Academic literature on the topic '17 kapitlet 8-16 §§ LOU'

The work describes the technology of a liquid crystal cell with a tapered optical fiber as an element providing light. The tapered optical fiber with the total optical loss of 0.22 ± 0.07 dB, the taper waist diameter of 15.5 ± 0.5 μm, and the elongation of 20.4 ± 0.3 mm has been used. The experimental results are presented for a liquid crystal cell filled with a mixture 1550* for parallel orientation of LC molecules to the cross section of the taper waist. Measurement results show the influence of the electrical field with voltage in the range of 0-200 V, without, as well as with different modulation for spectral characteristics. The sinusoidal and square signal shapes are used with a 1-10 Hz frequency range. Full Text: PDF ReferencesZ. Liu, H. Y. Tam, L. Htein, M. L.Vincent Tse, C. Lu, "Microstructured Optical Fiber Sensors", J. Lightwave Technol. 35, 16 (2017). CrossRef T. R. Wolinski, K. Szaniawska, S. Ertman1, P. Lesiak, A. W. Domański, R. Dabrowski, E. Nowinowski-Kruszelnicki, J. Wojcik "Influence of temperature and electrical fields on propagation properties of photonic liquid-crystal fibres", Meas. Sci. Technol. 17, 5 (2006). CrossRef K. Nielsen, D. Noordegraaf, T. Sørensen, A. Bjarklev,T. Hansen, "Selective filling of photonic crystal fibres", J. Opt. A: Pure Appl. Opt. 7, 8 (2005). CrossRef A. A. Rifat, G. A. Mahdiraji, D. M. Chow, Y, Gang Shee, R. Ahmed, F. Rafiq, M Adikan, "Photonic Crystal Fiber-Based Surface Plasmon Resonance Sensor with Selective Analyte Channels and Graphene-Silver Deposited Core", Sensors 15, 5 (2015) CrossRef Y. Huang, Z.Tian, L.P. Sun, D. Sun, J.Li, Y.Ran, B.-O. Guan "High-sensitivity DNA biosensor based on optical fiber taper interferometer coated with conjugated polymer tentacle", Opt. Express 23, 21 (2015). CrossRef X. Wang, O. S. Wolfbeis, "The 2016 Annual Review Issue", Anal. Chem., 88, 1 (2016). CrossRef Ye Tian, W. Wang, N. Wu, X. Zou, X.Wang, "Tapered Optical Fiber Sensor for Label-Free Detection of Biomolecules", Sensors 11, 4 (2011). CrossRef O. Katsunari, Fundamentals of Optical Waveguides, (London, Academic Press, (2006). DirectLink A. K. Sharma, J. Rajan, B.D. Gupta, "Fiber-Optic Sensors Based on Surface Plasmon Resonance: A Comprehensive Review", IEEE Sensors Journal 7, 8 (2007). CrossRef C. Caucheteur, T. Guo, J. Albert, "Review of plasmonic fiber optic biochemical sensors: improving the limit of detection", Anal. Bioanal.Chem. 407, 14 (2015). CrossRef S. F. Silva L. Coelho, O. Frazão, J. L. Santos, F. X.r Malcata, "A Review of Palladium-Based Fiber-Optic Sensors for Molecular Hydrogen Detection", IEEE SENSORS JOURNAL 12, 1 (2012). CrossRef H. Waechter, J. Litman, A. H. Cheung, J. A. Barnes, H.P. Loock, "Chemical Sensing Using Fiber Cavity Ring-Down Spectroscopy", Sensors 10, 3 (2010). CrossRef S. Zhu, F. Pang, S. Huang, F.Zou, Y.Dong, T.Wang, "High sensitivity refractive index sensor based on adiabatic tapered optical fiber deposited with nanofilm by ALD", Opt. Express 23, 11 (2015). CrossRef L. Zhang, J. Lou, L. Tong, "Micro/nanofiber optical sensors", Photonics sensor 1, 1 (2011). CrossRef L.Tong, J. Lou, E. Mazur, "Single-mode guiding properties of subwavelength-diameter silica and silicon wire waveguides", Opt. Express 11, 6 (2004). CrossRef H. Moyyed, I. T. Leite, L. Coelho, J. L. Santos, D. Viegas, "Analysis of phase interrogated SPR fiber optic sensors with bimetallic layers", IEEE Sensors Journal 14, 10 (2014). CrossRef A. González-Cano, M. Cruz Navarette, Ó. Esteban, N. Diaz Herrera , "Plasmonic sensors based on doubly-deposited tapered optical fibers", Sensors 14, 3 (2014). CrossRef K. A. Stasiewicz, J.E. Moś, "Threshold temperature optical fibre sensors", Opt. Fiber Technol. 32, (2016). CrossRef L. Zhang, F. Gu, J. Lou, X. Yin, L. Tong, "Fast detection of humidity with a subwavelength-diameter fiber taper coated with gelatin film", Opt. Express 16, 17 (2008). CrossRef S.Zhu, F.Pang, S. Huang, F. Zou, Q. Guo, J. Wen, T. Wang, "High Sensitivity Refractometer Based on TiO2-Coated Adiabatic Tapered Optical Fiber via ALD Technology", Sensors 16, 8 (2016). CrossRef G.Brambilla, "Optical fibre nanowires and microwires: a review", J. Optics 12, 4 (2010) CrossRef M. Ahmad, L.L. Hench, "Effect of taper geometries and launch angle on evanescent wave penetration depth in optical fibers", Biosens. Bioelectron. 20, 7 (2005). CrossRef L.M. Blinov, Electrooptic Effects in Liquid Crystal Materials (New York, Springftianer, 1994). CrossRef L. Scolari, T.T. Alkeskjold, A. Bjarklev, "Tunable Gaussian filter based on tapered liquid crystal photonic bandgap fibre", Electron. Lett. 42, 22 (2006). CrossRef J. Moś, M. Florek, K. Garbat, K.A. Stasiewicz, N. Bennis, L.R. Jaroszewicz, "In-Line Tunable Nematic Liquid Crystal Fiber Optic Device", J. of Lightwave Technol. 36, 4 (2017). CrossRef J. Moś, K A Stasiewicz, K Garbat, P Morawiak, W Piecek, L R Jaroszewicz, "Tapered fiber liquid crystal hybrid broad band device", Phys. Scripta. 93, 12 (2018). CrossRef Ch. Veilleux, J. Lapierre, J. Bures, "Liquid-crystal-clad tapered fibers", Opt. Lett. 11, 11 (1986). CrossRef R. Dąbrowski, K. Garbat, S. Urban, T.R. Woliński, J. Dziaduszek, T. Ogrodnik, A,Siarkowska, "Low-birefringence liquid crystal mixtures for photonic liquid crystal fibres application", Liq. Cryst. 44, (2017). CrossRef S. Lacroix, R. J. Black, Ch. Veilleux, J. Lapierre, "Tapered single-mode fibers: external refractive-index dependence", Appl. Opt., 25, 15 (1986). CrossRef J.F. Henninot, D. Louvergneaux , N.Tabiryan, M. Warenghem, "Controlled Leakage of a Tapered Optical Fiber with Liquid Crystal Cladding", Mol. Cryst.and Liq.Cryst., 282, 1(1996). CrossRef

Introdução: A COVID-19 tornou-se uma emergência de saúde pública no ano de 2020, sendo caracterizada como pandemia no mês de março. Os idosos compõem o grupo de risco dessa doença. Objetivo: Avaliar os efeitos da pandemia de COVID-19 sobre os idosos. Material e Método: A busca pelos artigos foi realizada através da plataforma Pubmed, com a inclusão de 17 estudos. Resultados: Os resultados ressaltaram a prevalência da doença entre a população idosa, e evidenciaram que esse grupo apresenta sintomas atípicos e com duração ligeiramente mais longa desde o início da sintomatologia até a sua admissão, tornando-se mais difícil a identificação da infecção de forma precoce. As manifestações clínicas mais relatadas foram: febre, tosse, produção de escarro, diarreia, fadiga, pneumonia e lesão cardíaca aguda. Também se observa que comorbidades, como hipertensão e doença pulmonar obstrutiva crônica, levam a uma disfunção cardíaca e pulmonar devido a mudanças fisiológicas e anatômicas dos pulmões, agravando o quadro clínico dos pacientes. Os exames de imagem se mostraram grandes aliados ao diagnóstico das alterações pulmonares decorrentes da infecção, além da realização do exame RT-PCR. Conclusão: Os idosos compõem o grupo de risco da COVID-19, sendo indivíduos com comorbidades os mais susceptíveis à agravamentos clínicos. Há necessidades em seguir as recomendações da OMS por não haver um tratamento específico destinado a essa patologia. Descritores: Infecções por Coronavírus; Idoso; Diagnóstico Clínico. Referências World Health Organization [homepage internet]. Pandemia de doença por coronavirus (COVID-19) [acesso em 19 nov 2020]. Disponível em: http: https://www.who.int/emergencies/diseases/novel-coronavirus-2019?gclid=CjwKCAiAzN j9BRBDEiwAPsL0d-MtvP29HNfG_fKThMRyfZF5ZAhTrrwKXEDh74AOZlY7ddRjJ_su0 hoCK3EQAvD_BwE. Organização Pan-Americana de Saúde [homepage na internet]. Folha informativa COVID-19 - Escritório da OPAS e da OMS no Brasil [acesso em: 19 nov. 2020]. Disponível em: https://www.paho.org/pt/covid19. Ministério da Saúde [homepage na internet]. Painel Coronavirus Brasil [acesso em: 19 nov. 2020]. Disponível em: http:https://covid.saude.gov.br/. Liu K, Zhang W, Yang Y, Zhang J, Li Y, Chen Y. Respiratory rehabilitation in elderly patients with COVID-19: A randomized controlled study. Complement The Clin Pract. 2020:101166. Lee JY, Kim HA, Huh K, Hyun M, Rhee J-Y, Jang S, et al. Risk Factors for Mortality and Respiratory Support in Elderly Patients Hospitalized with COVID-19 in Korea. J Korean Med Sci. 2020;35(23) Nikpouraghdam M, Farahani AJ, Alishiri G, Heydari S, Ebrahimnia M, Samadinia H, et al. Epidemiological characteristics of coronavirus disease 2019 (COVID-19) patients in IRAN: A single center study. J Clin Virol. 2020; 127:104378. Zheng Y, Xu H, Yang M, Zeng Y, Chen H, Liu R, et al. Epidemiological characteristics and clinical features of 32 critical and 67 noncritical cases of COVID-19 in Chengdu. J Clin Virol. 2020;127:104366. Porcheddu R, Serra C, Kelvin D, Kelvin N, Rubino S. Similarity in case fatality rates (CFR) of COVID-19/SARS-COV-2 in Italy and China. J Infect Dev Ctries. 2020;14(02):125-8. Buckner FS, McCulloch DJ, Atluri V, Blain M, McGuffin SA, Nalla AK, et al. Clinical Features and Outcomes of 105 Hospitalized patients with COVID-19 in Seattle, Washington. Clin Infect Dis. 2020;71(16):2167-73. Liu K, Fang Y-Y, Deng Y, Liu W, Wang M-F, Ma J-P, et al. Clinical characteristics of novel coronavirus cases in tertiary hospitals in Hubei Province. Chin Med J. 2020;133(9):1025-31. Zhao M, Wang M, Zhang J, Gu J, Zhang P, Xu Y, et al. Comparison of clinical characteristics and outcomes of patients with coronavirus disease 2019 at different ages. Aging (Albany NY). 2020;12(11):10070. Wang L, He W, Yu X, Hu D, Bao M, Liu H, et al. Coronavirus disease 2019 in elderly patients: Characteristics and prognostic factors based on 4-week follow-up. J Infect. 2020;80(6):639-45. Guo T, Shen Q, Guo W, He W, Li J, Zhang Y, et al. Clinical Characteristics of Elderly Patients with COVID-19 in Hunan Province, China: A Multicenter, Retrospective Study. Gerontol. 2020:1-9. Ward CF, Figiel GS, McDonald WM. Altered Mental Status as a Novel Initial Clinical Presentation for COVID-19 Infection in the Am J Geriatr Psychiatry. 2020;28(8):808-11. Liu K, Chen Y, Lin R, Han K. Clinical features of COVID-19 in elderly patients: A comparison with young and middle-aged patients. J Infect. 2020;80(6):e-14-8. Li T, Zhang Y, Gong C, Wang J, Liu B, Shi L, et al. Prevalence of malnutrition and analysis of related factors in elderly patients with COVID-19 in Wuhan, China. Eur J Clin Nutr. 2020:1-5. Niu S, Tian S, Lou J, Kang X, Zhang L, Lian H, et al. Clinical characteristics of older patients infected with COVID-19: A descriptive study. Arch Gerontol Geriatr. 2020;89:104058. Fatyga E, Dzięgielewska-Gęsiak S, Wierzgoń A, Stołtny D, Muc-Wierzgoń M. The coronavirus disease 2019 pandemic: telemedicine in elderly patients with type 2 diabetes. Pol Arch int Med. 2020;130(5):452-54. Li P, Chen L, Liu Z, Pan J, Zhou D, Wang H, et al. Clinical Features and Short-term Outcomes of Elderly Patients With COVID-19. Int J Infect Dis. 2020;97:245-50. Kumar A, Kubota Y, Chernov M, Kasuya H. Potential Role of Zinc Supplementation in Prophylaxis and Treatment of COVID-19. Med Hypotheses. 2020;144:109848.

Despite the fact that the green wave has spread globally over the hotel industry, the characteristics of an environmentally friendly tourist has not yet been clearly clarified and is still controversial. Therefore, the objective of this study is to describe the demographics and behavioral qualities of Vietnamese domestic tourists who are willing patrons in a green hotel. The results show that the distinguishing characteristics of green travelers seeking green lodging are that they belong to the young generation, are female, have high educational accomplishment, and have high levels of participation in daily eco-friendly activities. Keywords: Green tourist, environmentally friendly, demographic, involvement. References [1] Manaktola, K., and Jauhari, V., “Exploring consumer attitude and behavior towards green practices in the lodging industry in India”, International Journal of Contemporary Hospitality Management, 19 (2007) 5, 364-377.[2] Webster, F., “Determining the characteristics of the socially conscious consumer”, Journal of Consumer Research, 2 (1975) 12, 188-196.[3] Dolnicar, S., and Matus, K., “Are green tourists a managerially useful target segment?”, Journal of Hospitality Marketing and Management, 17 (2008) 3-4, 314-334.[4] Dolnicar, S., Crouch, G., and Long, P., “Environment-friendly tourists: What do we really know about them?”, Journal of Sustainable Tourism, 16 (2008) 2,197-210.[5] Millar, M., and Mayer, K., “A profile of travelers who are willing to stay in environmentally friendly hotel”, Hospitality Review, 30 (2013) 2, 90-108.[6] Kasim, A., “Socio-environmentally responsible hotel business: Do tourists to Penang Island, Malaysia care?”, Journal of Hospitality & Leisure Marketing, 11 (2004) 4, 5-28.[7] Smith, W., “Product differentiation and market segmentation as alternative marketing strategies”, Journal of Marketing, 21 (1956), 3-8.[8] Kotler, P., and Armstrong, G., Principles of marketing, (2011), 14th ed., Englewood Cliffs, NJ: Prentice Hall.[9] Gitelson, R., and Kerstetter, D., “The relationship between sociodemographic variables, benefits sought and subsequent vacation behavior: A case study”, Journal of Travel Research, 28 (1990) 3, 24-29.[10] Quiroga, O., “Characteristics of package tourists in Europe”, Annals of Tourism Research, 17 (1990) 2, 185-207.[11] [11] Crossley, J., and Lee, B., “Characteristics of ecotourists and mass tourists”, Visions in Leisure and Business, 13 (1994) 2, 4-12.[12] Hsieh, S., O’Leary, J., and Morrison, A., “A comparison of package and non-package travelers from the United Kingdom”, Journal of International Consumer Marketing, 3 (1994), 79-100.[13] Seaton, A., The analysis of tourism demand: Market segmentation. In Seaton, A. V. and Bennett, M. M. (Eds.), Marketing tourism products: Concepts, issues, cases, (1996), London: Thomson Business Press, pp. 28-54.[14] Legoherel, P., “Toward a market segmentation of the tourism trade: Expenditure levels and consumer behavior instability”, Journal of Travel and Tourism Marketing, 7 (1998) 3, 19-39.[15] Mok, C., and Iverson, T., “Expenditure-based segmentation: Taiwanese tourist to Guam”, Tourism Management, 21 (2000) 3, 299-305.[16] Jackson, M., Inbakaran, R., and Schmierer, C., Rationalizing personality typologies in tourism? A lexical analysis, In Aicken, M. and Ryan, C. (Eds), Taking Tourism to the Limits Refereed Research Papers, (2003), University of Waikato Management School, University of Waikato, Hamilton, New Zealand, 338-360.[17] Inbakaran, R., and Jackson, M., “Understanding resort visitors through segmentation”, Tourism and Hospitality Research, 6 (2005) 1, 53-71.[18] Dimanche F., Havitz, M., and Howard, D., “Testing the involvement profile scale in the context of selected recreational and touristic activities”, Journal of Leisure Research, 23 (1991) 1, 51-66.[19] Wu, S., “An experimental study on the relationship between consumer involvement and advertising effectiveness”, Asis Pacific Journal of Marketing and Logistics, 13 (2001) 1, 43-56.[20] Zaichkowsky, J., “Measuring the involvement construct”, Journal of Consumer Research, 12 (1985), 341-352.[21] Lee, M., and Lou, Y., “Consumer reliance on intrinsic and extrinsic cues in product evaluations: A conjoint approach”, Journal of Applied Business Research, 12 (1995) 1, 21-28.[22] Amendah, E. and Park, J., “Consumer involvement and psychological antecedents on eco-friendly destinations: Willingness to pay more”, Journal of Hospitality and Leisure Marketing, 17 (2008) 3-4, 262-283.[23] Shrum, L., McCarty, J., and Lowrey, T., “Buyer characteristics of the green consumer and their implications for advertising strategy”, Journal of Advertising, 24 (1995) 2, 71-82.[24] Laroche, M., Bergeron, J., and Barbaro-Forleo, G., “Targeting consumers who are willing to pay more for environmentally friendly products”, Journal of Consumer Marketing, 18 (2001) 6, 503-520.[25] Dolnicar, S. B., “Commonsense segmentation - A systematics of segmentation approaches in tourism”, Journal of Travel Research, 42 (2004) 3, 244-250.[26] Fairweather, J. R., Maslin, C., and Simmons, D. G., “Environmental Values and Response to Ecolabels Among International Visitors to New Zealand”, Journal of Sustainable Tourism, 13 (2005) 1, 82-98.[27] Saad, G., and Gill, T., “Application of evolutionary psychology in marketing”, Psychology and Marketing, 17 (2000) 12, 1005-1034.[28] Eagly, A. H. , Sex differences in social behavior: A social-role interpretation, (1987), Hillsdale, New Jersey: Lawrence Erlbaum.[29] Konrad, A. M., Corrigall, E., Lieb, P., and Edgar Ritchie, J., “Sex Differences in Job Attribute Preferences among Managers and Business Students”, Group and Organization Management, 25 (2000) 2, 108-131.[30] McIntyre, R. P., Meloche, M. S., and Lewis, S. L., “National culture as a macro tool for environmental sensitivity segmentation”. In: Cravens, D. W., Dickson, P. R. (Eds.), AMA Summer Educators’ Conference Proceedings 4, (1993), American Marketing Association, Chicago, pp. 153-159.[31] Banerjee, B. and McKeage, K., “How green is my value: exploring the relationship between environmentalism and materialism”. In: Allen, C. T., John, D. R. (Eds.), Advances in Consumer Research 22. (1994), Association for Consumer Research, Provo, UT, pp. 147–152.[32] Homburg, C., and Giering, A., “Personal characteristics as moderators of the relationship between customer satisfaction and loyalty: an empirical analysis”, Psychology and Marketing, 18 (2001) 1, 43-66.[33] Im, S., Bayus, B. L., and Mason, C. H., “An empirical study of innate consumer innovativeness, personal characteristics, and new-product adoption behavior”, Journal of the Academy of Marketing Science, 31 (2003) 1, 61-73.[34] Evanschitzky, H., and Wunderlich, M., “An examination of moderator effects: the four stage loyalty model”, Journal of Service Research, 8 (2006) 4, 330-345.[35] Wilson, M. A., ‘Nature Oriented Tourism in Ecuador: Assessment of Industry Structure and Development Needs’, FPEI Working Paper No. 20. Research Triangle Park, (1987), NC: Southeast Center for Forest. [36] Meric, H. J., and Hunt, J., “Ecotourists’ Motivational and Demographic Characteristics: A Case of North Carolina Travelers”, Journal of Travel Research, 36 (1998), 57-61.[37] Gilly, M. C., and Zeithaml, V. A., “The elderly consumer and adoption of technologies”, Journal of Consumer Research, 12 (1985), 353-357.[38] Keaveney, S. M., and Parthasarathy, M., “Customer switching behavior in online services: an exploratory study of the role of selected attitudinal, behavioral, and demographic factors”, Journal of Academy of Marketing Science, 29 (2001) 4, 374-390.[39] Henion, K. E., “The effect of ecologically relevant information on detergent sales”, Journal of Marketing Research, 9 (1972), 10-14.[40] Roberts, J. A., “Green consumers in the 1990s: profile and implications for advertising”, Journal of Business Research, 36 (1996), 217-231.[41] Nguyen Thi Phuong Thao, “The Relationship between Eco-friendly Practices and Attitudes toward Green Hotels for Domestic Tourists”, VNU Journal of Science: Economics and Business, 33 (2017) 2, 101-111[42] Han, H., Hsu, L., and Lee, J., “Empirical investigation of the roles of attitudes toward green behaviors, overall image, gender, and age in hotel customers’ eco-friendly decision-making process”, International Journal of Hospitality Management, 28 (2009) 4, 519-528.

Today, the incidence of type 2 diabetes mellitus is increasing rapidly on global. This disease is shown with many complications that significantly affect public health. One of them is kidney complications, which have a high incidence among diabetic patients in Vietnam (25.6-33.1%). Age, history of hypertension, and dyslipidemia are considered to be the main risk factors for diabetic nephropathy. Thus, early detection of these factors for kidney damage is significant for diagnosing, monitoring, treatment, and prognosis of diabetic patients. Our descriptive, cross-sectional study conducting on 120 diabetic patients at E Hospital has observed that blood cholesterol levels, HbA1c levels were independently related to eGFR decline below 60 mL/min/1.73m2. From those data, an equation to predict the risk of diabetic kidney disease was estimated as p = with k = Keyword: Type 2 diabetes, Diabetic nephropathy, Risk factor Today, the incidence of type 2 diabetes mellitus is increasing rapidly on global. This disease is shown with many complications that significantly affect public health. One of them is kidney complications, which have a high incidence among diabetic patients in Vietnam (25.6-33.1%). Age, history of hypertension, and dyslipidemia are considered to be the main risk factors for diabetic nephropathy. Thus, early detection of these factors for kidney damage is significant for diagnosing, monitoring, treatment, and prognosis of diabetic patients. Our descriptive, cross-sectional study conducting on 120 diabetic patients at E Hospital has observed that blood cholesterol levels, HbA1c levels were independently related to eGFR decline below 60 mL/min/1.73m2. From those data, an equation to predict the risk of diabetic kidney disease was estimated as p = with k = Keyword Type 2 diabetes, Diabetic nephropathy, Risk factor. References [1] N. H. Cho, J. Kirigia, J. C. Mnanya, K. Ogurstova, L. Guraiguata, W. Rathmann, G. Roglic, N. Forouhi, R. Dajani, A. Esteghmati, E. Boyko, L. Hambleton, O. L. M. Neto, P. A. Montoya, S. Joshi, J. Chan, J. Shaw, T.A. Samuels, M. Pavkov, A. Reja, IDF Diabetes Atlas Eight Edition, International Diabete Federation, England, 2017.[2] N. T. Khue, Diabetes – General Endocrinology, Ho Chi Minh Publisher, Ho Chi Minh city, 2003 (in Vietnamese). [3] H. H. Kiem, Clinical Nephrology, Medical Publishing House, Hanoi, 2010 (in Vietnamese). [4] T. H. Quang, Practice Diabetes - Endocrine Disease, Medical Publishing House Hanoi, Hanoi, 2010 (in Vietnamese). [5] D. T. M. Hao, T. T. A. Thu, Diabetic Kidney Disease: Attention Problems, Vietnam Journal of Diabetes and Endocrinology, Vol. 38, 2020, pp. 12-17 (in Vietnamese), https://doi.org/10.47122/vjde.2020.38.2. [6] K. Tziomalos, A. Vasilios G, Diabetic Nephropathy: New Risk Factors and Improvements in Diagnosis, The Review of Diabetic Studies: RDS, Vol. 12, No. 1-2, 2015, pp. 110-118, https://doi.org/10.1900/RDS.2015.12.110.[7] American Diabetes Association, 2. Classification and Diagnosis of Diabetes: Standards of Medical Care in Diabetes-2020, Journal Diabetes Care, Vol. 43, No. 1, 2020, pp. S14, https://doi.org/10.2337/dc20-S002.[8] A. S. Levey, J. Coresh, E. Balk, A. T. Kausz, A. Levin, M. W. Steffes, R. J. Hogg, R. D. Perrone, J. Lau, G. Eknoyan, National Kidney Foundation Practice Guidelines for Chronic Kidney Disease: Evaluation, Classification, and Stratification, Ann Intern Med, Vol. 139, 2003, pp. 137-147, https://doi.org/10.7326/0003-4819-139-2-200307150-00013.[9] D. S. Freedman, M. Horlick, G. S. Berenson, A Comparison of The Slaughter Skinfold-thickness Equations and BMI in Predicting Body Fatness and Cardiovascular Disease Risk Factor Levels in Children, The American Journal of Clinical Nutrition, Vol. 98, No. 6, 2013, pp. 1417-1424, https://doi.org/10.3945/ajcn.113.065961.[10] National Heart, Lung and Blood Institutes, National Cholesterol Education Program: ATP III Guidelines at-a-glance Quick Desk Reference, https://www.nhlbi.nih.gov/files/docs/guidelines/atglance.pdf, (accessed on: 5th April 2021).[11] K. Eckardt, B. Kasiske, D. Wheeler, K. Uhlig, D. Miskulin, A. Earley, S. Haynes, J. Lamont, KDIGO 2012 Clinical Practice Guideline for the Evaluation and Management of Chronic Kidney Disease: Definition and Classification of CKD, Kidney International Supplements, Vol. 3, 2013, pp. 5-14, https://doi.org/10.1038/kisup.2012.77.[12] I. H. Boer, M. L. Caramori, J. C. N. Chan, H. J. L. Heerspink, C. Hurst, K. Khunti, A. Liew, E. D. Michos, S. D. navaneethan, P. Rossing, W. A. Olowu, T. Sadusky, N. Tandon, K. R. Tuttle, C. Wanner, K. G. Wilkens, S. Zoungas, KDIGO 2020 Clinical Practice Guideline for Diabetes Management in Chronic Kidney Disease, Kidney international, Vol. 98, No. 4S, 2020, pp. S1-S115, http://dx.doi.org/10.1016/j.kint.2020.06.019.[13] B. T. T. Huong, N. T. Giang, Values of Cystatin C in Early Diagnosis of Renal Disease in Patients with Typ 2 Diabetes in Thai Nguyen National Hospital, Vietnam Medical Journal, Vol. 498, No. 2, 2021, pp. 13-17 (in Vietnamese).[14] L. X. Truong, N. D. Tai, T. Q. P. Linh, T. T. Nhung, The Prevalence of The Positive Microalbumin Urine in The Type 2 Diabetic Patients at District 2 Hospital, Y Hoc TP. Ho Chi Minh, Vol. 22, No. 2, 2018, pp. 139-143 (in Vietnamese).[15] S. Yi, S. Park, Y. Lee, H Park, B. Balkau, J. Yi, Association Between Fasting Glucose and All-cause Mortality According to Sex and Age: A Prospective Cohort Study, Scientific Reports, Vol. 7, No. 1, 2017, pp. 1-9, https://doi.org/10.1038/s41598-017-08498-6.[16] R. Gupta, M. Sharma, N. K. Goyal, P. S. Lodha, K. K. Sharma, Gender Differences in 7 Years Trends in Cholesterol Lipoproteins and Lipids in India: Insights From A Hospital Database, Indian Journal of Endocrinology Metabolism, Vol. 20, No. 2, 2016, pp. 211-8, https://doi.org/10.4103/2230-8210.176362.[17] X. Zhang, Z. Meng, X. Li, M. Liu, X. Ren, M. Zhu, Q. He, Q Zhang, K. Song, Q. Jia, C. Zhang, X Wang, X. Liu, The Association Between Total Bilirubin and Serum Triglyceride in Both Sexes in Chinese, Lipids In Health and Disease, Vol. 17, No. 1, 2017, pp. 1-8, https://doi.org/10.1186/s12944-018-0857-7.[18] S. Palazhy, V. Viswanathan, Lipid Abnormalities in Type 2 Diabetes Mellitus Patients with Overt Nephropathy, Diabetes Metabolism Journal, Vol. 41, No. 2, 2017, pp. 128-134, https://doi.org/ 10.4093/dmj.2017.41.2.128.[19] R. I. Papacocea, D. Timofte, M. Tanasescu, A. Balcangiu stroescu, D. G. Balan, A. Tulin, O. Stiru, I. A. Vacaroiu, A. Mihai, C. C. Popa, C. Cosconel, M. Enyedi, D. Miricescu, L. Raducu, D. Ionescu, Kidney Aging Process and The Management of The Elderly Patient with Renal Impairment, Experimental and Therapeutic Medicine, Vol. 21, 2021, pp. 266, https://doi.org/10.3892/etm.2021.9697.[20] R. D. Lindeman, Overview: Renal Physiology and Pathophysiology of Aging, Am J Kidney Dis, Vol. 16, 1990, pp. 275–282, https://doi.org/10.1016/s0272-6386(12)80002-3.[21] G. Zoppini, G. Targher, M. Chonchol, V. Ortalda, C. Negri, V. Stoicio, E. Bonora, Predictors of Estimated GFR Decline in Patients With Type 2 Diabetes and Preserved Kidney Function, Clinical Journal of the American Society of Nephrology, Vol. 7, No. 3, 2012, pp. 401-408, https://doi.org/10.2215/CJN.07650711.[22] R. Trevisan, A. R. Dodesini, G. Lepore, Lipids and Renal Disease, Journal of the American Society of Nephrology, Vol. 17, No. 2-4, 2006, pp. S145-S147. https://doi.org/10.1681/ASN.2005121320.[23] V. T. Samuel, G. I. Shulman, Mechanisms for Insulin Resistance: Common Threads and Missing Links, Cell, Vol. 148, No. 5, 2012, pp. 852-871, https://doi.org/10.1016/j.cell.2012.02.017.[24] W. Patricia, D. Gloria Michelle, F. Alessia, Systemic and Renal Lipids in Kidney Disease Development and Progression, American Journal of Physiology-Renal Physiology, Vol. 310, No. 6, 2016, pp. F433-F445, https://doi.org/ 10.1152/ajprenal.00375.2015.[25] F. M. Sacks, M. P. Hermans, P. Fioretto, P. Valensi, T. Davis, E. Horton, C. Wanner, K. A. Rubeaan, I. Barzon, L. Bishop, E. Bonora, P. Bunnag, L. Chuang, C. Deerochanawong, R. Goldenberg, B. Harshfiled, C. Hernandez, S. H. Botein, H. Itoh, W. Jia, Y. Jiang, T. Kadowaki, N. Laranjo, L. Leiter, T. Miwwa, M. Odawara, K. Ohashi, A. Ohno, C. Pan, J. Pan, J. P. Botet, Z. Reiner, C. M. Rotella, R. Simo, M. Tanaka, E. T. Reiner, D. T. Barima, G. Zoppini, V. J. Carey, Association between Plasma Triglycerides and High-density Lipoprotein Cholesterol and Microvascular Kidney Disease and Retinopathy in Type 2 Diabetes Mellitus: A Global Case–control Study In 13 Countries, Circulation. Vol. 129, No. 9, 2014, pp. 999-1008, https://doi.org/10.1161/CIRCULATIONAHA.113.002529.[26] Y. Wang, X. Qiu, L. Lv, C. Wang, Z. Ye, S. Li, Q. Liu, T. Lou, X. Liu, Correlation Between Serum Lipid Levels and Measured Glomerular Filtration Rate In Chinese Patients With Chronic Kidney Disease, PLoS One, Vol. 11, No. 10, 2016, pp. e0163767, https://doi.org/10.1371/journal.pone.0163767.[27] N. J. Radcliffe, J. Seah, M. Clarke, R. J. Maclsaac, G. Jerrums, E. I. Ekinci, Clinical Predictive Factors in Diabetic Kidney Disease Progression, Journal of Diabetes Investigation, Vol. 8, No. 1, 2017, pp. 6-18, https://doi.org/10.1111/jdi.12533.[28] D. D. Miao, E. C. Pan, Q. Zhang, Z. M. Sun, Y. Qin, M. Wu, Development and Validation of A Model for Predicting Diabetic Nephropathy in Chinese People, Biomedical and Environmental Sciences, Vol. 30, No. 2, 2017, pp. 106-112, https://doi.org/10.3967/bes2017.014.[29] R. G. Nelson, M. E. Grams, S. H. Ballew, Y. Sang, F. Azizi, S. J. Chadban, L. Chaker, S. C. Dunning, C. Fox, Y. Hirakawa, K. Iseki, J. Ix, T. H. Jafar, A. Kottgen, D. M. J. Naimark, T. Ohjubo, G. J. Prescott, C. M. Bebholz, C. Sabanayagam, T. Sairenchi, B. Schottker, Y. Shibagaki, M. Tonelli, L. Zhang, R. T. Gansevoort, K. Matsushita, M. Woodward, J. Coresh, V. Shalev, Development of Risk Prediction Equations For Incident Chronic Kidney Disease, Jama, Vol. 322, No. 21, 2019, pp. 2104-2114, https://doi.org/10.1001/jama.2019.17379.

In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars, came up against the constraints of the industry which inevitably led to a forfeiting of authenticity, a loss of creative control, increased exploitation, and unequal remuneration. This work will consider how working in the music industry is not always a dream come true and can instead be viewed as a proverbial nightmare. Living the DreamIn his book Dreams, Carl Gustav Jung discusses how that which is experienced in sleep, speaks of a person’s wishes: that which might be desired in reality but may not actually happen. In his earlier work, The Interpretation of Dreams, Freud argued that the dream is representative of fulfilling a repressed wish. However, the creative industries suggest that a dream need not be a repressed wish; it can become a reality. Jon Bon Jovi believes that his success in the music industry has surpassed his wildest dreams (Atkinson). Jennifer Lopez considers the fact that she held big dreams, had a focussed passion, and strong aspirations the reason why she pursued a creative career that took her out of the Bronx (Thomas). In a Twitter post from 23 April 2018, Bruno Mars declared that he “use [sic] to dream of this shit,” in referring to a picture of him performing for a sold out arena, while in 2019 Shawn Mendes informed his 24.4 million Twitter followers that his “life is a dream”. These are but a few examples of successful music industry artists who are seeing their ‘wishes’ come true and living the American Dream.Endemic to the American culture (and a characteristic of the identity of the country) is the “American Dream”. It centres on “a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability and achievement” (Adams, 404). Although initially used to describe having a nice house, money, stability and a reasonable standard of living, the American Dream has since evolved to what the scholar Florida believes is the new ‘aspiration of people’: doing work that is enjoyable and relies on human creativity. At its core, the original American Dream required striving to meet individual goals, and was promoted as possible for anyone regardless of their cultural, socio-economic and political background (Samuel), because it encourages the celebrating of the self and personal uniqueness (Gamson). Florida’s conceptualisation of the New American dream, however, tends to emphasise obtaining success, fame and fortune in what Neff, Wissinger, and Zukin (310) consider “hot”, “creative” industries where “the jobs are cool”.Whether old or new, the American Dream has perpetuated and reinforced celebrity culture, with many of the young generation reporting that fame and fortune were their priorities, as they sought to emulate the success of their famous role models (Florida). The rag to riches stories of iconic recording artists can inevitably glorify and make appealing the struggle that permits achieving one’s dream, with celebrities offering young, aspiring creative people a means of identification for helping them to aspire to meet their dreams (Florida; Samuel). For example, a young Demi Lovato spoke of how she idolised and looked up to singer Beyonce Knowles, describing Knowles as a role model because of the way she carries herself (Tishgart). Similarly, American Idol winner Kelly Clarkson cited Aretha Franklin as her musical inspiration and the reason that she sings from a place deep within (Nilles). It is unsurprising then, that popular media has tended to portray artists working in the creative industries and being paid to follow their passions as “a much-vaunted career dream” (Duffy and Wissinger, 4656). Movies such as A Star Is Born (2018), The Coal Miner’s Daughter (1980), Dreamgirls (2006), Begin Again (2013) and La La Land (2016) exalt the perception that creativity, talent, sacrifice and determination will mean dreams come true (Nicolaou). In concert with the American dream is the drive among creative people pursuing creative success to achieve their dreams because of the perceived autonomy they will gain, the chance of self-actualisation and social rewards, and the opportunity to fulfil intrinsic motivations (Amabile; Auger and Woodman; Cohen). For these workers, the love of creation and the happiness that accompanies new discoveries (Csikszentmihalyi) can offset the tight budgets and timelines, precarious labour (Blair, Grey, and Randle; Hesmondhalgh and Baker), uncertain demand (Caves; Shultz), sacrifice of personal relationships (Eikhof and Haunschild), the demand for high quality products (Gil & Spiller), and the tense relationships with administrators (Bilton) which are known to plague these industries. In some cases, young, up and coming creative people overlook these pitfalls, instead romanticising creative careers as ideal and worthwhile. They willingly take on roles and cede control to big corporations to “realize their passions [and] uncover their personal talent” (Bill, 50). Of course, as Ursell argues in discussing television employees, such idealisation can mean creatives, especially those who are young and unfamiliar with the constraints of the industry, end up immersed in and victims of the “vampiric” industry that exploits workers (816). They are socialised towards believing, in this case, that the record label is a necessary component to obtain fame and fortune and whether willing or unwilling, creative workers become complicit in their own exploitation (Cohen). Loss of Control and No CompensationThe music industry itself has been considered by some to typify the cultural industries (Chambers). Popular music has potency in that it is perceived as speaking a universal language (Burnett), engaging the emotions and thoughts of listeners, and assisting in their identity construction (Burnett; Gardikiotis and Baltzis). Given the place of music within society, it is not surprising that in 2018, the global music industry was worth US$19.1billion (IFPI). The music industry is necessarily underpinned by a commercial agenda. At present, six major recording companies exist and between them, they own between 70-80 per cent of the recordings produced globally (Konsor). They also act as gatekeepers, setting trends by defining what and who is worth following and listening to (Csikszentmihalyi; Jones, Anand, and Alvarez). In essence, to be successful in the music industry is to be affiliated with a record label. This is because the highly competitive nature and cluttered environment makes it harder to gain traction in the market without worthwhile representation (Moiso and Rockman). In the 2012 documentary about Thirty Seconds to Mars, Artifact, front man Jared Leto even questions whether it is possible to have “success without a label”. The recording company, he determines, “deal with the crappy jobs”. In a financially uncertain industry that makes money from subjective or experience-based goods (Caves), having a label affords an artist access to “economic capital for production and promotion” that enables “wider recognition” of creative work (Scott, 239). With the support of a record label, creative entrepreneurs are given the chance to be promoted and distributed in the creative marketplace (Scott; Shultz). To have a record label, then, is to be perceived as legitimate and credible (Shultz).However, the commercial music industry is just that, commercial. Accordingly, the desire to make money can see the intrinsic desires of musicians forfeited in favour of standardised products and a lack of remuneration for artists (Negus). To see this standardisation in practice, one need not look further than those contestants appearing on shows such as American Idol or The Voice. Nowhere is the standardisation of the music industry more evident than in Holmes’s 2004 article on Pop Idol. Pop Idol first aired in Britain from 2001-2003 and paved the way for a slew of similar shows around the world such as Australia’s Popstars Live in 2004 and the global Idol phenomena. According to Holmes, audiences are divested of the illusion of talent and stardom when they witness the obvious manufacturing of musical talent. The contestants receive training, are dressed according to a prescribed image, and the show emphasises those melodramatic moments that are commercially enticing to audiences. Her sentiments suggest these shows emphasise the artifice of the music industry by undermining artistic authenticity in favour of generating celebrities. The standardisation is typified in the post Idol careers of Kelly Clarkson and Adam Lambert. Kelly Clarkson parted with the recording company RCA when her manager and producer Clive Davis told her that her album My December (2007) was “not commercial enough” and that Clarkson, who had written most of the songs, was a “shitty writer… who should just shut up and sing” (Nied). Adam Lambert left RCA because they wanted him to make a full length 80s album comprised of covers. Lambert commented that, “while there are lots of great songs from that decade, my heart is simply not in doing a covers album” (Lee). In these instances, winning the show and signing contracts led to both Clarkson and Lambert forfeiting a degree of creative control over their work in favour of formulaic songs that ultimately left both artists unsatisfied. The standardisation and lack of remuneration is notable when signing recording artists to 360° contracts. These 360° contracts have become commonplace in the music industry (Gulchardaz, Bach, and Penin) and see both the material and immaterial labour (such as personal identities) of recording artists become controlled by record labels (Stahl and Meier). These labels determine the aesthetics of the musicians as well as where and how frequently they tour. Furthermore, the labels become owners of any intellectual property generated by an artist during the tenure of the contract (Sanders; Stahl and Meier). For example, in their documentary Show Em What You’re Made Of (2015), the Backstreet Boys lament their affiliation with manager Lou Pearlman. Not only did Pearlman manufacture the group in a way that prevented creative exploration by the members (Sanders), but he withheld profits to the point that the Backstreet Boys had to sue Pearlman in order to gain access to money they deserved. In 2002 the members of the Backstreet Boys had stated that “it wasn’t our destinies that we had to worry about in the past, it was our souls” (Sanders, 541). They were not writing their own music, which came across in the documentary Show Em What You’re Made Of when singer Howie Dorough demanded that if they were to collaborate as a group again in 2013, that everything was to be produced, managed and created by the five group members. Such a demand speaks to creative individuals being tied to their work both personally and emotionally (Bain). The angst encountered by music artists also signals the identity dissonance and conflict felt when they are betraying their true or authentic creative selves (Ashforth and Mael; Ashforth and Humphrey). Performing and abiding by the rules and regulations of others led to frustration because the members felt they were “being passed off as something we aren’t” (Sanders 539). The Backstreet Boys were not the only musicians who were intensely controlled and not adequately compensated by Pearlman. In the documentary The Boy Band Con: The Lou Pearlman Story 2019, Lance Bass of N*Sync and recording artist Aaron Carter admitted that the experience of working with Pearlman became a nightmare when they too, were receiving cheques that were so small that Bass describes them as making his heart sink. For these groups, the dream of making music was undone by contracts that stifled creativity and paid a pittance.In a similar vein, Thirty Seconds to Mars sought to cut ties with their record label when they felt that they were not being adequately compensated for their work. In retaliation EMI issued Mars with a US$30 million lawsuit for breach of contract. The tense renegotiations that followed took a toll on the creative drive of the group. At one point in the documentary Artifact (2012), Leto claims “I can’t sing it right now… You couldn’t pay me all the money in the world to sing this song the way it needs to be sung right now. I’m not ready”. The contract subordination (Phillips; Stahl and Meier) that had led to the need to renegotiate financial terms came at not only a financial cost to the band, but also a physical and emotional one. The negativity impacted the development of the songs for the new album. To make music requires evoking necessary and appropriate emotions in the recording studio (Wood, Duffy, and Smith), so Leto being unable to deliver the song proved problematic. Essentially, the stress of the lawsuit and negotiations damaged the motivation of the band (Amabile; Elsbach and Hargadon; Hallowell) and interfered with their creative approach, which could have produced standardised and poor quality work (Farr and Ford). The dream of making music was almost lost because of the EMI lawsuit. Young creatives often lack bargaining power when entering into contracts with corporations, which can prove disadvantaging when it comes to retaining control over their lives (Phillips; Stahl and Meier). Singer Demi Lovato’s big break came in the 2008 Disney film Camp Rock. As her then manager Phil McIntyre states in the documentary Simply Complicated (2017), Camp Rock was “perceived as the vehicle to becoming a superstar … overnight she became a household name”. However, as “authentic and believable” as Lovato’s edginess appeared, the speed with which her success came took a toll on Lovato. The pressure she experienced having to tour, write songs that were approved by others, star in Disney channel shows and movies, and look a certain way, became too much and to compensate, Lovato engaged in regular drug use to feel free. Accordingly, she developed a hybrid identity to ensure that the squeaky clean image required by the moral clauses of her contract, was not tarnished by her out-of-control lifestyle. The nightmare came from becoming famous at a young age and not being able to handle the expectations that accompanied it, coupled with a stringent contract that exploited her creative talent. Lovato’s is not a unique story. Research has found that musicians are more inclined than those in other workforces to use psychotherapy and psychotropic drugs (Vaag, Bjørngaard, and Bjerkeset) and that fame and money can provide musicians more opportunities to take risks, including drug-use that leads to mortality (Bellis, Hughes, Sharples, Hennell, and Hardcastle). For Lovato, living the dream at a young age ultimately became overwhelming with drugs her only means of escape. AuthenticityThe challenges then for music artists is that the dream of pursuing music can come at the cost of a musician’s authentic self. According to Hughes, “to be authentic is to be in some sense real and true to something ... It is not simply an imitation, but it is sincere, real, true, and original expression of its creator, and is believable or credible representations or example of what it appears to be” (190). For Nick Jonas of the Jonas Brothers, being in the spotlight and abiding by the demands of Disney was “non-stop” and prevented his personal and musical growth (Chasing Happiness). As Kevin Jonas put it, Nick “wanted the Jonas Brothers to be no more”. The extensive promotion that accompanies success and fame, which is designed to drive celebrity culture and financial motivations (Currid-Halkett and Scott; King), can lead to cynical performances and dissatisfaction (Hughes) if the identity work of the creative creates a disjoin between their perceived self and aspirational self (Beech, Gilmore, Cochrane, and Greig). Promoting the band (and having to film a television show and movies he was not invested in all because of contractual obligations) impacted on Nick’s authentic self to the point that the Jonas Brothers made him feel deeply upset and anxious. For Nick, being stifled creatively led to feeling inauthentic, thereby resulting in the demise of the band as his only recourse.In her documentary Gaga: Five Foot Two (2017), Lady Gaga discusses the extent she had to go to maintain a sense of authenticity in response to producer control. As she puts it, “when producers wanted me to be sexy, I always put some absurd spin on it, that made me feel like I was still in control”. Her words reaffirm the perception amongst scholars (Currid-Halkett and Scott; King; Meyers) that in playing the information game, industry leaders will construct an artist’s persona in ways that are most beneficial for, in this case, the record label. That will mean, for example, establishing a coherent life story for musicians that endears them to audiences and engaging recording artists in co-branding opportunities to raise their profile and to legitimise them in the marketplace. Such behaviour can potentially influence the preferences and purchases of audiences and fans, can create favourability, originality and clarity around artists (Loroz and Braig), and can establish competitive advantage that leads to producers being able to charge higher prices for the artists’ work (Hernando and Campo). But what impact does that have on the musician? Lady Gaga could not continue living someone else’s dream. She found herself needing to make changes in order to avoid quitting music altogether. As Gaga told a class of university students at the Emotion Revolution Summit hosted by Yale University:I don’t like being used to make people money. It feels sad when I am overworked and that I have just become a money-making machine and that my passion and creativity take a backseat. That makes me unhappy.According to Eikof and Haunschild, economic necessity can threaten creative motivation. Gaga’s reaction to the commercial demands of the music industry signal an identity conflict because her desire to create, clashed with the need to be commercial, with the outcome imposing “inconsistent demands upon” her (Ashforth and Mael, 29). Therefore, to reduce what could be considered feelings of dissonance and inconsistency (Ashforth and Mael; Ashforth and Humphrey) Gaga started saying “no” to prevent further loss of her identity and sense of authentic self. Taking back control could be seen as a means of reorienting her dream and overcoming what had become dissatisfaction with the commercial processes of the music industry. ConclusionsFor many creatives working in the creative industries – and specifically the music industry – is constructed as a dream come true; the working conditions and expectations experienced by recording artists are far from liberating and instead can become nightmares to which they want to escape. The case studies above, although likely ‘constructed’ retellings of the unfortunate circumstances encountered working in the music industry, nevertheless offer an inside account that contradicts the prevailing ideology that pursuing creative passions leads to a dream career (Florida; Samuel). If anything, the case studies explored above involving 30 Seconds to Mars, the Jonas Brothers, Lady Gaga, Kelly Clarkson, Adam Lambert and the Backstreet Boys, acknowledge what many scholars writing in the creative industries have already identified; that exploitation, subordination, identity conflict and loss of control are the unspoken or lesser known consequences of pursuing the creative dream. That said, the conundrum for creatives is that for success in the industry big “creative” businesses, such as recording labels, are still considered necessary in order to break into the market and to have prolonged success. This is simply because their resources far exceed those at the disposal of independent and up-and-coming creative entrepreneurs. Therefore, it can be argued that this friction of need between creative industry business versus artists will be on-going leading to more of these ‘dream to nightmare’ stories. The struggle will continue manifesting in the relationship between business and artist for long as the recording artists fight for greater equality, independence of creativity and respect for their work, image and identities. References@BrunoMars. “I use to dream about this shit!! #stilldreamin.” Twitter, 23 Apr. 2018, 00:31. <https://twitter.com/brunomars/status/988319530698059776?lang=en>.@ShawnMendes. “My life is a dream.” Twitter, 21 July 2019, 12:46. <https://twitter.com/shawnmendes/status/1153028603573145601?lang=en>.Adams, James Truslow. The Epic of America. New Brunswick: Transaction Publishers, 2012 [1931].Amabile, Teresa M. “Motivating Creativity in Organizations: On Doing What You Love and Loving What You Do.” California Management Review 40.1 (1997): 39-58.Artifact. Dir. J. Leto. Paradox, 2012.Ashforth, Blake E., and Ronald H. Humphrey. “Emotional Labor in Service Roles: The Influence of Identity.” The Academy of Management Review 18.1 (1993): 88-115.Ashforth, Blake E., and Fred Mael. “Social Identity Theory and the Organization.” Academy of Management Review 14.1 (1989): 20-39.Atkinson, Brian T. “Jon Bon Jovi Talks about Sambora, Songwriting and Living the Dream.” Statesman 8 Apr. 2013. 15 Sep. 2019 <https://www.statesman.com/article/20130408/NEWS/304089715>.Auger, Pascale, and Richard W. Woodman. “Creativity and Intrinsic Motivation: Exploring a Complex Relationship.” The Journal of Applied Behavioral Science 52.3 (2016): 342-366.Backstreet Boys: Show ‘Em What You’re Made Of. Dir. S. Kijak. Pulse Films, 2015.Bain, Alison. “Constructing an Artistic Identity.” Work, Employment and Society 19.1 (2005): 25-46.Beech, Nic, Charlotte Gilmore, Eilidh Cochrane, and Gail Greig. “Identity Work as a Response to Tensions: A Re-Narration in Opera Rehearsals.” Scandinavian Journal of Management 28.1 (2012): 39-47.Bellis, Mark A, Karen Hughes, Olivia Sharples, Tom Hennell, and Katherine A. Hardcastle. “Dying to Be Famous: Retrospective Cohort of Rock and Pop Star Mortality and Its Association with Adverse Childhood Experiences.” BMJ 2.6 (2012): 1-8. Bill, Amanda. “’Blood, Sweat and Shears’: Happiness, Creativity, and Fashion Education.” Fashion Theory 16.1 (2012): 49-66. Bilton, Chris. Management and Creativity: From Creative Industries to Creative Management. Malden: Blackwell, 2007.Blair, Helen, Susan Grey, and Keith Randle. “Working in Film: Employment in a Project Based Industry.” Personnel Review 30.2 (2001): 170-185.Burnett, Robert. The Global Jukebox: The International Music Industry. London: Routledge, 1996.Caves, Richard, E. Creative Industries: Contracts between Art and Commerce. Massachusetts: Harvard University Press, 2001. Chambers, Iain. “Some Critical Tracks.” Popular Music 2 (1982): 19-36.Chasing Happiness. Dir. J. Taylor. Amazon, 2019. Cohen, Nicole, S. “Cultural Work as a Site of Struggle: Freelancers and Exploitation.” TripleC 10.2 (2012): 141-155.Currid-Halkett, Elizabet, and Allen J. Scott. “The Geography of Celebrity and Glamour: Reflections on Economy, Culture, and Desire in the City.” City, Culture and Society 4.1 (2013): 2-11.Duffy, Brooke Erin, and Elizabeth Wissinger. “Mythologies of Creative Work in the Social Media Age: Fun, Free, and ‘Just Being Me’.” International Journal of Communication 11 (2017): 4652-4671.Eikof, Doris Ruth, and Axel Haunschild. “Lifestyle Meets Market: Bohemian Entrepreneurs in Creative Industries.” Creativity and Innovation Management 15.3 (2006): 234-241.Elsbach, Kimberly D. and Andrew B. Hargadon. “Enhancing Creativity through ‘Mindless’ Work: A Framework of Workday Design.” Organization Science 17.4 (2006): 470-483.Farr, James L., and Cameron M. Ford. “Individual Innovation.” Innovation and Creativity at Work: Psychological and Organizational Strategies. Eds. Michael A. West and James L. Farr. London: Wiley, 1990. 63-80.Florida, Richard. “The New American Dream.” The Washington Monthly 35.3 (2003): 26-33Freud, Sigmund. The Interpretation of Dreams. Trans. A.A. Brill. Dover Publications, 2015.Gaga: Five Foot Two. Dir. C. Moukarbel, Netflix, 2017.Gamson, Joshua. Claims to Fame: Celebrity in Contemporary America. Berkeley: University of California Press, 1992.Gardikiotis, Antonis, and Alexandros Baltzis. “’Rock Music for Myself and Justice to the World!’ Musical Identity, Values, and Music Preferences.” Psychology of Music 40.2 (2011): 143-163.Guichardaz, Rémy, Laurent Bach, and Julien Penin. “Music Industry Intermediation in the Digital Era and the Resilience of the Majors’ Oligopoly: The Role of Transactional Capability.” Industry and Innovation 26.7 (2019): 843-869.Hallowell, Edward M. “Overloaded Circuits: Why Smart People Underperform.” Harvard Business Review Jan. 2005. 17 Sep. 2019 <https://addmindfulness.com/wp-content/uploads/2013/08/Hallowell-HBR-Overloaded-Circuits.pdf>.Hesmondhalgh, David, and Sarah Baker. “A Very Complicated Version of Freedom: Conditions and Experiences of Creative Labour in Three Cultural Industries.” Poetics 38 (2010): 4-20.Hernando, Elisa, and Sara Campo. “Does the Artist’s Name Influence the Perceived Value of an Art Work?” International Journal of Arts Management 19.2 (2017): 46-58.Holmes, Su. “’Reality Goes Pop!’ Reality TV, Popular Music, and Narratives of Stardom in Pop Idol.” Television & New Media 5.2 (2004) 147-172.Hughes, Michael. “Country Music as Impression Management: A Meditation on Fabricating Authenticity.” Poetics 28 (2000): 185-205.IFPI. “Global Recorded Music Sales.” 18 Oct. 2019 <https://www.ifpi.org/global-statistics.php>.Jones, Candace, N. Anand, and Josè Luis Alvarez. “Manufactured Authenticity and Creative Voice in Cultural Industries.” Journal of Management Studies 42.5 (2005): 893-899.Jung, Carl Gustav. Dreams. Trans. Richard Francis Carrington Hull. Routledge, 2002.King, Barry. “Stardom, Celebrity, and the Money Form.” The Velvet Light Trap 65.1 (2010): 7-19.Konsor, Kellie J. Essays on the Industrial Organization of the Modern Music Industry. PhD dissertation. Purdue University, 2017. Lee, Christina. “Adam Lambert Parts Ways with RCA, Says ‘My Heart Is Simply Not in Doing a Covers Album.” Idolator 13 July 2013. 15 Sep. 2019 <https://www.idolator.com/7470764/adam-lambert-covers-album-parts-ways-with-rca?chrome=1>.Loroz, Peggy Sue, and Bridgette M. Braig. “Consumer Attachments to Human Brands: The ‘Oprah Effect.’” Connections 32.7 (2015): 751-763.Meyers, Erin. “’Can You Handle My Truth?’: Authenticity and the Celebrity Star Image.” Journal of Popular Culture 42.5 (2009): 890-907. Moisio, Laura, and Maija Rökman. “Musician’s Fans’ and Record Company’s Value Co-Creation in Internet.” Paper presented at The 2011 Naples Forum on Service. University Federico II, Capri, Italy, 14-17 June 2011.Neff, Gina, Elizabeth Wissing, and Sharon Zukin. “Entrepreneurial Labor among Cultural Producers: ‘Cool’ Jobs in ‘Hot’ Industries.” Social Semiotics 15.3 (2005): 307-334.Negus, Keith. “Where the Mystical Meets the Market: Creativity and Commerce in the Production of Popular Music.” The Sociological Review 43.2 (1995): 316-341.Nicolaou, Elena. “Fallen in Love with A Star Is Born? Watch These Movies Next.” Refinery29 17 Oct. 2018. 14 Sep. 2019 <https://www.refinery29.com/en-gb/2018/10/214287/movies-about-hollywood-showbiz#slide-13>.Nied, Michael. “Kelly Clarkson Freed from American Idol Contract.” PPCORN. 15 Sep. 2019 <http://ppcorn.com/us/kelly-clarkson-freed-from-american-idol-contract/>.Nilles, Billy. “How Aretha Franklin Inspired Kelly Clarkson, Jennifer Hudson and More Stars.” ENews 16 Aug. 2018. 19 Sep. 2019 <https://www.eonline.com/news/960776/how-aretha-franklin-inspired-kelly-clarkson-jennifer-hudson-and-more-stars>.Phillips, Ronnie J. Rock and Roll Fantasy? The Reality of Going from Garage Band to Superstardom. Colorado: Springer, 2013. Samuel, Lawrence, R. The American Dream: A Cultural History. New York: Syracuse UP, 2012.Sanders, Maria A. “Singing Machines: Boy Bands and the Struggle for Artistic Legitimacy.” 20 Cardozo Arts & Entertainment Law Journal 3 (2002): 525-588Scott, Michael. “Cultural Entrepreneurs, Cultural Entrepreneurship: Music Producers Mobilising and Converting Bourdieu’s Alternative Capitals.” Poetics 40 (2012): 237-255Shultz, Benjamin. “The Work behind the Scenes: The New Intermediaries of the Indie Crafts Business.” Regional Studies 49.3 (2015): 451-460.Simply Complicated. Dir. H.L. Davis. Philymack Productions, 2017,Stahl, Matt, and Leslie Meier. “The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry.” Canadian Journal of Communication 37.3 (2012): 441-458.The Boy Band Con: The Lou Pearlman Story. Dir. A. Kunkel. 1620 Media, 2019.Thomas, George M. “’Maid’ for Fame: J. Lo Living a Dream.” Chicago Tribune 12 Dec. 2002. 15 Sep. 2019 <https://www.chicagotribune.com/news/ct-xpm-2002-12-12-0212120189-story.html>.Tishgart, Sierra. “Demi Lovato on Launching Secret’s Anti-Bullying Campaign.” TeenVogue 17 Oct. 2012. 19 Sep. 2019 <https://www.teenvogue.com/story/demi-lovato-secret-anti-bullying>.Ursell, Gillian. “Television Production: Issues of Exploitation, Commodification and Subjectivity in UK Television Labour Markets.” Media, Culture & Society 22.6 (2000): 805-825.Vaag, Jonas, Johan Håkon Bjørngaard, and Ottar Bjerkeset. “Use of Psychotherapy and Psychotropic Medication among Norwegian Musicians Compared to the General Workforce.” Psychology of Music 44.6 (2016): 1439-1453. Wood, Nichola, Michelle Duffy, and Susan J. Smith. “The Art of Doing (Geographies of) Music.” Environment and Planning D: Society and Space 25.5 (2007): 867-889.Yale University. “Lady Gaga Emotion Revolution Summit 2015.” YouTube, 12 Nov. 2015. <https://www.youtube.com/watch?v=so2nDTZQmCo>.

Förlikningar i offentligt upphandlade kontrakt som uppenbart leder till att kontraktet eller kontraktets övergripande karaktär förändras väsentlig, är numera inte möjligt att genomföra. Att en väsentlig förändring har framkommit genom en förlikning i ett tvistemål mellan parterna i ett offentligt upphandlat kontrakt innebär inte att den upphandlande myndigheten kan avstå från att genomföra en ny upphandling.Denna förändring är olycklig för förlikningsprocessen i offentligt upphandlade kontrakt. Det är tydligt att parternas handlingsutrymme vid förlikningsprocesser har minskat avsevärt. Kvarstår gör endast alternativet att häva kontraktet vilket är parternas sista utväg.Förändringarna som skett, i och med implementeringen av nya LOU kan dock ses som något positivt för offentlig upphandling i allmänhet. De juridiska svårigheterna till att förlika och de upphandlingsrättsliga principerna har skapat en förutsebarhet och medvetenhet inom offentlig upphandling. De nya upphandlingsreglerna som exempelvis kompletterande beställningar, oförutsebara omständigheter och ändringar som inte är väsentliga gör den upphandlande myndigheten medveten under hela processen. Medvetenheten gäller från annons till utvärdering av anbud och tilldelning av kontrakt och förebygger väsentliga förändringar under kontraktets fullgörande. Den upphandlande myndigheten har med ändrings-eller optionsklausuler i upphandlingsdokumentet möjlighet att förebygga oförutsebara väsentliga förändringar i kontraktet under avtalstiden. Den nya regleringen av LOU, främst 17 kapitlet, kommer att förlänga processen av offentliga upphandlingar, med mer omfattande upphandlingsdokument och större arbetsbörda för parterna, vilket det måste vara för att upphandlingsprocessen ska vara genomförbar.Syftet med uppsatsen är att med traditionell juridisk metod undersöka vilken påverkan den nya lagstiftningen inom offentlig upphandling kommer ha vid ändringar i ett kontrakt som håller på att fullgöras och hur det kommer att påverka möjligheterna till förlikning i offentligt upphandlat kontrakt. Avslutningsvis ska det nämnas, att trots den nya regleringen har de upphandlande myndigheterna och leverantörerna alla möjligheter att träffa förlikningar i tvister av offentligt upphandlade kontrakt, så länge beaktning till framförallt väsentliga förändringar i LOU tas.