Sheila, Take a Bow

Professor Sheila Whiteley passed away on 6th of June, 2015. Sheila’s ground-breaking achievements in popular culture and gender studies, alongside her bright personal triumphs are celebrated by numerous obituaries from national and international media. Here, we present the tributes of Sheila’s students, colleagues and friends.Sheila Whiteley nous a quittés le 6 juin 2015. Ses recherches pionnières sur la culture populaire et le genre, en plus de ses grands succès personnels, furent célébrés dans de nombreux médias internationaux. Nous vous présentons ici une série d’hommages de ses étudiants, collègues et amis

All the madmen : popular music, anti-psychiatry and the myths of madness

To date, very little research has been conducted with respect to representations of madness in popular music, and yet comparative studies of classical opera, film, television, and literature have already demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. In an effort to redress this balance, this study identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, the Beatles, and Elton John. It concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The Arena Concert: Music, Media and Mass Entertainment

The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century. This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne. The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert. The arena concert becomes the “real time” centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space. The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century. This volume finds out why

Multicentre stepped-wedge cluster randomised controlled trial of an antimicrobial stewardship programme in residential aged care: protocol for the START trial

Introduction Antimicrobial resistance is a growing global health threat, driven by increasing inappropriate use of antimicrobials. High prevalence of unnecessary use of antimicrobials in residential aged care facilities (RACFs) has driven demand for the development and implementation of antimicrobial stewardship (AMS) programmes. The Stepped-wedge Trial to increase antibiotic Appropriateness in Residential aged care facilities and model Transmission of antimicrobial resistance (START) will implement and evaluate the impact of a nurse-led AMS programme on antimicrobial use in 12 RACFs.Methods and analysis The START trial will implement and evaluate a nurse-led AMS programme via a stepped-wedge cluster randomised controlled trial design in 12 RACFs over 16 months. The AMS programme will incorporate education, aged care-specific treatment guidelines, documentation forms, and audit and feedback strategies that will target aged care staff, general practitioners, pharmacists, and residents and their families. The intervention will primarily focus on urinary tract infections, lower respiratory tract infections, and skin and soft tissue infections. RACFs will transition from control to intervention phases in random order, two at a time, every 2 months, with a 2-month transition, wash-in period. The primary outcome is the cumulative proportion of residents within each facility prescribed an antibiotic during each month and total days of antibiotic use per 1000 occupied bed days. Secondary outcomes include the number of courses of systemic antimicrobial therapy, antimicrobial appropriateness, antimicrobial resistant organisms, Clostridioides difficile infection, change in antimicrobial susceptibility profiles, hospitalisations and all-cause mortality. Analyses will be conducted according to the intention-to-treat principle.Ethics and dissemination Ethics approval has been granted by the Alfred Hospital Human Research Ethics Committee (HREC/18/Alfred/591). Research findings will be disseminated through peer-reviewed publications, conferences and summarised reports provided to participating RACFs.Trial registration number NCT03941509

Special Beatles studies

Près d'un demi-siècle après l'adoubement des Beatles par Luciano Berio, ce numéro de Volume ! propose un tour d’horizon de la recherche scientifique sur le groupe dont John Lennon affirmait qu'il était encore « plus populaire que Jésus ». Outre une imposante bibliographie couvrant les 50 premières années de ce qu’il est désormais convenu d’appeler les « Beatles Studies », on y découvrira entre autres que la British Invasion est passée par Paris, que les popular music studies ont débuté par l'étude musicologique des musiques populaires, que la théorie des vecteurs harmoniques peut s’appliquer à la musique pop ou encore que l’album Abbey Road mérite d’être analysé à la lumière des concepts développés par Marshall McLuhan. Nearly half a century after Luciano Berio praised the Beatles in his “Commenti al Rock” (1967), this special issue of Volume! surveys the research carried out on the band that was, according to John Lennon, “more popular than Jesus”. In light of an impressive bibliography covering the first 50 years of what we now call “Beatles Studies”, one learns, for example, that the British Invasion originated in Paris, that Popular Music Studies began with the musicological study of popular music, that the theory of harmonic vectors can help analyze pop music or that Marshall McLuhan's concepts shed an interesting light on albums such as Abbey Road