“Dead cities, crows, the rain and their ripper, the Yorkshire ripper”: The red riding novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur

This article explores the role and importance of place in the Red Riding novels of David Peace. Drawing on Nora’s (1989) concept of Lieux de mémoire and Rejinders’ (2010) development of this work in relation to the imaginary world of the TV detective and engaging with a body of literature on the city, it examines the way in which the bleak Yorkshire countryside and the city of Leeds in the North of England, in particular, is central to the narrative of Peace’s work and the locations described are reflective of the violence, corruption and immorality at work in the storylines. While Nora (1984) and Rejinders (2010) describe places as sites of memory negotiated through the remorse of horrific events, the authors agree that Peace’s work can be read as describing L’ieux d’horreur; a recalling of past events with the violence and horror left in

STEPPING OUT OF THE DIRT: A CASE STUDY OF THE IMPACT OF REFLECTIVE EXPRESSIVE WRITING ON MALE TEENS RECENTLY RELEASED FROM A CLOSED CUSTODY FACILITY

When researching the topic of at-risk youth and reflective expressive writing there is little literature to be found. The limited literature that exists with regards to reflective expressive writing is not geared toward a population of at-risk teens (Burton & King, 2004). Although there is literature on alternative programming for at-risk youth (McKee & MacDonald, 2006), very little discusses reflective writing. The research question being addressed is: What is the impact of reflective expressive writing on male teens that have recently been released from a closed custody facility? The aim of this study is to present rich descriptive narratives that allow for future researchers, community members and educators to come to an understanding of the resources that youth may benefit from in both traditional and alternative learning environments. The following case studies examine the stories and experiences of two young men, ages 19 and 16, who took part in a reflective expressive writing initiative. Both young men who participated in the study are from Southern Ontario and were released from the same closed custody facility. A description of their experiences is provided and key themes that emerged from the analysis of journals, interviews, conversations, and field notes are also examined. The provided themes are areas of focus that proved meaningful when discussing the writing and reflecting that occurred. Four primary themes are discussed: relationships, depth of reflection, sense of belonging to a community, and self-esteem. Specific to the youths’ relationships there are five sub-themes that are presented: determining characteristics, family, friendship, mentorship, and the researcher. Therefore this study responds to Long and King’s (2011) call for greater attention to alternative learning programs to support at risk youth. Concluding remarks present the ways in which educators and community programs can engage at-risk male youth in respectful and trusting relationships

The Association Between Opioid-Related Industry Payments and Opioid Prescribing at the Individual and Ecological Level in Pennsylvania

Objective: to understand how industry payments related to opioid products are associated with opioid prescribing in Pennsylvania. Methods: we merged the Open Payments data, Medicare Part D public use file, and Dartmouth Hospital Atlas of Health Care Hospital Service Areas from 2015 to analyze relationships between opioid related payments and opioid prescribing. We used a binomial regression model to investigate individual-level trends and a log-linear model to investigate Hospital Service Area-level trends. We mapped the distribution of opioid-related payments in Pennsylvania using GIS software. Results: One additional payment to a physician was associated with 4.2% higher opioid-prescribing rate (OR = 1.0418, 95% CI 1.0416-1.0420, Chi-Square(1) = 122678, p Conclusions: We found a positive association between opioid-related payments to physicians and opioid prescribing. Policy makers and administrators should consider revising rules related to pharmaceutical company marketing tactics and promote judicious opioid prescribing

You Spurn My Natural Emotions,You Make me Feel I'm Dirt and I'm Hurt. New Wave, New Men and Fragile Masculinities

This paper will argue that the post-punk new wave movement represents a stepping stone between the cock-rock masculinism (Brittan, 1989) of 1970s’ rock, the aggression and military imagery of punk (Hebdidge, 1978; Savage, 1991) and a more feminised (Cohan, 1993) angst-ridden set of masculinities at work in the music of the early 1980s. This ranges from the indie guitar rock outlined by Bannister (2006), Orange Juice, providing a good example, through middle ground artists such as The Smiths to mainstream acts drawing on the Motown tradition of songs about heartbreak such as ABC. Admittedly, visual representations of gender fluidity (Whiteley, 1997) were at work in the early 1970s’ glam movement (David Bowie, Marc Bolan and Roxy Music provide authentic examples) but the post punk movement saw the emergence and representation of a fragile set of masculinities. Set within the context of literature on men and masculinities (Whitehead, 2002; Hearn, 2004) and masculinities and popular music (Frith and McRobbie, 1990; Whiteley, 1997; Bannister, 2006), the paper will examine the relationship between these developments and the emergence of 1980s’ “new man” discourses (Nixon, 1997). The paper will examine three texts from the summer of 1978 (both audio and visual), a moment identified by the author as a key transitional point from punk through new wave to indie pop. These are Jilted John (1978) by Jilted John, Love You More (1978) by the Buzzcocks and Down in the Tube Station at Midnight (1978) by the Jam. Musically and lyrically these texts reference early 1960s’ Beatle-based pop music (Macdonald, 1994; Inglis, 1997). The boy-loses-girl angst of Jilted John (1978) with its ‘girly’ backing vocals (performed by men) is redolent of the early Beatle girl-group cover versions such as Devil in Her Heart (1963) and Boys (1963) [Bannister, 2000; Warwick, 2000] and its camp-but-not-gay vocals emphasise a return to the gender fluidity at work in much 1960’s pop music (Whiteley, 1997; King, 2013). Buzzcocks’ singer and composer Pete Shelley’s ‘out’ gay-ness is expressed in a matter-of-fact way, contained as it is within the context of the classic pop group line-up. Love You More (1978) represents a return to the two minute pop angst and fragility of The Beatles or Smokey Robinson. Paul Weller’s Down in the Tube Station at Midnight (1978) with its McCartney-esque narrative structure and content marks the start of Weller’s Beatle-rifling period (All Mod Cons [1979]; Sound Affects [1980]) as well as signalling a transition from the masculinist (Brittan, 1989) anthemic aggression of songs like In the City (1977) to a more personalised and crafted approach associated with the more feminised (Cohan, 1993) singer-songwriter genre (King, 2013). Weller’s juxtaposition of the song’s main male character with men who “smelt of pubs and Wormwood Scrubs and too many right wing meetings” provides an interesting starting point for analysis. The paper will also argue that Nick Lowe’s So it Goes (1976) is a major candidate for the source of 1970’s new wave and that the early work of the Stiff label, as well as being an obvious starting point for what was to become ‘80s’ indie pop, marks a significant development in the transition from masculinist (Brittan, 1989) rock and militaristic punk (Hebdidge, 1978; Heylin, 2008) to a return to more fragile versions of masculinities at work in popular music (Whiteley, 1997; King, 2013). This is in spite of its beginning in the highly masculinised pub-rock scene of the mid ‘70s. In addition to Lowe’s single, which launched the label, the boxed set of the first ten Stiff singles includes the All Aboard with the Roogalator EP [with a sleeve which mimics With the Beatles 1963)] and a single by ‘60s psychedelic stalwarts the Pink Fairies, while the early works of Elvis Costello and Ian Dury represent a return to a more feminised (Cohan, 1993) singer-songwriter approach (King, 2013) wrapped up in visual representations which provide a challenge to the traditional masculine rock star persona (Frith and McRobbie, 1990)

'Roll up for the Mystery Tour': Reading The Beatles' Magical Mystery Tour as a Countercultural Anti-Masculinist text.

Sixties activist Abbie Hoffman has argued that The Beatles were part of a cultural revolution where the best and popular were, at a particular historical moment, the same, citing the Sgt. Pepper album in particular as a cultural artefact with wide reaching implications (Giuliano and Giuliano, 1995). This is, of course, a contested position, with The Beatles’ relationship with the 1960s’ counterculture the subject of much debate since, not least in the discussion around Lennon’s song Revolution, resulting in written correspondence between Lennon and the London-based underground magazine Black Dwarf, or the debate between Richard Goldstein of The New York Times and Robert Christgau in Esquire on the merits of Sgt. Pepper. In a recent book the author has explored The Beatles’ role in changing representations of men and masculinities in the 1960s. The 1960s is, perhaps, the most re-presented decade of recent times, and this article will explore The Beatles’ role in reflecting and popularising the values of the counterculture, both at the time and in retrospect. Coser (1965) drew parallels between the new intellectual elite of the 1960s and the court jester of medieval times, a role which allowed for the subversion and ridiculing of the established order of the times, positioned beyond the social hierarchy. Inglis (2000a; 2000b) has developed this concept, presenting The Beatles as men of ideas, constantly associated with changing visual and musical styles and reflecting on intellectualism at work in the new world of popular music. Their role can be characterised as providing a focus, a prism through which to read the social changes of the 1960s, bringing a number of ideas into popular consciousness, magnified through the lens of their position in popular culture at the time. MacDonald (2003:87) saw them as picking up ideas before their competitors: ‘above and beyond the ordinary world: ahead of the fame and orchestrating things’. This paper explores this idea in relation to 1960s’ counterculture with a particular reference to the impact on men and representations of masculinity in the period. This exploration will take place through a discussion of their 1967 film Magical Mystery Tour, which is, it will be argued, a key countercultural text, much debated but, in retrospect, containing radical and subversive ideas in terms of content and form. Neaverson (1997) sees Magical Mystery Tour as filled with satire and mockery of establishment values, and draws comparisons with surrealist cinema, in particular Dali and Bunuel’s Un Chien Andalou. The film also attempts to represent a state of heightened awareness, achieved through the use of psychedelic drugs, and this must also be considered as part of the subversive and counter-hegemonic (Gramsci, 1971) agenda of the film. While Sgt. Pepper is seen by many as the pinnacle of The Beatles’ musical achievement, Magical Mystery Tour, generally panned by the critics at the time, represents a key point in The Beatles’ transformation from loveable mop-tops to spokesmen for the counterculture (in the public perception), providing a challenge to ideas about men and masculinity within a countercultural context

The Beatles in Help! Re-imagining the Englishman in mid 1960s Britain.

This article uses the male cultural phenomenon that is The Beatles as a text through which to examine changing representations of men and masculinities at a particular historical moment, illustrating the ways in which the Beatles’ film Help! (1965) represents the re-imagining of what is meant to be an English man in the mid 1960s, containing, as it does, discourses which challenge notions of masculinity prevalent of the time. Discourses around hair, clothing, physical appearance and style are at work in the text. It also raises questions about ‘establishment’ values and the link between male identity and work which, up to that point, had been central to the male cinematic identity. The text also references ideas around upward mobility prevalent at the time of its production and argues that The Beatles provide a focus for debates around men and masculinity given their global popularity which was partly achieved through the medium of film

It Was 50 Years Ago Today: Reading the Beatles as a Challenge to Discourses of Hegemonic Masculinity

This paper explores the notion of the Beatles as a text through which to explore representations of hegemonic masculinity in “the sixties”. It will argue that the Beatles produced an anti‐hegemonic masculine discourse through a number of aspects of their work, challenging ideas about men and masculinities prevalent at the time of their existence as a working group and beyond. Rooted in the literature on men and masculinities the paper draws together a number of authors’ work and presents ideas from the author’s own work, using discourse analysis of the Beatles’ live action films, based on a framework suggested by Foucault, Van Dijk, Hall, and McKee. An exploration of the ways in which the Beatles challenged and subverted traditional ideas about masculinity and the way in which their global fame provided a vehicle for representations of alternative versions of masculinity is the basis of the resultant discussion

'So far I've been in a train and a room and a car and a room and a room and a room'.Reading the Beatles' celebrity through A Hard Day's Night..

“The images persist: four guys in suits or smart raincoats being chased by hundreds of fans, girls frenzied at their merest glimpse, sloping bobbies-arms linked, teeth gritted, straining to hold back the throng.” Mark Lewisohn’s (2002) evocative description of one of the key images of the 1960s helps to focus attention on the phenomenon that was Beatlemania. Beatlemania remains, this paper will argue, the celebrity yardstick: an alliance between fans, the media and a cultural phenomenon unlike any other in UK pop history. The paper will argue that it is through Beatlemania that The Beatles were established as a global entity and that all that followed - their transgression of traditional expectations about the role of the male pop star, their role as men of ideas, their impact on the cultural landscape of the 1960s and their symbiotic relationship with the decade-stems from this. The paper will explore the nature of Beatlemania in an attempt to explain why it remains the ultimate expression of celebrity. This includes discussion of the relationship between the Beatles and their fans, their appeal in terms of gender fluidity, early song lyrics as a form of communication with fans, the influence of 1960s’ girl groups and manager and mentor Brian Epstein’s role in creating a fan-friendly “product”. The paper will use examples from the Beatles’ first feature film A Hard Day’s Night (1964) as a text through which to read both the joys and trappings of quasi-religious fan worship

Chronic toxicity of an environmentally relevant and equitoxic ratio of five metals to two Antarctic marine microalgae shows complex mixture interactivity

© 2018 Metal contaminants are rarely present in the environment individually, yet environmental quality guidelines are derived from single-metal toxicity data. Few metal mixture studies have investigated more than binary mixtures and many are at unrealistically high effect concentrations to freshwater organisms. This study investigates the toxicity of five metals (Cd, Cu, Ni, Pb, and Zn) to the Antarctic marine microalgae Phaeocystis antarctica and Cryothecomonas armigera. Two mixtures were tested: (i) an equitoxic mixture of contaminants present at their single-metal EC10 concentrations, and (ii) an environmental mixture based on the ratio metal concentrations in a contaminated Antarctic marine bay. Observed toxicity, as chronic population growth rate inhibition, was compared to Independent Action (IA) and Concentration Addition (CA) predictions parameterised to use EC10 values. This allowed for the inclusion of metals with low toxicities. The biomarkers chlorophyll a fluorescence, cell size and complexity, and intracellular lipid concentrations were assessed to investigate possible mechanisms behind metal-mixture interactions. Both microalgae had similar responses to the equitoxic mixture: non-interactive by IA and antagonistic by CA. Toxicity from the environmental mixture was antagonistic by IA to P. antarctica; however, to C. armigera it was concentration-dependent with antagonism at low toxicities and synergism at high toxicities by both IA and CA. Differences in dissolved organic carbon production and detoxification mechanisms may be responsible for these responses and warrants further investigation. This study shows that mixture toxicity interactions can be ratio, species, and concentration dependent. The responses of the microalgae to different mixture ratios highlight the need to assess toxicity at environmentally realistic metal ratios. Parameterising IA and CA reference models to use EC10s allowed for the inclusion of metals at low effect concentrations, which may otherwise be ignored. Reference mixture models are generally suitable for predicting chronic toxicity of metals to these marine microalgae at environmentally realistic ratios and concentrations. Toxic metal-mixture interactions were found to be concentration, ratio, and species dependent in exposures to two Antarctic marine microalgae