Development and Application of an LC-MS/MS Method for the Detection of the Vinyl Chloride-Induced DNA Adduct N 2 ,3-Ethenoguanine in Tissues of Adult and Weanling Rats Following Exposure to [ 13 C 2 ]-VC

In the 1970s exposure to vinyl chloride (VC) was shown to cause liver angiosarcoma in VC workers. We have developed a new LC-MS/MS method for analyzing the promutagenic DNA adduct N2,3-ethenoguanine (εG) and have applied this to DNA from tissues of both adult and weanling rats exposed to 1100 ppm [13C2]-VC for 5 days or 1100 ppm VC for 1 day. This assay utilizes neutral thermal hydrolysis and an HPLC clean-up prior to quantitation by LC-MS/MS. The number of endogenous and exogenous εG adducts in DNA from tissues of adult rats exposed to [13C2]-VC for 5 days was 4.1±2.8 adducts/108 guanine of endogenous and 19.0±4.9 adducts/108 guanine of exogenous εG in liver, 8.4±2.8 adducts/108 guanine of endogenous and 7.4±0.5 adducts/108 guanine of exogenous εG in lung and 5.9±3.3 adducts/108 guanine of endogenous and 5.7±2.1 adducts/108 guanine of exogenous εG in kidney (n=4). Additionally, the data from weanling rats demonstrated higher numbers of exogenous εG, with ~4 fold higher amounts in liver DNA of weanlings (75.9±17.9 adducts/108 guanine) in comparison to adult rats and ~2 fold higher amounts in lung (15.8±3.6 adducts/108 guanine) and kidney (12.9±0.4 adducts/108 guanine) (n=8). The use of stable isotope labeled VC permitted accurate estimates of the half life of εG for the first time by comparing [13C2]-εG in adult rats with identically exposed animals killed 2, 4 or 8 weeks later. The half life of εG was found to be 150 days in liver and lung and 75 days in kidney, suggesting little or no active repair of this promutagenic adduct

The Museum of Renaissance Music: A History in 100 Exhibits

This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts—materials, tools, instruments, art objects, images, texts, and spaces—and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings—not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music’s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field