Substance P and the tectothalamic pathway.

Masterson, Sean P.

doi:10.18297/etd/915

Cited by 2 publications

(3 citation statements)

References 96 publications

(63 reference statements)

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“…Although single action potential-generated calcium influx is sufficient to spark the release of classical neurotransmitters, burst firing or tetanic stimulation is required for the release of neuropeptides (Bicknell, 1988;Shakiryanova et al 2005;Masterson et al 2010). Twenty years ago we showed that I h and I T contribute to the phasic burst firing of guinea-pig supraoptic vasopressin neurons (Erickson et al 1993a,b).…”

Section: Role Of Pacemaker Current (I H ) and T-type Calcium Current mentioning

confidence: 99%

Pacemaking kisspeptin neurons

Zhang

Qiu

Rønnekleiv

2013

Experimental Physiology

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Kisspeptin (Kiss1) neurons are vital for reproduction. GnRH neurons express the kisspeptin receptor, GPR 54, and kisspeptins potently stimulate the release of GnRH by depolarising and inducing sustained action potential firing in GnRH neurons. As such Kiss1 neurons may be the pre-synaptic pacemaker neurons in the hypothalamic circuitry that controls reproduction. There are at least two different populations of Kiss1 neurons: one in the rostral periventricular area (RP3V) that is stimulated by oestrogens and the other in the arcuate nucleus that is inhibited by oestrogens. How each of these Kiss1 neuronal populations participate in the regulation of the reproductive cycle is currently under intense investigation. Based on electrophysiological studies in the guinea pig and mouse, Kiss1 neurons in general are capable of generating burst firing behavior. Essentially all Kiss1 neurons, which have been studied thus far in the arcuate nucleus, express the ion channels necessary for burst firing, which include hyperpolarization-activated, cyclic nucleotide gated cation (HCN) channels and the T-type calcium (Cav3.1) channels. Under voltage clamp conditions, these channels produce distinct currents that under current clamp conditions can generate burst firing behavior. The future challenge is to identify other key channels and synaptic inputs involved in the regulation of the firing properties of Kiss1 neurons and the physiological regulation of the expression of these channels and receptors by oestrogens and other hormones. The ultimate goal is to understand how Kiss1 neurons control the different phases of GnRH neurosecretion and hence reproduction.

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Section: Role Of Pacemaker Current (I H ) and T-type Calcium Current mentioning

confidence: 99%

Pacemaking kisspeptin neurons

Zhang

Qiu

Rønnekleiv

2013

Experimental Physiology

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“…I'd show them some steps if I liked them." 50 Starting in 1953 with the Cadillacs, Atkins was so successful as a coach that other groups eagerly sought his expertise. Atkins recalls that "Every time anybody got a hit record they brought them to me.…”

Section: Coles (Right) and Atkins (Left) The Classiest Of Class Actsmentioning

confidence: 99%

“…Atkins recalls: "At the time we were very conscious of the Black movement, and to be a part of something destined to become a first and contribute to the future of Black artists was an opportunity." 54 Detroit's Motown Records was founded by Berry Gordy, a thirdgeneration descendant of a line of southern black entrepreneurs. Gordy learned at a very early age that family unity and hard work were the necessary ingredients for success in business.…”

Section: Coles (Right) and Atkins (Left) The Classiest Of Class Actsmentioning

confidence: 99%

“Let the Punishment Fit the Crime”: The Vocal Choreography of Cholly Atkins

Malone¹

1988

Dance Res. J.

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From the Twenties through most of the Forties, American tap dance in the jazz/rhythm tradition experienced its heyday. Suddenly in the late Forties, the bottom dropped out for many rhythm tap dancers who had established successful careers in vaudeville, musicals, and with big bands. The great chronicler of jazz dance, Marshall Stearns, died wondering whether or not American vernacular dance was vanishing forever. Even today, many still believe that tap absolutely ended with the advent of rock-and-roll, or that it remained in a deep freeze until its revival in the late Sixties. However, the existence of black vocal groups such as those in the Motor Town Revue helped retain and preserve much of the vocabulary of American vernacular dance, including that of tap. The man largely responsible for this retention and cultural transference was Cholly Atkins, who worked as choreographer for Motown Records from 1965-1971. On September 30,1913, Charles Atkins was born to Sylvian and Christine Atkins in Birmingham, Alabama. Four years later, the couple broke up, and Charles and his brother relocated with their mother to Buffalo, New York. Christine Atkins was a fine social dancer who, like many black parents, danced around the house with her children to tunes played on an old victrola. 1 When he was ten years old, Charles won a Charleston contest at a local theater, 2 and by the time he was in high school he was alternating basketball practice with rehearsals for musicals. The school's physical education teacher, a Russian who was an excellent dancer, directed these shows, and taught many of the students to tap. According to Atkins, "It wasn't too difficult to pick up the tap stuff, and I was always soft-shoeing during our physical education class." 3 When the Chocolate Steppers appeared at a local theater with Cab Calloway, Atkins copied their steps, practiced to Teddy Wilson records at home, and became solidly convinced that he was going to become a dancer. 4 By the early Thirties, he had earned enough of a reputation for his dancing skills that he was occasionally choreographing chorus girls' routines at small black midwestern clubs. 5 In 1933, Atkins and another singing waiter at a club near Buffalo formed The Rhythm Pals, a vaudeville-style song-and-dance team. Three years later, with his name changed to "Cholly" Atkins, he and William Porter, his partner, sang and danced their way along the California coast, working at nightclubs, appearing in black musical shorts, and as extras in Hollywood films. 6 He also did tap sound tracks for white chorus line dancers who backed stars such as Eleanor Powell. 7 Although the Hollywood appearances were all typecast roles-he was cast as a Mongolian in The Charge of the Light Brigade-this period in his life was to have an extremely important influence on his future endeavors. 8 Atkins recalls: I used to take my food in a cardboard box-a sandwich, a bottle of milk, and an apple-and visit other sets during lunch hour. Nobody ever chased me away, and I saw a lot of choreographers at work.

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Substance P and the tectothalamic pathway.

Cited by 2 publications

References 96 publications

Pacemaking kisspeptin neurons

Pacemaking kisspeptin neurons

“Let the Punishment Fit the Crime”: The Vocal Choreography of Cholly Atkins

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