Multiplex amplification of all coding sequences within 10 cancer genes by Gene-Collector

Herein we present Gene-Collector, a method for multiplex amplification of nucleic acids. The procedure has been employed to successfully amplify the coding sequence of 10 human cancer genes in one assay with uniform abundance of the final products. Amplification is initiated by a multiplex PCR in this case with 170 primer pairs. Each PCR product is then specifically circularized by ligation on a Collector probe capable of juxtapositioning only the perfectly matched cognate primer pairs. Any amplification artifacts typically associated with multiplex PCR derived from the use of many primer pairs such as false amplicons, primer-dimers etc. are not circularized and degraded by exonuclease treatment. Circular DNA molecules are then further enriched by randomly primed rolling circle replication. Amplification was successful for 90% of the targeted amplicons as seen by hybridization to a custom resequencing DNA micro-array. Real-time quantitative PCR revealed that 96% of the amplification products were all within 4-fold of the average abundance. Gene-Collector has utility for numerous applications such as high throughput resequencing, SNP analyses, and pathogen detection

The Gilbert & Sullivan Critical Edition and the Full Scores that Never Were

The critical edition of the “Savoy Operas” of W. S. Gilbert and Arthur Sullivan provides a useful example of the ways in which scholarly editions of performing works can alter important elements of the sources on which they are based. The accepted form for the presentation of a critical edition of an opera is the “full score,” but for no Savoy Opera did a real full score ever exist—nor was one ever intended. The sources closest to full scores were the copying masters that Sullivan prepared for use by copyists extracting parts for performers, but these are skeletons into which Sullivan often did not enter revisions. In preparing critical texts of Savoy Operas, editors have been obliged to take different elements of the text from different sources: the instrumental parts from Sullivan’s holographs (with ambiguities clarified by surviving early band parts); the vocal lines and underlaid words from printed vocal scores; and the dialogue and stage directions from printed libretti. Thus are created full scores that not only “never were” but that were never intended

Murder Ballads

Violence and murder have a strong cultural currency, the implications of which should be pursued by those with an interest in law and society, crime, and justice. Murder ballads are songs about death and killing with a history stretching back to the nineteenth century. Drawing out the major themes of this genre can help scholars gain a handle on how murder has been treated in popular culture, thereupon providing an enhanced understanding of the human condition. As an example of such examination, 2016 marked the twentieth anniversary of Nick Cave and the Bad Seeds’ Murder Ballads, their most famous and, perhaps, defining album. More than any other Bad Seeds album, Murder Ballads captures the essence of a band at its most comfortable in exploring the dark and the taboo: violence, killing, death. In producing a whole album on murder, the band left a calling card by which the wider public could define them. This article will explore the album by considering its key themes and, in so doing, reflect on the need to understand the use of murder in such popular music. The use of murder and death in popular music has not been properly studied, yet it offers potential social insight for several fields of study such as law, criminology, and psychology. In particular, little considered issues around the treatment of murder in popular culture such as humour are identified, while others that require greater attention such as attitudes to women are also given due consideratio