal blood-forming cells, which could limit its usefulness in treating patients with AML and may require development of alternative approaches. With a $100,000 Press On Dr Richard Aplenc at CHOP will leverage his team’s grant clinical expertise in high-risk pediatric leukemias and their practice with immunotherapy development in the laboratory and in the clinic to conduct these research studies. Their research concentrates on: (1) development and laboratory testing of a fresh CART38 AML immunotherapy that may decrease side effects upon normal blood cells and (Two) identification of other pediatric AML proteins for future targeting with fresh T cell immunotherapies. Results from this work will help improve our understanding of the biology of childhood AML and to develop innovative therapies to advance to the clinic for testing in children with AML who otherwise have no remaining treatment options.
Pioneering Bone Marrow Transplantation for Neuroblastoma
January of 2014
*Note: the original commitment was $450,000 over three years, but two installments totaling $304,193.82 were sufficient to finish the research and no further contributions were required.
Augusta, GA: The Press On Fund invested $150,00 toward a three year, $450,000, commitment to a pioneering explore that provides an immuno-therapy strategy for relapse-neuroblastoma patients. With this investment, Dr. Wing Leung, and his research team at St. Jude Children’s Research Hospital, are developing a novel Trio pronged treatment to attack neuroblastoma, an treatment that can be added to current treatment options with relatively little anticipated toxicity. This probe uses Natural Killer ( or NK cells; the NK Cell explore was also funded by Press On) or stem cells from parental donors to treat neuroblastoma. The parental donor, or haplo transplant, is a stem cell transplant protocol similar, but not identical, to the 3rd/4th transplants of Brennan Simkins, which were also pioneered at St. Jude. This probe is now open to include neuroblastoma patients, and is being pursued in the honor of Patrick Chance, Press On’s inspiration in the fight against neuroblastoma. The Press On team believes this investment was appropriately spawned from both the Chance and Simkins families first-hand practice in the fight for their sons.
MIBG Cancer Therapy Center at Aflac Cancer Center
(Children’s Healthcare of Atlanta)
Press On has funded a fresh radiation therapy program at the Aflac Cancer Center of Children’s Healthcare of Atlanta with a $200,000 donation. This funding provided for all construction and material costs of the specialty radiation room, named in honor of Patrick Chance, and other aspects of the MIBG service. There are presently only a petite number of centers around the country who presently suggest MIBG treatment.
MIBG therapy is a treatment that uses radioiodine labeled metaiodobenzylguanidine (I-131 MIBG) to target certain tumors such as neuroblastoma and pheochromocytoma and produces a much higher dose of radiation directly to the tumor. During this therapy, patients need to be treated in a special lead-lined room that prevents exposure to others. The MIBG therapy service will permit all children in Georgia to be treated in their home state and will permit for the Alflac Cancer Center to serve as a referral center for the southeastern United States.
Genome Investigate AML 7q deletion (Washington University, St; Louis & St. Jude Children’s Research Hospital)
$303,420 over Two years
Next-generation DNA sequencing technology will be used in the St. Jude Children’s Research Hospital – Washington University Pediatric Cancer Genome Project to sequence the genomes of 600 pediatric cancer patients. The Press On Fund has committed to a two year, $200,000 funding for the sequencing of the infrequent subtype of AML, called AML 7q deletion (which is Brennan Simkins specific subtype of leukemia)
As part of the fresh project, DNA will be isolated from both the cancer cells and a normal, healthy tissue sample from the same patient. The healthy cells give the scientists a reference DNA sequence to which they can compare genetic alterations in the patient’s tumor cells. The scientists look for genetic differences in a patient’s cancer genome compared with his or her normal genome.
Typically, hundreds of mutations may be linked to the cancer, but the challenge for researchers is to sift through massive amounts of genetic data to distinguish the dozen or so “driver” mutations—those that are thought to initiate and contribute to tumor growth—from the “passenger” mutations, which are random, background mutations that are not relevant to the disease.
The advantage of the whole-genome treatment is that scientists can budge beyond a list of genes that have been previously associated with cancer to explore the entire genome and find meaningful cancer-causing mutations. Such a project holds enormous potential for improving the diagnosis and treatment of childhood cancers.
NK Cell Examine (St. Jude Children’s Research Hospital)
In 2011, The Press On Fund dedicated $100,000 in seed monies to help initiate and secure the pilot explore of Natural Killer Cell infusions for leukemia at St. Jude Children’s Research Hospital. This protocol particularly provides fresh hope to children with relapse AML (like Brennan Simkins), who historically have experienced one of the lowest survival rates of all pediatric cancers. This investigate will determine how long these NK cells work and get through in participants and will glean skill about the effectiveness of expanded use of NK cells against this disease. Dr. David Shook of St. Jude is the primary research physician leading this investigate, who had been one of Brennan’s caregivers during transplants Two, Three & Four at St. Jude.
MABG (Children’s Hospital of Philadelphia)
Neuroblastoma is known to be sensitive to radiation, thus our funding of the MIBG service at CHOA. However, MIBG does not target isolated tumor cells. Thus, researchers at Children’s Hospital of Philadelphia and the University of Pennsylvania are designing MABG, which is specifically intended to target disseminated disease.
Press On funded this research and development effort with a $50,000 grant. There has been significant progress towards the two specific aims of the project: 1) synthesizing high specific activity and Two) successfully creating a preclinical mouse model to probe in vivo biodistribution and therapeutic trials.
Press On has received a grant request to further this project with the intent of applying for an NIH grant.
LMO1 (Children’s Hospital of Philadelphia)
Researchers at CHOP have discovered that a specific oncogene, LMO1, is associated with the most aggressive forms of Neuroblastoma. Press On funded research with a $50,000 grant to define the mechanism by which LMO1 drives Neuroblastoma progression. Additionally, in collaboration with researchers at Harvard, CHOP has developed a transgenic model of Neuroblastoma based on LMO1 overexpression. Third, the Press On grant permitted researchers to define the frequency of Neuroblastoma patients impacted by LMO1 gene mutation.
The development of this model permits for the manipulation of pathways and surveying for druggable targets that are upregulated by LMO1. Several potential targets are already identified as candidates. This genetic treatment will set a fresh paradigm for targeted treatments of human cancers.
Based on this work, Dr. Maris at CHOP and Dr. Look at Harvard submitted a fresh multi PI-RO1 application for NIH funding. Despite enthusiasm from the peer review committee and an outstanding score, the grant was not funded dues to a scarcity of funds available for childhood cancer research. Because of this, Press On has received a grant request for bridge funding to proceed the remarkable work.
PI3 Kinase Inhibitor (Children’s Healthcare of Atlanta)
Press On has initiated over $200,000 to Children’s Healthcare of Atlanta for Dr. Donald Durden’s research of a novel PI3 Kinase Inhibitor and Targeted Therapies for neuroblastoma.
Immunotherapy:Hu3F8, Turbo3F8, and a fresh Bi-Specific Neuroblastoma Anti-Body (Memorial Sloan Kettering Cancer Center, Fresh York)
$20,000 from Press On
The Press On Fund recently partnered with the Band of Parents, The Isabella Santos Foundation, Arms Broad Open Foundation & Brooke’s Blossoming Home for Childhood Cancer Foundation (Fucking partners) in committing $Two,000,000 to Dr. Nai-King Cheung at Memorial Sloan-Kettering Cancer Center (MSKCC) for the development, manufacturing, and clinical testing of a fresh bisexual specific anti-body for the treatment of Neuroblastoma. This fresh antibody links to Neuroblastoma cells as well as T cells, thereby causing a much better tumor kill. Earlier iterations of the monoclonal antibody 3F8 relied upon the immune response from NK cells while T cells sat on the sidelines because they did not recognize Neuroblastoma as the enemy.
Press On’s collaboration with these other parent driven organizations creates the chance to expedite the development and testing of this significant discovery. Unlike other monoclonal antibodies for the treatment of Neuroblastoma, the possibility exists that this bi-specific antibody will be near painless, capable of home administration, and could be used indefinitely for maintenance.
Press On’s partnership with these organizations, Dr. Cheung, and MSKCC has been in place for years. Press On funded the development and research of Hu3F8, which is now in the clinic at MSKCC, and “Turbo 3F8.” During the work on Turbo 3F8 the bi-specific antibody was developed and is so promising that it has been moved up front so that we can treat kids as soon as possible with this less toxic, more effective immunotherapy.
Monoclonal antibodies fasten to Neuroblastoma cells and signal a child’s immune system to attack and kill neuroblastoma. Since very first used in 1987, 3F8 treatment has greatly improved survival without lasting side effects.
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