Academic literature on the topic 'Bragg, Edward S'

A wavelength resolved measurement technique used in neutron imaging applications is known as energy-resolved neutron transmission imaging. This technique of reconstructing residual strain maps provides high spatial resolution measurements of strain distribution in polycrystalline materials from sets of Bragg edge measurement images. Strain field reconstructions obtained from both triangular and quadrilateral finite element meshes are compared. The reconstruction is approached via a least square method and relies on the inversion of the longitudinal ray transform, which has uniqueness issues. References B. Abbey, S. Y. Zhang, W. J. J. Vorster, and A. M. Korsunsky. Feasibility study of neutron strain tomography. Proc. Eng., 1:185–188, 2009. doi:10.1016/j.proeng.2009.06.043. R. Aggarwal, M. H. Meylan, B. P. Lamichhane, and C. M. Wensrich. Energy resolved neutron imaging for strain reconstruction using the finite element method. J. Imag., 6(3):13, 2020a. doi:10.3390/jimaging6030013. R. Aggarwal, M. H. Meylan, C. M. Wensrich, and B. P. Lamichhane. Finite element approach to Bragg edge neutron strain tomography. In B. Lamichhane, T. Tran, and J. Bunder, editors, Proceedings of the 18th Biennial Computational Techniques and Applications Conference, CTAC-2018, volume 60 of ANZIAM J., pages C279–C294, June 2020b. doi:10.21914/anziamj.v60i0.14054. M. E. Fitzpatrick and A. Lodini. Analysis of residual stress by diffraction using neutron and synchrotron radiation. CRC Press, 2003. URL https://www.routledge.com/Analysis-of-Residual-Stress-by-Diffraction-using-Neutron-and-Synchrotron/Fitzpatrick-Lodini/p/book/9780367446802. A. W. T. Gregg, J. N. Hendriks, C. M. Wensrich, A. Wills, A. S. Tremsin, V. Luzin, T. Shinohara, O. Kirstein, M. H. Meylan, and E. H. Kisi. Tomographic reconstruction of two-dimensional residual strain fields from Bragg-edge neutron imaging. Phys. Rev. Appl., 10:064034, Dec 2018. doi:10.1103/PhysRevApplied.10.064034. J. N. Hendriks, A. W. T. Gregg, C. M. Wensrich, A. S. Tremsin, T. Shinohara, M. Meylan, E. H. Kisi, V. Luzin, and O. Kirsten. Bragg-edge elastic strain tomography for in situ systems from energy-resolved neutron transmission imaging. Phys. Rev. Mat., 1:053802, 2017. doi:10.1103/PhysRevMaterials.1.053802. E. H. Kisi and C. J. Howard. Applications of neutron powder diffraction, volume 15 of Neutron Scattering in Condensed Matter. Oxford University Press, 2012. URL https://global.oup.com/academic/product/applications-of-neutron-powder-diffraction-9780199657421. W. R. B. Lionheart and P. J. Withers. Diffraction tomography of strain. Inv. Prob., 31:045005, 2015. doi:10.1088/0266-5611/31/4/045005. C. C. Paige and M. A. Saunders. LSQR: An algorithm for sparse linear equations and sparse least squares. ACM Trans. Math. Software, 8:43–71, 1982. doi:10.1145/355984.355989. J. R. Santisteban, L. Edwards, M. E. Fitzpatrick, A. Steuwer, P. J. Withers, M. R. Daymond, M. W. Johnson, N. Rhodes, and E. M. Schooneveld. Strain imaging by Bragg edge neutron transmission. Nucl. Inst. Meth. Phys. Res., 481:765–768, 2002. doi:10.1016/S0168-9002(01)01256-6. T. Shinohara and T. Kai. Commissioning start of energy-resolved neutron imaging system, RADEN in J-PARC. Neut. News, 26(2):11–14, 2015. doi:10.1080/10448632.2015.1028271. T. Shinohara, T. Kai, K. Oikawa, M. Segawa, M. Harada, T. Nakatani, M. Ooi, K. Aizawa, H. Sato, T. Kamiyama, H. Yokota, T. Sera, K. Mochiki, and Y. Kiyanagi. Final design of the energy-resolved neutron imaging system RADEN at J-PARC. J. Phys., 746, 2016. doi:10.1088/1742-6596/746/1/012007. A. S. Tremsin, J. B. McPhate, W. Kockelmann, J. V. Vallerga, O. H. W. Siegmund, and W. B. Feller. High resolution Bragg edge transmission spectroscopy at pulsed neutron sources: proof of principle experiments with a neutron counting MCP detector. Nucl. Inst. Meth. Phys. Res., 633:S235–S238, 2011. doi:10.1016/j.nima.2010.06.176. R. Woracek, J. Santisteban, A. Fedrigo, and M. Strobl. Diffraction in neutron imaging—A review. Nucl. Inst. Meth. Phys. Res., 878:141–158, 2018. doi:10.1016/j.nima.2017.07.040.

Dentre os fatores que podem desencadear a compressão do canal de Guyon inclui-se o aneurisma da artéria ulnar. Uma das abordagens cirúrgicas é a reconstrução microcirúrgica através da ressecção e arteriorrafia término-terminal ou enxerto venoso de interposição. O objetivo deste trabalho é relatar o caso de paciente que desenvolveu neuropatia do nervo ulnar secundária à presença de aneurisma da artéria ulnar no canal de Guyon. Foi realizada a descompressão cirúrgica através de uma abertura do canal e a ressecção do segmento lesionado. A artéria ulnar foi reconstruída através da anastomose término-terminal microcirúrgica. O resultado foi o alívio completo dos sintomas no pós-operatório com manutenção do fluxo vascular.
 Descritores: Nervo Ulnar; Neuropatia Radial; Ferimentos e Lesões; Aneurisma.
 Referências
 
 Guyon F. Note sur une disposition anatomique proper à la face antérieure de la région du poignet et non encour décrite. Bulletins de la Societé anatomique de Paris, Second Series, 1861;6:184-86.
 Caetano EB, Brandi S, Oliveira Junior WM. Compressão do nervo ulnar no canal de Guyon por aneurisma verdadeiro: relato de um caso. Rev Bras Ortop. 2004;39(7):398-400.
 Shea JD, McClain EJ. Ulnar-nerve compression syndromes at and below the wrist. J Bone Joint Surg Am. 1969;51(6):1095-103. 
 Rothkopf DM, Bryan DJ, Cuadros CL, May JW Jr. Surgical management of ulnar artery aneurysms. J Hand Surg Am. 1990;15(6):891-97. 
 Harris EJ Jr, Taylor LM Jr, Edwards JM, Mills JL, Porter JM. Surgical treatment of distal ulnar artery aneurysm. Am J Surg. 1990;159(5):527-30.
 Dethmers RS, Houpt P. Surgical management of hypothenar and thenar hammer syndromes: a retrospective study of 31 instances in 28 patients. J Hand Surg Br. 2005;30(4):419-23. 
 Aguiar PH, Bor-Seng-Shu E, Gomes-Pinto F, Almeida- Leme RJ, Freitas ABR, Martins RS et al. Surgical management of Guyon's canal syndrome, an ulnar nerve entrapment at the wrist: report of two cases. Arq Neuro-Psiquiatr. 2001;59(1):106-11.
 Jose RM, Bragg T, Srivastava S. Ulnar nerve compression in Guyon's canal in the presence of a tortuous ulnar artery. J Hand Surg Br. 2006;31(2):200-2. 
 Galati G, Cosenza UM, Sammartino F, Benvenuto E, Caporale A. True aneurysm of the ulnar artery in a soccer goalkeeper: a case report and surgical considerations. Am J Sports Med. 2003;31(3):457-58.
 Rothkopf DM, Bryan DJ, Cuadros CL, May JW Jr. Surgical management of ulnar artery aneurysms. J Hand Surg Am. 1990;15(6):891-97.

Insects represent a relevant didactic resource to work with artistic skills, concepts, attitudes and values in the Science teaching because they are diversified in forms and colors, and because they have different life styles. However, there are relatively few reports of experience with evidence of their importance as a didactic resource. In this sense, our main aims were to describe and analyze: (1) the perceptions of seventh-year elementary school students of a public school in Uberlândia-MG, Brazil, about insects; and (2) a didactic sequence in which insects are used to work concepts, artistic skills, attitudes and values, such as respect for life. In 2018, we applied and analyzed 47 questionnaires with five questions about insects; and after we prepared a didactic sequence to stimulate student’s learning through strategies such as reading, dictionary use, research, expository lecture, and drawing. We noticed that most students knew at least one insect, although they had little information on insects’ scientific and ecological importance. We also noticed from the reports, participation, and evaluation of the students that the didactic sequence was useful on several competencies abovementioned, suggesting that the use of different types of strategies can stimulate students to become interested and participate actively in the classes. Therefore, insects represent an excellent didactic resource to work conceptual, procedural and attitudinal concepts in Science teaching.ResumoPor serem diversificados em formas e cores, e também por possuírem variados modos de vida, os insetos representam um relevante recurso didático para trabalhar com habilidades artísticas, conceitos, atitudes e valores no ensino de Ciências. Contudo, há relativamente poucos relatos de experiência com evidências da importância deles como recurso didático. Neste contexto, os principais objetivos deste relato foram descrever e analisar: (1) as percepções de estudantes do sétimo ano do Ensino Fundamental de uma escola pública de Uberlândia-MG quanto aos insetos; e (2) uma sequência didática em que os insetos são utilizados para trabalhar conceitos, habilidades artísticas, atitudes e valores, como o respeito à vida. Em 2018 foram aplicados e analisados, em uma perspectiva quali-quantitativa, 47 questionários com cinco questões sobre os insetos. Depois, foi desenvolvida uma sequência didática envolvendo leitura com uso de dicionário, pesquisa, aula expositiva dialogada, momento musical e confecção de desenhos. De maneira geral, os questionários evidenciaram que a maior parte dos estudantes foi capaz de reconhecer pelo menos um tipo de inseto, embora soubessem pouco sobre sua importância científica e ecológica. Notou-se também, pelos relatos, participação, avaliação dos estudantes e comportamento deles para com os insetos, que a sequência didática foi útil para trabalhar as diferentes competências acima mencionadas, o que sugere que o uso dos insetos junto com variados tipos de estratégias pode estimular os estudantes a se interessarem e participarem ativamente das aulas. Portanto, os insetos representaram um excelente recurso didático para trabalhar conteúdos conceituais, procedimentais e atitudinais no ensino de Ciências.ResumenPor ser diversificados en formas y colores, y también por sus variados modos de vida, los insectos representan un relevante recurso didáctico para trabajar con habilidades artísticas, conceptos, actitudes y valores en la enseñanza de las Ciencias. Sin embargo, hay relativamente pocos relatos de experiencia con evidencias de su importancia como recurso didáctico. En este contexto, los principales objetivos de este estudio fueron: (1) describir y analizar las percepciones de estudiantes del séptimo año de la Enseñanza Fundamental de una escuela pública de Uberlândia-MG en cuanto a los insectos; y (2) describir una secuencia didáctica en la que los insectos se utilizan para trabajar conceptos, habilidades artísticas, actitudes y valores, como el respeto a la vida. En el año 2018 se aplicaron y analizaron 47 cuestionarios con cinco preguntas sobre los insectos y luego se preparó y analizó una secuencia didáctica que involucra lectura con uso de diccionario, investigación, clase expositiva dialogada y confección de dibujos. En general, los cuestionarios evidenciaron que la mayor parte de los estudiantes fue capaz de reconocer al menos un tipo de insecto, aunque supieron poco sobre su importancia científica y ecológica. Se ha notado también, por los relatos, participación y evaluación de los estudiantes, que la secuencia didáctica ha sido útil para trabajar diferentes competencias, lo que sugiere que el uso de variados tipos de estrategias puede estimular a los estudiantes a interesarse y participar activamente en las clases. Por lo tanto, los insectos representan un excelente recurso didáctico para trabajar contenidos conceptuales, procedimentales y actitudinales en la enseñanza de las Ciencias.Palavras-chave: Ensino de Ciências, Insetos na educação básica, Metodologias ativas, Recurso didático.Keywords: Active methodologies, Didactic resource, Insects in elementary school, Science teaching.Palabras claves: Enseñanza de Ciencias, Insectos en la educación básica, Metodologías activas, Recurso didáctico.ReferencesALMEIDA-NETO, José Rodrigues; COSTA-NETO, Eraldo Medeiros; SILVA, Paulo Roberto Ramalho; BARROS, Roseli Faria Melo. Percepções sobre os insetos em duas comunidades rurais da Serra do Passa-Tempo, Nordeste do Brasil. Revista Espacios, v. 36, n. 11, 2015.BRAGA; Ima Aparecida; VALLE, Denise. Aedes aegypti: histórico do controle no Brasil. Epidemiologia e Serviços de Saúde, v. 16, n. 2, 113-118, 2007.BRASIL. Ministério da Educação. Secretaria da Educação Básica. LDB: Lei de diretrizes e bases da educação nacional. Brasília: Senado Federal, Coordenação de Edições Técnicas, 2017. 58 p. Disponível em: http://www2.senado.leg.br/bdsf/bitstream/handle/id/529732/lei_de_diretrizes_e_bases_1ed.pdf. Acesso em: fev. 2018.BRASIL. Ministério da Educação. Secretaria da Educação Básica. BNCC: Base Nacional Comum Curricular. Brasília, DF, 2018. Disponível em: http://basenacionalcomum.mec.gov.br/wp-content/uploads/2018/02/bncc-20dez-site.pdf. Acesso em: fev. 2018.CARRECK Norman; WILLIAMS Ingrid. The economic value of bees in the UK. Bee World, v. 79, n. 3, p.115-23, 1998.COSTA, Marco Antonio Ferreira; COSTA, Maria Fátima Barrozo.; LIMA, Maria Conceição Almeida Barbosa.; LEITE, Sidnei Quezada Meireles. O desenho como estratégia pedagógica no ensino de ciências: o caso da biossegurança. Revista Electrónica de Enseñanza de las Ciencias, v. 5, n. 1, 2006.COSTA-NETO, Eraldo Medeiros. Manual de etnoentomología. Zaragoza: Manuales & Tesis SEA, 2002.COSTA-NETO, Eraldo Medeiros; CARVALHO, Paula Dib de. Percepção dos insetos pelos graduandos da Universidade Estadual de Feira de Santana, Bahia, Brasil. Acta Scientiarum, v. 22, n. 2, p. 423-428, 2000.COSTA-NETO, Eraldo Medeiros; RODRIGUES, Rosalina Maria Fatima Ribeiro. As formigas (Insecta: Hymenoptera) na concepção dos moradores de Pedra Branca, Santa Terezinha, estado da Bahia, Brasil. Boletín Sociedad Entomológica Aragonesa, n. 37, 353-364, 2005.DICKE, Marcel. Insects in western art. American Entomologist, v. 46, 228-236, 2000.DICKE, Marcel. From Venice to Fabre: insects in western art. Proceedings of the Netherlands Entomological Society, v. 15, 9-14, 2004.GALLO, Domingos; NAKANO, Octavio; NETO, Sinval Silveira; CARVALHO, Ricardo Pereira Lima; BAPTISTA, Gilberto Casadei; BERTI-FIHO, Evoneo; PARRA, José Roberto Postali; ZUCCHI, Roberto Antonio; ALVES, Sérgio Batista; VENDRAMIM, José Djair; MARCHINI, Luis Carlos; LOPES, João Roberto Spotti.; OMOTO, Celso. Entomologia Agrícola. Piracicaba: FEALQ, 2002. 920 p.GOULD, James L.; GOULD, Carol Grant. The honey bee. Scientific American Library, New York, 1988.GRIMALDI, David; ENGEL, Michael S. Evolution of the insects. New York: Cambridge University Press, 2005. 755p.GULLAN, Penny J.; CRANSTON, Peter S. The insects: an outline of entomology. 4 ed. Oxford: Willey Blackwell, 2010.HICKMAN, Cleveland P. Junior; ROBERTS, Larry S.; LARSON, Allan. Princípios Integrados de Zoologia. Rio de Janeiro: Guanabara Koogan, 2016.LENKO, Karol; PAPAVERO, Nelson. Insetos no Folclore. São Paulo: Secretaria de Cultura, Ciência e Tecnologia do Estado de São Paulo, 1979. 518p.LOZOYA, Xavier; BERNAL-IBAÑEZ, Sergio. A cien años de la Zoología medica de Jesús Sánchez. México: Instituto de Seguridad y Servicios Sociales de Los Trabajadores Del Estado, 1993.MACEDO, Indira Maria Estolano; VELOSO, Rodrigo Rossetti; MEDEIROS, Henri Adso Ferreira; PADILHA, Maria Rosário Fátima; FERREIRA, Gêneses Silva Ferreira; SHINOHARA, Neide Kazue Sakugawa. Entomophagy in different food cultures. Revista Geama, v. 3, n. 2, 58-62, 2017.MACÊDO, Margarete Valverde.; MONTEIRO, Ricardo Ferreira; FLINTE, Vivian; GRENHA, Viviane; GRUZMAN, Eduardo; NESSIMIAN, Jorge Luiz; MASUDA, Hatisaburo. Insetos na Educação Básica. Volume único. Rio de Janeiro: Fundação CECIERJ, 2009.MACHADO, Elaine Ferreira; MIQUELIN, Awdry Feisser. A construção coletiva de um insetário virtual inspirada na obra de Maria Sibylla Merian (1647-1717) e mediada pelos smartphones e o aplicativo instagram. Revista Tecnológica na Educação, ano 8, n. 14, 2016.MARTINS, Isabel; OGBORN, Jon; KRESS, Gunther. Explicando uma explicação. Ensaio: Pesquisa e Educação em Ciências, v. 1, n 1, 1-14, 1999.MATOS, Claudia Helena Cysneiros; OLIVEIRA, Carlos Romero Ferreira; SANTOS, Maria Patrícia França; FERRAZ, Célia Siqueira. Utilização de modelos didáticos no ensino de entomologia. Revista de Biologia e Ciências da Terra, v. 9, n. 1, 2009.PATTERSON, Jessica M.D.; SAMMON, Maura M.D.; GARG, Manish M.D. Dengue, zika and chikungunya: emerging arboviruses in the New world. Western Journal of Emergency Medicine, v. 17, n. 6, 671-679, 2016.PERRENOUD, Philippe. Construir as competências desde a escola. Porto Alegre: ARTMED, 1999.PINHO, Luiz C. Bringing taxonomy to school kids: Aedokritus adotivae sp. n. from Amazon (Diptera: Chironomidae). Zootaxa, v. 4399, n. 4, 586-590, 2018.PRICE, Peter W.; DENNO, Robert F.; EUBANKS, Micky D.; FINKE, Deborah L.; KAPLAN, Ian. Insect Ecology: behavior, populations and communities. New York: Cambridge University Press, 2011. 764p.RABAAN, Ali A; BAZZI, Ali M.; AL-AHMED, Shamsah H.; AL-GRAITH, Mohamed H.; AL-TAWFIQ, Jaffar A. Overwiew of zika infection, epidemiology, transmission and control measures. Journal of Infections and Public Health, v. 10, p. 141-149, 2017.SALLES, Frederico F.; MASSARIOL, Fabiana C.; NASCIMENTO, Jeane M.C.; BOLDRINI, Rafael; RAIMUNDI, Erikcsen A.; ANGELI, Kamila B.; SOUTO, Paula. Ephemeroptera do Brasil, 2004. Disponível em: http://ephemeroptera.com.br/. Acesso em: fev. 2019.SÁNCHEZ-BAYO, Francisco; WYCKUYS, Kris A.G. Worldwide decline of the entomofauna: a review of its drivers. Biological Conservation, v. 232, 8-27, 2019.SANTOS, Danielle Caroline de Jesus; SOUTO, Leandro Sousa. Coleção entomológica como ferramenta facilitadora para a aprendizagem de Ciências no ensino fundamental. Scientia Plena, v. 7, n. 5, 2011.SOUSA-LOPES, Bruno. Sobre o uso de uma coleção entomológica como ferramenta didática no ensino médio noturno e a percepção de fatores que influenciam o baixo rendimento escolar. Experiências em Ensino de Ciências, v. 12, n. 8, 250-260, 2017.SOUSA-LOPES, Bruno; ALVES-DA-SILVA, Nayane. O saber – Ciências e Biologia. Blog Científico, 2012. Disponível em: http://osaberciencias.blogspot.com/p/ciencia-com-arte.html. Acesso: fev. 2019.SOUZA, Matheus. Em São Paulo, projeto da USP empresta insetários para escolas públicas. Jornal da USP, 2018. Disponível em: jornal.usp.br/?p=200706. Acesso: fev. 2019.STORK, Nigel E. How many species of insects and other arthropods are there on earth? Annual Review of Entomology, v. 63, n. 1, 31-45, 2018.TRINDADE, Oziel S.N; SILVA JÚNIOR, Juvenal C; TEIXEIRA, Paulo M.M. Um estudo das representações sociais de estudantes do ensino médio sobre os insetos. Revista Ensaio, v. 14, n. 3, p. 37-50, 2012.WARDENSKI, Rosilaine F.; GIANNELLA, Tais R. Insetos no Ensino de Ciências: objetivos, abordagens e estratégias pedagógicas. In: XI Encontro Nacional de Pesquisa em Educação em Ciências, 2017, Florianópolis. ANAIS do XI Encontro Nacional de Pesquisa em Educação em Ciências, 2017. p. 1-10. 2017.WEISS, Harry B. The Scarabaeus of the Ancient Egyptians. The American Naturalist, v. 61, n. 675, 353-369, 1927.WILSON, Edward O. Biophilia: The human bond with other species. Cambridge, Mass.: Harvard University Press, 1984. 145p.ZABALA, A. A prática educativa: como ensinar. Porto Alegre: ArtMed, 1998. 224p.e3300078

As competências socioemocionais têm-se demostrado um fator importante para a promoção de relações positivas e redução de riscos psicológicos. O objetivo deste trabalho foi identificar e analisar as publicações online acerca desta temática por meio de uma revisão sistemática da literatura ibero-latina. Os descritores utilizados foram sócio-emotional competences ou sócio-emotional skillsna base de dados SciELO. Foram encontrados 65 trabalhos. Aplicado o critério de exclusão, 46 trabalhos foram analisados. Os resultados exibiram uma pulverização de publicações ao longo dos anos, constituídas predominante no ano de 2016 (15,2%), em idioma espanhol (63%). As publicações foram analisadas de acordo com as metodologias empregadas, e o método quantitativo foi o mais utilizado (47,8%). O Brasil (28,5%) como o país com maior incidência, e a faixa de desenvolvimento adulta (57,9%). Por fim, 48 instrumentos foram citados, em sua maioria, não se relacionando com o constructo competências socioemocionais. Apresentaram lacunas referentes às publicações sobre competência socioemocional. Inferem-se mais pesquisas a cerca da temática devido à importância do tema para uma vida mais saudável.Descritores: Habilidades Sociais; Aptidão; Emoções; Avaliação; Psicologia.ReferênciasCarvalho RS, Silva RRD. Currículos socioemocionais, habilidades do século XXI e o investimento econômico na educação: as novas políticas curriculares em exame. Educ Rev. 2017;63:173-90.Smolka ALB, Laplane ALF, Magiolino LLS, Dainez D. O problema da avaliação das habilidades socioemocionais como política pública: explicitando controvérsias e argumentos. Educ Soc. 2015;36(130):219-42.Gondim SMG, Morais FA, Brantes CAA. Socio-emotional competences: a key factor on the development of work competences. Rev Psicol Organ Trab. 2014;14(4):394-406.Rosendo D, Lapa FB. Educação e(m) direitos humanos e BNCC: competências socioemocionais e ética ambiental. Rev Espaço do Currículo. 2018; 3(11):470-83.Braga M, Pereira D, Simões C. Aprendizagem socioemocional : a intevenção psicomotora em meio escolar para a redução de problemas de comportamento e melhoria das competências académicas. Rev Psicol Criança e Adolescente.2016; 7(1/2):377-96.Berry V, Axford N, Blower S, Taylor RS, Edwards RT, Tobin K et al. The Effectiveness and Micro-costing Analysis of a Universal, School-Based, Social–Emotional Learning Programme in the UK: A Cluster-Randomised Controlled Trial. School Mental Health. 2016;8(2):238-56.Garcia LMR, Toni CGS, Batista AP, Zeggio L. Evaluation of the effectiveness of the fun FRIENDS Program. Trends Psychol. 2019;27(4):925-41.Moy G, Polanin JR, McPherson C, Phan TV. International adoption of the Second Step program: Moderating variables in treatment effects. School Psychology International. 2018;39(4):333-59.Gunter L, Caldarella P, Korth BB, Young KR. Promoting social and emotional learning in preschool students: A study of Strong Start Pre-K. Early Childhood Educ J. 2012;40(3):151–59.Lendrum A, Humphrey N, Wigelsworth M. Social and emotional aspects of learning (SEAL) for secondary schools: implementation difficulties and their implications for school-based mental health promotion. Child Adolesc Ment Health. 2013;18(3):158-64. Dos Santos MV. Construção de escala de indicadores socioemocionais em crianças e adolescentes [dissertação]. Campinas: Pontifícia Universidade Católica (PUC); 2016.Domitrovich CE, Durlak JA, Staley KC, Weissberg RP. Social-Emotional Competence: An Essential Factor for Promoting Positive Adjustment and Reducing Risk in School Children. Child Dev. 2017;88(2):408-16.Epstein JA, Griffin KW, Botvin GJ. Competence skills help deter smoking among inner city adolescents. Tob Control. 2000;9(1):33-9.Trentacosta CJ, Fine SE. Emotion knowledge, social competence, and behavior problems in childhood and adolescence: a meta-analytic review. Soc Dev. 2010;19(1):1-29Collaborative for Academic, Social, and Emotional Learning . (2013). 2013 CASEL guide: Effective social and emotional learning programs—Preschool and elementary school edition. Chicago, IL: Author. Retrieved from http://casel.org/wp-content/uploads/2016/01/2013-casel-guide-1.pdfDenham SA, Bassett HH, Mincic M, Kalb S, Way E, Wyatt T et al. Social-Emotional Learning Profiles of Preschoolers' Early School Success: A Person-Centered Approach. Learn Individ Differ. 2012;22(2):178-89.De Fruyt F, Wille B, John OP. Employability in the 21st Century: Complex (Interactive) Problem Solving and Other Essential Skills. I-O Psychology.2015;8(2):276-81.Damásio BF. Mensurando Habilidades Socioemocionais de Crianças e Adolescentes: Desenvolvimento e Validação de uma Bateria (Nota Técnica). Trends Psychol. 2017; 25(4):2043-50.Greenberg MT, Weissberg RP, O'Brien MU, Zins JE, Fredericks L, Resnik H, Elias MJ. Enhancing school-based prevention and youth development through coordinated social, emotional, and academic learning. Am Psychol. 2003;58(6-7):466-74.Santos MV, Silva TF, Spadari GF, Nakano TC. Competências Socioemocionais: Análise da Produção Científica Nacional e Internacional Socioemotional Skills Analysis of Brazilian and International Scientific Production. Gerais Rev Interinst Psicol.2018;11(1):4-10.Brandau R, Monteiro R, Braile DM. (2005). Importância do uso correto dos descritores nos artigos científicos. Rev Bras Cir Cardiovasc. 2005;20(1):VII=IXPrimi R, Santos AAA, Vendramini CM, Taxa F, Muller FA, Lukjanenko MF, Sampaio IS. Competências e habilidades cognitivas: diferentes definições dos mesmos construtos. Psic: Teor e Pesq. 2001;17(2):151-59.Breakwell GM, Rose D. Teoria, método e delineamento de pesquisa. In Breakwell GM, Fife-Schaw C, Hammond S, Smith JA (Eds.), Métodos de pesquisa em Psicologia. 3.ed. Porto Alegre: Artmed. p.22-41.Taylor RD, Oberle E, Durlak JA, Weissberg RP. Promoting Positive Youth Development Through School-Based Social and Emotional Learning Interventions: A Meta-Analysis of Follow-Up Effects. Child Dev. 2017;88(4):1156-71.Collaborative for Academic, Social, and Emotional Learning . (2015). 2015 CASEL guide: Effective social and emotional learning programs—Middle and high school edition. Chicago, IL: Author. Retrieved from https://casel.org/middle-and-high-school-edition-casel-guide/Coelho VA, Marchante M, Sousa V, Romão AM. Programas de intervenção para o desenvolvimento de competências socioemocionais em idade escolar: uma revisão crítica dos enquadramentos SEL e SEAL. Aná Psicologica.2016;34(1):61-72.Denham SA. Assessment of SEL in educational contexts. In: Durlak JA, Domitrovich CE, Weissberg RP, Gullotta TP (Eds.), Handbook of social and emotional learning: research and pratice New York, NY: The Guilford Press; 2015. p.285-300.Brackett MA, Rivers SE, Salovey P. Emotional intelligence: Implications for personal, social, academic, and workplace success. Soc Personal Psychol Compass. 2011;5(1):88-103.Poulou M. Teacher-Student Relationships, Social and Emotional Skills, and Emotional and Behavioural Difficulties. IJEP. 2015;4(1):84–108.Gomide CP, Alves AFG. A Importância do desenvolvimento de aspectos socioemocionis para a gestão do connhecimento nas organizações. Revista Triângulo, 2018;10(2).Gokiert RJ, Georgis R, Tremblay M, Krishnan V, Vandenberghe C, Lee C. Evaluating the adequacy of social-emotional measures in early childhood. J Psychoeduc Assess. 2014;32(5):441–54.Jones S, Brush K, Bailey R, Brion-Meisels G, Mcintyre J, Kahn J et al. Navigating social emotional learning from the inside out: a practical resource for schools OST providers. Harvard Graduate School of Education, (March), 349. Retrieved from https://www.wallacefoundation.org/knowledge-center/Documents/Navigating-Social-and-Emotional-Learning-from-the-Inside-Out.pdf.

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>.