Journal articles on the topic 'Karen Michelle'

Ileana Rodríguez; Transatlantic Topographies: Islands, Highlands, Jungles (Stuart McLean)Eliga H. Gould, Peter S. Onuf (eds.); Empire and Nation: The American Revolution in the Atlantic World (Peter A. Coclanis)Michael A. Gomez; Reversing Sail: A History of the African Diaspora (James H. Sweet)Brian L. Moore, Michele A. Johnson; Neither Led Nor Driven: Contesting British Cultural Imperialism in Jamaica, 1865-1920 (Gad Heuman)Erna Brodber; The Second Generation of Freemen in Jamaica, 1907-1944 (Michaeline A. Crichlow)Steeve O. Buckridge; The Language of Dress: Resistance and Accommodation in Jamaica, 1760- 1890 (Jean Besson)Deborah A. Thomas; Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica (Charles V. Carnegie)Carolyn Cooper; Sound Clash: Jamaican Dancehall Culture at Large (John D. Galuska)Noel Leo Erskine; From Garvey to Marley: Rastafari Theology (Richard Salter)Hilary McD Beckles; Great House Rules: Landless Emancipation and Workers’ Protest in Barbados, 1838‑1938 (O. Nigel Bolland)Woodville K. Marshall (ed.); I Speak for the People: The Memoirs of Wynter Crawford (Douglas Midgett)Nathalie Dessens; Myths of the Plantation Society: Slavery in the American South and the West Indies (Lomarsh Roopnarine)Michelle M. Terrell; The Jewish Community of Early Colonial Nevis: A Historical Archaeological Study (Mark Kostro)Laurie A. Wilkie, Paul Farnsworth; Sampling Many Pots: An Archaeology of Memory and Tradition at a Bahamian Plantation (Grace Turner)David Beriss; Black Skins, French Voices: Caribbean ethnicity and Activism in Urban France (Nadine Lefaucheur)Karen E. Richman; Migration and Vodou (Natacha Giafferi)Jean Moomou; Le monde des marrons du Maroni en Guyane (1772-1860): La naissance d’un peuple: Les Boni (Kenneth Bilby)Jean Chapuis, Hervé Rivière; Wayana eitoponpë: (Une) histoire (orale) des Indiens Wayana (Dominique Tilkin Gallois)Jesús Fuentes Guerra, Armin Schwegler; Lengua y ritos del Palo Monte Mayombe: Dioses cubanos y sus fuentes africanas (W. van Wetering)Mary Ann Clark; Where Men Are Wives and Mothers Rule: Santería Ritual Practices and Their Gender Implications (Elizabeth Ann Pérez)Ignacio López-Calvo; “God and Trujillo”: Literary and Cultural Representations of the Dominican Dictator (Lauren Derby)Kirwin R. Shaffer; Anarchism and Countercultural Politics in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Lillian Guerra; The Myth of José Martí: Conflicting Nationalisms in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Israel Reyes; Humor and the Eccentric Text in Puerto Rican Literature (Nicole Roberts)Rodrigo Lazo; Writing to Cuba: Filibustering and Cuban Exiles in the United States (Nicole Roberts)Lowell Fiet; El teatro puertorriqueño reimaginado: Notas críticas sobre la creación dramática y el performance (Ramón H. Rivera-Servera)Curdella Forbes; From Nation to Diaspora: Samuel Selvon, George Lamming and the Cultural Performance of Gender (Sue Thomas)Marie-Agnès Sourieau, Kathleen M. Balutansky (eds.); Ecrire en pays assiégé: Haiti: Writing Under Siege (Marie-Hélène Laforest)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 3 & 4

Ileana Rodríguez; Transatlantic Topographies: Islands, Highlands, Jungles (Stuart McLean)Eliga H. Gould, Peter S. Onuf (eds.); Empire and Nation: The American Revolution in the Atlantic World (Peter A. Coclanis)Michael A. Gomez; Reversing Sail: A History of the African Diaspora (James H. Sweet)Brian L. Moore, Michele A. Johnson; Neither Led Nor Driven: Contesting British Cultural Imperialism in Jamaica, 1865-1920 (Gad Heuman)Erna Brodber; The Second Generation of Freemen in Jamaica, 1907-1944 (Michaeline A. Crichlow)Steeve O. Buckridge; The Language of Dress: Resistance and Accommodation in Jamaica, 1760- 1890 (Jean Besson)Deborah A. Thomas; Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica (Charles V. Carnegie)Carolyn Cooper; Sound Clash: Jamaican Dancehall Culture at Large (John D. Galuska)Noel Leo Erskine; From Garvey to Marley: Rastafari Theology (Richard Salter)Hilary McD Beckles; Great House Rules: Landless Emancipation and Workers’ Protest in Barbados, 1838‑1938 (O. Nigel Bolland)Woodville K. Marshall (ed.); I Speak for the People: The Memoirs of Wynter Crawford (Douglas Midgett)Nathalie Dessens; Myths of the Plantation Society: Slavery in the American South and the West Indies (Lomarsh Roopnarine)Michelle M. Terrell; The Jewish Community of Early Colonial Nevis: A Historical Archaeological Study (Mark Kostro)Laurie A. Wilkie, Paul Farnsworth; Sampling Many Pots: An Archaeology of Memory and Tradition at a Bahamian Plantation (Grace Turner)David Beriss; Black Skins, French Voices: Caribbean ethnicity and Activism in Urban France (Nadine Lefaucheur)Karen E. Richman; Migration and Vodou (Natacha Giafferi)Jean Moomou; Le monde des marrons du Maroni en Guyane (1772-1860): La naissance d’un peuple: Les Boni (Kenneth Bilby)Jean Chapuis, Hervé Rivière; Wayana eitoponpë: (Une) histoire (orale) des Indiens Wayana (Dominique Tilkin Gallois)Jesús Fuentes Guerra, Armin Schwegler; Lengua y ritos del Palo Monte Mayombe: Dioses cubanos y sus fuentes africanas (W. van Wetering)Mary Ann Clark; Where Men Are Wives and Mothers Rule: Santería Ritual Practices and Their Gender Implications (Elizabeth Ann Pérez)Ignacio López-Calvo; “God and Trujillo”: Literary and Cultural Representations of the Dominican Dictator (Lauren Derby)Kirwin R. Shaffer; Anarchism and Countercultural Politics in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Lillian Guerra; The Myth of José Martí: Conflicting Nationalisms in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Israel Reyes; Humor and the Eccentric Text in Puerto Rican Literature (Nicole Roberts)Rodrigo Lazo; Writing to Cuba: Filibustering and Cuban Exiles in the United States (Nicole Roberts)Lowell Fiet; El teatro puertorriqueño reimaginado: Notas críticas sobre la creación dramática y el performance (Ramón H. Rivera-Servera)Curdella Forbes; From Nation to Diaspora: Samuel Selvon, George Lamming and the Cultural Performance of Gender (Sue Thomas)Marie-Agnès Sourieau, Kathleen M. Balutansky (eds.); Ecrire en pays assiégé: Haiti: Writing Under Siege (Marie-Hélène Laforest)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 3 & 4

ABSTRAKPenurunan produksi hormon estrogen pada masa menopause dapat meningkatkan keluhan pada masa menopause yaitu berkaitan dengan peningkatan risiko terhadap beberapa penyakit seperti osteoporosis, aterosklerosis dan penyakit jantung koroner. Jantung koroner salahsatunya dipicu karena keadaan stress oksidatif dalam tubuh. Salah satu tanaman yang mengandung antioksidan adalah Michelia champaca L yang disebut juga bunga cempaka kuning. Tujuan penelitian dilakukan untuk mengetahu pengaruh Ekstrak Bunga Michelia champaca dalam meningkatkan ketebalan tunika intima. Rancangan penelitian adalah true experimental design dengan pendekatan the randomized posttest only control group design. Tikus dikelompokkan kedalam 3 kelompok yaitu kelompok kontrol dan pemberian ekstrak bunga cempaka kuning dosis 100 mg/Kg.BB/hari dan 200 mg/Kg.BB/hari. Ketebalan tunika intima dilihat pada pembuluh darah aorta dengan menggunakan aplikasi software OliVya dan ImageJ. Hasil penelitian ini diperoleh bahwa ketebalan tunika intima antara kelompok kontrol dengan KP1 berbeda secara signifikan dengan p-value 0,041, kontrol dengan KP2 p-value 0,004 sedangkan KP1 dengan KP2 tidak berbeda signifikan dengan p-value 0,298 (p-value>0,05). Ekstrak bunga cempaka kuning mampu meningkatkan ketebalan tunika intima pada tikus usia menopause dengan p-value 0,012 pada dosis dosis 100 mg dan 200 mg. Kata Kunci : Michelia champaca L, Menopause, Aterosklerosis, Jantung Koroner

Background:EULAR/ACR 2019 SLE Classification Criteria were validated in an international cohort.Objectives:To evaluate performance characteristics of SLE classification systems in sex, race/ethnicity, and disease duration subsets.Methods:Sensitivity and specificity of the EULAR/ACR 2019, SLICC 2012 and ACR 1982/1997 criteria were evaluated in the validation cohort.Results:The cohort consisted of female (n=1098), male (n=172), Asian (n=118), Black (n=68), Hispanic (n=124) and White (n=941) patients; and patients with an SLE duration of 1-3 years (n=196), 3-5 years (n=157), and ≥5 years (n=879). Among patients with 1-3 years disease duration, the EULAR/ACR criteria had better sensitivity than the ACR criteria (97% (95%CI 92-99%) vs 81% (95%CI 72-88%). The new criteria performed well in men (sensitivity 93%, specificity 96%) and women (sensitivity 97%, specificity 94%). The new criteria had better sensitivity than the ACR criteria in White (95% vs 83%), Hispanic (100% vs 86%) and Asian patients (97% vs 77%).Conclusion:The EULAR/ACR 2019 criteria perform well in patients with early disease, and across sexes and ethnicities.Disclosure of Interests:Sindhu Johnson Grant/research support from: Boehringer Ingelheim, Corbus Pharmaceuticals, GlaxoSmithKline, Roche, Merck, Bayer, Consultant of: Boehringer Ingelheim, Ikaria, Ralph Brinks: None declared, Karen Costenbader Grant/research support from: Merck, Consultant of: Astra-Zeneca, David Daikh: None declared, Marta Mosca: None declared, Rosalind Ramsey-Goldman: None declared, Josef S. Smolen Grant/research support from: AbbVie, Eli Lilly, Janssen, Merck Sharp & Dohme, Pfizer, Roche – grant/research support, Consultant of: AbbVie, Amgen Inc., AstraZeneca, Astro, Celgene Corporation, Celtrion, Eli Lilly, Glaxo, ILTOO, Janssen, Medimmune, Merck Sharp & Dohme, Novartis, Pfizer, Roche, Samsung, Sanofi, UCB – consultant, Speakers bureau: AbbVie, Amgen Inc., AstraZeneca, Astro, Celgene Corporation, Celtrion, Eli Lilly, Glaxo, ILTOO, Janssen, Medimmune, Merck Sharp & Dohme, Novartis, Pfizer, Roche, Samsung, Sanofi, UCB – speaker, David Wofsy: None declared, Dimitrios Boumpas Grant/research support from: Unrestricted grant support from various pharmaceutical companies, Diane L Kamen Consultant of: Consulted on SLE survey development for Lilly and consulted on SLE trial protocol development for EMD Serono in 2019, David Jayne Grant/research support from: ChemoCentryx, GSK, Roche/Genentech, Sanofi-Genzyme, Consultant of: Astra-Zeneca, ChemoCentryx, GSK, InflaRx, Takeda, Insmed, Chugai, Boehringer-Ingelheim, Ricard Cervera: None declared, Nathalie Costedoat-Chalumeau Grant/research support from: UCB to my institution, Betty Diamond: None declared, Dafna D Gladman Grant/research support from: AbbVie, Amgen Inc., BMS, Celgene Corporation, Janssen, Novartis, Pfizer, UCB – grant/research support, Consultant of: AbbVie, Amgen Inc., BMS, Celgene Corporation, Janssen, Novartis, Pfizer, UCB – consultant, Bevra H. Hahn Grant/research support from: Janssen Research & Development, LLC, Falk Hiepe: None declared, Soren Jacobsen: None declared, Dinesh Khanna Shareholder of: Eicos Sciences, Inc./Civi Biopharma, Inc., Grant/research support from: Dr Khanna was supported by NIH/NIAMS K24AR063120, Consultant of: Acceleron, Actelion, Bayer, Boehringer Ingelheim, Bristol-Myers Squibb, Corbus Pharmaceuticals, Horizon Therapeutic, Galapagos, Roche/Genentech, GlaxoSmithKline, Mitsubishi Tanabe, Sanofi-Aventis/Genzyme, UCB, Kirsten Lerstrom: None declared, Elena Massarotti: None declared, William Joseph McCune: None declared, Guillermo Ruiz-Irastorza: None declared, Jorge Sanchez-Guerrero: None declared, Matthias Schneider: None declared, Murray B Urowitz: None declared, George Bertsias Grant/research support from: GSK, Consultant of: Novartis, Bimba F. Hoyer: None declared, Nicolai Leuchten: None declared, Chiara Tani: None declared, Sara Tedeschi: None declared, Zahi Touma: None declared, Gabriela Schmajuk Grant/research support from: Pfizer, Branimir Anic: None declared, Florence Assan: None declared, Tak Chan: None declared, Ann E Clarke: None declared, Mary K. Crow: None declared, László Czirják Consultant of: Actelion, BI, Roche-Genentech, Lilly, Medac, Novartis, Pfizer, Bayer AG, Andrea Doria Consultant of: GSK, Pfizer, Abbvie, Novartis, Ely Lilly, Speakers bureau: UCB pharma, GSK, Pfizer, Janssen, Abbvie, Novartis, Ely Lilly, BMS, Winfried Graninger: None declared, Bernadett Halda-Kiss: None declared, Sarfaraz Hasni: None declared, Peter Izmirly: None declared, Michelle Jung: None declared, Gabor Kumanovics Consultant of: Boehringer, Teva, Speakers bureau: Roche, Lilly, Novartis, Xavier Mariette: None declared, Ivan Padjen: None declared, Jose M Pego-Reigosa: None declared, Juanita Romero-Diaz Consultant of: Biogen, Iñigo Rua-Figueroa: None declared, Raphaèle Seror Consultant of: BMS, Medimmune, Novartis, Pfizer, GSK, Lilly, Georg Stummvoll: None declared, Yoshiya Tanaka Grant/research support from: Asahi-kasei, Astellas, Mitsubishi-Tanabe, Chugai, Takeda, Sanofi, Bristol-Myers, UCB, Daiichi-Sankyo, Eisai, Pfizer, and Ono, Consultant of: Abbvie, Astellas, Bristol-Myers Squibb, Eli Lilly, Pfizer, Speakers bureau: Daiichi-Sankyo, Astellas, Chugai, Eli Lilly, Pfizer, AbbVie, YL Biologics, Bristol-Myers, Takeda, Mitsubishi-Tanabe, Novartis, Eisai, Janssen, Sanofi, UCB, and Teijin, Maria Tektonidou Grant/research support from: AbbVie, MSD, Novartis and Pfizer, Consultant of: AbbVie, MSD, Novartis and Pfizer, Carlos Vasconcelos: None declared, Edward Vital Grant/research support from: AstraZeneca, Roche/Genentech, and Sandoz, Consultant of: AstraZeneca, GSK, Roche/Genentech, and Sandoz, Speakers bureau: Becton Dickinson and GSK, Daniel J Wallace: None declared, Sule Yavuz: None declared, Pier Luigi Meroni: None declared, Marvin Fritzler: None declared, Raymond Naden: None declared, Thomas Dörner Grant/research support from: Janssen, Novartis, Roche, UCB, Consultant of: Abbvie, Celgene, Eli Lilly, Roche, Janssen, EMD, Speakers bureau: Eli Lilly, Roche, Samsung, Janssen, Martin Aringer Consultant of: Boehringer Ingelheim, Roche, Speakers bureau: Boehringer Ingelheim, Roche

Bahasan mengenai kesetaraan gender ini menjadi hal yang perlu dibahas karena dalam budaya patriarki wanita diperlakukan secara berbeda, baik dalam lingkungan kerja, kepemimpinan gerejawi, maupun kehidupan sehari-hari. Ada dua kerangka perspektif yaitu perspektif kelompok komplementarian dan perspektif kelompok egaliatarian. Kelompok komplementarian berpendapat bahwa pria dan wanita berbeda secara biologis tetapi setara secara spiritual, dan Adam adalah kepala (pemimpin). Sedangkan bagi kelompok egalitarian pria tidak lebih berkuasa daripada wanita—mereka setara. Untuk memperoleh penjelasan yang lebih koheren, studi ini mempelajari perspektif Michelle Lee-Barnewall atas isu gender. Untuk mencapai tujuannya, studi ini melakukan upaya ‘menjelajahi’ dan ‘memperluas’ melampaui penekanan kepemimpinan dan kesetaraan dari kelompok komplementarian dan egalitarian. Penelitian dilakukan secara deskriptif dan evaluatif sehingga ditemukan konsep yang dapat dipahami secara utuh. Lee-Barnewall memberikan jalan keluar dari pandangan-pandangan yang saling bertentangan dan mengajak untuk memaknai relasi antar gender dalam teks Alkitab dengan lebih luas dan bertanggung jawab. Perspektif Lee-Barnewall tidak berfokus pada perbedaan antar gender, siapa yang lebih tinggi harkatnya, dan lebih berkuasa, namun lebih kepada kesatuan, kekudusan, serta ketaatan terkait relasi antar gender demi menyatakan Kerajaan Allah.

Dans ce texte introductif, l'auteure présente les contributions (quatre articles, deux notes de recherche, un essai bibliographique et un dossier) du volume 4 numéro 2 de la revue Recherches féministesen soulignant leur grande diversité, mais aussi les préoccupations communes et les convergences qui s'en dégagent. Les quatre articles portent respectivement sur le problème de l'identification des femmes au sein de l'approche « Femmes et développement » (Marie France Labrecque) ; les femmes du troisième Reich (Monique Moser-Verrey) ; Idola Saint-Jean, une militante féministe québécoise (Diane Lamoureux) et des artistes femmes du Pays basque espagnol (Lourdes Méndez). Ils sont suivis de deux notes de recherche consacrées à des mouvements de femmes au Brésil (Elisabeth Souza Lobo) et à une réflexion méthodologique sur la recherche féministe en santé au travail (Karen Messing). Un essai bibliographique sur les recherches féministes en linguistique aux États-Unis et en RFA (Claire Michard et Catherine Viollet) et un dossier sur l'expertise féministe au tribunal, présentant les expériences personnelles de Micheline Dumont, Claudine Baudoux et Cécile Coderre, complètent le numéro. L'auteure note des convergences autour des thèmes suivants : l'importance de développer une tradition féministe ; l'articulation entre le public et le privé ; le lien entre la force des revendications féministes et la violence des réactions qu'elles suscitent, et la manifestation des sujets femmes dans la langue.

Les articles qui composent le présent numéro de Recherches féministesillustrent certaines tendances fortes de la recherche féministe en 1995. Ces tendances sont, d'une part, la critique de la production scientifique prétendument neutre et objective, à laquelle procèdent ici Suzanne Deguire et Karen Messing à propos des indicateurs de santé au travail et Christiane Bernier quant aux discours de l'identité francophone en Ontario et, d'autre part, l'attention dorénavant portée aussi bien sur les conditions de production du savoir féministe, comme c'est le cas dans l'article de Michèle Vatz Laaroussi, Diane Lessard, Maria Elisa Montejo et Monica Viana, que sur les pratiques féministes, tels le magazine La Vie en rose,étudié par Marie-José des Rivières, et l'outil de formation Questions de compétence,décrit par Claudie Solar, de même que sur les militantes des groupes de femmes, auxquelles s'intéressent Ginette Côté et Marie-Andrée Couillard. Une troisième tendance, particulièrement notable au Québec, est celle de la collaboration d'universitaires féministes avec des instances gouvernementales ou socio-économiques pour la production de connaissances qui éclaireront la prise de décisions concernant les femmes; l'article de Thérèse Hamel et Michel Morisset sur les facteurs déterminants de l'implication des femmes en agriculture et celui de Francine Richer et Louise St-Cyr sur les femmes qui prennent la relève de leurs parents sur la ferme sont issus d'une telle forme de collaboration. Par ailleurs, la revue ne pouvant passer sous silence la Quatrième Conférence mondiale des Nations Unies sur les femmes de Beijing et le Forum parallèle des ONG de Huairou qui ont eu lieu du 30 août au 6 septembre 1995, Micheline Beauregard, Marie Malavoy et Greta Hofmann Nemiroff témoignent de l'expérience unique que fut pour chacune d'elles la participation à ces conférences.

-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 2000. xii + 194 pp.-Ann Marie Stock, Jacqueline Barnitz, Twentieth-century art of Latin America. Austin: University of Texas Press, 2001. 416 pp.-Ineke Phaf, J.J. Oversteegen, Herscheppingen: De wereld van José Maria Capricorne. Emmastad, Curacao: Uitgeverij ICS Nederland/Curacao, 1999. 168 pp.-Halbert Barton, Frances R. Aparicio, Listening to Salsa: Gender, latin popular music, and Puerto Rican cultures. Hanover NH: Wesleyan University Press, 1998. xxi + 290 pp.-Pedro Pérez Sarduy, John M. Kirk ,Culture and the Cuban revolution: Conversations in Havana. Gainesville: University Press of Florida, 2001. xxvi + 188 pp., Leonardo Padura Fuentes (eds)-Luis Martínez-Fernández, Damián J. Fernández, Cuba and the politics of passion. Austin: University of Texas Press, 2000. 192 pp.-Eli Bartra, María de Los Reyes Castillo Bueno, Reyita: The life of a black Cuban woman in the twentieth century. Durham NC: Duke University Press, 2000. 182 pp.-María del Carmen Baerga, Felix V. Matos Rodríguez, Women and urban change in San Juan, Puerto Rico, 1820-1868. Gainesville: University Press of Florida, 1999. xii + 180 pp. [Reissued in 2001 as: Women in San Juan, 1820-1868. Princeton NJ: Markus Weiner Publishers.]-Kevin A. Yelvington, Winston James, Holding aloft the banner of Ethiopa: Caribbean radicalism in early twentieth-century America. New York: Verso, 1998. x + 406 pp.-Jerome Teelucksingh, O. Nigel Bolland, The politics of labour in the British Caribbean: The social origins of authoritarianism and democracy in the labour movement. Kingston: Ian Randle; Princeton NJ: Marcus Weiner, 2001. xxii + 720 pp.-Jay R. Mandle, Randolph B. Persaud, Counter-Hegemony and foreign policy: The dialectics of marginalized and global forces in Jamaica. Albany: State University of New York Press, 2001. xviii + 248 pp.-Patrick Bellegarde-Smith, Mary A. Renda, Taking Haiti: Military occupation and the culture of U.S. imperialism, 1915-1940. Chapel Hill: University of North Carolina Press, 2001. xvi + 414 pp.-James W. St. G. Walker, Maureen G. Elgersman, Unyielding spirits: Black women and slavery in early Canada and Jamaica. New York: Garland, 1999. xvii + 188 pp.-Madhavi Kale, David Hollett, Passage from India to El Dorado: Guyana and the great migration. Madison NJ: Fairleigh Dickinson University Press, 1999. 325 pp.-Karen S. Dhanda, Linda Peake ,Gender, ethnicity and place: Women and identities in Guyana. London: Routledge, 1999. xii + 228 pp., D. Alissa Trotz (eds)-Karen S. Dhanda, Moses Nagamootoo, Hendree's cure: Scenes from Madrasi life in a new world. Leeds, UK: Peepal Tree, 2000. 149 pp.-Stephen D. Glazier, Hemchand Gossai ,Religion, culture, and tradition in the Caribbean., Nathaniel Samuel Murrell (eds)-Michiel van Kempen, A. James Arnold, A history of literature in the Caribbean. Volume 2: English- and Dutch- speaking regions. (Vera M. Kuzinski & Ineke Phaf-Rheinberger, sub-eds.).Amsterdam/Philadelphia: John Benjamins, 2001. ix + 672 pp.-Frank Birbalsingh, Bruce King, Derek Walcott: A Caribbean life. New York: Oxford University Press, 2000. ix + 714 pp.-Frank Birbalsingh, Paula Burnett, Derek Walcott: Politics and poetics. Gainesville: University Press of Florida, 2001. xiii + 380 pp.-Jeanne Garane, Micheline Rice-Maximin, Karukéra: Présence littéraire de la Guadeloupe. New York: Peter Lang, 1998. x + 197 pp.-Jeanne Garane, Marie-Christine Rochmann, L'esclave fugitif dans la littérature antillaise: Sur la déclive du morne. Paris: Karthala, 2000. 408 pp.-Alasdair Pettinger, Lizabeth Paravisini-Gebert ,Women at sea: Travel writing and the margins of Caribbean discourse. New York: Palgrave, 2001. x + 301 pp., Ivette Romero-Cesareo (eds)

[First paragraph]Decolonizing the Text: Glissantian Readings in Caribbean and African-American Literatures. DEBRA L. ANDERSON. New York: Peter Lang, 1995. 118 pp. (Cloth US$46.95)L'Eau: Source d'une ecriture dans les litteratures feminines francophones. YOLANDE HELM (ed.). New York: Peter Lang, 1995. x + 295 pp. (Cloth US$ 65.95)Postcolonial Subjects: Francophone Women Writers. MARY JEAN GREEN, KAREN GOULD, MICHELINE RICE-MAXIMIN, KEITH L. WALKER & JACK A. YEAGER (eds.). Minneapolis: University of Minnesota Press, 1996. xxii + 359 pp. (Paper US$ 19.95)Statue cou coupe. ANNIE LE BRUN. Paris: Jean-Michel Place, 1996. 177 pp. (Paper FF 85.00) Although best remembered as a founding father of the Negritude movement along with Aime Cesaire, Leopold Senghor was from the very outset of his career equally committed - as both a poet and a politician - to what he felt were the inseparable concepts of la francophonie and metissage. Senghor's has been an unabashedly paradoxical vision, consistently addressing the unanswerable question of how one can be essentially a "black African" and at the same time (in Homi Bhabha's words) "something else besides" (1994:28). In his "Eloge du metissage," written in 1950, Senghor ably described the contradictions involved in assuming the hybrid identity of a metis (an identity that offers none of the comforting biological and/or cultural certainties - about "rhythm," "intuition," and such like - upon which the project of Negritude was founded): "too assimilated and yet not assimilated enough? Such is exactly our destiny as cultural metis. It's an unattractive role, difficult to take hold of; it's a necessary role if the conjuncture of the 'Union francaise' is to have any meaning. In the face of nationalisms, racisms, academicisms, it's the struggle for the freedom of the Soul - the freedom of Man" (1964:103). At first glance, this definition of the metis appears as dated as the crude essentialism with which Senghor's Negritude is now commonly identified: in linking the fate of the metis to that of the "Union francaise," that imperial federation of states created in the years following upon the end of the Second World War with the intention of putting a "new" face on the old French Empire, Senghor would seem to have doomed the metis and his "role ingrat" to obsolescence. By the end of the decade, the decolonization of French Africa had deprived the "Union franchise" of whatever "meaning" it might once have had. The uncompromisingly manichean rhetoric of opposition that flourished in the decolonization years (and that was most famously manipulated by Fanon in his 1961 Wretched of the Earth) had rendered especially unpalatable the complicities to which Senghor's (un)assimilated metis was subject and to which he also subjected himself in the name of a "humanism" that was around this same time itself becoming the object of an all-out assault in France at the hands of intellectuals like Foucault.

Background:Remission, LDA and LDAS have been proposed as treatment goals for SLE. However, the independent impact of these states on damage accrual has not been fully evaluated.Objectives:To determine the independent impact of remission (both off & on treatment), LDA, and LLDAS on damage accrual.Methods:We studied a long-term longitudinal multinational SLE cohort, including patients completing at least two annual assessments. Remission off-treatment was defined as a SLEDAI (excluding serology) =0, without prednisone and immunosuppressive (IS) drugs. Remission on-treatment was defined as a SLEDAI (excluding serology) =0, prednisone daily dose<=5 mg/d and maintenance IS drugs. LDA was defined as a SLEDAI (excluding serology) <=2, without prednisone or IS drugs. LLDAS was defined as a SLEDAI <=4 with no activity in major organ systems, with no new features of lupus disease activity compared to the previous assessment, prednisone daily dose<=7.5 mg/d and maintenance IS drugs. Antimalarials were allowed in all groups. Damage accrual was ascertained with the SLICC/ACR damage index (SDI). Univariable and multivariable generalized estimated equation (GEE) negative binomial regression models were used. To create mutually exclusive groups, disease activity was divided into five states: remission off-treatment, remission on-treatment (minus remission off treatment), LDA (minus remission), LLDAS (minus remission and LDA) and not-optimally controlled. The proportion of the time that patients were in the specific state at each visit since cohort entry was determined. Possible effect modifiers and confounders adjusted for included sex, age at diagnosis, race/ethnicity, education, baseline disease duration, follow-up time, the highest-ever glucocorticoid dose prior to cohort entry, antimalarials and SDI. Time-dependent covariates were determined at the same annual visit as disease activity state; the outcome was the increase in the SDI and it was assessed at the subsequent visit.Results:There were 1,652 patients, 1464 (88.6%) were female, mean age at diagnosis was 34.6 (SD 13.4) years and mean baseline disease duration was 5.5 (SD 4.1) months. Patients had a mean follow-up of 6.5 (SD 4.3) years, 11686 visits were included. 763 patients (46.2%) had an increase in SDI score ≥1 during follow-up. 2483 (21.2%) of the visits were classified as remission off-treatment, 2276 (19.5%) as remission on-treatment, 544 (4.7%) as LDA, 657 (5.6%) as LLDAS and 5726 (49.0%) as not-optimally controlled. Being in remission off-treatment, remission on-treatment, LDA and LLDAS were predictive of a lower probability of damage accrual [remission off-treatment IRR=0.403, 95% CI 0.301-0.541); remission on-treatment IRR=0.313 (95% CI 0.218-0.451) LDA: IRR=0.469 (CI 95% CI 0.272-0.809); LLDAS IRR=0.440 (95% CI 0.241-0.803)]. The multivariable model is summarized in Table 1.Table 1.Multivariable GEE model of the impact of disease activity states on damage accrual.Incidence Rate Ratio95% CIDisease activity stateRemission off treatment0.4030.301-0.541Remission on treatment0.3130.218-0.451LDA0.4690.272-0.809LLDAS0.4400.241-0.803Gender, male1.2741.086-1.495Age at diagnosis1.0241.020-1.029EthnicityCaucasian USRef.Caucasian other1.0170.849-1.217African1.4671.211-1.776Asian0.8630.693-1.075Hispanic1.2661.034-1.550Other1.1210.759-1.656Educational level, years0.9770.957-0.996Disease duration at baseline0.9600.801-1.150Follow-up time0.9420.923-0.960Antimalarial use0.7860.681-0.908Highest prednisone dose before baseline1.0021.001-1.007SDI before1.1001.050-1.1152LLDAS: Low lupus disease activity state LDA: Low disease activity SDI: SLICC/ACR Damage IndexConclusion:Remission on- and off-treatment, LDA and LLDAS were associated with less damage accrual, even adjusting for possible confounders and effect modifiers. This highlights the importance of treating to target in SLE.Disclosure of Interests:Manuel F. Ugarte-Gil Grant/research support from: Pfizer, Janssen, John Hanly: None declared, Murray B Urowitz: None declared, Caroline Gordon Speakers bureau: UCB, Consultant of: Center for Disease Control, Astra-Zeneca, MFP, Sanofi, UCB, Sang-Cheol Bae: None declared, Juanita Romero-Diaz: None declared, Jorge Sanchez-Guerrero: None declared, Sasha Bernatsky: None declared, Ann E Clarke Consultant of: AstraZeneca, BristolMyersSquibb, GlaxoSmithKline, and Exagen Diagnostics, Daniel J Wallace Grant/research support from: Exagen, David Isenberg: None declared, Anisur Rahman: None declared, Joan T Merrill: None declared, Paul Fortin: None declared, Dafna D Gladman Consultant of: Abbvie, Janssen, Pfizer, Novartis, Amgen, Grant/research support from: Abbvie, Janssen, Pfizer, Novartis, Amgen, Ian N. Bruce: None declared, Michelle A Petri: None declared, Ellen M Ginzler Grant/research support from: Aurinia pharmaceutical, M.A. Dooley: None declared, Rosalind Ramsey-Goldman: None declared, Susan Manzi: None declared, Andreas Jonsen: None declared, Ronald van Vollenhoven Speakers bureau: AbbVie, Galapagos, GSK, Janssen, Pfizer, UCB, Consultant of: Abbvie, AstraZeneca, Biogen, Biotest, Celgen, Galapagos, Gilead, Janssen, Pfizer, Sanofie, Servier, UCB, Vielabo, Grant/research support from: BMS, GSK, Lilly, UCB, Cynthia Aranow: None declared, Meggan Mackay: None declared, Guillermo Ruiz-Irastorza: None declared, S. Sam Lim: None declared, Murat Inanc: None declared, Kenneth C Kalunian Consultant of: Roche, Biogen, Janssen, AstraZeneca, Eli Lilly, Genetech, Gilead, ILTOO, Nektar, Viela, Equillium, Bristol-Meyers Squibb, Soren Jacobsen Grant/research support from: BMS, Christine Peschken: None declared, Diane L Kamen: None declared, Anca Askanase Consultant of: Abbvie, Grant/research support from: Glaxo Smith Kline, Astra Zeneca, Janssen, Eli Lilly and Company, Mallinckrodt, Pfizer, Bernardo Pons-Estel Consultant of: GSK, Janssen, Graciela S Alarcon: None declared.

Background:Knowledge of changes over time in baseline characteristics and tumor necrosis factor inhibitor (TNFi) response in bionaïve psoriatic arthritis (PsA) patients treated in routine care is limited.Objectives:To investigate secular trends in baseline characteristics and retention, remission and response rates in PsA patients initiating a first TNFi.Methods:Prospectively collected data on bionaïve PsA patients starting TNFi in routine care from 15 European countries were pooled. According to year of TNFi initiation, three groups were defined a priori based on bDMARD availability: Group A (1999–2008), Group B (2009–2014) and Group C (2015–2018).Retention rates (Kaplan-Meier), crude and LUNDEX adjusted1 remission (Disease Activity Score (DAS28) <2.6, 28-joint Disease Activity index for PsA (DAPSA28) ≤4, Clinical Disease Activity Index (CDAI) ≤2.8) and ACR50 response rates were assessed at 6, 12 and 24 months. No statistical comparisons were made.Results:A total of 17453 PsA patients were included (4069, 7551 and 5833 in groups A, B and C).Patients in group A were older and had longer disease duration compared to B and C. Retention rates at 6, 12 and 24 months were highest in group A (88%/77%/64%) but differed little between B (83%/69%/55%) and C (84%/70%/56%).Baseline disease activity was higher in group A than in B and C (DAS28: 4.6/4.3/4.0, DAPSA28: 29.9/25.7/24.0, CDAI: 21.8/20.0/18.6), and this persisted at 6 and 12 months. Crude and LUNDEX adjusted remission rates at 6 and 12 months tended to be lowest in group A, although crude/LUNDEX adjusted ACR50 response rates at all time points were highest in group A. At 24 months, disease activity and remission rates were similar in the three groups (Table).Table 1.Secular trends in baseline characteristics, treatment retention, remission and response rates in European PsA patients initiating a 1st TNFiBaseline characteristicsGroup A(1999–2008)Group B(2009–2014)Group C(2015–2018)Age, median (IQR)62 (54–72)58 (49–67)54 (45–62)Male, %514847Years since diagnosis, median (IQR)5 (2–10)3 (1–9)3 (1–8)Smokers, %161717DAS28, median (IQR)4.6 (3.7–5.3)4.3 (3.4–5.1)4.0 (3.2–4.8)DAPSA28, median (IQR)29.9 (19.3–41.8)25.7 (17.2–38.1)24.0 (16.1–35.5)CDAI, median (IQR)21.8 (14.0–31.1)20.0 (13.0–29.0)18.6 (12.7–26.1)TNFi drug, % (Adalimumab / Etanercept / Infliximab / Certolizumab / Golimumab)27 / 43 / 30 / 0 / 036 / 31 / 14 / 5 / 1421 / 40 / 21 / 8 / 10Follow up6 months12 months24 monthsGr AGr BGr CGr AGr BGr CGr AGr BGr CRetention rates, % (95% CI)88 (87–89)83 (82–84)84 (83–85)79 (78–80)72 (71–73)72 (71–73)68 (67–69)60 (59–61)60 (59–62)DAS28, median (IQR)2.7 (1.9–3.6)2.4 (1.7–3.4)2.3 (1.7–3.2)2.5 (1.8–3.4)2.2 (1.6–3.1)2.1 (1.6–2.9)2.1 (1.6–3.1)2.0 (1.6–2.9)1.9 (1.5–2.6)DAPSA28, median (IQR)10.6 (4.8–20.0)9.5 (3.9–18.3)8.7 (3.6–15.9)9.1 (4.1–17.8)7.7 (3.1–15.4)7.6 (2.9–14.4)6.7 (2.7–13.7)6.6 (2.7–13.5)5.9 (2.4–11.8)CDAI, median (IQR)7.8 (3.0–15.2)8.0 (3.0–15.0)6.4 (2.6–12.2)6.4 (2.5–13.0)6.2 (2.5–12.1)5.8 (2.2–11.4)5.0 (2.0–11.0)5.5 (2.0–11.2)5.0 (2.0–9.0)DAS28 remission, %, c/L47 / 4255 / 4661 / 5153 / 4362 / 4566 / 4864 / 4268 / 3775 / 41DAPSA28 remission, %, c/L22 / 1926 / 2228 / 2325 / 2031 / 2232 / 2336 / 2334 / 1938 / 21CDAI remission, %, c/L23 / 2123 / 1926 / 2227 / 2127 / 2029 / 2134 / 2231 / 1735 / 19ACR50 response, %, c/L26 / 2322 / 1824 / 2027 / 2223 / 1721 / 1523 / 1518 / 1014 / 8Gr, Group; c/L, crude/LUNDEX.Conclusion:Over the past 20 years, patient age, disease duration and disease activity level at the start of the first TNFi in PsA patients have decreased. Furthermore, TNFi retention rates have decreased while remission rates have increased, especially remission rates within the first year of treatment. These findings may reflect a greater awareness of early diagnosis in PsA patients, a lowered threshold for initiating TNFi and the possibility for earlier switching in patients with inadequate treatment response.References:[1]Arthritis Rheum 2006; 54: 600-6.Acknowledgements:Novartis Pharma AG and IQVIA for supporting the EuroSpA Research Collaboration Network.Disclosure of Interests:Sara Nysom Christiansen Speakers bureau: BMS and GE, Grant/research support from: Novartis, Lykke Midtbøll Ørnbjerg Grant/research support from: Novartis, Simon Horskjær Rasmussen: None declared, Anne Gitte Loft Speakers bureau: AbbVie, Janssen, Lilly, MSD, Novartis, Pfizer, UCB, Consultant of: AbbVie, Janssen, Lilly, MSD, Novartis, Pfizer, UCB, Grant/research support from: Novartis, Johan K Wallman Consultant of: Celgene, Eli Lilly, Novartis, Florenzo Iannone Speakers bureau: Abbvie, MSD, Novartis, Pfizer and BMS, Brigitte Michelsen Consultant of: Novartis, Grant/research support from: Novartis, Michael J. Nissen Speakers bureau: Novartis, Eli Lilly, Celgene, and Pfizer, Consultant of: Novartis, Eli Lilly, Celgene, and Pfizer, Jakub Zavada: None declared, Maria Jose Santos Speakers bureau: AbbVie, Novartis, Pfizer, Manuel Pombo-Suarez: None declared, Kari Eklund: None declared, Matija Tomsic Speakers bureau: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Consultant of: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Björn Gudbjornsson Speakers bureau: Amgen and Novartis, İsmail Sari: None declared, Catalin Codreanu Speakers bureau: AbbVie, Amgen, Egis, Novartis, Pfizer, UCB, Grant/research support from: AbbVie, Amgen, Egis, Novartis, Pfizer, UCB, Daniela Di Giuseppe: None declared, Bente Glintborg Grant/research support from: Pfizer, Biogen, AbbVie, Marco Sebastiani: None declared, Karen Minde Fagerli: None declared, Burkhard Moeller: None declared, Karel Pavelka Speakers bureau: AbbVie, Roche, MSD, UCB, Pfizer, Novartis, Egis, Gilead, Eli Lilly, Consultant of: AbbVie, Roche, MSD, UCB, Pfizer, Novartis, Egis, Gilead, Eli Lilly, Anabela Barcelos: None declared, Carlos Sánchez-Piedra: None declared, Heikki Relas: None declared, Ziga Rotar Speakers bureau: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Consultant of: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Thorvardur Love: None declared, Servet Akar: None declared, Ruxandra Ionescu Speakers bureau: Abbvie, Amgen, Boehringer-Ingelheim Eli-Lilly,Novartis, Pfizer, Sandoz, UCB, Gary Macfarlane Grant/research support from: GlaxoSmithKline, Marleen G.H. van de Sande: None declared, Merete L. Hetland Speakers bureau: Abbvie, Biogen, BMS, Celltrion, Eli Lilly, Janssen Biologics B.V, Lundbeck Fonden, MSD, Pfizer, Roche, Samsung Biopies, Sandoz, Novartis., Mikkel Østergaard Speakers bureau: AbbVie, BMS, Boehringer-Ingelheim, Celgene, Eli-Lilly, Centocor, GSK, Hospira, Janssen, Merck, Mundipharma, Novartis, Novo, Orion, Pfizer, Regeneron, Schering-Plough, Roche, Takeda, UCB and Wyeth, Consultant of: AbbVie, BMS, Boehringer-Ingelheim, Celgene, Eli-Lilly, Centocor, GSK, Hospira, Janssen, Merck, Mundipharma, Novartis, Novo, Orion, Pfizer, Regeneron, Schering-Plough, Roche, Takeda, UCB and Wyeth

Background:Previous studies have suggested similar effectiveness, but longer treatment retention, for tumor necrosis factor inhibitors (TNFi), when used in combination with a conventional synthetic disease modifying anti-rheumatic drug (csDMARD) in psoriatic arthritis (PsA).Objectives:To describe patients with PsA initiating a first TNFi as monotherapy compared to combination therapy, and to explore 1-year treatment retention of TNFi in the two groups.Methods:Patients with PsA starting a first TNFi (2006-2017) were identified in biologics registers of 13 European countries, and data were pooled for analysis. Co-medication with csDMARD was determined at TNFi start.Because of large inter-country variation in TNFi retention, countries were split into two strata, depending on each country’s 1-year retention rate for TNFi being above (stratum A) or below (stratum B) the average 1-year retention rate.TNFi treatment retention was compared through Kaplan-Meier curves; the proportion remaining on the TNFi at one year; and hazard ratios (HR) during the first year: (i) crude; adjusted for (ii) country-strata, and (iii) country-strata, sex, age, calendar year, DAS28 and disease duration. In model (iii) only registers contributing >1000 patients or <33% missing data for DAS28 were included.Results:A total of 14778 patients with PsA starting a first TNFi were included. Baseline disease activity was similar within stratum B, but higher for the combination treatment group in stratum A (table 1).Table 1.Baseline characteristicsCountry strataStratum AStratum BTNFimonotherapyN=2120TNFi/csDMARDcombinationN=2128TNFimonotherapyN=3369TNFi/csDMARDcombinationN=7161Females52%51%53%51%Age, years49.7 (12.2)48.7 (11.8)48.8 (13.0)48.9 (12.2)Disease duration, yrs6.4 (7.0)6.8 (6.8)5.9 (7.5)5.9 (7.1)Tender joints 285.5 (6.3)8.0 (6.3)5.6 (6.0)5.6 (5.7)Swollen joints 282.8 (4.3)5.6 (5.0)3.0 (3.8)3.3 (3.8)VAS pain54 (29)62 (24)59 (23)56 (24)DAPSA-2824.6 (18.6)36.2 (17.6)27.3 (15.6)27.2 (15.2)DAS28 (CRP)3.5 (1.4)4.7 (1.3)4.0 (1.2)4.0 (1.1)Concomitant csDMARDMethotrexate-76%-79%Sulfasalazine-15%-15%Other csDMARD-49%-25%Numbers are means (sd) unless otherwise stated.The Kaplan-Meier curves for the treatment groups were similar within each stratum (fig 1), as were the proportions remaining on TNFi after one year, stratum A: monotherapy 86% (95%CI: 85-88) vs. combination 86% (84-87), stratum B: 71% (69-72) vs. 73% (72-74). The HRs for TNFi discontinuation (ref=TNFi monotherapy) were: (i) 1.06 (0.98-1.13), (ii) 0.94 (0.87-1.01), (iii) 0.89 (0.83-0.96), including 13078 patients (9 countries) for model (iii).Conclusion:In this exploratory study no benefit in TNFi retention was observed for csDMARD combination therapy in crude analyses, while in adjusted analyses an 11% lower risk of TNFi discontinuation was found. These preliminary results offer limited support for use of combination therapy in PsA. Further analyses will explore to what extent the results are affected by inter-country heterogeneity and differences between TNFi.Acknowledgments:UL and DDG contributed equally.Novartis Pharma AG and IQVIA support the EuroSpA collaboration.Disclosure of Interests:Ulf Lindström: None declared, Daniela Di Giuseppe: None declared, Bénédicte Delcoigne: None declared, Bente Glintborg Grant/research support from: Grants from Pfizer, Biogen and Abbvie, Burkhard Moeller: None declared, Manuel Pombo-Suarez Consultant of: Janssen, Lilly, MSD and Sanofi., Speakers bureau: Janssen, Lilly, MSD and Sanofi., Carlos Sánchez-Piedra: None declared, Kari Eklund Consultant of: Celgene, Lilly, Speakers bureau: Pfizer, Roche, Heikki Relas Grant/research support from: Abbvie., Consultant of: Abbvie, Celgene, and Pfizer., Speakers bureau: Abbvie, Celgene, and Pfizer., Björn Gudbjornsson Speakers bureau: Novartis and Amgen, Thorvardur Love: None declared, Gareth T. Jones Grant/research support from: Pfizer, AbbVie, UCB, Celgene and GSK., Adrian Ciurea Consultant of: Consulting and/or speaking fees from AbbVie, Bristol-Myers Squibb, Celgene, Eli Lilly, Merck Sharp & Dohme, Novartis and Pfizer., Catalin Codreanu Consultant of: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Speakers bureau: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Ruxandra Ionescu Consultant of: Consulting fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Speakers bureau: Consulting and speaker fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Lucie Nekvindova: None declared, Jakub Zavada Speakers bureau: Abbvie, UCB, Sanofi, Elli-Lilly, Novartis, Zentiva, Accord, Nuh Atas: None declared, Servet Yolbaş: None declared, Karen Fagerli: None declared, Brigitte Michelsen Grant/research support from: Research support from Novartis, Consultant of: Consulting fees Novartis, Ziga Rotar Consultant of: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Speakers bureau: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Matija Tomsic: None declared, Florenzo Iannone Consultant of: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Speakers bureau: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Maria Jose Santos Speakers bureau: Novartis and Pfizer, Pedro Ávila-Ribeiro Grant/research support from: Novartis, Lykke Midtbøll Ørnbjerg Grant/research support from: Novartis, Mikkel Ǿstergaard Grant/research support from: AbbVie, Bristol-Myers Squibb, Celgene, Merck, and Novartis, Consultant of: AbbVie, Bristol-Myers Squibb, Boehringer Ingelheim, Celgene, Eli Lilly, Hospira, Janssen, Merck, Novartis, Novo Nordisk, Orion, Pfizer, Regeneron, Roche, Sandoz, Sanofi, and UCB, Speakers bureau: AbbVie, Bristol-Myers Squibb, Boehringer Ingelheim, Celgene, Eli Lilly, Hospira, Janssen, Merck, Novartis, Novo Nordisk, Orion, Pfizer, Regeneron, Roche, Sandoz, Sanofi, and UCB, Lennart T.H. Jacobsson Consultant of: AbbVie, Eli Lilly, Janssen, Novartis and Pfizer, Johan Askling Grant/research support from: JA acts or has acted as PI for agreements between Karolinska Institutet and the following entities, mainly in the context of the ARTIS national safety monitoring programme of immunomodulators in rheumatology: Abbvie, BMS, Eli Lilly, Merck, MSD, Pfizer, Roche, Samsung Bioepis, Sanofi, and UCB Pharma, Michael Nissen Grant/research support from: Abbvie, Consultant of: Novartis, Lilly, Abbvie, Celgene and Pfizer, Speakers bureau: Novartis, Lilly, Abbvie, Celgene and Pfizer

Background:Axial spondylarthritis (axSpA) patients treated with a tumour necrosis factor inhibitor (TNFi) may receive a concomitant conventional synthetic disease-modifying anti-rheumatic drug (csDMARD), although the value of combination therapy remains unclear.Objectives:Describe the proportion and phenotype of patients with axSpA initiating their first TNFi as monotherapy compared to TNFi+csDMARD combination therapy, and to compare the 1-year TNFi retention between the two groups.Methods:Data from 13 European registries was collected. Two exposure treatment groups were defined: TNFi monotherapy at baseline (=TNFi start date) and TNFi+csDMARD combination therapy. TNFi retention rates were assessed with Kaplan-Meier curves for each country and combined. Hazard ratios (HR, 95% CI) for discontinuing the TNFi were obtained with Cox models: (i) crude; adjusted for (ii) country, and (iii) country, sex, age, calendar year, disease duration and BASDAI. Participating countries were dichotomized into two strata, depending on their 1-year retention rate being above (stratum A) or below (stratum B) the average retention rate across all countries.Results:22,196 axSpA patients were included with 34% on TNFi+csDMARD combination therapy. Baseline characteristics are presented in table 1. Overall, the crude TNFi retention rate was marginally longer in the combination therapy group (80% (79-81%)) compared to the monotherapy group (78% (77-79%)) and was primarily driven by differences in stratum B (fig. 1). TNFi retention rates varied significantly across countries (range:-11.0% to +11.3%), with a clear distinction between the 2 strata. The HRs for discontinuation over 1-year (reference=TNFi monotherapy) in the 3 models were: (i) 0.88 (0.82-0.93), (ii) 0.87 (0.82-0.92), (iii) 0.88 (0.82-0.93).Table 1Baseline characteristicsAll patients(n=22196)Country stratum ACountry stratum BTNFi mono(n=4940)csDMARD + TNFi(n=2547)TNFi mono(n=9693)csDMARD + TNFi(n=5016)Age (years), mean (SD)42.6 (12.5)43.4 (12.0)42.8 (12.2)41.6 (12.7)43.7 (12.7)Females, %41.137.738.242.044.2Disease duration (yrs), mean (SD)5.7 (8.0)6.2 (7.7)6.7 (7.4)4.9 (8.2)6.1 (8.2)Enthesitis, %50.316.733.957.859.7SJC-28, median (IQR)0 (0-1)0 (0-0)0 (0-2)0 (0-0)0 (0-2)VAS pain (0-100), mean (SD)60.9 (24.5)63.3 (26.5)67.8 (23.3)60.2 (23.4)57.2 (24.3)CRP (mg/L), median (IQR)8 (3-20)7.8 (2-20)18 (6.7-32.6)6.0 (2.7-15)8.0 (3-22)BASDAI (0-10), mean (SD)5.7 (2.1)5.7 (2.2)6.2 (2.1)5.6 (2.0)5.4 (2.2)BASFI (0-10), mean (SD)4.4 (2.5)4.4 (2.6)4.9 (2.5)4.3 (2.4)4.2 (2.9)ASDAS, mean (SD)3.5 (1.1)3.7 (1.0)4.0 (1.0)3.3 (1.0)3.3 (1.1)On Infliximab, %25.721222436Baseline csDMARD use, %-Methotrexate045063-Sulfasalazine068033-Leflunomide0801Conclusion:Considerable differences were observed across countries in the use of combination therapy and TNFi retention in axSpA patients. The overall 1-year TNFi retention was higher with csDMARD co-therapy compared to TNFi monotherapy. TNFi monotherapy had a 12-13% higher risk of treatment discontinuation.Acknowledgments:Novartis Pharma AG and IQVIAMN and BD participated equallyDisclosure of Interests:Michael Nissen Grant/research support from: Abbvie, Consultant of: Novartis, Lilly, Abbvie, Celgene and Pfizer, Speakers bureau: Novartis, Lilly, Abbvie, Celgene and Pfizer, Bénédicte Delcoigne: None declared, Daniela Di Giuseppe: None declared, Lennart T.H. Jacobsson Consultant of: AbbVie, Eli Lilly, Janssen, Novartis and Pfizer, Karen Fagerli: None declared, Anne Gitte Loft Grant/research support from: Novartis, Consultant of: AbbVie, MSD, Novartis, Pfizer and UCB, Speakers bureau: AbbVie, MSD, Novartis, Pfizer and UCB, Adrian Ciurea Consultant of: Consulting and/or speaking fees from AbbVie, Bristol-Myers Squibb, Celgene, Eli Lilly, Merck Sharp & Dohme, Novartis and Pfizer., Dan Nordström Consultant of: Abbvie, Celgene, Lilly, Novartis, Pfizer, Roche and UCB., Speakers bureau: Abbvie, Celgene, Lilly, Novartis, Pfizer, Roche and UCB., Ziga Rotar Consultant of: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Speakers bureau: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Florenzo Iannone Consultant of: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Speakers bureau: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Maria Jose Santos Speakers bureau: Novartis and Pfizer, Manuel Pombo-Suarez Consultant of: Janssen, Lilly, MSD and Sanofi., Speakers bureau: Janssen, Lilly, MSD and Sanofi., Björn Gudbjornsson Speakers bureau: Novartis and Amgen, Heřman Mann: None declared, Nurullah Akkoc: None declared, Catalin Codreanu Consultant of: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Speakers bureau: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Irene van der Horst-Bruinsma Grant/research support from: AbbVie, Novartis, Eli Lilly, Bristol-Myers Squibb, MSD, Pfizer, UCB Pharma, Consultant of: AbbVie, Novartis, Eli Lilly, Bristol-Myers Squibb, MSD, Pfizer, UCB Pharma, Brigitte Michelsen: None declared, Gary Macfarlane: None declared, Merete L. Hetland Grant/research support from: BMS, MSD, AbbVie, Roche, Novartis, Biogen and Pfizer, Consultant of: Eli Lilly, Speakers bureau: Orion Pharma, Biogen, Pfizer, CellTrion, Merck and Samsung Bioepis, Matija Tomsic: None declared, Burkhard Moeller: None declared, Pedro Ávila-Ribeiro Grant/research support from: Novartis, Carlos Sánchez-Piedra: None declared, Heikki Relas Grant/research support from: Abbvie., Consultant of: Abbvie, Celgene, and Pfizer., Speakers bureau: Abbvie, Celgene, and Pfizer., Arni Jon Geirsson: None declared, Lucie Nekvindova: None declared, Gozde Yildirim Cetin Speakers bureau: AbbVie, Novartis, Pfizer, Roche, UCB, MSD, Ruxandra Ionescu Consultant of: Consulting fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Speakers bureau: Consulting and speaker fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Niels Steen Krogh: None declared, Johan Askling Grant/research support from: JA acts or has acted as PI for agreements between Karolinska Institutet and the following entities, mainly in the context of the ARTIS national safety monitoring programme of immunomodulators in rheumatology: Abbvie, BMS, Eli Lilly, Merck, MSD, Pfizer, Roche, Samsung Bioepis, Sanofi, and UCB Pharma, Bente Glintborg Grant/research support from: Grants from Pfizer, Biogen and Abbvie, Ulf Lindström: None declared

Background:Knowledge of changes over time in baseline characteristics and tumor necrosis factor inhibitor (TNFi) response in bio-naïve axial spondyloarthritis (axSpA) patients treated in routine care is limited.Objectives:To investigate secular trends in baseline characteristics and retention, remission and response rates in axSpA patients initiating a first TNFi.Methods:Prospectively collected data on bio-naïve axSpA patients starting TNFi in routine care from 15 European countries were pooled. According to year of TNFi initiation, three groups were defined a priori based on bDMARD availability: Group A (1999–2008), Group B (2009–2014) and Group C (2015–2018). Retention rates (Kaplan-Meier), crude and LUNDEX adjusted1 remission (Ankylosing Spondylitis Disease Activity Score (ASDAS) <1.3, Bath Ankylosing Spondylitis Disease Activity Index (BASDAI) <20) and response (ASDAS Major and Clinically Important Improvement (MI/CII), BASDAI 50) rates were assessed at 6, 12 and 24 months. No statistical comparisons were made.Results:In total, 27189 axSpA patients were included (5945, 11255 and 9989 in groups A, B and C).At baseline, patients in group A were older, had longer disease duration and a larger proportion of male and HLA-B27 positive patients compared to B and C, whereas disease activity was similar across groups.Retention rates at 6, 12 and 24 months were highest in group A (88%/81%/71%) but differed little between B (84%/74%/64%) and C (85%/76%/67%).In all groups, median ASDAS and BASDAI had decreased markedly at 6 months (Table 1). The ASDAS values at 12 and 24 months and BASDAI at 24 months were higher in group A compared with groups B and C. Similarly, crude remission and response rates were lowest in group A. After adjustments for drug retention (LUNDEX), remission and response rates showed less pronounced between-group differences regarding ASDAS measures and no relevant differences regarding BASDAI measures.Conclusion:Nowadays, axSpA patients initiating TNFi are younger with shorter disease duration and more frequently female and HLA-B27 negative than previously, while baseline disease activity is unchanged. Drug retention rates have decreased, whereas crude remission and response rates have increased. This may indicate expanded indication but also a stable disease activity threshold for TNFi initiation over time, an increased focus on targeting disease remission and more available treatment options.References:[1]Arthritis Rheum 2006; 54: 600-6.Table 1.Secular trends in baseline characteristics, treatment retention, remission and response rates in European axSpA patients initiating a 1st TNFiBaseline characteristicsGroup A(1999–2008)Group B(2009–2014)Group C(2015–2018)Age, years, median (IQR)57 (49–66)51 (42–60)46 (37–56)Male, %666057HLA-B27, %877772Years since diagnosis, median (IQR)5 (1–12)2 (0–8)2 (0–7)Smokers, %232425ASDAS, median (IQR)3.5 (2.8–4.1)3.4 (2.8–4.1)3.5 (2.8–4.1)BASDAI, median, (IQR)57 (42–71)59 (43–72)57 (41–71)TNFi drug, % (Adalimumab /Etanercept / Infliximab /Certolizumab / Golimumab)22 / 35 / 43 / 0 / 037 / 21 / 20 / 4 / 1827 / 28 / 24 / 8 / 13Follow up6 months12 months24 monthsGr AGr BGr CGr AGr BGr CGr AGr BGr CRetention rates, %, (95% CI)88 (88–89)84 (83–85)85 (84–86)81 (80–82)74 (74–75)76 (75–76)71 (70–72)64 (63–65)67 (66–68)ASDAS, median, (IQR)1.8 (1.2–2.8)1.9 (1.2–2.8)1.8 (1.2–2.6)1.9 (1.3–2.6)1.7 (1.2–2.5)1.6 (1.1–2.4)1.9 (1.4–2.6)1.7 (1.1–2.4)1.5 (1.1–2.2)ASDAS inactive disease, %, c/L28 / 2528 / 2430 / 2624 / 1932 / 2434 / 2623 / 1634 / 2039 / 23ASDAS CII, %, c/L57 / 5159 / 5063 / 5461 / 5063 / 4767 / 5159 / 4168 / 4074 / 45ASDAS MI, %, c/L31 / 2732 / 2737 / 3232 / 2637 / 2741 / 3130 / 2042 / 2546 / 28BASDAI, median, (IQR)23 (10–40)26 (11–48)24 (10–44)21 (10–38)23 (10–42)20 (8–39)22 (9–40)20 (8–39)16 (6–35)BASDAI remission, %, c/L44 / 4040 / 3443 / 3645 / 3645 / 3450 / 3844 / 3048 / 2956 / 34BASDAI 50 response, %, c/L53 / 4750 / 4253 / 4557 / 4656 / 4258 / 4457 / 3960 / 3563 / 38Gr, Group; c/L, crude/LUNDEX adjusted.Acknowledgements:Novartis Pharma AG and IQVIA for supporting the EuroSpA Research Collaboration Network.Disclosure of Interests:Lykke Midtbøll Ørnbjerg Grant/research support from: Novartis, Sara Nysom Christiansen Speakers bureau: BMS and GE, Grant/research support from: Novartis, Simon Horskjær Rasmussen: None declared, Anne Gitte Loft Speakers bureau: AbbVie, Janssen, Lilly, MSD, Novartis, Pfizer, UCB, Consultant of: AbbVie, Janssen, Lilly, MSD, Novartis, Pfizer, UCB, Grant/research support from: Novartis, Ulf Lindström: None declared, Jakub Zavada: None declared, Florenzo Iannone: None declared, Fatos Onen: None declared, Michael J. Nissen Speakers bureau: Novartis, Eli Lilly, Celgene, and Pfizer, Consultant of: Novartis, Eli Lilly, Celgene, and Pfizer, Brigitte Michelsen Consultant of: Novartis, Grant/research support from: Novartis, Maria Jose Santos Speakers bureau: AbbVie, Novartis, Pfizer, Gary Macfarlane Grant/research support from: GlaxoSmithKline, Dan Nordström Consultant of: Abbvie, BMS, MSD, Novartis, Pfizer, Roche, UCB, Manuel Pombo-Suarez: None declared, Catalin Codreanu Speakers bureau: AbbVie, Amgen, Egis, Novartis, Pfizer, UCB, Grant/research support from: AbbVie, Amgen, Egis, Novartis, Pfizer, UCB, Matija Tomsic Speakers bureau: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Consultant of: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Irene van der Horst-Bruinsma Speakers bureau: Abbvie, BMS, MSD, Novartis, Pfizer, Lilly, UCB, Björn Gudbjornsson Speakers bureau: Amgen and Novartis, Johan Askling: None declared, Bente Glintborg Grant/research support from: Pfizer, Biogen, AbbVie, Karel Pavelka Speakers bureau: AbbVie, Roche, MSD, UCB, Pfizer, Novartis, Egis, Gilead, Eli Lilly, Consultant of: AbbVie, Roche, MSD, UCB, Pfizer, Novartis, Egis, Gilead, Eli Lilly, Elisa Gremese: None declared, Nurullah Akkoc: None declared, Adrian Ciurea Speakers bureau: Abbvie, Eli-Lilly, MSD, Novartis, Pfizer, Eirik kristianslund: None declared, Anabela Barcelos: None declared, Gareth T. Jones Grant/research support from: Pfizer, AbbVie, UCB, Celgene, Amgen, GSK, Anna-Mari Hokkanen Grant/research support from: MSD, Carlos Sánchez-Piedra: None declared, Ruxandra Ionescu Speakers bureau: Abbvie, Amgen, Boehringer-Ingelheim Eli-Lilly,Novartis, Pfizer, Sandoz, UCB, Ziga Rotar Speakers bureau: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Consultant of: Abbvie, Amgen, Biogen, Medis, MSD, Novartis, Pfizer, Marleen G.H. van de Sande: None declared, Arni Jon Geirsson: None declared, Mikkel Østergaard Speakers bureau: AbbVie, BMS, Boehringer-Ingelheim, Celgene, Eli-Lilly, Centocor, GSK, Hospira, Janssen, Merck, Mundipharma, Novartis, Novo, Orion, Pfizer, Regeneron, Schering-Plough, Roche, Takeda, UCB and Wyeth, Consultant of: AbbVie, BMS, Boehringer-Ingelheim, Celgene, Eli-Lilly, Centocor, GSK, Hospira, Janssen, Merck, Mundipharma, Novartis, Novo, Orion, Pfizer, Regeneron, Schering-Plough, Roche, Takeda, UCB and Wyeth, Merete L. Hetland Speakers bureau: Abbvie, Biogen, BMS, Celltrion, Eli Lilly, Janssen Biologics B.V, Lundbeck Fonden, MSD, Pfizer, Roche, Samsung Biopies, Sandoz, Novartis.

Background:To determine the real-life 6- and 12-month secukinumab effectiveness in Europe overall, as well as stratified by prior biologic disease-modifying anti-rheumatic drug (bDMARD)/targeted synthetic (ts)DMARD use.Objectives:Real-life data from axSpA patients treated with secukinumab from 13 countries in the European Spondyloarthritis (EuroSpA) Research Collaboration Network were pooled. We calculated proportions of patients achieving Bath Ankylosing Spondylitis Disease Activity Score (BASDAI) <2/<4 and Ankylosing Spondylitis Disease Activity Score (ASDAS) <1.3/<2.1 at 6 and 12 months, including with LUNDEX adjustments (crude value adjusted for drug retention). Retention rates were compared between b/tsDMARD naïve, 1 prior and ≥2 prior b/tsDMARD users with Kaplan-Meier analyses with log rank test and disease states by Chi-square test.Methods:A total of 1860 axSpA patients were included (Table 1). Overall 6/12-month secukinumab retention rates were 82%/72% and higher in bionaïve patients (Table 2, Figure). Significant differences in retention rates in-between the registries were found. Inactive disease/low-disease-activity (LDA) were achieved more often in bionaïve patients (Table 2).Table 1All patients (n=1860)b/tsDMARD naïve (n=414)1 prior b/tsDMARD (n=448)≥2 prior b/tsDMARDs (n=998)Age (years), mean (SD)47 (12)45 (12)47 (12)48 (12)Men, %57%68%58%49%Years since diagnosis, mean (SD)10 (9)8 (9)10 (9)11 (9)Current smokers, %25 %27%25%23%Patient’s global (0-100), median (IQR)70 (50-81)80 (60-90)64 (50-80)70 (50-82)Physician’s global (0-100), median (IQR)45 (25-63)64 (43-78)45 (22-60)40 (20-58)C reactive protein (mg/L), median (IQR)8 (3-25)15 (5-31)7 (3-25)6 (2-22)Erythrocyte sedimentation rate (mm/h), median (IQR)22 (9-44)30 (14-44)24 (8-45)18 (8-42)Pain (0-100), median (IQR)70 (50-81)80 (65-90)65 (49-80)70 (50-80)BASDAI, median (IQR)6.2 (4.6-7.6)6.8 (5.2-8.0)5.9 (4.2-7.2)6.1 (4.4-7.6)BASFI, median (IQR)5.5 (3.2-7.3)6.1 (3.2-7.6)4.8 (2.8-6.8)5.5 (3.3-7.2)ASDAS, median (IQR)3.6 (2.9-4.3)4.2 (3.5-4.8)3.5 (2.7-4.2)3.5 (2.8-4.2)Table 2MonthsAll patients (n=1860)b/tsDMARD naïve (n=414)1 prior b/tsDMARD (n=448)≥2 prior b/tsDMARDs (n=998)p-value*Secukinumab retention rate, % (95%CI)682% (80-84%)90% (87-93%)83% (79-86%)78% (76-81%)0.0011272% (69-74%)84% (81-88%)73% (69-78%)66% (63-69%)<0.001BASDAI <2, % Crude626373518<0.001 LUNDEX adjusted21342813<0.001 Crude1225412918<0.001 LUNDEX adjusted16311811<0.001BASDAI <4, % Crude651716040<0.001 LUNDEX adjusted40654730<0.001 Crude1251765639<0.001 LUNDEX adjusted32573623<0.001ASDAS <1.3, % Crude69131360.001 LUNDEX adjusted712115<0.001 Crude1211181570.002 LUNDEX adjusted713940.002ASDAS <2.1, % Crude6243226200.002 LUNDEX adjusted19292115<0.001 Crude1227442721<0.001 LUNDEX adjusted17331712<0.001*Comparisons between b/tsDMARD naïve, 1 prior and ≥2 prior b/tsDMARD users were performed with Kaplan-Meier with log-rank test or Chi-Square test, as appropriateConclusion:In this real-life study of 1860 patients with axSpA in 13 European countries secukinumab retention was high and significantly higher for bionaïve patients. Overall, a higher proportion of bionaïve than previous b/tsDMARD users achieved inactive disease/LDA.FigureAcknowledgments:Novartis and IQVIA for supporting the EuroSpA RCNDisclosure of Interests:Brigitte Michelsen Grant/research support from: Research support from Novartis, Consultant of: Consulting fees Novartis, Ulf Lindström: None declared, Catalin Codreanu Consultant of: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Speakers bureau: Speaker and consulting fees from AbbVie, Accord Healthcare, Alfasigma, Egis, Eli Lilly, Ewopharma, Genesis, Mylan, Novartis, Pfizer, Roche, Sandoz, UCB, Adrian Ciurea Consultant of: Consulting and/or speaking fees from AbbVie, Bristol-Myers Squibb, Celgene, Eli Lilly, Merck Sharp & Dohme, Novartis and Pfizer., Jakub Zavada Speakers bureau: Abbvie, UCB, Sanofi, Elli-Lilly, Novartis, Zentiva, Accord, Anne Gitte Loft Grant/research support from: Novartis, Consultant of: AbbVie, MSD, Novartis, Pfizer and UCB, Speakers bureau: AbbVie, MSD, Novartis, Pfizer and UCB, Manuel Pombo-Suarez Consultant of: Janssen, Lilly, MSD and Sanofi., Speakers bureau: Janssen, Lilly, MSD and Sanofi., Fatos Onen: None declared, Tore K. Kvien Grant/research support from: Received grants from Abbvie, Hospira/Pfizer, MSD and Roche (not relevant for this abstract)., Consultant of: Have received personal fees from Abbvie, Biogen, BMS, Celltrion, Eli Lily, Hospira/Pfizer, MSD, Novartis, Orion Pharma, Roche, Sandoz, UCB, Sanofi and Mylan (not relevant for this abstract)., Paid instructor for: Have received personal fees from Abbvie, Biogen, BMS, Celltrion, Eli Lily, Hospira/Pfizer, MSD, Novartis, Orion Pharma, Roche, Sandoz, UCB, Sanofi and Mylan (not relevant for this abstract)., Speakers bureau: Have received personal fees from Abbvie, Biogen, BMS, Celltrion, Eli Lily, Hospira/Pfizer, MSD, Novartis, Orion Pharma, Roche, Sandoz, UCB, Sanofi and Mylan (not relevant for this abstract)., Ziga Rotar Consultant of: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Speakers bureau: Speaker and consulting fees from Abbvie, Amgen, Biogen, Eli Lilly, Medis, MSD, Novartis, Pfizer, Roche, Sanofi., Maria Jose Santos Speakers bureau: Novartis and Pfizer, Florenzo Iannone Consultant of: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Speakers bureau: Speaker and consulting fees from AbbVie, Eli Lilly, Novartis, Pfizer, Roche, Sanofi, UCB, MSD, Anna-Mari Hokkanen: None declared, Björn Gudbjornsson Speakers bureau: Novartis and Amgen, Johan Askling Grant/research support from: JA acts or has acted as PI for agreements between Karolinska Institutet and the following entities, mainly in the context of the ARTIS national safety monitoring programme of immunomodulators in rheumatology: Abbvie, BMS, Eli Lilly, Merck, MSD, Pfizer, Roche, Samsung Bioepis, Sanofi, and UCB Pharma, Ruxandra Ionescu Consultant of: Consulting fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Speakers bureau: Consulting and speaker fees from Abbvie, Eli-Lilly, Novartis, Pfizer, Roche, Sandoz, Michael Nissen Grant/research support from: Abbvie, Consultant of: Novartis, Lilly, Abbvie, Celgene and Pfizer, Speakers bureau: Novartis, Lilly, Abbvie, Celgene and Pfizer, Karel Pavelka Consultant of: Abbvie, MSD, BMS, Egis, Roche, UCB, Medac, Pfizer, Biogen, Speakers bureau: Abbvie, MSD, BMS, Egis, Roche, UCB, Medac, Pfizer, Biogen, Carlos Sánchez-Piedra: None declared, Servet Akar: None declared, Joe Sexton: None declared, Matija Tomsic: None declared, Helena Santos Speakers bureau: AbbVie, Eli-Lilly, Janssen, Pfizer, Novartis, Marco Sebastiani: None declared, Jenny Osterlund: None declared, Arni Jon Geirsson: None declared, Gareth T. Jones Grant/research support from: Pfizer, AbbVie, UCB, Celgene and GSK., Irene van der Horst-Bruinsma Grant/research support from: AbbVie, Novartis, Eli Lilly, Bristol-Myers Squibb, MSD, Pfizer, UCB Pharma, Consultant of: AbbVie, Novartis, Eli Lilly, Bristol-Myers Squibb, MSD, Pfizer, UCB Pharma, Stylianos Georgiadis Grant/research support from: Novartis, Cecilie Heegaard Brahe Grant/research support from: Novartis, Lykke Midtbøll Ørnbjerg Grant/research support from: Novartis, Merete L. Hetland Grant/research support from: BMS, MSD, AbbVie, Roche, Novartis, Biogen and Pfizer, Consultant of: Eli Lilly, Speakers bureau: Orion Pharma, Biogen, Pfizer, CellTrion, Merck and Samsung Bioepis, Mikkel Ǿstergaard Grant/research support from: AbbVie, Bristol-Myers Squibb, Celgene, Merck, and Novartis, Consultant of: AbbVie, Bristol-Myers Squibb, Boehringer Ingelheim, Celgene, Eli Lilly, Hospira, Janssen, Merck, Novartis, Novo Nordisk, Orion, Pfizer, Regeneron, Roche, Sandoz, Sanofi, and UCB, Speakers bureau: AbbVie, Bristol-Myers Squibb, Boehringer Ingelheim, Celgene, Eli Lilly, Hospira, Janssen, Merck, Novartis, Novo Nordisk, Orion, Pfizer, Regeneron, Roche, Sandoz, Sanofi, and UCB

Abstract The Society gratefully acknowledges the time and effort of the following individuals who served as reviewers of abstracts for this meeting: ASH ABSTRACTS COORDINATING REVIEWERS Blanche P. Alter Stephen M. Ansell Ralph B. Arlinghaus Scott Armstrong Asad Bashey Philip Bierman Neil Blumberg Chiara Bonini Dominique Bonnet Jacqueline Boultwood Rena Buckstein John C. Byrd Marc Carrier Lucio H. Castilla Selina Chen-Kiang Nicholas Chiorazzi Jorge Cortes-Franco Claire E. Dearden Mary C. Dinauer Harry Paul Erba Carolyn A. Felix Pierre Fenaux Debra L. Friedman Irene M. Ghobrial Jason R. Gotlib Brandon Hayes-Lattin Cheryl A. Hillery Achille Iolascon Jean-Pierre J. Issa Sundar Jagannath Diane F. Jelinek H. Phillip Koeffler John Koreth Robert J. Kreitman Robert B. Levy David Lillicrap Richard Lottenberg John D. McMannis Mark D. Minden Charles G. Mullighan Arnon Nagler Peter J. Newman Robert Z. Orlowski Antonio Palumbo Julie A. Panepinto Warren S. Pear Sibrand Poppema Barbara Pro Ching-Hon Pui A. Koneti Rao Aaron P. Rapoport Pieter H. Reitsma Douglas D. Ross J. Eric Russell Barbara Savoldo Kirk R. Schultz Radek C. Skoda Marilyn L. Slovak Susan Smyth Hugo ten Cate Herve Tilly John M. Timmerman Ivo Touw Amy J. Wagers Russell E. Ware Catherine J. Wu Virginia M. Zaleskas ASH ABSTRACTS REVIEWERS Camille Abboud Omar Abdel-Wahab Jeremy Abramson Suneet Agarwal Sikander Ailawadhi Onder Alpdogan Andrew Aprikyan Mary Armanios Aneel Ashrani Norio Asou Aglaia Athanassiadou Eyal Attar Mohammad Azam Maria Baer Jorg Baesecke Sarah Ball Karen Ballen Frederic Baron Shannon Bates Minoo Battiwalla Marie Bene Charles Bennett James Berenson Steven Bernstein Francesco Bertoni Monica Bessler Wolfgang Bethge Kapil Bhalla Deepa Bhojwani James Bieker Bruce R. Blazar Annemarie Block David Bodine Catherine Bollard Antonio Bonati Eric Bouhassira Benjamin Braun Christopher Bredeson Patrick Brown Ross Brown Jan Burger Dario Campana Jose Cancelas Paul Carpenter Andrew Carroll James Casella Rebecca Chan Roy Chemaly Benny Chen Jerry Cheng Linzhao Cheng Bruce Cheson Mark Chiang Athar Chishti Hearn Cho Magdalena Chrzanowska-Wodnicka Richard E. Clark Joseph Connors Kenneth Cooke Miguel Cruz Adam Cuker Sandeep Dave Janice Davis Sproul Lucia De Franceschi Philip De Groot Rodney DeKoter Richard Delarue Stephen Devereux Steven Devine Paola Jorge Di Don Diamond Meletios Dimopoulos John DiPersio Angela Dispenzieri Benjamin Djulbegovic Jing-fei Dong James Downing William Drobyski Rafael Duarte Charles Dumontet Kieron Dunleavy Brian Durie Dimitar Efremov Elizabeth Eklund Jonas Emsley Patricia Ernst Andrew Evens Chris Fegan Andrew Feldman Giuliana Ferrari Willem Fibbe Adele Fielding Thoas Fioretos Robert Flaumenhaft Rafael Fonseca James Foran Joseph Frank Janet Franklin Paul Frenette Alan Friedman Terry Fry Saghi Gaffari Naomi Galili Patrick Gallagher Anne Galy David Garcia Randy Gascoyne Cristina Gasparetto Norbert Gattermann Tobias Gedde-Dahl Alan Gewirtz Francis Giles Robert Godal Lucy Godley Ivana Gojo Norbert Gorin Andre Goy Eric Grabowski Steven Grant Timothy Graubert Elizabeth Griffiths H. Leighton Grimes Claudia Haferlach Corinne Haioun Parameswaran Hari Christine Harrison Robert Hasserjian Nyla Heerema Shelly Heimfeld Roland Herzog Elizabeth Hexner Teru Hideshima William H. Hildebrand Gerhard Hildebrandt Devendra Hiwase Karin Hoffmeister Donna Hogge Scott Howard Brian Huntly Hiroto Inaba Baba Inusa Shai Izraeli Suresh Jhanwar Amy Johnson Craig Jordan Joseph Jurcic Nina Kadan-Lottick Lawrence Kaplan Jonathan Kaufman Neil Kay Michelle Kelliher Craig Kessler H. Jean Khoury Allison King Joseph Kiss Issay Kitabayashi Robert Klaassen Christoph Klein Yoshihisa Kodera Alexander Kohlmann Barbara Konkle Michael Kovacs Robert Kralovics Amrita Krishnan Nicolaus Kroger Ashish Kumar Ralf Küppers Jeffery Kutok Ann LaCasce Raymond Lai David Lane Peter Lane Richard Larson Michelle Le Beau Gregoire Le Gal Ollivier Legrand Suzanne Lentzsch John Leonard John Levine Ross Levine Linheng Li Renhao Li Zhenyu Li Wendy Lim Charles Linker Jeffrey Lipton Per Ljungman John Lollar Philip Low David Lucas Selina Luger Leo Luznik Gary Lyman Jaroslaw Maciejewski Elizabeth MacIntyre Nigel Mackman Luca Malcovati Guido Marcucci Tomer Mark Susan Maroney Giovanni Martinelli Peter Maslak Alan Mast Grant McArthur Philip McCarthy Michael McDevitt Peter McLaughlin Bruno Medeiros Jules P.P. Meijerink Junia Melo Thomas Mercher Bradley Messmer Marco Mielcarek Ken Mills Shin Mineishi Arturo Molina Silvia Montoto Marie Joelle Mozziconacci Auayporn Nademanee Vesna Najfeld Eneida Nemecek Ellis Neufeld Peter Newburger Heyu Ni Charlotte Marie Niemeyer Yago Nieto Anne Novak Paul O\'Donnell Vivian Oehler Fritz Offner Johannes Oldenburg Rebecca Olin Richard J. O'Reilly Thomas Ortel Keiya Ozawa Rose Ann Padua Sung-Yun Pai James Palis Derwood Pamphilon Animesh Pardanani Farzana Pashankar Andrea Pellagatti Catherine Pellat-Deceunynck Louis Pelus Chris Pepper Melanie Percy Andrew Perkins Luke Peterson Andrew Pettitt Javier Pinilla-Ibarz Kimmo Porkka David Porter Amy Powers Claude Preudhomme Frederick Racke Margaret Ragni Thomas Raife Alessandro Rambaldi Mariusz Ratajczak Pavan Reddy Mary Relling Tannishtha Reya Lisa Rimsza Stefano Rivella Isabelle Riviere Pamela Robey Gail Roboz Aldo Roccaro Maria Alma Rodriguez Frank Rosenbauer Laura Rosinol Alan Rosmarin Giuseppe Saglio Jonathan Said Valeria Santini Ravindra Sarode Yogenthiran Saunthararajah Bipin Savani Alan Schechter Charles Schiffer Robert Schlossman Laurie Sehn Rita Selby Orhan Sezer Sadhna Shankar John Shaughnessy Jordan Shavit Kevin Sheehan Shalini Shenoy Colin Sieff Paul Simmons Seema Singhal Sonali Smith Gerard Socie Pieter Sonneveld Simona Soverini David Spaner Steven Spitalnik Kostas Stamatopoulos David Steensma Richard Stone Toshio Suda Perumal Thiagarajan Courtney Thornburg Rodger Tiedemann David Traver Guido Tricot Darrell Triulzi Suzanne Trudel Christel Van Geet Karin Vanderkerken David Varon Amit Verma Srdan Verstovsek Ravi Vij Dan Vogl Loren Walensky Edmund Waller George Weiner Daniel Weisdorf Karl Welte Peter Westervelt Adrian Wiestner P.W. Wijermans John Wingard Anne Woolfrey Mingjiang Xu Qing Yi Anas Younes Ryan Zarychanski Arthur Zelent Clive Zent Dong-Er Zhang Xianzheng Zhou James Zimring

Alex Abou-Chebl, MD Michael Abraham, MD Joseph E. Acker, III, EMT-P, MPH Robert Adams, MD, MS, FAHA Eric Adelman, MD Opeolu Adeoye, MD DeAnna L. Adkins, PhD Maria Aguilar, MD Absar Ahmed, MD Naveed Akhtar, MD Rufus Akinyemi, MBBS, MSc, MWACP, FMCP(Nig) Karen C. Albright, DO, MPH Felipe Albuquerque, MD Andrei V. Alexandrov, MD Abdulnasser Alhajeri, MD Latisha Ali, MD Nabil J. Alkayed, MD, PhD, FAHA Amer Alshekhlee, MD, MSc Irfan Altafullah, MD Arun Paul Amar, MD Pierre Amarenco, MD, FAHA, FAAN Sepideh Amin-Hanjani, MD, FAANS, FACS, FAHA Catherine Amlie-Lefond, MD Aaron M. Anderson, MD David C. Anderson, MD, FAHA Sameer A. Ansari, MD, PhD Ken Arai, PhD Agnieszka Ardelt, MD, PhD Juan Arenillas, MD PhD William Armstead, PhD, FAHA Jennifer L. Armstrong-Wells, MD, MPH Negar Asdaghi, MD, MSc, FRCPC Nancy D. Ashley, APRN,BC, CEN,CCRN,CNRN Stephen Ashwal, MD Andrew Asimos, MD Rand Askalan, MD, PhD Kjell Asplund, MD Richard P. Atkinson, MD, FAHA Issam A. Awad, MD, MSc, FACS, MA (hon) Hakan Ay, MD, FAHA Michael Ayad, MD, PhD Cenk Ayata, MD Aamir Badruddin, MD Hee Joon Bae, MD, PhD Mark Bain, MD Tamilyn Bakas, PhD, RN, FAHA, FAAN Frank Barone, BA, DPhil Andrew Barreto, MD William G. Barsan, MD, FACEP, FAHA Nicolas G. Bazan, MD, PhD Kyra Becker, MD, FAHA Ludmila Belayev, MD Rodney Bell, MD Andrei B. Belousov, PhD Susan L. Benedict, MD Larry Benowitz, PhD Rohit Bhatia, MBBS, MD, DM, DNB Pratik Bhattacharya, MD MPh James A. Bibb, PhD Jose Biller, MD, FACP, FAAN, FAHA Randie Black Schaffer, MD, MA Kristine Blackham, MD Bernadette Boden-Albala, DrPH Cesar Borlongan, MA, PhD Susana M. Bowling, MD Monique M. B. Breteler, MD, PhD Jonathan Brisman, MD Allan L. Brook, MD, FSIR Robert D. Brown, MD, MPH Devin L. Brown, MD, MS Ketan R. Bulsara, MD James Burke, MD Cheryl Bushnell, MD, MHSc, FAHA Ken Butcher, MD, PhD, FRCPC Livia Candelise, MD S Thomas Carmichael, MD, PhD Bob S. Carter, MD, PhD Angel Chamorro, MD, PhD Pak H. 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Negative sexuality as a passive social attitude Negative sexuality is a sexuality that isn’t a part of feeling of identity and self-acceptance. It is burdened with feelings of shame, guilt and threat. In Polish society there is an atmosphere of negative sexuality. There is a lack of tolerance towards diversity and sexual freedom, understood as free expression of the self. It is a situation which threatens the psychological well-being. The deprecation and normativization of human sexuality is ensnarled in relations of power which petrify the social status quo. That leads to totalitarian management of our sexuality and maintenance of that status due to psychological mechanisms of submitting to totalitarian powers. To show these processes I refer to such thinkers as Michel Foucault, Erich Fromm, Theodor Adorno, Wilhelm Reich and Karen Horney.Such reality is also a result of social processes which shaped it. Influential here were the processes related to power and culture. Negative templates have been present in our culture for long time, a fact which I exemplify by analyzing Polish culture through the Polish cinema of the People’s Republic period. Today, passive social attitudes have resulted in continued cultivating of these negative social norms.I show alternatives to the atmosphere of negative sexuality, describing the movement for positive sexuality and its benefits for psychological health of individuals and society. While I throw doubt on the possibility of a popularization of queer theory in Poland, I also show some universal strategies of resistance against those exercising power over human sexuality. I describe the phenomenon of bioresistance and freeing physicality drawing on the example of works by Krzysztof Pacewicz about the theories of Michel Foucault and Giorgio Agamben. In more practical terms, I analyze the present condition of sexual education anti-discrimination movements in Poland.In my work I want to show that a sexually positive life attitude, which means a life of acceptance of oneself and others and creation of a nonviolent space, enables universal self-acceptance and self-development. It is also a proactive social attitude because it requires intellectual and political involvement in regard to emerging reality. I believe that positive sexuality supported by positive sex-ed and social involvement is a very important element of resistance against power relations. Negatywna seksualność jako bierna postawa społecznaNegatywna seksualność to seksualność, która nie składa się na poczucie tożsamości i samoakceptacji. Jest obarczona wstydem, poczuciem winy i zagrożenia. W polskim społeczeństwie panuje atmosfera negatywnej seksualności. Brak jest tolerancji dla różnorodności i wolności seksualnej rozumianej jako swobodna ekspresja siebie. Jest to sytuacja, która zagraża dobrostanowi psychicznemu. Deprecjonowanie i normatywizowanie ludzkiej seksualności jest uwikłane w relacje władzy, które petryfikują dany stan społeczny. Prowadzi to do totalitarnego zagospodarowania naszej seksualności i utrzymywania tego stanu dzięki psychicznym mechanizmom ulegania władzy totalitarnej. By pokazać te procesy, przywołuję myślicieli i myślicielki takie jak Michel Foucault, Erich Fromm, Theodor Adorno, Wilhelm Reich i Karen Horney.Taka rzeczywistość jest też rezultatem procesów społecznych, które ją ukształtowały. Miały na to wpływ procesy związane z władzą i kulturą. Negatywne wzorce są obecne w naszej kulturze od dawna. Polską kulturę analizuję przez pryzmat kina polskiego epoki PRL-u. Kultywowanie tych negatywnych norm społecznych to bierna postawa społeczna.Pokazuję alternatywy dla atmosfery negatywnej seksualności. Opisuję ruch pozytywnej seksualności i jego zalety dla zdrowia psychicznego jednostki i społeczeństwa.Poddaję w wątpliwość możliwość popularyzowania teorii queer w Polsce. Pokazuję pewne uniwersalne strategie oporu wobec władzy nad ludzką seksualnością. Opisuję zjawisko biooporu i uwalniania cielesności na przykładzie pracy Krzysztofa Pacewicza o teoriach Michela Foucaulta i Giorgio Agambena. Analizuję kondycję edukacji seksualnej i ruchów antydyskryminacyjnych w Polsce w czasie teraźniejszym.Moja praca ma pokazać, że sekspozytywna postawa życiowa, czyli akceptacja siebie i innych oraz tworzenie bezprzemocowej przestrzeni umożliwia powszechną samoakceptację i samorozwój. Jest jednocześnie aktywną postawą społeczną, ponieważ wymaga zaangażowania intelektualnego i politycznego we wpływaniu na zastaną rzeczywistość. Uważam, że pozytywna seksualność, wspierana pozytywną edukacją seksualną i zaangażowaniem społecznym, to bardzo istotny element oporu wobec relacji władzy.

Evaluación del tiempo de inducción y la concentración de metanol en la expresión de L-asparaginasa II de Saccharomyces cerevisiae usando Pichia pastoris (Muts) Omar Pillaca-Pullo, Karin Torres, Marcela Pimenta, Adalberto Pessoa-Jr & Michele Vitolo Facultad de Ciencias Farmacéuticas – Universidad de São Paulo (Brasil), 0550-8000 DOI: https://doi.org/10.33017/RevECIPeru2015.0020/ Resumen La levadura metilotrófica Pichia pastoris es ampliamente usada como un sistema eucariota para expresar proteínas recombinantes. Más de 500 proteínas recombinantes fueron expresas por P. pastoris con niveles de expresión que alcanzan hasta el 80% de proteínas totales secretadas y hasta 30% de proteínas totales de la célula. Existen tres fenotipos de P. pastoris clasificados de acuerdo con su capacidad de metabolizar metanol, el fenotipo MutS crece lentamente en medios con metanol por lo que generalmente se usan bajas concentraciones de metanol y tiempo de inducción prolongados. Por esta razón, el control de las condiciones de cultura como la concentración del inductor y el tiempo de inducción son factores importantes tanto para el crecimiento de la levadura como para producción de la proteína ya que este sistema es controlado por el promotor AOX inducido con metanol. Por otro lado, L-asparaginase (EC. 3.5.1.1) es un importante biofármaco usado en el tratamiento de leucemia linfoblástica aguda (ALL), la enzima comúnmente utilizada en la terapéutica es procedente de bacterias, estas han demostrado buena actividad, pero causan muchas reacciones inmunológicas severas en los pacientes tratados. La búsqueda de L-asparaginasa procedente y expresada en organismos eucariotas se abre como una posibilidad para reducir las reacciones adversas. En este estudio fueron evaluados el tiempo de inducción (24 - 120 horas) y la concentración de inductor (0.25, 0.5 y 1.0%). Los datos mostraron que la condición de mayor expresión de L-asparaginasa II de Saccharomyces cerevisiae después de 48 horas de inducción con 1,0% de metanol (~ 25 U.g-1). Finalmente se recomienda evaluar dicha producción en biorreactor donde se lleve un control adecuado de otras variables importantes como el pH del cultivo y la concentración de oxígeno en el medio. Descriptores: Pichia pastoris, Saccharomyces cerevisiae, L-asparaginase, Metanol. Abstract The methylotrophic yeast Pichia pastoris is widely used as a eukaryotic system for expressing recombinant proteins. Over 500 recombinant proteins were expressed in P. pastoris with expression levels reaching up to 80% of total secreted proteins and up to 30% total cell proteins. There are three phenotypes of P. pastoris classified according to their ability to metabolize methanol, phenotype MutS grows slowly on media containing methanol at generally low concentrations of methanol and longer induction time are used. Therefore, the control of culture conditions such as concentration of the inducer and the induction time are important factors for both yeast growth and for production of the protein since this system is controlled by the AOX promoter induced with methanol. Furthermore, L-asparaginase (EC. 3.5.1.1) is an important biopharmaceutical used to treat acute lymphoblastic leukemia (ALL), the enzyme commonly used in the therapy is from bacteria, these have shown good activity but cause many severe immune reactions in patients. The search for L-asparaginase derived and expressed in eukaryotic organisms opens a possibility to reduce adverse reactions. In this study they were evaluated the induction time (24-120 hours) and inducer concentration (0.25, 0.5 and 1.0% v/v). The data showed that the condition of increased expression of L-asparaginase II from Saccharomyces cerevisiae after 48 hours’ induction with 1.0% methanol (~ 25 U.g-1). Finally, it is recommended to evaluate this production in bioreactor where adequate control of other important variables such as pH of the culture and the concentration of oxygen in the medium is carried. Keywords: Pichia pastoris, Saccharomyces cerevisiae, L-asparaginase, Metanol.

To be or not to be resilient? That is no longer the question. For many years, being resilient or non-resilient, as it were, represented the dominant framework in resilience theory emerging out of the psychological sciences. As research into the elusive concept progressed, the theoretical and empirical emphasis shifted away from essentialising criteria and individualistic understandings of the ‘resilience construct’ to more ‘everyday’ and socially interactive aspects of resilience in our world. Although there is arguably a hangover effect attributable to the longstanding psychological science regime, resilience research appears to have moved beyond an understanding of the phenomenon as a discrete trait or defining characteristic of ‘resilient’ or ‘invulnerable’ individuals, communities, economies or environmental systems. While there is a distinctly personal component to the accumulation of resilience, its formation and distribution is now seen as traversing and intersecting multiple social categories, cultural contexts and geographic boundaries. In this edition of M/C Journal, the seventeen contributing authors have explored the concept of resilience and what in means to be ‘resilient’ in a variety of local, national and international contexts. The common thread running through each article relates to the interactive and iterative nature of resilience, as extending into and circulating within our diverse social worlds. So let’s get into it. In the feature article, Michael John Wilson and James Arvanitakis provide an overview of resilience research to date. They propose an expanded and expanding perspective on resilience, one that accounts for the accumulative and relational dimensions of the phenomenon. For them, resilience is best conceived as a meta-capacity, which is closely tied to the formation and expression of an active and enabling hope. As a result of broad scale movements in human mobility, climate change and global economic integration, it is their contention that resilience, as an analytical framework and object of inquiry, will gain increasing attention and relevance as we move further into the 21st century. In Resilience and Refugees, David Eades proposes a continuum for understanding refugees’ experiences from individualised trauma to posttraumatic growth. Calling for a thicker description of resilience that incorporates a positive orientation towards health and growth, David contends that the re-prioritisation of associated therapeutic discourse must be informed by the recognition of refugee populations’ worldviews. Following on from David’s piece, Neroli Colvin’s article Resettlement as Rebirth presents a novel take on refugees’ transitional experiences of migration and resettlement. She does so by exploring the symbolic and physical parallels between refugees’ separation from their ‘mother country’, and the biological birthing process involving separation of mother and infant. Neroli makes the valuable point that successful resettlement can involve multiple rebirths, requiring reserves of hope, imagination, energy, and above all, resilience. Following this, Dorothy Bottrell’s article investigates the centrality of resilience-building and resilient practices for neoliberal social policy concerned with the quality of people’s lives affected by, and forged within, conditions of marginalisation and disadvantage. Words have the power to empower and subjugate. In his article, Queer Youth Resilience, Rob Cover critiques the discourse of hope and hopelessness in Lesbian, Gay, Bisexual and Transgender (LGBT) suicide representation. He develops the important idea that – as with processes of growing up – resilience and vulnerability are informed and formed by a series of transitions, as well as expected and unexpected cultural encounters and circumstantial changes. With similarities to the term ‘queer’, ‘crip’ or ‘cripple’ has been re-appropriated and inscribed with new meaning (and potential) by persons living with a disability. In their article “Cripping” Resilience, Emily Hutcheon and Gregor Wolbring propose the concept of “‘cripping’ resilience” as a way of augmenting traditional conceptions of resilience with additional political and analytical power. Following on from the work by Emily and Gregor, Katie Ellis explores the idea of a politics of resilience in a disabling world. Her contribution investigates the role of resilience within critical disability studies and in particular, popular understandings of disability and the emergence of a disability culture. In Reproductive Resiliency, Katherine Reilly and Ayumi Goto share with us a deeply moving piece that explores the phenomenon of resilience in relation to their personal experiences with reproductive loss. Drawing on individual carers’ narratives, Timothy Broady offers an account of the various factors and practices that promote or constrain carers’ wellbeing. In moving beyond an understanding of carers’ as simply ‘coping’ with their caring responsibilities, Timothy proposes a more nuanced method for interpreting carers’ varied experiences and attitudes towards caring. In developing the term “discursive” resilience, Andrew Munro takes us on a journey back to the early 2000s to explore what it meant to be ‘resilient’ in the light of a sensational homicide case, an economic crisis and a deeply unstable political landscape in Argentina. David Torres and Jeremy Fyke, in their article Communicating Resilience, challenge current concepts of optimism, hope and resilience in terms of leadership perspectives and work contexts. They propose a ‘discursive leadership orientation’ in an effort to highlight the communicative and social construction of resilience. In Building Resilient Communities, Karey Harrison performs a metaphoric analysis to examine the differences between complex adaptive systems models of resilience in the ecology and climate change literature, and the linear ‘equilibrium’ models, which have come to dominate resilience research in psychology and economics. In her article Prognosis Critical, Michele Grossman reflects on the potential for protective impacts resulting from a greater recognition of ethnocultural diversity and social cohesion, and the benefits this can have in terms of strengthening a community’s resilience to threats of national security, emergency management and disaster response. In drawing on the storytelling practice of Aunty Hilda Wilson, Ngarrindjeri Aboriginal elder, Karen Hughes explicates the subjective aspects of resilience, agency and resistance embedded within Indigenous knowledge systems of relationality, kin and work. In Anxious settler belonging, Lisa Slater examines the potential for creating resilient postcolonial subjects. In particular, she identifies the political and ethical potential of affects, in this case, anxiety or anxiousness, as potential utilities for bringing to the surface and confronting the continence of colonial power relations in Australia. In his historical analysis of events in the rural Norwegian community of Volda in the late 1880s, Roy Krøvel examines how the struggle for recognition, acts of resistance against stigmatisation and ideological polarisation can provide insights and opportunities for the formation of social learning and collective creativity in resilient communities. Rounding out the issue, Nicolas Marquis adopts an interdisciplinary perspective to investigate how self-help readers make use of the “language game” of resilience. In particular, he examines how the common sense notion of resilience is mobilised as a cultural resource by readers of self-helps books and why this understanding of resilience sheds light on some important characteristics of liberal-individualistic societies, when compared with traditional societies. Acknowledgements We would like to thank all the contributing authors, the peer reviewers who took time out of their busy schedules to review one or more articles, Axel Bruns, and our resilient copy editors, Gregory Wilson and Jayde Cahir.

Critique of Ability In July 2008, we could be on the eve of an enormously important shift in disability in Australia. One sign of change is the entry into force on 3 May 2008 of the United Nations convention on the Rights of Persons with Disabilities, which will now be adopted by the Rudd Labor government. Through this, and other proposed measures, the Rudd government has indicated its desire for a seachange in the area of disability. Bill Shorten MP, the new Parliamentary Secretary for Disabilities and Children’s Services has been at pains to underline his commitment to a rights-based approach to disability. In this inaugural speech to Parliament, Senator Shorten declared: I believe the challenge for government is not to fit people with disabilities around programs but for programs to fit the lives, needs and ambitions of people with disabilities. The challenge for all of us is to abolish once and for all the second-class status that too often accompanies Australians living with disabilities. (Shorten, “Address in reply”; see also Shorten, ”Speaking up”) Yet if we listen to the voices of people with disability, we face fundamental issues of justice, democracy, equality and how we understand the deepest aspects of ourselves and our community. This is a situation that remains dire and palpably unjust, as many people with disabilities have attested. Elsewhere I have argued (Goggin and Newell) that disability constitutes a systemic form of exclusion and othering tantamount to a “social apartheid” . While there have been improvements and small gains since then, the system that reigns in Australia is still fundamentally oppressive. Nonetheless, I would suggest that through the rise of the many stranded movements of disability, the demographic, economic and social changes concerning impairment, we are seeing significant changes in how we understand impairment and ability (Barnes, Oliver and Barton; Goggin and Newell, Disability in Australia; Snyder, Brueggemann, and Garland-Thomson; Shakespeare; Stiker). There is now considerable, if still incomplete, recognition of disability as a category that is constituted through social, cultural, and political logics, as well as through complex facets of impairment, bodies (Corker and Shakespeare), experiences, discourses (Fulcher), and modes of materiality and subjectivity (Butler), identity and government (Tremain). Also there is growing awareness of the imbrication of disability and other categories such as sex and gender (Fine and Asch; Thomas), race, age, culture, class and distribution of wealth (Carrier; Cole; Davis, Bending over Backwards, and Enforcing Normalcy; Oliver; Rosenblum and Travis), ecology and war (Bourke; Gerber; Muir). There are rich and wide-ranging debates that offer fundamental challenges to the suffocating grip of the dominant biomedical model of disability (that conceives disability as individual deficit — for early critiques see: Borsay; Walker), as well as the still influential and important (if at times limiting) social model of disability (Oliver; Barnes and Mercer; Shakespeare). All in all,there have been many efforts to transform the social and political relations of disability. If disability has been subject to considerable examination, there has not yet been an extended, concomitant critique of ability. Nor have we witnessed a thoroughgoing recognition of unmarked, yet powerful operations of ability in our lives and thought, and the potential implications of challenging these. Certainly there have been important attempts to reframe the relationship between “ability” and “disability” (for example, see Jones and Mark). And we are all familiar with the mocking response to some neologisms that seek to capture this, such as the awkward yet pointed “differently-abled.” Despite such efforts we lack still a profound critique of ability, an exploration of “able”, the topic that this special issue invites us to consider. If we think of the impact and significance of “whiteness”, as a way to open up space for how to critically think about and change concepts of race; or of “masculinity” as a project for thinking about gender and sexuality — we can see that this interrogation of the unmarked category of “able” and “ability” is much needed (for one such attempt, see White). In this paper I would like to make a small contribution to such a critique of ability, by considering what the concept of innovation and its contemporary rhetorics have to offer for reframing disability. Innovation is an important discourse in contemporary life. It offers interesting possibilities for rethinking ability — and indeed disability. And it is this relatively unexplored prospect that this paper seeks to explore. Beyond Access, Equity & Diversity In this scene of disability, there is attention being given to making long over-due reforms. Yet the framing of many of these reforms, such as the strengthening of national and international legal frameworks, for instance, also carry with them considerable problems. Disability is too often still seen as something in need of remediation, or special treatment. Access, equity, and anti-discrimination frameworks offer important resources for challenging this “special” treatment, so too do the diversity approaches which have supplemented or supplanted them (Goggin and Newell, “Diversity as if Disability Mattered”). In what new ways can we approach disability and policies relevant to it? In a surprisingly wide range of areas, innovation has featured as a new, cross-sectoral approach. Innovation has been a long-standing topic in science, technology and economics. However, its emergence as master-theme comes from its ability to straddle and yoke together previously diverse fields. Current discussions of innovation bring together and extend work on the information society, the knowledge economy, and the relationships between science and technology. We are now familiar for instance with arguments about how digital networked information and communications technologies and their consumption are creating new forms of innovation (Benkler; McPherson; Passiante, Elia, and Massari). Innovation discourse has extended to many other unfamiliar realms too, notably the area of social and community development, where a new concept of social innovation is now proposed (Mulgan), often aligned with new ideas of social entrepreneurship that go beyond earlier accounts of corporate social responsibility. We can see the importance of innovation in the ‘creative industries’ discourses and initiatives which have emerged since the 1990s. Here previously distinct endeavours of arts and culture have become reframed in a way that puts their central achievement of creativity to the fore, and recognises its importance across all sorts of service and manufacturing industries, in particular. More recently, theorists of creative industries, such as Cunningham, have begun to talk about “social network markets,” as a way to understand the new hybrid of creativity, innovation, digital technology, and new economic logics now being constituted (Cunningham and Potts). Innovation is being regarded as a cardinal priority for societies and their governments. Accordingly, the Australian government has commissioned a Review of The National Innovation System, led by Dr Terry Cutler, due to report in the second half of 2008. The Cutler review is especially focussed upon gaps and weaknesses in the Australian innovation system. Disability has the potential to figure very strongly in this innovation talk, however there has been little discussion of disability in the innovation discourse to date. The significance of disability in relation to innovation was touched upon some years ago, in a report on Disablism from the UK Demos Foundation (Miller, Parker and Gillinson). In a chapter entitled “The engine of difference: disability, innovation and creativity,” the authors discuss the area of inclusive design, and make the argument for the “involvement of disabled people to create a stronger model of user design”:Disabled people represented a market of 8.6 million customers at the last count and their experiences aren’t yet feeding through into processes of innovation. But the role of disabled people as innovators can and should be more active; we should include disabled people in the design process because they are good at it. (57) There are two reasons given for this expertise of disabled people in design. Firstly, “disabled people are often outstanding problem solvers because they have to be … life for disabled people at the moment is a series of challenges to be overcome” (57). Secondly, “innovative ideas are more likely to come from those who have a new or different angle on old problems” (57). The paradox in this argument is that as life becomes more equitable for people with disabilities, then these ‘advantages’ should disappear” (58). Accordingly, Miller et al. make a qualified argument, namely that “greater participation of disabled people in innovation in the short term may just be the necessary trigger for creating an altogether different, and better, system of innovation for everyone in the future” (58). The Demos Disablism report was written at a time when rhetorics of innovation were just beginning to become more generalized and mainstream. This was also at a time in the UK, when there was hope that new critical approaches to disability would see it become embraced as a part of the diverse society that Blair’s New Labor Britain had been indicating. The argument Disablism offers about disability and innovation is in some ways a more formalized version of vernacular theory (McLaughlin, 1996). In the disability movement we often hear, with good reason, that people with disability, by dint of their experience and knowledge are well positioned to develop and offer particular kinds of expertise. However, Miller et al. also gesture towards a more generalized account of disability and innovation, one that would intersect with the emerging frameworks around innovation. It is this possibility that I wish to take up and briefly explore here. I want to consider the prospects for a fully-fledged encounter between disability and innovation. I would like to have a better sense of whether this is worth pursuing, and what it would add to our understanding of both disability and innovation? Would the disability perspective be integrated as a long-term part of our systems of innovation rather than, as Miller et al. imply, deployed temporarily to develop better innovation systems? What pitfalls might be bound up with, or indeed be the conditions of, such a union between disability and innovation? The All-Too-Able User A leading area where disability figures profoundly in innovation is in the field of technology — especially digital technology. There is now a considerable literature and body of practice on disability and digital technology (Annable, Goggin, and Stienstra; Goggin and Newell, Digital Disability; National Council on Disability), however for my purposes here I would like to focus upon the user, the abilities ascribed to various kinds of users, and the user with disability in particular. Digital technologies are replete with challenges and opportunities; they are multi-layered, multi-media, and global in their manifestation and function. In Australia, Britain, Canada, the US, and Europe, there have been some significant digital technology initiatives which have resulted in improved accessibility for many users and populations (Annable, Goggin, and Stienstra; National Council on Disability) . There are a range of examples of ways in which users with disability are intervening and making a difference in design. There is also a substantial body of literature that clarifies why we need to include the perspective of the disabled if we are to be truly innovative in our design practices (Annable, Goggin and Stienstra; Goggin and Newell, “Disability, Identity and Interdependence”). I want to propose, however, that there is merit in going beyond recognition of the role of people with disability in technology design (vital and overlooked as it remains), to consider how disability can enrich contemporary discourses on innovation. There is a very desirable cross-over to be promoted between the emphasis on the user-as-expert in the sphere of disability and technology, and on the integral role of disability groups in the design process, on the one hand, and the rise of the user in digital culture generally, on the other. Surprisingly, such connections are nowhere near as widespread and systematic as they should be. It may be that contemporary debates about the user, and about the user as co-creator, or producer, of technology (Haddon et al.; von Hippel) actually reinstate particular notions of ability, and the able user, understood with reference to notions of disability. The current emphasis on the productive user, based as it is on changing understandings of ability and disability, provides rich material for critical revision of the field and those assumptions surrounding ability. It opens up possibilities for engaging more fully with disability and incorporating disability into the new forms and relations of digital technology that celebrate the user (Goggin and Newell, Digital Disability). While a more detailed consideration of these possibilities require more time than this essay allows, let us consider for a moment the idea of a genuine encounter between the activated user springing from the disability movement, and the much feted user in contemporary digital culture and theories of innovation. People with disability are using these technologies in innovative ways, so have much to contribute to wider discussions of digital technology (Annable, Goggin and Stienstra). The Innovation Turn Innovation policy, the argument goes, is important because it stands to increase productivity, which in turn leads to greater international competitiveness and economic benefit. Especially with the emergence of capitalism (Gleeson), productivity has strong links to particular notions of which types of production and produce are valued. Productivity is also strongly conditioned by how we understand ability and, last in a long chain of strong associations, how we as a society understand and value those kinds of people and bodies believed to contain and exercise the ordained and rewarded types of ability, produce, and productivity. Disability is often seen as antithetical to productivity (a revealing text on the contradictions of disability and productivity is the 2004 Productivity Commission Review of the Disability Discrimination Act). When we think about the history of disability, we quickly realize that productivity, and by extension, innovation, are strongly ideological. Ideological, that is, in the sense that these fields of human endeavour and our understanding of them are shaped by power relations, and are built upon implicit ‘ableist’ assumptions about productivity. In this case, the power relations of disability go right to the heart of the matter, highlighting who and what are perceived to be of value, contributing economically and in other ways to society, and who and what are considered as liabilities, as less valued and uneconomical. A stark recent example of this is the Howard government workplace and welfare reforms, which further disenfranchised, controlled, and impoverished people with disability. If we need to rethink our ideas of productivity and ability in the light of new notions of disability, then so too do we need to rethink our ideas about innovation and disability. Here the new discourses of innovation may actually be useful, but also contain limited formulations and assumptions about ability and disability that need to be challenged. The existing problems of a fresh approach to disability and innovation can be clearly observed in the touchstones of national science and technology “success.” Beyond One-Sided Innovation Disability does actually feature quite prominently in the annals of innovation. Take, for instance, the celebrated case of the so-called “bionic ear” (or cochlear implant) hailed as one of Australia’s great scientific inventions of the past few decades. This is something we can find on display in the Powerhouse Museum of Technology and Design, in Sydney. Yet the politics of the cochlear implant are highly controversial, not least as it is seen by many (for instance, large parts of the Deaf community) as not involving people with disabilities, nor being informed by their desires (Campbell, also see “Social and Ethical Aspects of Cochlear Implants”). A key problem with the cochlear implant and many other technologies is that they are premised on the abolition or overcoming of disability — rather than being shaped as technology that acknowledges and is informed by disabled users in their diverse guises. The failure to learn the lessons of the cochlear implant for disability and innovation can be seen in the fact that we are being urged now to band together to support the design of a “bionic eye” by the year 2020, as a mark of distinction of achieving a great nation (2020 Summit Initial Report). Again, there is no doubting the innovation and achievement in these artefacts and their technological systems. But their development has been marked by a distinct lack of consultation and engagement with people with disabilities; or rather the involvement has been limited to a framework that positions them as passive users of technology, rather than as “producer/users”. Further, what notions of disability and ability are inscribed in these technological systems, and what do they represent and symbolize in the wider political and social field? Unfortunately, such technologies have the effect of reproducing an ableist framework, “enforcing normalcy” (Davis), rather than building in, creating and contributing to new modes of living, which embrace difference and diversity. I would argue that this represents a one-sided logic of innovation. A two-sided logic of innovation, indeed what we might call a double helix (at least) of innovation would be the sustained, genuine interaction between different users, different notions of ability, disability and impairment, and the processes of design. If such a two-sided (or indeed many-sided logic) is to emerge there is good reason to think it could more easily do so in the field of digital cultures and technologies, than say, biotechnology. The reason for this is the emphasis in digital communication technologies on decentralized, participatory, user-determined governance and design, coming from many sources. Certainly this productive, democratic, participatory conception of the user is prevalent in Internet cultures. Innovation here is being reshaped to harness the contribution and knowledge of users, and could easily be extended to embrace pioneering efforts in disability. Innovating with Disability In this paper I have tried to indicate why it is productive for discourses of innovation to consider disability; the relationship between disability and innovation is rich and complex, deserving careful elaboration and interrogation. In suggesting this, I am aware that there are also fundamental problems that innovation raises in its new policy forms. There are the issues of what is at stake when the state is redefining its traditional obligations towards citizens through innovation frameworks and discourses. And there is the troubling question of whether particular forms of activity are normatively judged to be innovative — whereas other less valued forms are not seen as innovative. By way of conclusion, however, I would note that there are now quite basic, and increasingly accepted ways, to embed innovation in design frameworks, and while they certainly have been adopted in the disability and technology area, there is much greater scope for this. However, a few things do need to change before this potential for disability to enrich innovation is adequately realized. Firstly, we need further research and theorization to clarify the contribution of disability to innovation, work that should be undertaken and directed by people with disability themselves. Secondly, there is a lack of resources for supporting disability and technology organisations, and the development of training and expertise in this area (especially to provide viable career paths for experts with disability to enter the field and sustain their work). If this is addressed, the economic benefits stand to be considerable, not to mention the implications for innovation and productivity. Thirdly, we need to think about how we can intensify existing systems of participatory design, or, better still, introduce new user-driven approaches into strategically important places in the design processes of ICTs (and indeed in the national innovation system). Finally, there is an opportunity for new approaches to governance in ICTs at a general level, informed by disability. New modes of organising, networking, and governance associated with digital technology have attracted much attention, also featuring recently in the Australia 2020 Summit. Less well recognised are new ideas about governance that come from the disability community, such as the work of Queensland Advocacy Incorporated, Rhonda Galbally’s Our Community, disability theorists such as Christopher Newell (Newell), or the Canadian DIS-IT alliance (see, for instance, Stienstra). The combination of new ideas in governance from digital culture, new ideas from the disability movement and disability studies, and new approaches to innovation could be a very powerful cocktail indeed.Dedication This paper is dedicated to my beloved friend and collaborator, Professor Christopher Newell AM (1964-2008), whose extraordinary legacy will inspire us all to continue exploring and questioning the idea of able. 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Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be highlighted within this article. This article demonstrates that for Indigenous peoples, associations of fear and danger are built into the structural mechanisms that shape and maintain colonial understandings of Indigenous peoples and their bodies. It is this embodied form of darkness, and its negative connotations, and responses that we explore further. Figure 1: Megan Cope’s ‘I’m not afraid of the Dark’ t-shirt (Fredericks and Heemsbergen 2021) Responding to the anxieties and fears of settlers that often surround Indigenous peoples, Quandamooka artist and member of the art collective ProppaNow, Megan Cope, has produced a range of t-shirts, one of which declares “I’m not afraid of the Dark” (fig. 1). The wording ‘reflects White Australia’s fear of blackness’ (Dark + Dangerous). Exploring race relations through the theme of “darkness”, we begin by discussing how negative connotations of darkness are represented through everyday lexicons and how efforts to shift prejudicial and racist language are often met with defensiveness and resistance. We then consider how fears towards the dark translate into everyday practices, reinforced by media representations. The article considers how stereotype, conjecture, and prejudice is inflicted upon Indigenous people and reflects white settler fears and anxieties, rooting colonialism in everyday language, action, and norms. The Language of Fear Indigenous people and others with dark skin tones are often presented as having a proclivity towards threatening, aggressive, deceitful, and negative behaviours. This works to inform how Indigenous peoples are “known” and responded to by hegemonic (predominantly white) populations. Negative connotations of Indigenous people are a means of reinforcing and legitimising the falsity that European knowledge systems, norms, and social structures are superior whilst denying the contextual colonial circumstances that have led to white dominance. In Australia, such denial corresponds to the refusal to engage with the unceded sovereignty of Aboriginal peoples or acknowledge Indigenous resistance. Language is integral to the ways in which dominant populations come to “know” and present the so-called “Other”. Such language is reflected in digital media, which both produce and maintain white anxieties towards race and ethnicity. When part of mainstream vernacular, racialised language – and the value judgments associated with it – often remains in what Moreton-Robinson describes as “invisible regimes of power” (75). Everyday social structures, actions, and habits of thought veil oppressive and discriminatory attitudes that exist under the guise of “normality”. Colonisation and the dominance of Eurocentric ways of knowing, being, and doing has fixated itself on creating a normality that associates Indigeneity and darkness with negative and threatening connotations. In doing so, it reinforces power balances that presents an image of white superiority built on the invalidation of Indigeneity and Blackness. White fears and anxieties towards race made explicit through social and digital media are also manifest via subtle but equally pervasive everyday action (Carlson and Frazer; Matamoros-Fernández). Confronting and negotiating such fears becomes a daily reality for many Indigenous people. During the height of the 2020 Black Lives Matter protests in the United States, which extended to Australia and were linked to deaths in custody and police violence, African American poet Saul Williams reminded his followers of the power of language in constructing racialised fears (saulwilliams). In an Instagram post, Williams draws back the veil of an uncontested normality to ask that we take personal responsibility over the words we use. He writes: here’s a tip: Take the words DARK or BLACK in connection to bad, evil, ominous or scary events out of your vocabulary. We learn the stock market crashed on Black Monday, we read headlines that purport “Dark Days Ahead”. There’s “dark” or “black” humour which implies an undertone of evil, and then there are people like me who grow up with dark skin having to make sense of the English/American lexicon and its history of “fair complexions” – where “fair” can mean “light; blond.” OR “in accordance with rules or standards; legitimate.” We may not be fully responsible for the duplicitous evolution of language and subtle morphing of inherited beliefs into description yet we are in full command of the words we choose even as they reveal the questions we’ve left unasked. Like the work of Moreton-Robinson and other scholars, Williams implores his followers to take a reflexive position to consider the questions often left unasked. In doing so, he calls for the transcendence of anonymity and engagement with the realities of colonisation – no matter how ugly, confronting, and complicit one may be in its continuation. In the Australian context this means confronting how terms such as “dark”, “darkie”, or “darky” were historically used as derogatory and offensive slurs for Aboriginal peoples. Such language continues to be used today and can be found in the comment sections of social media, online news platforms, and other online forums (Carlson “Love and Hate”). Taking the move to execute personal accountability can be difficult. It can destabilise and reframe the ways in which we understand and interact with the world (Rose 22). For some, however, exposing racism and seemingly mundane aspects of society is taken as a personal attack which is often met with reactionary responses where one remains closed to new insights (Whittaker). This feeds into fears and anxieties pertaining to the perceived loss of power. These fears and anxieties continue to surface through conversations and calls for action on issues such as changing the date of Australia Day, the racialised reporting of news (McQuire), removing of plaques and statues known to be racist, and requests to change placenames and the names of products. For example, in 2020, Australian cheese producer Saputo Dairy Australia changed the name of it is popular brand “Coon” to “Cheer Tasty”. The decision followed a lengthy campaign led by Dr Stephen Hagan who called for the rebranding based on the Coon brand having racist connotations (ABC). The term has its racist origins in the United States and has long been used as a slur against people with dark skin, liking them to racoons and their tendency to steal and deceive. The term “Coon” is used in Australia by settlers as a racist term for referring to Aboriginal peoples. Claims that the name change is example of political correctness gone astray fail to acknowledge and empathise with the lived experience of being treated as if one is dirty, lazy, deceitful, or untrustworthy. Other brand names have also historically utilised racist wording along with imagery in their advertising (Conor). Pear’s soap for example is well-known for its historical use of racist words and imagery to legitimise white rule over Indigenous colonies, including in Australia (Jackson). Like most racial epithets, the power of language lies in how the words reflect and translate into actions that dehumanise others. The words we use matter. The everyday “ordinary” world, including online, is deeply politicised (Carlson and Frazer “They Got Filters”) and comes to reflect attitudes and power imbalances that encourage white people to internalise the falsity that they are superior and should have control over Black people (Conor). Decisions to make social change, such as that made by Saputo Dairy Australia, can manifest into further white anxieties via their ability to force the confrontation of the circumstances that continue to contribute to one’s own prosperity. In other words, to unveil the realities of colonialism and ask the questions that are too often left in the dark. Lived Experiences of Darkness Colonial anxieties and fears are driven by the fact that Black populations in many areas of the world are often characterised as criminals, perpetrators, threats, or nuisances, but are rarely seen as victims. In Australia, the repeated lack of police response and receptivity to concerns of Indigenous peoples expressed during the Black Lives Matter campaign saw tens of thousands of people take to the streets to protest. Protestors at the same time called for the end of police brutality towards Indigenous peoples and for an end to Indigenous deaths in custody. The protests were backed by a heavy online presence that sought to mobilise people in hope of lifting the veil that shrouds issues relating to systemic racism. There have been over 450 Aboriginal and Torres Strait Islander people to die in custody since the end of the Royal Commission into Aboriginal Deaths in Custody in 1991 (The Guardian). The tragedy of the Indigenous experience gains little attention internationally. The negative implications of being the object of white fear and anxiety are felt by Indigenous and other Black communities daily. The “safety signals” (Daniella Emanuel) adopted by white peoples in response to often irrational perceptions of threat signify how Indigenous and other Black peoples and communities are seen and valued by the hegemony. Memes played out in social media depicting “Karens” – a term that corresponds to caricaturised white women (but equally applicable to men) who exhibit behaviours of entitlement – have increasing been used in media to expose the prevalence of irrational racial fears (also see Wong). Police are commonly called on Indigenous people and other Black people for simply being within spaces such as shopping malls, street corners, parks, or other spaces in which they are considered not to belong (Mohdin). Digital media are also commonly envisioned as a space that is not natural or normal for Indigenous peoples, a notion that maintains narratives of so-called Indigenous primitivity (Carlson and Frazer). Media connotations of darkness as threatening are associated with, and strategically manipulated by, the images that accompany stories about Indigenous peoples and other Black peoples. Digital technologies play significant roles in producing and disseminating the images shown in the media. Moreover, they have a “role in mediating and amplifying old and new forms of abuse, hate, and discrimination” (Matamoros-Fernández and Farkas). Daniels demonstrates how social media sites can be spaces “where race and racism play out in interesting, sometimes disturbing, ways” (702), shaping ongoing colonial fears and anxieties over Black peoples. Prominent footballer Adam Goodes, for example, faced a string of attacks after he publicly condemned racism when he was called an “Ape” by a spectator during a game celebrating Indigenous contributions to the sport (Coram and Hallinan). This was followed by a barrage of personal attacks, criticisms, and booing that spread over the remaining years of his football career. When Goodes performed a traditional war dance as a form of celebration during a game in 2015, many turned to social media to express their outrage over his “confrontational” and “aggressive” behaviour (Robinson). Goodes’s affirmation of his Indigeneity was seen by many as a threat to their own positionality and white sensibility. Social media were therefore used as a mechanism to control settler narratives and maintain colonial power structures by framing the conversation through a white lens (Carlson and Frazer “They Got Filters”). Indigenous peoples in other highly visible fields have faced similar backlash. In 1993, Elaine George was the first Aboriginal person to feature on the cover of Vogue magazine, a decision considered “risky” at the time (Singer). The editor of Vogue later revealed that the cover was criticised by some who believed George’s skin tone was made to appear lighter than it actually was and that it had been digitally altered. The failure to accept a lighter skin colour as “Aboriginal” exposes a neglect to accept ethnicity and Blackness in all its diversity (Carlson and Frazer “They Got Filters”; Carlson “Love and Hate”). Where Adam Goodes was criticised for his overt expression of Blackness, George was critisised for not being “black enough”. It was not until seventeen years later that another Aboriginal model, Samantha Harris, was featured on the cover of Vogue (Marks). While George inspired and pathed the way for those to come, Harris experienced similar discrimination within the industry and amongst the public (Carson and Ky). Singer Jessica Mauboy (in Hornery) also explains how her identity was managed by others. She recalls, I was pretty young when I first received recognition, and for years I felt as though I couldn't show my true identity. What I was saying in public was very dictated by other people who could not handle my sense of culture and identity. They felt they had to take it off my hands. Mauboy’s experience not only demonstrates how Blackness continues to be seen as something to “handle”, but also how power imbalances play out. Scholar Chelsea Watego offers numerous examples of how this occurs in different ways and arenas, for example through relationships between people and within workplaces. Bargallie’s scholarly work also provides an understanding of how Indigenous people experience racism within the Australian public service, and how it is maintained through the structures and systems of power. The media often represents communities with large Indigenous populations as being separatist and not contributing to wider society and problematic (McQuire). Violence, and the threat of violence, is often presented in media as being normalised. Recently there have been calls for an increased police presence in Alice Springs, NT, and other remotes communities due to ongoing threats of “tribal payback” and acts of “lawlessness” (Sky News Australia; Hildebrand). Goldberg uses the phrase “Super/Vision” to describe the ways that Black men and women in Black neighbourhoods are continuously and erroneously supervised and surveilled by police using apparatus such as helicopters and floodlights. Simone Browne demonstrates how contemporary surveillance practices are rooted in anti-black domination and are operationalised through a white gaze. Browne uses the term “racializing surveillance” to describe a ”technology of social control where surveillance practices, policies, and performances concern the production of norms pertaining to race and exercise a ‘power to define what is in or out of place’” (16). The outcome is often discriminatory treatment to those negatively racialised by such surveillance. Narratives that associate Indigenous peoples with darkness and danger fuel colonial fears and uphold the invisible regimes of power by instilling the perception that acts of surveillance and the restrictions imposed on Indigenous peoples’ autonomy are not only necessary but justified. Such myths fail to contextualise the historic colonial factors that drive segregation and enable a forgetting that negates personal accountability and complicity in maintaining colonial power imbalances (Riggs and Augoustinos). Inayatullah and Blaney (165) write that the “myth we construct calls attention to a darker, tragic side of our ethical engagement: the role of colonialism in constituting us as modern actors.” They call for personal accountability whereby one confronts the notion that we are both products and producers of a modernity rooted in a colonialism that maintains the misguided notion of white supremacy (Wolfe; Mignolo; Moreton-Robinson). When Indigenous and other Black peoples enter spaces that white populations don’t traditionally associate as being “natural” or “fitting” for them (whether residential, social, educational, a workplace, online, or otherwise), alienation, discrimination, and criminalisation often occurs (Bargallie; Mohdin; Linhares). Structural barriers are erected, prohibiting career or social advancement while making the space feel unwelcoming (Fredericks; Bargallie). In workplaces, Indigenous employees become the subject of hyper-surveillance through the supervision process (Bargallie), continuing to make them difficult work environments. This is despite businesses and organisations seeking to increase their Indigenous staff numbers, expressing their need to change, and implementing cultural competency training (Fredericks and Bargallie). As Barnwell correctly highlights, confronting white fears and anxieties must be the responsibility of white peoples. When feelings of shock or discomfort arise when in the company of Indigenous peoples, one must reflexively engage with the reasons behind this “fear of the dark” and consider that perhaps it is they who are self-segregating. Mohdin suggests that spaces highly populated by Black peoples are best thought of not as “black spaces” or “black communities”, but rather spaces where white peoples do not want to be. They stand as reminders of a failed colonial regime that sought to deny and dehumanise Indigenous peoples and cultures, as well as the continuation of Black resistance and sovereignty. Conclusion In working towards improving relationships between Black and white populations, the truths of colonisation, and its continuing pervasiveness in local and global settings must first be confronted. In this article we have discussed the association of darkness with instinctual fears and negative responses to the unknown. White populations need to reflexively engage and critique how they think, act, present, address racism, and respond to Indigenous peoples (Bargallie; Moreton-Robinson; Whittaker), cultivating a “decolonising consciousness” (Bradfield) to develop new habits of thinking and relating. To overcome fears of the dark, we must confront that which remains unknown, and the questions left unasked. This means exposing racism and power imbalances, developing meaningful relationships with Indigenous peoples, addressing structural change, and implementing alternative ways of knowing and doing. Only then may we begin to embody Megan Cope’s message, “I’m not afraid of the Dark”. Acknowledgements We thank Dr Debbie Bargallie for her feedback on our article, which strengthened the work. References ABC News. 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Natália de Campos, Edgard Franco Moraes JuniorGengivectomia, osteotomia e frenectomia na correção do sorriso gengival. Nathália Januario de Araujo, Álvaro Francisco Bosco, Vivian Cristina Noronha Novaes, Paula Lazilha Faleiros, David Jonathan Rodrigues Gusman, Fred Lucas Pinto de Oliveira, Breno Edson Sendão Alves, Juliano Milanezi de Almeida Avaliação do processo de incorporação óssea de biomaterial sintético a base de hidroxiapatita/β-tricálcio fosfato em bloco instalado em mandíbula de coelhos. Análise histológica. Rodrigo Capalbo-da-Silva, Luis Carlos de Almeida Pires, Paulo Sérgio Perri de Carvalho, Lais Kawamata de Jesus, Ana Flávia Piquera Santos, Francisley Ávila SouzaRelato de caso raro: fratura bilateral de côndilo e sínfise mandibular. Sara Tiemi Felipe Akabane, Gabriel Mulinari dos Santos, Erik Neiva Ribeiro de Carvalho Reis, William Ricardo Pires, Tárik Oncon Braga Polo, Leonardo Perez Faverani, Francisley Ávila Souza, Daniela PonzoniUso de piezocirúrgico para remoção de um odontoma mandibular complexo. Relato de caso clínico. Stefany Barbosa, João Matheus Fonseca e Santos, Cássio Messias Beija Flor Figueiredo, Gustavo Antonio Correa Momesso, Valthierre Nunes de Lima, Gabriel Mulinari dos Santos, Daniela Ponzoni, Leonardo Perez FaveraniReabilitação de maxila atrófica em paciente transplantado renal com implantes zigomáticos. Valthierre Nunes de Lima, Sormani Bento Fernandes de Queiroz, Jaqueline Suemi Hassumi, Nayla Caroline Santos Yamamoto, Karen Rawen Tonini, Leonardo de Freitas Silva, Tárik Ocon Braga Polo, Leonardo Perez FaveraniResolução de complicações estéticas com regeneração óssea guiada. 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Erika Kiyoko Chiba, Gabriel Mulinari dos Santos, João Paulo Bonardi, André Luís da Silva Fabris, Francisley Ávila Souza, Leonardo Perez Faverani, Ana Paula Farnezi Bassi, Idelmo Rangel Garcia JúniorMelhoria na qualidade de vida relacionada com saúde oral em pacientes com carcinomas oral e orofaringeano acompanhados por curto prazo após o tratamento. Fernanda Pereira de Caxias, Sandro Basso Bitencourt, Amália Moreno, Andressa Paschal Amoroso, Emerson Gomes dos Santos, Karina Helga Turcio de Carvalho, Marcelo Coelho Goiato, Daniela Micheline dos SantosFixação interna rígida do tipo Load Bearing para fratura mandibular atrófica. Gabriel Pereira Nunes, Pedro Henrique Silva Gomes Ferreira, Danila Oliveira, Luis Fernando Azambuja Alcalde, Jefferson Moura Vieira, Ana Paula Farnezi Bassi, Daniela Ponzoni, Roberta OkamotoTratamento inicial de ferimento corto-contuso em região peribucal: relato de caso. Gabriela Caroline Fernandes, Gabriel Mulinari dos Santos, Juliana Zorzi Coléte, Leonardo de Freitas Silva, André Hergesel de Oliva, Daniela Ponzoni, Alessandra Marcondes Aranega, Leonardo Perez FaveraniAvaliação do bio-oss collagen® no reparo de defeitos ósseos críticos em calvária de ratos. Guilherme André Del’Arco Ramires, Jucileia Maciel, Gustavo Antonio Correa Momesso, Leonardo Perez Faverani, Daniela Ponzoni, Ana Paula Farnezi BassiAvulsão dentária tratada por reimplante em paciente portadora de epilepsia. Iana Rodrigues Briggo, Willian Ricardo Pires, Xiomara Mónica Johanna Palacio Muñoz, Gabriel Mulinari dos Santos, Celso Koogi Sonoda, Sônia Regina Panzarini, Francisley Ávila Souza, Idelmo Rangel Garcia JúniorAvaliação do dano tecidual e do reparo causado por osteotomias para implantes com fresas convencionais e de motor piezoelétrico. Jadison Junio Conforte, Fabricio Euclides Pimentel Baracho Martins, Roberta Okamoto, Paulo Sérgio Perri de Carvalho, Daniela PonzoniTratamento de fratura nasal severa: relato de caso clínico. Karen Lumi Nakasato, Gabriel Mulinari dos Santos, William Ricardo Pires, Leonardo de Freitas Silva, Ciro Borges Duailibe de Deus, Gustavo Antônio Correa Momesso, Tárik Ocon Braga Polo, Leonardo Perez FaveraniEstudo da interface formada entre osso e implante de tiaiv com superfícies usinada e modificada. Avaliação biomecânica em coelhos. Laís Kawamata de Jesus, Rodrigo Capalbo-da-Silva, Ana Flávia Piquera Santos, Caroline Loureiro, Paulo Sérgio Perri de Carvalho, Ana Paula Farnezi Bassi, Alessandra Marcondes Aranega, Francisley Ávila SouzaRemoção de corpo estranho de lábio inferior com uso de intensificador de imagem: relato de caso. Lara Mariano Pinheiro, Gabriel Mulinari dos Santos, João Paulo Bonardi, André Luís da Silva Fabris, Juliana Zórzi Coléte, Igor de Oliveira Puttini, Ciro Borges Duailibe de Deus, Leonardo Perez Faverani.Avaliação da reparação óssea em defeitos críticos de calvária de ratos utilizando partículas de osso de origem bovina. Letícia de Freitas Mendes Brasil, Ana Paula Farnezi Bassi, Paulo Sérgio Perri de Carvalho, Daniela Ponzoni, Francisley Ávila Souza.Cranioplastia com resina de pometilmetacrilato em fratura extensa de osso frontal. Letícia de Oliveira Gonçalves, Xiomara Mónica Johanna Palacio Muñoz, João Paulo Bonardi, Leonardo de Freitas Silva, Erik Neiva Ribeiro de Carvalho Reis, Francisley Ávila Souza, Idelmo Rangel Garcia Júnior, Daniela PonzoniAssistência odontológica hospitalar para pessoas com deficiência do CAOE da faculdade de odontologia de Araçatuba. Luan Pier Benetti, Alessandra Marcondes Aranega, Fátima Hassan Baz Lauretto, Antônio Donizete Soares, Juliana Franco De Angelis, Tânia Sílvia Carneiro BaggioEstudo comparativo entre substituto ósseo heterógeno composto de origem bovina e biomaterial sintético a base de fosfato β-tricálcio para enxerto sinusal maxilar. Nathália Januario de Araujo, Maury Ponikwar de Souza, Paulo Sérgio Perri de Carvalho, Juliano Milanezi de Almeida, Idelmo Rangel Garcia Júnior, Francisley Ávila SouzaA difícil decisão por extrações dentárias como tratamento de mutilações labiais em pessoas com deficiência neurológica. Sandy Lais Tatibana, Alessandra Marcondes Aranega, André Luís da Silva Fabris, Liliane Passanezi A. Louzada, Regina Rodrigues Luciano, Idelmo Rangel Garcia Júnior, Luan Pier BenettiAvaliação histológica e histométrica do processo de reparo em defeitos de calvária de ratos com membrana de pcl e colágeno porcino. Tamires Melo Francati, Ana Carolina Rezende de Moraes Ferreira, Leonardo Perez Faverani, Guilherme André Del'Arco Ramires, Daniela Ponzoni, Ana Paula Farnezi BassiFratura de côndilo mandibular unilateral tratada com elasticoterapia: relato de caso. Thaisa Casteli Bonfim, Willian Ricardo Pires, Gabriel Mulinari dos Santos, Xiomara Mónica Johanna Palacio Muñoz, Celso Koogi Sonoda, Leonardo Perez Faverani, Francisley Ávila Souza, Idelmo Rangel Garcia Júnior

According to The Betoota Advocate (Parker), a CSIRO (Commonwealth Scientific and Industrial Research Organisation) paper has recently established that “it takes roughly seven minutes on average for a vegan to tell you that they’re vegan” (qtd. in Harrington et al. 135). For such a statement to have currency as a joke means that it is grounded in a shared experience of being vegan on the one hand, and of encountering vegans on the other. Why should vegans feel such a need to justify themselves? I recognise the observation as being true of me, and this article is one way to explore this perspective: writing to find out what I currently only intuit. As Richardson notes (516), writing is “a way of ‘knowing’—a method of discovery and analysis. By writing in different ways, we discover new aspects of our topic and our relationship to it. Form and content are inseparable” (qtd. in Wall 151).Autoethnography, the qualitative research methodology used for this article, is etymologically derived from Greek to indicate a process for exploring the self (autos) and the cultural (“ethno” from ethnos—nation, tribe, people, class) using a shared, understood, approach (“graphy” from graphia, writing). It relies upon critical engagement with and synthesising of the personal. In Wall’s words, this methodological analysis of human experience “says that what I know matters” (148). The autoethnographic investigation (Riggins; Sparkes) reported here interrogates the experience of “being judged” as a vegan: firstly, by myself; secondly, by other vegans; and ultimately by the wider society. As Ellis notes, autoethnography is “research, writing, story and method that connect the autobiographical and personal to the cultural, social and political. Autoethnographic forms feature concrete action, emotion, embodiment, self-consciousness, and introspection” (xix).Introspection is important because researchers’ stories of their observations are interwoven with self-reflexive critique and analysis: “illustrative materials are meant to give a sense of what the observed world is really like, while the researcher’s interpretations are meant to represent a more detached conceptualization of that reality” (Strauss and Corbin 22). Leaving aside Gans’s view that this form of enquiry represents the “climax of the preoccupation with self […] an autobiography written by sociologists” (542), an autoethnography generally has the added advantage of protecting against Glendon and Stanton’s concern that interpretive studies “are often of too short a duration to be able to provide sufficiently large samples of behaviour” (209). In my case, I have twelve years of experience of identifying as a vegan to draw upon.My experience is that being vegan is a contested activity with a significant range of variation that partly reflects the different initial motivations for adopting this increasingly mainstream identity. Greenebaum notes that “ethical vegans differentiate between those who ‘eat’ vegan (health vegans) and those who ‘live’ vegan (ethical vegans)”, going on to suggest that these differences create “hierarchies and boundaries between vegans” (131). As Greenebaum acknowledges, there is sometimes a need to balance competing priorities: “an environmental vegan […] may purchase leather products over polyvinyl chloride (PVC), thinking that leather is a better choice for the environment” (130). Harrington et al. similarly critique vegan motivations as encompassing “a selfless pursuit for those who cared for other beings (animals)” to “a concern about impacts that affect all humans (environment), and an interest mostly in the self (individual health …)” (144). Wright identifies a fourth group of vegans: those searching for a means of dietary inclusivity (2). I have known Orthodox Jewish households that have adopted veganism because it is compatible with keeping Kosher, while many strict Hindus are vegan and some observant Muslims may also follow suit, to avoid meat that is not Halal certified.The Challenge of the EverydayAlthough my initial vegan promptings were firmly at the selfish end of an altruism spectrum, my experience is that motivation is not static. Being a vegan for any reason increasingly primes awareness of more altruistic motivations “at the intersection of a diversity of concerns [… promoting] a spread and expansion of meaning to view food choices holistically” (Harrington et al. 144). Even so, everyday life offers a range of temptations and challenges that require constant juggling and, sometimes, a string of justifications: to oneself, and to others. I identify as a bit of a bad vegan, and not simply because I embrace the possibility that “honey is a gray area” (Greenebaum, quoting her participant Jason, 139). I’m also flexible around wine, for example, and don’t ask too many questions about whether the wine I drink is refined using milk, or egg-shells or even (yuk!) fish bladders. The point is, there are an infinite number of acid tests as to what constitutes “a real vegan”, encouraging inter-vegan judgmentality. Some slight definitional slippage aligns with Singer and Mason’s argument, however, that vegans should avoid worrying about “trivial infractions of the ethical guidelines […] Personal purity isn’t really the issue. Not supporting animal abuse – and persuading others not to support it – is. Giving people the impression that it is virtually impossible to be vegan doesn’t help animals at all” (Singer and Mason 258–9).If I were to accept a definition of non-vegan, possibly because I have a leather handbag among other infractions, that would feel inauthentic. The term “vegan” helpfully labels my approach to food and drink. Others also find it useful as a shorthand for dietary preferences (except for the small but significant minority who muddle veganism with being gluten free). From the point of view of dietary prohibitions I’m a particularly strict vegan, apart from honey. I know people who make exceptions for line-caught fish, or the eggs from garden-roaming happy chooks, but I don’t. I increasingly understand the perspectives of those who have a more radical conception of veganism than I do, however: whose vision and understanding is that “behind every meal of meat is an absence: the death of the animal whose place the meat takes. The ‘absent referent’ is that which separates the meat eater from the animal and the animal from the end product [… keeping] something from being seen as having been someone” (Adams 14). The concept of the global suffering of animals inherent in the figures: “31.1 billion each year, 85.2 million each day, 3.5 million each hour, 59,170 each minute” (Adams dedication) is appalling; as well as being an under-representation of the current situation since the globe has had almost two further decades of population growth and rising “living standards”.Whatever the motivations, it’s easy to imagine that the different branches of veganism have more in common than divides them. Being a vegan of any kind helps someone identify with other variations upon the theme. For example, even though my views on animal rights did not motivate my choice to become vegan, once I stopped seeing other sentient creatures as a handy food source I began to construct them differently. I gradually realised that, as a species, we were committing the most extraordinary atrocities on a global scale in treating animals as disposable commodities without rights or feelings. The large-scale production of what we like to term “meat and poultry” is almost unadulterated animal suffering, whereas the by-catch (“waste products”) of commercial fishing represents an extraordinary disregard of the rights to life of other creatures and, as Cole and Morgan note, “The number of aquatic animals slaughtered is not recorded, their individual deaths being subsumed by aggregate weight statistics” (135). Even if we did accept that humans have the right to consume some animals some of the time, should the netting of a given weight of edible fish really entail the death of many, many time more weight of living creatures that will be “wasted”: the so-called by-catch? Such wanton destruction has increasingly visible impacts upon complex food chains, and the ecosystems that sustain us all.The Vegan Threat to the Status QuoExamining the evidence for the broader community being biased against vegetarians and vegans, MacInnis and Hodson identify that these groups are “clear targets of relatively more negative attitudes” (727) towards them than other minority groups. Indeed, “only drug addicts were evaluated more negatively than vegetarians and vegans” (726). While “vegans were evaluated more negatively than vegetarians” (732), there was a hierarchy in negative evaluations according to the underlying motivation for someone adopting veganism or vegetarianism. People motivated by personal health received the least negative evaluations from the general population followed by those who were motivated by the environment. The greatest opprobrium was reserved for vegans who were motivated by animal rights (732). MacInnis and Hodson reason that this antipathy is because “vegetarians and vegans represent strong threats to the status quo, given that prevailing cultural norms favour meat-eating” (722). Also implied here is that fact that eating meat is itself a cultural norm associated with masculinity (Rothgerber).Adams’s work links the unthinking, normative exploitation of animals to the unthinking, normative exploitation of women, a situation so aligned that it is often expressed through the use of a common metaphor: “‘meat’ becomes a term to express women’s oppression, used equally by patriarchy and feminists, who say that women are ‘pieces of meat’” (2002, 59). Rothberger further interrogates the relationship between masculinity and meat by exploring gender in relation to strategies for “meat eating justification”, reflecting a 1992 United States study that showed, of all people reporting that they were vegetarian, 68% were women and 32% men (Smart, 1995). Rothberger’s argument is that:Following a vegetarian diet or deliberately reducing meat intake violates the spirit of Western hegemonic masculinity, with its socially prescribed norms of stoicism, practicality, seeking dominance, and being powerful, strong, tough, robust and invulnerable […] Such individuals have basically cast aside a relatively hidden male privilege—the freedom and ability to eat without criticism and scrutiny, something that studies have shown women lack. (371)Noting that “to raise concerns about the injustices of factory farming and to feel compelled by them would seem emotional, weak and sensitive—feminine characteristics” (366), Rothberger sets the scene for me to note two items of popular culture which achieved cut-through in my personal life. The evidence for this is, in terms of all the pro-vegan materials I encounter, these were two of a small number that I shared on social media. In line with Rothberger’s observations, both are oppositional to hegemonic masculinity:one represents a feminised, mother and child exchange that captures the moment when a child realises the “absent referent” of the dead animal in the octopus on his plate—https://www.youtube.com/watch?v=SrU03da2arE;while the other is a sentimentalised and sympathetic recording of cattle luxuriating in their first taste of pastureland after a long period of confinement—https://www.youtube.com/watch?v=huT5__BqY_U.Seeing cows behaving like pets does call attention to the artificial distinction between “companion animals” and other animals. As Cole and Stewart note, “the naming of other animals is useful for human beings, while it is dangerous, and frequently lethal, for other animals. This is because the words we use to name other animals are saturated with common sense knowledge claims about those animals that legitimate their habitual use for humans” (13). Thus a cat, in Western culture, has a very different life trajectory to a cow. Adams notes the contrary case where the companion animal is used as a referent for a threatened human:Child sexual abusers often use threats and/or violence against companion animals to achieve compliance from their victims. Batterers harm or kill a companion animal as a warning to their partner that she could be next; as a way of further separating her from meaningful relationships; to demonstrate his power and her powerlessness. (Adams 57)For children who are still at a stage where animals are creatures of fascination and potential friends, who may be growing up with Charlotte’s Web (White) or Peter Rabbit (Potter), the mental gymnastics of suspending identification with these fellow creatures are harder because empathy and imagination are more active and the ingrained habit of eating without thinking has not had so long to develop. Indeed, children often understand domestic animals as “members of the family”, as illustrated by an interview with Kani, a 10-year old participant in one of my research projects. “In the absence of her extended family overseas, Kani adds her pets to [the list of] those with whom she shares her family life: ‘And my mum and my uncle and then our cat Dobby. I named it [for Harry Potter’s house elf] ...and the goldfish. The goldfish are Twinkle, Glitter, Glow and Bobby’” (Green and Stevenson). Such perceptions may well filter through to children having a different understanding of animals-as-food, even though Cole and Stewart note that “children enter into an adult culture habituated to [the] banal conceptualization of other animals according to their (dis)utilities” (21).Evidence-Based VeganismThose M/C Journal readers who know me personally will understand that one reason why I embrace the “bad vegan” label, is that I’m no more obviously a pin-up for healthy veganism than I am for ethical or environmental veganism. In particular, my BMI (Body Mass Index) is significantly outside the “healthy” range. Even so, I attribute a dramatic change in my capacity for stamina-based activity to my embrace of veganism. A high-speed recap of the evidence would include: in 2009 I embarked on a week-long 500km Great Vic bike ride; in 2012 I successfully completed a Machu Picchu trek at high altitude; by 2013 I was ready for my first half marathon (reprised in 2014, and 2017); in 2014 I cycled from Surfers’ Paradise to Noosa—somewhat less successfully than in my 2009 venture, but even so; in 2016 I completed the Oxfam 50km in 24 hours (plus a half hour, if I’m honest); and in 2017 I completed the 227km Portuguese Camino; in 2018 I jogged an average of over 3km per day, every day, up until 20 September... Apart from indicating that I live an extremely fortunate life, these activities seem to me to demonstrate that becoming vegan in 2007 has conferred a huge health benefit. In particular, I cannot identify similar metamorphoses in the lives of my 50-to-60-something year-old empty-nester friends. My most notable physical feat pre-veganism was the irregular completion of Perth’s annual 12km City-to-Surf fun run.Although I’m a vegan for health reasons, I didn’t suddenly wake up one day and decide that this was now my future: I had to be coaxed and cajoled into looking at my food preferences very differently. This process entailed my enrolling in a night school-type evening course, the Coronary Health Improvement Program: 16 x 3 hour sessions over eight weeks. Its sibling course is now available online as the Complete Health Improvement Program. The first lesson of the eight weeks convincingly demonstrated that what is good for coronary health is also good for health in general, which I found persuasive and reassuring given the propensity to cancer evident in my family tree. In the generation above me, my parents each had three siblings so I have a sample of eight immediate family to draw upon. Six of these either have cancer at the moment, or have died from cancer, with the cancers concerned including breast (1), prostate (2), lung (1), pancreas (1) and brain (1). A seventh close relative passed away before her health service could deliver a diagnosis for her extraordinarily elevated eosinophil levels (100x normal rates of that particular kind of white blood cell: potentially a blood cancer, I think). The eighth relative in that generation is my “bad vegan” uncle who has been mainly plant-based in his dietary choices since 2004. At 73, he is still working three days per week as a dentist and planning a 240 km trek in Italy as his main 2019 holiday. That’s the kind of future I’m hoping for too, when I grow up.And yet, one can read volumes of health literature without stumbling upon Professor T. Colin Campbell’s early research findings via his work on rodents and rodent cells that: “nutrition [was] far more important in controlling cancer promotion than the dose of the initiating carcinogen” and that “nutrients from animal-based foods increased tumor development while nutrients from plant-based foods decreased tumor development” (66, italics in original). Plant was already an eminent scientist at the point where she developed breast cancer, but she noted her amazement at learning “precisely how much has been discovered already [that] has not filtered through to the public” (18). The reason for the lack of visible research in this area is not so much its absence, but more likely its political sensitivity in an era of Big Food. As Harrington et al.’s respondent Samantha noted, “I think the meat lobby’s much bigger than the vegetable lobby” (147). These arguments are addressed in greater depth in Green et al.My initiating research question—Why do I feel the need to justify being vegan?—can clearly be answered in a wide variety of ways. Veganism disrupts the status quo: it questions both the appropriateness of humanity’s systematic torturing of other species for food, and the risks that those animal-based foods pose for the long-term health of human populations. It offends many vested interests from Big Food to accepted notions of animal welfare to the conventional teachings of the health industry. Identifying as a vegan represents an outcome of one or more of a wide range of motivations, some of which are more clearly self-serving (read “bad”); while others are more easily identified as altruistic (read “good”). After a decade or more of personal experimentation in this space, I’m proud to identify as a “bad vegan”. It’s been a great choice personally and, I hope, for some other creatures whose planet I share.ReferencesAdams, Carol. The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory. New York: Continuum, 1990.Campbell, T. Colin, and Thomas M. Cambell. The China Study: Startling Implications for Diet, Weight Loss and Long-Term Health. Dallas: BenBella Books, 2005.Cole, Matthew, and Karen Morgan. “Vegaphobia: Derogatory Discourses of Veganism and the Reproduction of Speciesism in UK National Newspaper.” British Journal of Sociology 62 (2011): 134–53.———, and Kate Stewart. Our Children and Other Animals: The Cultural Construction of Human-Animal Relations in Childhood. Farnham: Ashgate, 2014.Ellis, Carolyn. The Ethnographic I: A Methodological Novel about Autoethnography. Oxford: Altamira Press, 2004.Gans, Herbert J. “Participant Observation in the Era of ‘Ethnography’.” Journal of Contemporary Ethnography 28.5 (1999): 540–48.Glendon, A. 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Thousand Oaks: Sage, 1994. 516–29.Riggins, Stephen Harold. “Fieldwork in the Living Room: An Autoethnographic Essay.” The Socialness of Things: Essays on the Socio-Semiotics of Objects. Ed. Stephen Harold Riggins. Berlin: Mouton de Gruyter, 1994. 101–50.Rothgerber, Hank. “Real Men Don’t Eat (Vegetable) Quiche: Masculinity and the Justification of Meat Consumption.” Psychology of Men and Masculinity 14 (1994): 363–75.Singer, Peter, and Jim Mason. The Ethics of What We Eat. Melbourne: Text Publishing Company.Smart, Joanne. “The Gender Gap.” Vegetarian Times 210 (1995): 74–81.Sparkes, Andrew C. “Autoethnography: ‘Self-Indulgence or Something More?’” Ethnographically Speaking: Auto-Ethnography, Literature and Aesthetics. Eds. Arthur P. Bochner and Carolyn C. Ellis. Oxford: Altamira Press, 2002. 209–32.Strauss, Anselm, and Juliet Corbin. Basics of Qualitative Research: Grounded Theory Procedures and Techniques. 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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical content, the visual elements of sheet music were important and thus far have been under-acknowledged. Sheet music diffused the imagery connecting ‘country’ to music, to particular landscapes, and masculinities. In the literature on country music much emphasis has been placed on film, radio and television (Tichi; Peterson). Yet, sheet music was for several decades the most common way people bought personal copies of songs they liked and intended to play at home on piano, guitar or ukulele. This was particularly the case in Australia – geographically distant, and rarely included in international tours by American country music stars. Sheet music is thus a rich text to reveal the historical contours of ‘country’. My second and related argument is that that the possibilities for the globalising of ‘country’ were first explored in music. The idea of transnational discourses associated with ‘country’ and ‘rurality’ is relatively new (Cloke et al; Gorman-Murray et al; McCarthy), but in music we see early evidence of a globalising discourse of ‘country’ well ahead of the time period usually analysed. Accordingly, my focus is on the sheet music of country songs in Australia in the first half of the twentieth century and on how visual representations hybridised travelling themes to create a new vernacular ‘country’ in Australia. Creating ‘Country’ Music Country music, as its name suggests, is perceived as the music of rural areas, “defined in contrast to metropolitan norms” (Smith 301). However, the ‘naturalness’ of associations between country music and rurality belies a history of urban capitalism and the refinement of deliberate methods of marketing music through associated visual imagery. Early groups wore suits and dressed for urban audiences – but then altered appearances later, on the insistence of urban record companies, to emphasise rurality and cowboy heritage. Post-1950, ‘country’ came to replace ‘folk’ music as a marketing label, as the latter was considered to have too many communistic references (Hemphill 5), and the ethnic mixing of earlier folk styles was conveniently forgotten in the marketing of ‘country’ music as distinct from African American ‘race’ and ‘r and b’ music. Now an industry of its own with multinational headquarters in Nashville, country music is a ‘cash cow’ for entertainment corporations, with lower average production costs, considerable profit margins, and marketing advantages that stem from tropes of working class identity and ‘rural’ honesty (see Lewis; Arango). Another of country music’s associations is with American geography – and an imagined heartland in the colonial frontier of the American West. Slippages between ‘country’ and ‘western’ in music, film and dress enhance this. But historical fictions are masked: ‘purists’ argue that western dress and music have nothing to do with ‘country’ (see truewesternmusic.com), while recognition of the Spanish-Mexican, Native American and Hawaiian origins of ‘cowboy’ mythology is meagre (George-Warren and Freedman). Similarly, the highly international diffusion and adaptation of country music as it rose to prominence in the 1940s is frequently downplayed (Connell and Gibson), as are the destructive elements of colonialism and dispossession of indigenous peoples in frontier America (though Johnny Cash’s 1964 album The Ballads Of The American Indian: Bitter Tears was an exception). Adding to the above is the way ‘country’ operates discursively in music as a means to construct particular masculinities. Again, linked to rural imagery and the American frontier, the dominant masculinity is of rugged men wrestling nature, negotiating hardships and the pressures of family life. Country music valorises ‘heroic masculinities’ (Holt and Thompson), with echoes of earlier cowboy identities reverberating into contemporary performance through dress style, lyrical content and marketing imagery. The men of country music mythology live an isolated existence, working hard to earn an income for dependent families. Their music speaks to the triumph of hard work, honest values (meaning in this context a musical style, and lyrical concerns that are ‘down to earth’, ‘straightforward’ and ‘without pretence’) and physical strength, in spite of neglect from national governments and uncaring urban leaders. Country music has often come to be associated with conservative politics, heteronormativity, and whiteness (Gibson and Davidson), echoing the wider politics of ‘country’ – it is no coincidence, for example, that the slogan for the 2008 Republican National Convention in America was ‘country first’. And yet, throughout its history, country music has also enabled more diverse gender performances to emerge – from those emphasising (or bemoaning) domesticity; assertive femininity; creative negotiation of ‘country’ norms by gay men; and ‘alternative’ culture (captured in the marketing tag, ‘alt.country’); to those acknowledging white male victimhood, criminality (‘the outlaw’), vulnerability and cruelty (see Johnson; McCusker and Pecknold; Saucier). Despite dominant tropes of ‘honesty’, country music is far from transparent, standing for certain values and identities, and yet enabling the construction of diverse and contradictory others. Historical analysis is therefore required to trace the emergence of ‘country’ in music, as it travelled beyond America. A Note on Sheet Music as Media Source Sheet music was one of the main modes of distribution of music from the 1930s through to the 1950s – a formative period in which an eclectic group of otherwise distinct ‘hillbilly’ and ‘folk’ styles moved into a single genre identity, and after which vinyl singles and LP records with picture covers dominated. Sheet music was prevalent in everyday life: beyond radio, a hit song was one that was widely purchased as sheet music, while pianos and sheet music collections (stored in a piece of furniture called a ‘music canterbury’) in family homes were commonplace. Sheet music is in many respects preferable to recorded music as a form of evidence for historical analysis of country music. Picture LP covers did not arrive until the late 1950s (by which time rock and roll had surpassed country music). Until then, 78 rpm shellac discs, the main form of pre-recorded music, featured generic brown paper sleeves from the individual record companies, or city retail stores. Also, while radio was clearly central to the consumption of music in this period, it obviously also lacked the pictorial element that sheet music could provide. Sheet music bridged the music and printing industries – the latter already well-equipped with colour printing, graphic design and marketing tools. Sheet music was often literally crammed with information, providing the researcher with musical notation, lyrics, cover art and embedded advertisements – aural and visual texts combined. These multiple dimensions of sheet music proved useful here, for clues to the context of the music/media industries and geography of distribution (for instance, in addresses for publishers and sheet music retail shops). Moreover, most sheet music of the time used rich, sometimes exaggerated, images to convince passing shoppers to buy songs that they had possibly never heard. As sheet music required caricature rather than detail or historical accuracy, it enabled fantasy without distraction. In terms of representations of ‘country’, then, sheet music is perhaps even more evocative than film or television. Hundreds of sheet music items were collected for this research over several years, through deliberate searching (for instance, in library archives and specialist sheet music stores) and with some serendipity (for instance, when buying second hand sheet music in charity shops or garage sales). The collected material is probably not representative of all music available at the time – it is as much a specialised personal collection as a comprehensive survey. However, at least some material from all the major Australian country music performers of the time were found, and the resulting collection appears to be several times larger than that held currently by the National Library of Australia (from which some entries were sourced). All examples here are of songs written by, or cover art designed for Australian country music performers. For brevity’s sake, the following analysis of the sheet music follows a crudely chronological framework. Country Music in Australia Before ‘Country’ Country music did not ‘arrive’ in Australia from America as a fully-finished genre category; nor was Australia at the time without rural mythology or its own folk music traditions. Associations between Australian national identity, rurality and popular culture were entrenched in a period of intense creativity and renewed national pride in the decades prior to and after Federation in 1901. This period saw an outpouring of art, poetry, music and writing in new nationalist idiom, rooted in ‘the bush’ (though drawing heavily on Celtic expressions), and celebrating themes of mateship, rural adversity and ‘battlers’. By the turn of the twentieth century, such myths, invoked through memory and nostalgia, had already been popularised. Australia had a fully-established system of colonies, capital cities and state governments, and was highly urbanised. Yet the poetry, folk music and art, invariably set in rural locales, looked back to the early 1800s, romanticising bush characters and frontier events. The ‘bush ballad’ was a central and recurring motif, one that commentators have argued was distinctly, and essentially ‘Australian’ (Watson; Smith). Sheet music from this early period reflects the nationalistic, bush-orientated popular culture of the time: iconic Australian fauna and flora are prominent, and Australian folk culture is emphasised as ‘native’ (being the first era of cultural expressions from Australian-born residents). Pioneer life and achievements are celebrated. ‘Along the road to Gundagai’, for instance, was about an iconic Australian country town and depicted sheep droving along rustic trails with overhanging eucalypts. Male figures are either absent, or are depicted in situ as lone drovers in the archetypal ‘shepherd’ image, behind their flocks of sheep (Figure 1). Figure 1: No. 1 Magpie Ballads – The Pioneer (c1900) and Along the road to Gundagai (1923). Further colonial ruralities developed in Australia from the 1910s to 1940s, when agrarian values grew in the promotion of Australian agricultural exports. Australia ‘rode on the sheep’s back’ to industrialisation, and governments promoted rural development and inland migration. It was a period in which rural lifestyles were seen as superior to those in the crowded inner city, and government strategies sought to create a landed proletariat through post-war land settlement and farm allotment schemes. National security was said to rely on populating the inland with those of European descent, developing rural industries, and breeding a healthier and yet compliant population (Dufty), from which armies of war-ready men could be recruited in times of conflict. Popular culture served these national interests, and thus during these decades, when ‘hillbilly’ and other North American music forms were imported, they were transformed, adapted and reworked (as in other places such as Canada – see Lehr). There were definite parallels in the frontier narratives of the United States (Whiteoak), and several local adaptations followed: Tex Morton became Australia’s ‘Yodelling boundary rider’ and Gordon Parsons became ‘Australia’s yodelling bushman’. American songs were re-recorded and performed, and new original songs written with Australian lyrics, titles and themes. Visual imagery in sheet music built upon earlier folk/bush frontier themes to re-cast Australian pastoralism in a more settled, modernist and nationalist aesthetic; farms were places for the production of a robust nation. Where male figures were present on sheet music covers in the early twentieth century, they became more prominent in this period, and wore Akubras (Figure 2). The lyrics to John Ashe’s Growin’ the Golden Fleece (1952) exemplify this mix of Australian frontier imagery, new pastoralist/nationalist rhetoric, and the importation of American cowboy masculinity: Go west and take up sheep, man, North Queensland is the shot But if you don’t get rich, man, you’re sure to get dry rot Oh! Growin’ the golden fleece, battlin’ a-way out west Is bound to break your flamin’ heart, or else expand your chest… We westerners are handy, we can’t afford to crack Not while the whole darn’d country is riding on our back Figure 2: Eric Tutin’s Shearers’ Jamboree (1946). As in America, country music struck a chord because it emerged “at a point in history when the project of the creation and settlement of a new society was underway but had been neither completed nor abandoned” (Dyer 33). Governments pressed on with the colonial project of inland expansion in Australia, despite the theft of indigenous country this entailed, and popular culture such as music became a means to normalise and naturalise the process. Again, mutations of American western imagery, and particular iconic male figures were important, as in Roy Darling’s (1945) Overlander Trail (Figure 3): Wagon wheels are rolling on, and the days seem mighty long Clouds of heat-dust in the air, bawling cattle everywhere They’re on the overlander trail Where only sheer determination will prevail Men of Aussie with a job to do, they’ll stick and drive the cattle through And though they sweat they know they surely must Keep on the trail that winds a-head thro’ heat and dust All sons of Aussie and they will not fail. Sheet music depicted silhouetted men in cowboy hats on horses (either riding solo or in small groups), riding into sunsets or before looming mountain ranges. Music – an important part of popular culture in the 1940s – furthered the colonial project of invading, securing and transforming the Australian interior by normalising its agendas and providing it with heroic male characters, stirring tales and catchy tunes. Figure 3: ‘Roy Darling’s (1945) Overlander Trail and Smoky Dawson’s The Overlander’s Song (1946). ‘Country Music’ Becomes a (Globalised) Genre Further growth in Australian country music followed waves of popularity in the United States in the 1940s and 1950s, and was heavily influenced by new cross-media publicity opportunities. Radio shows expanded, and western TV shows such as Bonanza and On the Range fuelled a ‘golden age’. Australian performers such as Slim Dusty and Smokey Dawson rose to fame (see Fitzgerald and Hayward) in an era when rural-urban migration peaked. Sheet music reflected the further diffusion and adoption of American visual imagery: where male figures were present on sheet music covers, they became more prominent than before and wore Stetsons. Some were depicted as chiselled-faced but simple men, with plain clothing and square jaws. Others began to more enthusiastically embrace cowboy looks, with bandana neckerchiefs, rawhide waistcoats, embellished and harnessed tall shaft boots, pipe-edged western shirts with wide collars, smile pockets, snap fasteners and shotgun cuffs, and fringed leather jackets (Figure 4). Landscapes altered further too: cacti replaced eucalypts, and iconic ‘western’ imagery of dusty towns, deserts, mesas and buttes appeared (Figure 5). Any semblance of folk music’s appeal to rustic authenticity was jettisoned in favour of showmanship, as cowboy personas were constructed to maximise cinematic appeal. Figure 4: Al Dexter’s Pistol Packin’ Mama (1943) and Reg Lindsay’s (1954) Country and Western Song Album. Figure 5: Tim McNamara’s Hitching Post (1948) and Smoky Dawson’s Golden West Album (1951). Far from slavish mimicry of American culture, however, hybridisations were common. According to Australian music historian Graeme Smith (300): “Australian place names appear, seeking the same mythological resonance that American localisation evoked: hobos became bagmen […] cowboys become boundary riders.” Thus alongside reproductions of the musical notations of American songs by Lefty Frizzel, Roy Carter and Jimmie Rodgers were songs with localised themes by new Australian stars such as Reg Lindsay and Smoky Dawson: My curlyheaded buckaroo, My home way out back, and On the Murray Valley. On the cover of The square dance by the billabong (Figure 6) – the title of which itself was a conjunction of archetypal ‘country’ images from both America and Australia – a background of eucalypts and windmills frames dancers in classic 1940s western (American) garb. In the case of Tex Morton’s Beautiful Queensland (Figure 7), itself mutated from W. Lee O’Daniel’s Beautiful Texas (c1945), the sheet music instructed those playing the music that the ‘names of other states may be substituted for Queensland’. ‘Country’ music had become an established genre, with normative values, standardised images and themes and yet constituted a stylistic formula with enough polysemy to enable local adaptations and variations. Figure 6: The Square dance by the billabong, Vernon Lisle, 1951. Figure 7: Beautiful Queensland, Tex Morton, c1945 source: http://nla.gov.au/nla.mus-vn1793930. Conclusions In country music images of place and masculinity combine. In music, frontier landscapes are populated by rugged men living ‘on the range’ in neo-colonial attempts to tame the land and convert it to productive uses. This article has considered only one media – sheet music – in only one country (Australia) and in only one time period (1900-1950s). There is much more to say than was possible here about country music, place and gender – particularly recently, since ‘country’ has fragmented into several niches, and marketing of country music via cable television and the internet has ensued (see McCusker and Pecknold). My purpose here has been instead to explore the early origins of ‘country’ mythology in popular culture, through a media source rarely analysed. Images associated with ‘country’ travelled internationally via sheet music, immensely popular in the 1930s and 1940s before the advent of television. The visual elements of sheet music contributed to the popularisation and standardisation of genre expectations and appearances, and yet these too travelled and were adapted and varied in places like Australia which had their own colonial histories and folk music heritages. Evidenced here is how combinations of geographical and gender imagery embraced imported American cowboy imagery and adapted it to local markets and concerns. Australia saw itself as a modern rural utopia with export aspirations and a desire to secure permanence through taming and populating its inland. Sheet music reflected all this. So too, sheet music reveals the historical contours of ‘country’ as a transnational discourse – and the extent to which ‘country’ brought with it a clearly defined set of normative values, a somewhat exaggerated cowboy masculinity, and a remarkable capacity to be moulded to local circumstances. Well before later and more supposedly ‘global’ media such as the internet and television, the humble printed sheet of notated music was steadily shaping ‘country’ imagery, and an emergent international geography of cultural flows. References Arango, Tim. “Cashville USA.” Fortune, Jan 29, 2007. Sept 3, 2008, http://money.cnn.com/magazines/fortune/fortune_archive/2007/01/22/8397980/index.htm. Cloke, Paul, Marsden, Terry and Mooney, Patrick, eds. Handbook of Rural Studies, London: Sage, 2006. Connell, John and Gibson, Chris. Sound Tracks: Popular Music, Identity and Place, London: Routledge, 2003. Dufty, Rae. Rethinking the politics of distribution: the geographies and governmentalities of housing assistance in rural New South Wales, Australia, PhD thesis, UNSW, 2008. Dyer, Richard. White: Essays on Race and Culture, London: Routledge, 1997. George-Warren, Holly and Freedman, Michelle. How the West was Worn: a History of Western Wear, New York: Abrams, 2000. Fitzgerald, Jon and Hayward, Phil. “At the confluence: Slim Dusty and Australian country music.” Outback and Urban: Australian Country Music. Ed. Phil Hayward. Gympie: Australian Institute of Country Music Press, 2003. 29-54. Gibson, Chris and Davidson, Deborah. “Tamworth, Australia’s ‘country music capital’: place marketing, rural narratives and resident reactions.” Journal of Rural Studies 20 (2004): 387-404. Gorman-Murray, Andrew, Darian-Smith, Kate and Gibson, Chris. “Scaling the rural: reflections on rural cultural studies.” Australian Humanities Review 45 (2008): in press. Hemphill, Paul. The Nashville Sound: Bright Lights and Country Music, New York: Simon and Schuster, 1970. Holt, Douglas B. and Thompson, Craig J. “Man-of-action heroes: the pursuit of heroic masculinity in everyday consumption.” Journal of Consumer Research 31 (2004). Johnson, Corey W. “‘The first step is the two-step’: hegemonic masculinity and dancing in a country western gay bar.” International Journal of Qualitative Studies in Education 18 (2004): 445-464. Lehr, John C. “‘Texas (When I die)’: national identity and images of place in Canadian country music broadcasts.” The Canadian Geographer 27 (1983): 361-370. Lewis, George H. “Lap dancer or hillbilly deluxe? The cultural construction of modern country music.” Journal of Popular Culture, 31 (1997): 163-173. McCarthy, James. “Rural geography: globalizing the countryside.” Progress in Human Geography 32 (2008): 132-137. McCusker, Kristine M. and Pecknold, Diane. Eds. A Boy Named Sue: Gender and Country Music. UP of Mississippi, 2004. Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago: U of Chicago P, 1997. Saucier, Karen A. “Healers and heartbreakers: images of women and men in country music.” Journal of Popular Culture 20 (1986): 147-166. Smith, Graeme. “Australian country music and the hillbilly yodel.” Popular Music 13 (1994): 297-311. Tichi, Cecelia. Readin’ Country Music. Durham: Duke UP, 1998. truewesternmusic.com “True western music.”, Sept 3, 2008, http://truewesternmusic.com/. Watson, Eric. Country Music in Australia. Sydney: Rodeo Publications, 1984. Whiteoak, John. “Two frontiers: early cowboy music and Australian popular culture.” Outback and Urban: Australian Country Music. Ed. P. Hayward. Gympie: AICMP: 2003. 1-28.

IntroductionWhen I saw Patriots Day (Berg 2016) at my local multiplex, a family entered the theatre and sat a few rows in front of me. They had a child with them, a boy who was perhaps nine or ten years old. Upon seeing the kid, I had a physical reaction. Not quite a knee-jerk, but more of an uneasy gut punch. ‘Don't you know what this movie is about?’ I wanted to ask his parents; ‘I’ve seen Jeff Bauman’s bones, and that is not something a child should see.’ I had lived through the 2013 Boston Marathon bombing and subsequent manhunt, and the memories were vivid in my mind as I waited for the movie to start, to re-present the memory on screen. Admittedly, I had lived through it from the other side of the world, watching through the mediated windows of the computer, smartphone, and television screen. Nevertheless, I remembered it in blood-soaked colour detail, brought to me by online photo galleries, social media updates, the failed amateur sleuths of Reddit, and constant cable news updates, breaking news even when the events had temporarily stalled. Alison Landsberg has coined the term “prosthetic memory” to describe how historical events are re-created and imbued with an affective experience through cinema and other sites of mass cultural mediation, allowing those who did not experience the past to form a personal connection to and subjective memory of history (2). For the boy in the cinema, Patriots Day would most likely be his first encounter with and memory of the Boston Marathon bombing. But how does prosthetic memory apply to audience members like me, who had lived through the Boston bombing from a great distance, with personalised memories mediated by the first-person perspective of social media? Does the ease of dissemination of information, particularly eyewitness photographs and videos, create possibilities for a prosthetic experience of the present? Does the online mediation of historical events of the present translate to screen dramatisations? These questions become particularly pertinent when the first-release audience of a film has recent, living memories of the real events depicted on screen.The time between when an event occurs and when it is brought to cinemas in a true-events adaptation is decreasing. Rebecca A. Sheehan argues that the cultural value of instant information has given rise to a trend in the contemporary biopic and historical film that sees our mediated world turned into a temporal "paradox in which the present is figured as both historical and ongoing" (36). Since 2005, Sheehan writes, biographical films that depict the lives of still-living public figures or in other ways comment on the ongoing history of the present have become increasingly frequent. Sheehan cites films such as The Social Network (Fincher 2010), The Queen (Frears 2006), W. (Stone 2008), and Game Change (Roach 2012) as examples of this growing biopic trend (35-36). In addition to the instantaneous remediation of public figures in the contemporary biopic, similarly there is a stable of contemporary historical films based on the true stories of ordinary people involved in extraordinary recent events. Films such as The Impossible (Bayona 2012), World Trade Center (Stone 2006), United 93 (Greengrass 2006), and Deepwater Horizon (Berg 2016) bring the death and destruction of real-world natural disasters or terrorist attacks to a sanitised but experiential cinematic event. The sensitive nature of some of the events in question often see the films labelled “too soon” and exploitative of recent tragedy. Films such as these typically do not have known public figures as their protagonists, but they arise from a similar climate of the demands of televisual and online mediation that Sheehan describes in the “instant biopics” of her study (36). Given this rise of brief temporal space between real events and their dramatisations, in this essay, I examine Patriots Day in light of the role digital experience plays in both its dramatisation and how the film's initial audience may remember the event. As Patriots Day replicates a kind of prosthetic memory of the present, it uses the first-instance digital mediation of the event to form prosthetic memories for future viewers. Through Patriots Day, I seek to gesture toward the possibilities of first-person digital mediation of major news events in shaping dramatisations of the recent past.Digital Memories of the Boston Marathon BombingTo examine the ways the Boston Marathon bombing circulated in online space, I look at the link- and image-based online discussion platform Reddit as an example of engagement with and recirculation of the event, particularly as a form of engagement defined by photographs and videos. Because the Boston Marathon is a televised and widely-reported event, professional videographers and photographers were present at the marathon’s finish line at the time of the first explosion. Thus, the first bomb and its immediate aftermath were captured in news footage and still images. The graphic nature of some of these images depicting the violence of the scene saw traditional print and television outlets cropping or otherwise editing the photographs to make them appropriate for mass broadcast (Hughney). Some online outlets, however, showed these pictures in their unedited form, often accompanied by warnings that required readers to scroll further down the page or click through the warning to see the photographs. These distinctive capabilities of the online environment allowed individuals to choose whether to view the image, while still allowing the uncensored image to circulate and be reposted elsewhere, such as on Reddit. In addition to photos and videos shot by professionals at the finish line, witnesses armed with smart phone cameras and access to social media posted their views of the aftermath to social media like Twitter, enabling the collation of both amateur and professionally shot photographs of the scene by online news aggregators such as Buzzfeed (Broderick). The Reddit community is seen as an essential part of the Boston Bombing story for the way some of its users participated in a form of ‘crowd-sourced’ investigation that resulted in the false identification of suspects (see: Nhan et al.; Tapia et al.; Potts and Harrison). There is another aspect to Reddit’s role in the circulation and mediation of the story, however, as online venues became a go-to source for news on the unfolding event, where information was delivered faster and with greater accuracy than the often-sensationalised television news coverage (Starbird et al. 347). In addition to its role in providing information that is a part of Reddit’s culture that “value[s] evidence of some kind” to support discussion (Potts and Harrison 144), Reddit played a number of roles in the sense-making process that social media can often facilitate during crisis situations (Heverin and Zach). Through its division into “subreddits,” the individual communities and discussion areas that make up the platform, Reddit accommodates an incredibly diverse range of topics and interests. Different areas of Reddit were able to play different roles in the process of sharing information and acting in a community sense-making capacity in the aftermath of the bombing. Among the subreddits involved in attempting to make sense of the event were those that served as appropriate places for posting image galleries of both professional and amateur photographs and videos, drawn from a variety of online sources. Users of subreddits such as /r/WTF and /r/MorbidReality, for example, posted galleries of “NSFL” (Not Safe For Life) images of the bombing and its aftermath (see: touhou_hijack, titan059, f00d4tehg0dz). Additionally, the /r/Boston subreddit issued calls for anyone with photographs or videos related to the attack to upload them to the thread, as well as providing an e-mail address to submit them to the FBI (RichardHerold). The /r/FindBostonBombers subreddit became a hub for analysis of the photographs. The subreddit's investigatory work was picked up by other online and traditional media outlets (including the New York Post cover photo which misidentified two suspects), bringing wider attention to Reddit’s unfolding coverage of the bombing (Potts and Harrison 148). Landsberg’s theory of prosthetic memory, and her application of it, largely relates to mass culture’s role in “the production and dissemination of memories that have no direct connection to a person’s lived past” (20). The possibilities for news events to be recorded and disseminated by smart phones and social media, however, help to create a deeper sense of affective engagement with a distant present, creating prosthetic memories out of the mediated first-hand experiences of others. The graphic nature of the photos and videos of the Boston bombing collected by and shared on sites like Reddit, the ongoing nature of the event (which, from detonation to the capture of Dzokhar Tsarnaev, spanned five days), and the participatory activity of scouring photographs for clues to the identity of the bombers all lend a sense of ongoing, experiential engagement with first-person, audiovisual mediations of the event. These prosthetic memories of the present are, as Landsberg writes of those created from dramatisations or re-creations of the past, transferable, able to belong to those who have no “natural” claim to them (18) with an experiential element that personalises history for those who do not directly experience it (33). If widely disseminated first-person mediations of events like the Boston bombing can be thought of as a prosthetic experience of present history, how will they play a part in the prosthetic memories of the future? How will those who did not live through the Boston bombing, either as a personal experience or a digitally mediated one, incorporate this digital memory into their own experience of its cinematic re-creation? To address this question, I turn to consider Patriots Day. Of particular note is the bombing sequence’s resemblance to digital mediations of the event as a marker of a plausible docudramatic resemblance to reality.The Docudramatic Re-Presentation of Digital MemoryAs a cinematic representation of recent history, Patriots Day sits at a somewhat uncomfortable intersection of fact and fiction, of docudrama and popcorn action movie, more so than an instant history film typically would. Composite characters or entirely invented characters and narratives that play out against the backdrop of real events are nothing out of the ordinary in the historical film. However, Patriots Day's use of real material and that of pure invention coincides, frequently in stark contrast. The film's protagonist, Boston Police Sergeant Tommy Saunders (played by Mark Wahlberg) is a fictional character, the improbable hero of the story who is present at every step of the attack and the manhunt. He is there on Boylston Street when the bombs go off. He is there with the FBI, helping to identify the suspects with knowledge of Boylston Street security cameras that borders on a supernatural power. He is there at the Watertown shootout among exploding cars and one-liner quips. When Dzokhar Tsarnaev is finally located, he is, of course, first on the scene. Tommy Saunders, as embodied by Wahlberg, trades on all the connotations of both the stereotypical Boston Southie and the action hero that are embedded in Wahlberg’s star persona. As a result, Patriots Day often seems to be a depiction of an alternate universe where Mark Wahlberg in a cop uniform almost single-handedly caught a terrorist. The improbability of Saunders as a character in a true-events drama, though, is thoroughly couched in the docudramatic material of historical depiction. Steven N. Lipkin argues that docudrama is a mode of representation that performs a re-creation of memory to persuade us that it is representing the real (1). By conjuring the memory of an event into being in ways that seem plausible and anchored to the evidence of actuality—such as integrating archival footage or an indexical resemblance to the actual event or an actual person—the representational, cinematic, or fictionalised elements of docudrama are imbued with a sense of the reality they claim to represent (Lipkin 3). Patriots Day uses real visual material throughout the film. The integration of evidence is particularly notable in the bombing sequence, which combines archival footage of the 2013 race, surveillance footage of the Tsarnaev brothers approaching the finish line, and a dramatic re-creation that visually resembles the original to such an extent that its integration with archival footage is almost seamless (Landler). The conclusion of the film draws on this evidential connection to the real as well, in the way that docudrama is momentarily suspended to become documentary, as interviews with some of the real people who are depicted as characters in the film close out the story. In addition to its direct use of the actual, Patriots Day's re-creation of the bombing itself bears an indexical resemblance to the event as seen by those who were not there and relies on memories of the bombing's initial mediation to vouch for the dramatisation's accuracy. In the moments before the bombing's re-creation, actual footage of the Tsarnaevs's route down Boylston Street plays, a low ominous tone of the score building over the silent security footage. The fictional Saunders’s fictional wife (Michelle Monaghan) has come to the finish line to bring him a knee brace, and she passes Tamerlan Tsarnaev as she leaves. This shot directly crosses a visual resemblance to the actual (Themo Melikidze playing Tsarnaev, resembling the bomber through physicality and costuming) with the fictional structuring device of the film in the form of Tommy Saunders. Next, in a long shot, we see Tsarnaev bump into a man wearing a grey raglan shirt. The man turns to look at Tsarnaev. From the costuming, it is evident that this man who is not otherwise named is intended to represent Jeff Bauman, the subject of an iconic photograph from the bombing. In the photo, Bauman is shown being taken from the scene in a wheelchair with both legs amputated from below the knee by the blast (another cinematic dramatisation of the Boston bombing, Stronger, based on Bauman’s memoir of the same name, will be released in 2017). In addition to the visual signifier of Bauman from the memorable photograph, reports circulated that Bauman's ability to describe Tsarnaev to the FBI in the immediate aftermath of the bombing was instrumental in identifying the suspects (Hartmann). Here, this digital memory is re-created in a brief but recognisable moment: this is the before picture of Jeff Bauman, this is the moment of identification that was widely circulated and talked about, a memory of that one piece of good news that helped satisfy public curiosity about the status of the iconic Man in the Wheelchair.When the bombs detonate, we are brought into the smoke and ash, closer access than the original mediation afforded by the videographers at the finish line. After the first bomb detonates, the camera follows Saunders as he walks toward the smoke cloud. As the second bomb explodes, we go inside the scene. The sequence cuts from actual security camera footage that captured the blast, to a first-person perspective of the explosion, the resulting fire and smoke, and a shot that resembles the point of view of footage captured on a smart phone. The frame shakes wildly, giving the viewer disorienting flashes of the victims, a sense of the chaos without seeing anything in lasting, specific detail, before the frame tips sideways onto the pavement, stained with blood and littered with debris. Coupled with this is a soundscape that resembles both the subjective experience of a bombing victim and what their smart phone video has captured. There is the rumble of the explosion and muffled sounds of debris hidden under the noise of shockwaves of air hitting a microphone, fading into an electronic whine and tinnitus ring. A later shot shows the frame obscured by smoke, slowly clearing to give us a high angle view of the aftermath, resembling photographs taken from a window overlooking the scene on Boylston Street (see: touhou_hijack). Archival footage of first responders and points of view resembling a running cell phone camera that captures flashes of blood and open wounds combine with shots of the actors playing characters (both fictional and based on real people) that were established at the beginning of the film. There is once again a merging of the re-created and the actual, bound together by a sense of memory that encourages the viewer to take the former as plausible, based on its resemblance to the latter.When Saunders runs for the second bombing site further down the street, he looks down at two bodies on the ground. Framed in close-up, the bloodless, empty expression and bright blue shirt of Krystle Campbell are recognisable. We can ignore the inaccuracies of this element of the digital memory amidst the chaos of the sequence. Campbell died in the first bombing, not the second. The body of a woman in a black shirt is between the camera's position on the re-created Boylston Street and the actor standing in for Campbell, the opposite of how Campbell and her friend Karen Rand lay beside each other in photographs of the bombing aftermath. The police officer who takes Krystle's pulse on film and shakes her head at Wahlberg's character is a brunette, not the blonde in the widely-circulated picture of a first responder at the actual bombing. The most visceral portion of the image is there, though, re-created almost exactly as it appeared at its first point of mediation: the lifeless eyes and gaping mouth, the bright blue t-shirt. The memory of the event is conjured into being, and the cinematic image resembles the most salient elements of the memory enough for the cinematic image to be a plausible re-creation. The cinematic frame is positioned at a lower level to the original still, as though we are on the ground beside her, bringing the viewer even closer to the event, even as the frame crops out her injuries as scene photographs did not, granting a semblance of respectful distance from the real death. This re-creation of Krystle Campbell’s death is a brief flash in the sequence, but a powerful moment of recognition for those who remember its original mediation. The result is a sequence that shows the graphic violence of the actuality it represents in a series of images that invite its viewer to expand the sequence with their memory of the event the way most of them experienced it: on other screens, at the site of its first instance of digital mediation.ConclusionThrough its use of cinematography that resembles actual photographic evidence of the Boston Marathon bombing or imbues the re-creation with a sense of a first-person, digitally mediated account of the event, Patriots Day draws on its audience's digital memory of recent history to claim accuracy in its fictionalisation. Not everyone who sees Patriots Day may be as familiar with the wealth of eyewitness photographs and images of the Boston Marathon bombing as those who may have experienced and followed the events in online venues such as Reddit. Nonetheless, the fact of this material's existence shapes the event's dramatisation as the filmmakers attempt to imbue the dramatisation with a sense of accuracy and fidelity to the event. The influence of digital memory on the film’s representation of the event gestures toward the possibilities for how online engagement with major news events may play a role in their dramatisation moving forward. Events that have had eyewitness visual accounts distributed online, such as the 2015 Bataclan massacre, the 2016 Pulse nightclub shooting, the 2017 Manchester Arena bombing and Westminster Bridge attack, or the 2016 police shooting of Philando Castile that was streamed on Facebook live, may become the subject of future dramatisations of recent history. The dramatic renderings of contemporary history films will undoubtedly be shaped by the recent memory of their online mediations to appeal to a sense of accuracy in the viewer's memory. As recent history films continue, digital memories of the present will help make the prosthetic memories of the future. ReferencesBroderick, Ryan. “Photos from the Scene of the Boston Marathon Explosion (Extremely Graphic).” Buzzfeed News, 16 Apr. 2013. 2 Aug. 2017 <https://www.buzzfeed.com/ryanhatesthis/first-photos-from-the-scene-of-the-boston-marathon-explosion?utm_term=.fw38Byjq1#.peNXWPe8G>.f00d4tehg0dz. “Collection of Photos from the Boston Marathon Bombing (NSFW) (NSFL-Gore).” Reddit, 16 Apr. 2013. 8 Aug. 2017 <https://www.reddit.com/r/WTF/comments/1cfhg4/collection_of_photos_from_the_boston_marathon/>.Hartmann, Margaret. “Bombing Victim in Iconic Photo Was Key to Identifying Boston Suspects.” New York Magazine, 18 Apr. 2013. 8 Aug. 2017 <http://nymag.com/daily/intelligencer/2013/04/bombing-victim-identified-suspects.html>.Heverin, Thomas, and Lisl Zach. “Use of Microblogging for Collective Sense-Making during Violent Crises: A Study of Three Campus Shootings.” Journal of the American Society for Information Science and Technology 63.1 (2012): 34-47. Hughney, Christine. “News Media Weigh Use of Photos of Carnage.” New York Times, 17 Apr. 2013. 2 Aug. 2017 <http://www.nytimes.com/2013/04/18/business/media/news-media-weigh-use-of-photos-of-carnage.html>.Landler, Edward. “Recreating the Boston Marathon Bombing in Patriots Day.” Cinemontage, 21 Dec. 2016. 8 Aug. 2017 <http://cinemontage.org/2016/12/recreating-boston-marathon-bombing-patriots-day/>.Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia U P, 2004. Lipkin, Steven N. Docudrama Performs the Past: Arenas of Argument in Films Based on True Stories. Newcastle upon Tyne: Cambridge Scholars, 2011. Nhan, Johnny, Laura Huey, and Ryan Broll. “Digilantism: An Analysis of Crowdsourcing and the Boston Marathon Bombing.” British Journal of Criminology 57 (2017): 341-361. Patriots Day. Dir. Peter Berg. CBS Films, 2016.Potts, Liza, and Angela Harrison. “Interfaces as Rhetorical Constructions. Reddit and 4chan during the Boston Marathon Bombings.” Proceedings of the 31st ACM International Conference on Design of Communication. Greenville, North Carolina, September-October 2013. 143-150. RichardHerold. “2013 Boston Marathon Attacks: Please Upload Any Photos in Relation to the Attacks That You Have.” Reddit, 15 Apr. 2013. 8 Aug. 2017 <https://www.reddit.com/r/boston/comments/1cf5wp/2013_boston_marathon_attacks_please_upload_any/>.Sheehan, Rebecca A. “Facebooking the Present: The Biopic and Cultural Instantaneity.” The Biopic in Contemporary Film Culture. Eds. Tom Brown and Bélen Vidal. New York: Routledge, 2014. 35-51. Starbird, Kate, Jim Maddock, Mania Orand, Peg Achterman, and Robert M. Mason. “Rumors, False Flags, and Digital Vigilantes: Misinformation on Twitter after the 2013 Boston Marathon Bombing.” iConference 2014 Proceedings. Berlin, March 2014. 654-662. Tapia, Andrea H., Nicolas LaLone, and Hyun-Woo Kim. “Run Amok: Group Crowd Participation in Identifying the Bomb and Bomber from the Boston Marathon Bombing.” Proceedings of the 11th International ISCRAM Conference. Eds. S.R. Hiltz, M.S. Pfaff, L. Plotnick, and P.C. Shih. University Park, Pennsylvania, May 2014. 265-274. titan059. “Pics from Boston Bombing NSFL.” Reddit, 15 Apr. 2013. 8 Aug. 2017 <https://www.reddit.com/r/WTF/comments/1cf0po/pics_from_boston_bombing_nsfl/>.touhou_hijack. “Krystle Campbell Died Screaming. This Sequence of Photos Shows Her Final Moments.” Reddit, 18 Apr. 2013. 8 Aug. 2017 <https://www.reddit.com/r/MorbidReality/comments/1cktrx/krystle_campbell_died_screaming_this_sequence_of/>.

The latest reality program about weight loss makeover, Australian Channel Seven’s Bringing Sexy Back maintained the dominant frame of fat as bad, shameful and unsexy. Similar to other programs’ point of view, only slim bodies could claim to be healthy and sexy. Conversely the Fat Acceptance movement presents fat as beautiful, sexy, and healthy. But what did online audiences in 2014 think about Bringing Sexy Back? In this article online-viewer-generated comments are analysed to find out: a) whether audiences challenged and contested the dominant framing; and b) what phrases did they use to do this. The research task is a discourse analysis in which key words and phrases are highlighted and colour coded as categories and patterns begin to emerge. My intention is to represent the expressions of the participants responding to the articles and or online forums about the program. The focus is on the ‘language-in-use’ (Gee 34), in particular their gut reactions to the idea of whether only slim people can be sexy and their experience of viewing the program. Selected television websites, online television forums and blogs will be analysed. Introduction The latest makeover television program drawing on the obesity-epidemic discourse Bringing Sexy Back (BSB) promises the audience that by the end of the program participants will have bought their sexy back. Sexy in the program is equated with one’s younger and slimmer self; the program host Samantha Armytage (from Sunrise the national Australian morning show) tells viewers sexy can be reclaimed if participants (from their late 30s and up to 51 years) drop kilos, commit to a strenuous exercise regime, and re-style their wardrobe. Experts, the usual suspects, are bought in—the medical machinery, the personal trainer, the stylist, and the hairdresser etc.—to assess, admonish, advise and appraise the participants. At the final reveal the audience—made up of family, friends and the local community—show enthusiasm for the aesthetic desirability of the participants slimmer sexier body as evidenced by descriptors such as “wow”, and “oh my God” as well as an outpouring of emotion such as crying and squeals of delight. Previous researchers of fat-shaming television programs have found audience’s reactions divided: some audience members see it as motivating; others see it as humiliating; and others see it as what the contestants deserve (Holland, Blood and Thomas; Rodan, Ellis and Lebeck; Sender and Sullivan)! I want to find out if online and social media audiences of the relatively tame makeover program BSB, which features individual Australians and couples who are overweight and obese, challenge and contest the dominant framing. In my analysis of the phrases online audiences’ have used about BSB, posters mostly found the program inspiring and motivating. From this inauspicious first strike, I will push onto examine the phrases posters have used to respond to the program. The paper begins with a short background about the program. The key elements of the makeover television genre are then discussed. Following this, I provide an analysis of the program’s official BSB Facebook site, and unofficial viewer-generated sites, such as the bubhub, TVTONIGHT, MamaMia, The Hoopla and the hashtag #sexybackau on Twitter. Posters to these sites were regular, infrequent or intermittent viewers. My approach to the analysis of these online forums and social media sites is a discourse analysis that examines “language-in-use”—as well as other elements such as values, symbols, tools and thinking styles—so as to identify and track tacit knowledge—that is, meanings emerging from obesity-epidemic discourse (Gee 34, 40–41). Such a method is apt given its capacity to analyse contributors’ spontaneous statements of their feelings—in particular their gut reactions to the program and the participants. The paper ends with my findings and conclusions. Bringing Sexy Back: Background Information Screened in 2014, season one of BSB format consists of a host Samantha Armytage, fitness trainer Cameron Byrnes and stylist Jules Sebastian and her team of hairdresser, groomers etc. Undoubtedly, part of the program’s construction is to select participants who appeal to a broad range of viewers. Participants’ ages range from 21 years (Courney Gollings) to 51 years (Vicki Gollings). The individuals or couples who make up the series include: Ned (truck driver), Sam and Gary (parents of two boys), Lisa Wilson (single mother and hairdresser), Vicki and Courtney Golling (mother and daughter), Livio Caldarone (pizza/small restaurant owner), and Paula Beckton (mother of four), The first episode was aired on Australia’s Channel Seven on 12 August 2014 and the final episode on 13 January 2015. This particular series consisted of 9 episodes. In this paper I focus on the six episodes that were aired in 2014. Generally each individual episode consisted of: the intervention, presenting medical facts about participant’s weight; the helper figures setting training and diet regimes; the trials leading to transformation; and the happy ending evident in the reveal. Essentially, these segments illustrate that the program series is highly contrived and they also demonstrate the program’s method of challenging participants to lose weight. Makeover Television I now provide a further construct to assist the reader’s understanding of ‘what is going on’ in the BSB program, which fits within the genre of makeover program. As reflected in the literature, makeover television has some or all of the following ingredients: personal fitness trainer as expertstylist and grooming expertsfamily members and contestant’s reflexivity (reflect on their own behaviour)new self-celebrated photo shootscontestant winning challengessymbols, such as the dream outfit, and before and after photographstransformation before the ‘big reveal’ Moreover, makeover programs are about the ordinary person on television. According to Redden, identities on these programs are individual rather than collective in that they serve to show a type of “individuality” as if it exists irrespective of any social or cultural group (156). And what is the role of the expert? Redden points out the expert on makeover programs interprets the “life situation of the given person, who may represent a certain social category of ordinary person” (153). So while makeover programs purport to be about the ordinary person and make claims about the actuality of the ordinary person’s life (Skeggs and Wood 559; Stagi 138), they also depict a hierarchy of social categories. The participants’ class also features in makeover programs like BSB. Class is evident in that participants who are selected to be on the program are often from lower-middle class backgrounds. Most participants have non-professional occupations—truck driver (Ned), hairdresser (Lisa), pizza/small restaurant owner (Livio), body caster, a person who makes body casts (Paula). Similar to The Biggest Loser (2004–2014) on American NBC, and Australia Network Ten, the participants in BSB were also mainly from lower–middle class backgrounds (Rodan; Sender and Sullivan 575) Several researcher’s show that makeover television promises advancement for lower–middle class citizens (Fraser 188–189; Miller 589; Redden 155; Skeggs and Wood 561) based on the proposition that contestants have the power to transform themselves (Bratich 17; Ouellette and Hay 471–472; Lewis 443; Sender and Sullivan 581). Like other makeover programs BSB takes advantage of the aspirations of working and lower-middle class participants. And, not surprisingly, the desired transcendence is something most participants/viewers from lower-middle and working class backgrounds cannot strive to achieve without participating in the program (Miller 589). Transcendence in BSB comes from losing weight, and acquiring new gym equipment, gym clothing, access to a personal trainer, gym membership, holiday at a health retreat, new wardrobe, new haircut, and new gym clothes. These acts to transform oneself are often “presented” as the middle class “standard,” taste and specific ongoing “intimate practices” of the “middle class” (Skeggs and Wood 561; Redden 155). But clearly much of the sprucing up (such as a private gym at home, personal trainers) are expensive and beyond the budget of even an Australian middle-class family. Analysis Posters on the official BSB Channel Seven Facebook forum overall were the most positive about the program—they found the program motivating and inspiring. Several posters on Facebook asked how they might apply to be on the program. After the airing of the reveal, posters on all the online forums and social media analysed consistently used adjectives such as fantastic, awesome, congratulations, stunning, amazing, gorgeous, wow, incredible, look sensational, look hot, look great, champion effort, fabulous, impressive, beautiful, inspirational. Fat-Shaming In BSB fat-shaming works through the use of medical machines and imagery, which measure weight and body fat percentage (BMI) using the DXA scanner and X-ray machine. Even though many physicians object to BMI measurement, it has become an “infallible marker of dangerous risk-saturated obesity” (Morgan 205) in Health Department campaigns, insurance company policies and on makeover television. Participants’ current weight is compared to the weight of their 20 year-old self. The program also induces fat-shaming through visuals of food and drink stashes found in participant’s bedroom cupboards (Ned), remnants of take-away packaging in rubbish bins (Lisa), processed foods in pantry cupboards (Vicki and Courtney), and pizza cartons at work (Livio). Here food amounts are quantified for audiences to gasp with shock and horror reinforcing the stereotype that people are fat because they have insufficient willpower and overeat (Farrell 34), thus perpetuating the view that obese people are undisciplined, sloppy and “less likely to do productive work” (Greenberg et al.). Banners are produced of participants’ photographs in their 20s; the photographs chosen have been taken when participants were slim and looked hot at the beach or night clubbing. These banners are juxtaposed with a banner of participant’s current self—appearing overweight in unflattering short crop top and underwear. Both banners are flashed onto the screen during the program especially in the final reveal presumably as a visual measurement to shame participants for “letting themselves go”. Even though host Samantha provides reasons for participants gaining weight—such as the stress of being a single parent, having a busy life as a mother of four, work commitments etc—the visual banners powerfully signify more than the presenter’s dialogue. Katrina Dowd on Facebook suggests it is the banners that signified the truth about participants’ lifestyles when she comments: Absolutely. Amazing how people whom follow unhealthy eating patterns for years with lack of exercise get congratulated because they’ve lost weight. Should never have let yourself get to that stage. Using your children and work commitments as excuses for why you got that way is a big “fail”. Some social media participants on Twitter and online forum posters saw the participants as “Bogan” ( a white working-class person who lacks fashion sense, is uncouth unsophisticated and invokes disgust), lazy, slobs as represented in the following comments: “Bogan Hunters Makeover” (tvaddict); “STILL A FUCKING FAT BOGAN […] JUST STOP EATING” (Al_Mack); “Stop being a lazy bitch […] Seriously lazy slobs” (Dutchess of Tweet St); “learn to cook lazy cow” (Gidgit VonLaRue). Thus, for Katrina and the posters above, it is the “fat body” that is seen as the “uncivilized body” that lacks the self-control of the thin body (Richardson 80). Inspirational and Motivational I discovered that many online forum and social media participants found the program BSB inspiring and motivating. A similar finding to my study of The Biggest Loser online viewers (Rodan), as well as other researchers who interviewed audiences about The Biggest Loser (Readdy and Ebbeck). For instance, Twitter posters said the BSB inspires “everyday women” (Sharon@Shar0n) and “inspires me that I can do the same” (Sharon@KeepitRealV), “another great show #inspiring” (miss shadow). On Facebook most of the posters talked about how inspired they were by the show and or by the individual participants, for instance: Hi Lisa, I think I see a lot of me in you, I pretty much cried through the whole show. You have inspired me, much admiration for sharing your story with Australia. (Haigh) Many posters on Facebook identified with Lisa as a single mother (Jenkins) and her declaration that she was “an emotional eater” (McTavish). This may account for Lisa Wilson (5,824 likes) receiving the most likes on Facebook. There were those who identified with individual participants, such as Paula, who were attempting to lose weight. On the forum the bubhub, a forum for parents established in 2002, the administrator BH-bubhub started a thread titled “Need some motivation to shift those kilos? Our pal Paula is here to help hubbers!” Paula was the participant on BSB who lost the most weight, and was invited onto the forum to answer forum members’ questions. On this forum, disparaging, negative, demotivating comments were removed from public viewing (see caveat BH-bubhub). Overall, online forum posters on the bubhub expressed positive feelings about BSB as a weight loss program. Participants comments included “Awesome work Paula, I have no doubt you will inspire many and I look forward to hearing all your tips” (Mod-Uniquey) “and … you look fabulous” (BH-KatiesMum), “Wow, you must be so proud of yourself! That is an amazing effort and you look great” (Curby), “What an inspirational story!” (Mod-Nomsie). Facebook posters on the BSB official forum found the show motivating and evidence of others finding the same are: “I feel great after watching #sexybackau” (Freeburn), “an uplifting hour” (Hustwaite), “feeling motivated now to change a lot of things about myself” (McDonald). However, online posters rarely commented that the program inspired or motivated them to take specific actions about their own body size or lifestyle. For some, as other researchers have found about makeover programs, it is a form of televisual escapism (Holland, Blood and Thomas; Readdy and Ebbeck 585)—that is, the pleasure of watching others’ emotions in achieving their goal. For many others, identifying with the participants’ struggle, and seeing them overcome daily challenges and obstacles to losing weight, gave posters insights about themselves and how to change their own lifestyle. But maintaining weight-loss and a lifestyle that supports it—as Facebook posters frequently suggest—is very challenging for most people who are overweight. The transformations and reveals make for fairy-tale endings (the essence of makeover television), but the reality of losing weight is persistence, perseverance and hard work. Criticisms of the Program Posters on Facebook were censored more than some of the other online forums and social media. Facebook criticisms about the program BSB were dealt with swiftly by other posters—that is, posters were pressured to only express positive feelings about the program. For instance, Lynne Nicholas in response to Peter Thomson’s criticism that the program is “exploiting these people for cheap television entertainment” (Facebook, 14 August 2014) posted on Facebook: If you don’t like the show then don’t come on the page and comment. Channel 7 gives these people a chance to change their life and inspire others to do the same. (Facebook, 14 Aug. 2014) And in response to criticisms about the amount of processed food Cam discarded from participants Vicki and Courtney’s cupboard, Emily McCabe commented: If you don’t enjoy the concept of the program, feel free to change the channel and keep your negative comments to yourself. (Facebook, 2 Sep. 2014) Nevertheless, a lot of criticism appeared on the various online and social media outlets ranging from: the commercial aspects (matúš; Hales); the constant use of the word “fat” by the host (Spencer); the sponsorship and advertisements by a take-away food company (Daisy Murray; Patriot); the “irresponsible/unsafe training!” (M_Gardner; Ashton); the insufficient number of “diet tips” (Pedron-Peggs); and “sick of seeing all that food thrown away!!” (Barkla; Dunell; Robbie; Martin; Coupland). As noted above, some of the sites were censored. Criticisms of the program were only aired if the online forum and social media allowed people to vent their feelings and express their opinion. Allowing viewers to express their concerns about mainstream television programs such as BSB counters the argument made by other researchers suggesting that makeover programs do the work of audiences becoming “self-managing” and self-governing citizens (see Stagi; Ouellette and Hay 471-472; Sender and Sullivan 581; Ringrose and Walkerdine); and makeover programs perpetuate the myth that obesity is solely an individual behavioural problem (Yoo). Such critical comments (above) reveal that some viewers do question the show’s premises, and as a consequence they do not accept the dominant framing. Thus the hypothesis that all viewers of makeover programs are pliable and docile cannot be supported in my analysis. Findings and Conclusion Most BSB posters said they found the program inspiring and motivating. It seems many of the online posters identified with the participants’ struggle to lose their weight, and stay motivated to keep it off. So there was little fat-shaming from posters on Facebook and the online forums. The posters on Facebook expressed the most positive comments about the BSB program and the participants; however, the Facebook site was the official BSB social media site. It seems that many of the Facebook and online forum discussants were makeover television fans who had acquired a taste for the makeover genre – that is the transformation and the big reveal at the end, the re-styled self, the symbols as well as the tips, information and ideas about how to lose weight and change their lifestyle. Questions were often asked by posters about the participants’ eating plan, exercise regime, maintenance program etc., as well as how they (the posters) could apply to be on the show. 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Although the smoking thing is a tough call.” 26 Aug. 2014, no time. Tweet. McTavish, Karen. “Bringing Sexy Back.” 26 Aug. 2014, 18:51. Facebook comment. Miller, Toby. “Afterword: The New World Makeover.” Continuum: Journal of Media and Cultural Studies 22.4 (2008): 585-90. miss shadow (Miss_Shadow). “another great show #inspiring.” 26 Aug. 2014, no time. Tweet. Mod-Nomsie. “Need Some Motivation to Shift Those Kilos? Our Pal Paula Is Here to Help Hubbers!” The Bubhub 4 Mar. 2015. 11:47. Mod-Uniquey. “Need Some Motivation to Shift Those Kilos? Our Pal Paula Is Here to Help Hubbers!” The Bubhub 3 Mar. 2015, 17:46. Morgan, Kathryn Pauly. “Foucault, Ugly Ducklings, and Technoswans: Analyzing Fat Hatred, Weight-Loss Surgery, and Compulsory Biomedicalized Aesthetics in America.” Journal of Feminist Approaches to Bioethics 4.1 (2011): 188-220. Murray, Daisy. “Bringing Sexy Back.” 2 Sep. 2014, 18:27. Facebook comment. Nicholas, Lynne. “Bringing Sexy Back.” 14 Aug. 2014, 20:08. 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Ringrose, Jessica, and Valerie Walkerdine. “The TV Make-Over as Site of Neo-Liberal Reinvention toward Bourgeois Femininity.” Feminist Media Studies 8.3 (2008): 227-46. Robbie, Tina. “Bringing Sexy Back.” 5 Sep. 2014, 16:46. Facebook comment. Rodan, Debbie. “Technologies of the Self: Remaking the Obese ‘Self’ in The Biggest Loser: Couples (Australia).” Proceedings of the Australian and New Zealand Communication Association on Media Democracy and Change Conference. Ed. K. McCallum. Canberra, 2010. Rodan, Debbie, Katie Ellis, and Pia Lebeck. Disability, Obesity and Ageing: Popular Media Identifications. London: Ashgate, 2014. Sender, Katherine, and Margaret Sullivan. “Epidemics of Will, Failures of Self Esteem: Responding to Fat Bodies in The Biggest Loser and What Not to Wear.” Continuum: Journal of Media and Cultural Studies 22.4 (2008): 573-84. Sharon (Shar0n). “Watched #SexyBackAu for the first time tonight; a top show to motivate and inspire everyday women to be healthier and set achievable goals.” 26 Aug. 2014, no time. Tweet. Sharon (KeepitRealV). “#SexyBackAu watching another single mum challenge herself and change her life really inspires me that I can do the same!” 26 Aug. 2014, no time. Tweet. Skeggs, Beverley, and Helen Wood. “The Labour of Transformation and Circuits of Value ‘around’ Reality Television.” Continuum: Journal of Media and Cultural Studies 22.4 (2008): 559-72. Spencer, Amby. “Bringing Sexy Back.” 17 Aug. 2014, 13:55. Facebook comment. Stagi, Luisa. “Lifestyle Television and Diet: Body Care as a Duty.” Italian Journal of Sociology of Education 6.3 (2014): 130-52. Thomson, Peter. “Bringing Sexy Back.” 14 Aug. 2014, 20:03. Facebook comment. Tvaddict. “Bringing Sexy Back.” TV Tonight 13 Aug. 2014, 18:17. Yoo, Jina. “No Clear Winner: Effects of The Biggest Loser on Stigmatization of Obese Persons. 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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. 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The UP Manila Health Policy Development Hub recognizes the invaluable contribution of the participants in theseries of roundtable discussions listed below: RTD: Beyond Hospital Beds: Equity,quality, and service1. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, UP Manila2. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, UP Manila3. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, UP Manila4. Hilton Y. Lam, MHA, PhD, Chair, UP Manila HealthPolicy Development Hub; Director, Institute of HealthPolicy and Development Studies, University of thePhilippines Manila5. Irma L. Asuncion, MHA, CESO III, Director IV,Bureau of Local Health Systems Development,Department of Health6. Renely Pangilinan-Tungol, MD, CFP, MPM-HSD,Municipal Health Officer, San Fernando, Pampanga7. Salome F. Arinduque, MD, Galing-Pook AwardeeRepresentative, Municipal Health Officer, San Felipe,Zambales8. Carmelita C. Canila, MD, MPH, Faculty, College ofPublic Health, University of the Philippines Manila9. Lester M. Tan, MD, MPH, Division Chief, Bureau ofLocal Health System Development, Department ofHealth10. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation (ZFF)11. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization12. Jesus Randy O. Cañal, MD, FPSO-HNS, AssociateDirector, Medical and Regulatory Affairs, AsianHospital and Medical Center13. Christian Edward L. Nuevo, Health Policy and SystemsResearch Fellow, Health Policy Development andPlanning Bureau, Department of Health14. Paolo Victor N. Medina, MD, Assistant Professor 4,College of Medicine, University of the PhilippinesManila15. Jose Rafael A. Marfori, MD, Special Assistant to theDirector, Philippine General Hospital16. Maria Teresa U. Bagaman, Committee Chair, PhilippineSociety for Quality, Inc.17. Maria Theresa G. Vera, MSc, MHA, CESO III, DirectorIV, Health Facility Development Bureau, Departmentof Health18. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, Collegeof Medicine, University of the Philippines Manila19. Fevi Rose C. Paro, Faculty, Department of Communityand Environmental Resource Planning, University ofthe Philippines Los Baños20. Maria Rosa C. Abad, MD, Medical Specialist III,Standard Development Division, Health Facilities andServices Regulation21. Yolanda R. Robles, RPh, PhD, Faculty, College ofPharmacy, University of the Philippines Manila22. Jaya P. Ebuen, RN, Development Manager Officer,CHDMM, Department of Health23. Josephine E. Cariaso, MA, RN, Assistant Professor,College of Nursing, University of the Philippines Manila24. Diana Van Daele, Programme Manager, CooperationSection, European Union25. Maria Paz de Sagun, Project Management Specialist,USAID26. Christopher Muñoz, Member, Yellow Warriors SocietyPhilippinesRTD: Health services and financingroles: Population based- andindividual-based1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Mario C. Villaverde, Undersecretary, Health Policyand Development Systems and Development Team,Department of Health6. Jaime Z. Galvez Tan, MD, Former Secretary, Department of Health7. Marvin C. Galvez, MD, OIC Division Chief, BenefitsDevelopment and Research Department, PhilippineHealth Insurance Corporation8. Alvin B. Caballes, MD, MPE, MPP, Faculty, Collegeof Medicine, University of the Philippines Manila9. Carlos D. Da Silva, Executive Director, Association ofMunicipal Health Maintenance Organization of thePhilippines, Inc.10. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation (ZFF) 11. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization12. Salome F. Arinduque, MD, Galing-Pook AwardeeRepresentative, Municipal Health Officer, San Felipe,Zambales13. Michael Ralph M. Abrigo, PhD, Research Fellow,Philippine Institute for Developmental Studies14. Oscar D. Tinio, MD, Committee Chair, Legislation,Philippine Medical Association15. Rogelio V. Dazo, Jr., MD, FPCOM, Legislation,Philippine Medical Association16. Ligaya V. Catadman, MM, Officer-in-charge, HealthPolicy Development and Planning Bureau, Department of Health17. Maria Fatima Garcia-Lorenzo, President, PhilippineAlliance of Patients Organization18. Tomasito P. Javate, Jr, Supervising Economic DevelopmentSpecialist, Health Nutrition and Population Division,National Economic and Development Authority19. Josefina Isidro-Lapena, MD, National Board ofDirector, Philippine Academy of Family Physicians20. Maria Eliza Ruiz-Aguila, MPhty, PhD, Dean, Collegeof Allied Medical Professions, University of thePhilippines Manila21. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, College ofMedicine, University of the Philippines Manila22. Maria Paz P. Corrales, MD, MHA, MPA, Director III,Department of Health-National Capital Region23. Karin Estepa Garcia, MD, Executive Secretary, PhilippineAcademy of Family Physicians24. Adeline A. Mesina, MD, Medical Specialist III,Philippine Health Insurance Corporation25. Glorey Ann P. Alde, RN, MPH, Research Fellow,Department of HealthRTD: Moving towards provincelevel integration throughUniversal Health Care Act1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Mario C. Villaverde, Undersecretary of Health, HealthPolicy and Development Systems and DevelopmentTeam, Department of Health6. Ferdinand A. Pecson, Undersecretary and ExecutiveDirector, Public Private Partnership Center7. Rosanna M. Buccahan, MD, Provincial Health Officer,Bataan Provincial Office8. Lester M. Tan, MD, Division Chief, Bureau of LocalHealth System Development, Department of Health9. Ernesto O. Domingo, MD, FPCP, FPSF, FormerChancellor, University of the Philippines Manila10. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization11. Leslie Ann L. Luces, MD, Provincial Health Officer,Aklan12. Rene C. Catan, MD, Provincial Health Officer, Cebu13. Anthony Rosendo G. Faraon, MD, Vice President,Zuellig Family Foundation14. Jose Rafael A. Marfori, MD, Special Assistant to theDirector, Philippine General Hospital15. Jesus Randy O. Cañal, MD, FPSO-HNS, Consultant,Asian Hospital and Medical Center16. Ramon Paterno, MD, Member, Universal Health CareStudy Group, University of the Philippines Manila17. Mayor Eunice U. Babalcon, Mayor, Paranas, Samar18. Zorayda E. Leopando, MD, Former President,Philippine Academy of Family Physicians19. Madeleine de Rosas-Valera, MD, MScIH, SeniorTechnical Consultant, World Bank20. Arlene C. Sebastian, MD, Municipal Health Officer,Sta. Monica, Siargao Island, Mindanao21. Rizza Majella L. Herrera, MD, Acting Senior Manager,Accreditation Department, Philippine Health InsuranceCorporation22. Alvin B. Caballes, MD, MPE, MPP, Faculty, Collegeof Medicine, University of the Philippines Manila23. Pres. Policarpio B. Joves, MD, MPH, MOH, FPAFP,President, Philippine Academy of Family Physicians24. Leilanie A. Nicodemus, MD, Board of Director,Philippine Academy of Family Physicians25. Maria Paz P. Corrales, MD, MHA, MPA, Director III,National Capital Region Office, Department of Health26. Dir. Irma L. Asuncion, MD, MHA, CESO III, DirectorIV, Bureau of Local Health Systems Development,Department of Health27. Bernard B. Argamosa, MD, Mental Health Representative, National Center for Mental Health28. Flerida Chan, Chief, Poverty Reduction Section, JapanInternational Cooperation Agency29. Raul R. Alamis, Chief Health Program Officer, ServiceDelivery Network, Department of Health30. Mary Anne Milliscent B. Castro, Supervising HealthProgram Officer, Department of Health 31. Marikris Florenz N. Garcia, Project Manager, PublicPrivate Partnership Center32. Mary Grace G. Darunday, Supervising Budget andManagement Specialist, Budget and Management Bureaufor the Human Development Sector, Department ofBudget and Management33. Belinda Cater, Senior Budget and Management Specialist,Department of Budget and Management34. Sheryl N. Macalipay, LGU Officer IV, Bureau of LocalGovernment and Development, Department of Interiorand Local Government35. Kristel Faye M. Roderos, OTRP, Representative,College of Allied Medical Professions, University ofthe Philippines Manila36. Jeffrey I. Manalo, Director III, Policy Formulation,Project Evaluation and Monitoring Service, PublicPrivate Partnership Center37. Atty. Phebean Belle A. Ramos-Lacuna, Division Chief,Policy Formulation Division, Public Private PartnershipCenter38. Ricardo Benjamin D. Osorio, Planning Officer, PolicyFormulation, Project Evaluation and MonitoringService, Public Private Partnership Center39. Gladys Rabacal, Program Officer, Japan InternationalCooperation Agency40. Michael Angelo Baluyot, Nurse, Bataan Provincial Office41. Jonna Jane Javier Austria, Nurse, Bataan Provincial Office42. Heidee Buenaventura, MD, Associate Director, ZuelligFamily Foundation43. Dominique L. Monido, Policy Associate, Zuellig FamilyFoundation44. Rosa Nene De Lima-Estellana, RN, MD, Medical OfficerIII, Department of Interior and Local Government45. Ma Lourdes Sangalang-Yap, MD, FPCR, Medical OfficerIV, Department of Interior and Local Government46. Ana Melissa F. Hilvano-Cabungcal, MD, AssistantAssociate Dean for Planning & Development, College ofMedicine, University of the Philippines Manila47. Colleen T. Francisco, Representative, Department ofBudget and Management48. Kristine Galamgam, Representative, Department ofHealth49. Fides S. Basco, Officer-in-charge, Chief Budget andManagement Specialist, Development of Budget andManagementRTD: Health financing: Co-paymentsand Personnel1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the Philippines Manila5. Ernesto O. Domingo, MD, Professor Emeritus,University of the Philippines Manila6. Irma L. Asuncion, MHA, CESO III, Director IV,Bureau of Local Health Systems Development,Department of Health7. Lester M. Tan, MD, MPH, Division Chief, Bureau ofLocal Health System Development, Department ofHealth8. Marvin C. Galvez, MD, OIC Division Chief, BenefitsDevelopment and Research Department, PhilippineHealth Insurance Corporation9. Adeline A. Mesina, MD, Medical Specialist III, BenefitsDepartment and Research Department, PhilippineHealth Insurance Corporation10. Carlos D. Da Silva, Executive Director, Association ofHealth Maintenance Organization of the Philippines,Inc.11. Ma. Margarita Lat-Luna, MD, Deputy Director, FiscalServices, Philippine General Hospital12. Waldemar V. Galindo, MD, Chief of Clinics, Ospital ngMaynila13. Albert Francis E. Domingo, MD, Consultant, HealthSystem strengthening through Public Policy andRegulation, World Health Organization14. Rogelio V. Dazo, Jr., MD, Member, Commission onLegislation, Philippine Medical Association15. Aileen R. Espina, MD, Board Member, PhilippineAcademy of Family Physicians16. Anthony R. Faraon, MD, Vice President, Zuellig FamilyFoundation17. Jesus Randy O. Cañal, Associate Director, Medical andRegulatory Affairs, Asian Hospital and Medical Center18. Jared Martin Clarianes, Technical Officer, Union of LocalAuthorities of the Philippines19. Leslie Ann L. Luces, MD, Provincial Health Officer,Aklan20. Rosa Nene De Lima-Estellana, MD, Medical OfficerIII, Department of the Interior and Local Government21. Ma. Lourdes Sangalang-Yap, MD, Medical Officer V,Department of the Interior and Local Government 22. Dominique L. Monido, Policy Associate, Zuellig FamilyFoundation23. Krisch Trine D. Ramos, MD, Medical Officer, PhilippineCharity Sweepstakes Office24. Larry R. Cedro, MD, Assistant General Manager, CharitySector, Philippine Charity Sweepstakes Office25. Margarita V. Hing, Officer in Charge, ManagementDivision, Financial Management Service Sector,Department of Health26. Dr. Carlo Irwin Panelo, Associate Professor, College ofMedicine, University of the Philippines Manila27. Dr. Angelita V. Larin, Faculty, College of Public Health,University of the Philippines Manila28. Dr. Abdel Jeffri A. Abdulla, Chair, RegionalizationProgram, University of the Philippines Manila29. Christopher S. Muñoz, Member, Philippine Alliance ofPatients Organization30. Gemma R. Macatangay, LGOO V, Department ofInterior and Local Government – Bureau of LocalGovernment Development31. Dr. Narisa Portia J. Sugay, Acting Vice President, QualityAssurance Group, Philippine Health InsuranceCorporation32. Maria Eliza R. Aguila, Dean, College of Allied MedicalProfessions, University of the Philippines Manila33. Angeli A. Comia, Manager, Zuellig Family Foundation34. Leo Alcantara, Union of Local Authorities of thePhilippines35. Dr. Zorayda E. Leopando, Former President, PhilippineAcademy of Family Physicians36. Dr. Emerito Jose Faraon, Faculty, College of PublicHealth, University of the Philippines Manila37. Dr. Carmelita C. Canila, Faculty, College of PublicHealth, University of the Philippines ManilaRTD: Moving towards third partyaccreditation for health facilities1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD,Faculty, College of Public Health, University of thePhilippines Manila3. Leonardo R. Estacio, Jr., MCD, MPH, PhD, Dean,College of Arts and Sciences, University of thePhilippines Manila4. Michael Antonio F. Mendoza, DDM, MM, Faculty,College of Dentistry, University of the PhilippinesManila5. Rizza Majella L. Herrera, MD, Acting SeniorManager, Accreditation Department, Philippine HealthInsurance Corporation6. Bernadette C. Hogar-Manlapat, MD, FPBA, FPSA,FPSQua, MMPA, President and Board of Trustee,Philippine Society for Quality in Healthcare, Inc.7. Waldemar V. Galindo, MD, Chief of Clinics, Ospital ngMaynila8. Amor. F. Lahoz, Division Chief, Promotion andDocumentation Division, Department of Trade andIndustry – Philippine Accreditation Bureau9. Jenebert P. Opinion, Development Specialist, Department of Trade and Industry – Philippine AccreditationBureau10. Maria Linda G. Buhat, President, Association ofNursing Service Administrators of the Philippines, Inc.11. Bernardino A. Vicente, MD, FPPA, MHA, CESOIV, President, Philippine Tripartite Accreditation forHealth Facilities, Inc.12. Atty. Bu C. Castro, MD, Board Member, PhilippineHospital Association13. Cristina Lagao-Caalim, RN, MAN, MHA, ImmediatePast President and Board of Trustee, Philippine Societyfor Quality in Healthcare, Inc.14. Manuel E. Villegas Jr., MD, Vice Treasurer and Board ofTrustee, Philippine Society for Quality in Healthcare,Inc.15. Michelle A. Arban, Treasurer and Board of Trustee,Philippine Society for Quality in Healthcare, Inc.16. Joselito R. Chavez, MD, FPCP, FPCCP, FACCP,CESE, Deputy Executive Director, Medical Services,National Kidney and Transplant Institute17. Blesilda A. Gutierrez, CPA, MBA, Deputy ExecutiveDirector, Administrative Services, National Kidney andTransplant Institute18. Eulalia C. Magpusao, MD, Associate Director, Qualityand Patient Safety, St. Luke’s Medical Centre GlobalCity19. Clemencia D. Bondoc, MD, Auditor, Association ofMunicipal Health Officers of the Philippines20. Jesus Randy O. Cañal, MD, FPSO-HNS, AssociateDirector, Medical and Regulatory Affairs, Asian Hospitaland Medical Center21. Maria Fatima Garcia-Lorenzo, President, PhilippineAlliance of Patient Organizations22. Leilanie A. Nicodemus, MD, Board of Directors,Philippine Academy of Family Physicians23. Policarpio B. Joves Jr., MD, President, PhilippineAcademy of Family Physicians24. Kristel Faye Roderos, Faculty, College of Allied MedicalProfessions, University of the Philippines Manila25. Ana Melissa Hilvano-Cabungcal, MD, AssistantAssociate Dean, College of Medicine, University of thePhilippines Manila26. Christopher Malorre Calaquian, MD, Faculty, Collegeof Medicine, University of the Philippines Manila27. Emerito Jose C. Faraon, MD, Faculty, College ofPublic Health, University of the Philippines Manila 28. Carmelita Canila, Faculty, College of Public Health,University of the Philippines Manila29. Oscar D. Tinio, MD, Representative, Philippine MedicalAssociation30. Farrah Rocamora, Member, Philippine Society forQuality in Healthcare, IncRTD: RA 11036 (Mental Health Act):Addressing Mental Health Needs ofOverseas Filipino Workers1. Hilton Y. Lam, MHA, PhD, Chair, University of thePhilippines Manila Health Policy Development Hub;Director, Institute of Health Policy and DevelopmentStudies, University of the Philippines Manila2. Leonardo R. Estacio, Jr., MCD, MPH, PhD, UPManila Health Policy Development Hub; College ofArts and Sciences, UP Manila3. Ma. Esmeralda C. Silva, MPAf, MSPPM, PhD, UPManila Health Policy Development Hub; College ofPublic Health, UP Manila4. Michael Antonio F. Mendoza, DDM, UP ManilaHealth Policy Development Hub; College of Dentistry,UP Manila5. Frances Prescilla L. Cuevas, RN, MAN, Director,Essential Non-Communicable Diseases Division,Department of Health6. Maria Teresa D. De los Santos, Workers Education andMonitoring Division, Philippine Overseas EmploymentAdministration7. Andrelyn R. Gregorio, Policy Program and Development Office,Overseas Workers Welfare Administration8. Sally D. Bongalonta, MA, Institute of Family Life &Children Studies, Philippine Women’s University9. Consul Ferdinand P. Flores, Department of ForeignAffairs10. Jerome Alcantara, BLAS OPLE Policy Center andTraining Institute11. Andrea Luisa C. Anolin, Commission on FilipinoOverseas12. Bernard B. Argamosa, MD, DSBPP, National Centerfor Mental Health13. Agnes Joy L. Casino, MD, DSBPP, National Centerfor Mental Health14. Ryan Roberto E. Delos Reyes, Employment Promotionand Workers Welfare Division, Department of Laborand Employment15. Sheralee Bondad, Legal and International AffairsCluster, Department of Labor and Employment16. Rhodora A. Abano, Center for Migrant Advocacy17. Nina Evita Q. Guzman, Ugnayan at Tulong para saMaralitang Pamilya (UGAT) Foundation, Inc.18. Katrina S. Ching, Ugnayan at Tulong para sa MaralitangPamilya (UGAT) Foundation, Inc.RTD: (Bitter) Sweet Smile of Filipinos1. Dr. Hilton Y. Lam, Institute of Health Policy andDevelopment Studies, NIH2. Dr. Leonardo R. Estacio, Jr., College of Arts andSciences, UP Manila3. Dr. Ma. Esmeralda C. Silva, College of Public Health,UP Manila4. Dr. Michael Antonio F. Mendoza, College of Dentistry,UP Manila5. Dr. Ma. Susan T. Yanga-Mabunga, Department ofHealth Policy & Administration, UP Manila6. Dr. Danilo L. Magtanong, College of Dentistry, UPManila7. Dr. Alvin Munoz Laxamana, Philippine DentalAssociation8. Dr. Fina Lopez, Philippine Pediatric Dental Society, Inc9. Dr. Artemio Licos, Jr.,Department of Health NationalAssociation of Dentists10. Dr. Maria Jona D. Godoy, Professional RegulationCommission11. Ms. Anna Liza De Leon, Philippine Health InsuranceCorporation12. Ms. Nicole Sigmuend, GIZ Fit for School13. Ms. Lita Orbillo, Disease Prevention and Control Bureau14. Mr. Raymond Oxcena Akap sa Bata Philippines15. Dr. Jessica Rebueno-Santos, Department of CommunityDentistry, UP Manila16. Ms. Maria Olivine M. Contreras, Bureau of LocalGovernment Supervision, DILG17. Ms. Janel Christine Mendoza, Philippine DentalStudents Association18. Mr. Eric Raymund Yu, UP College of DentistryStudent Council19. Dr. Joy Memorando, Philippine Pediatric Society20. Dr. Sharon Alvarez, Philippine Association of DentalColleges

Becher, Matthias / Stephan Conermann / Linda Dohmen (Hrsg.), Macht und Herrschaft transkulturell. Vormoderne Konfigurationen und Perspektiven der Forschung (Macht und Herrschaft, 1), Göttingen 2018, V&amp;R unipress / Bonn University Press, 349 S., € 50,00. (Matthias Maser, Erlangen) Riello, Giorgio / Ulinka Rublack (Hrsg.), The Right to Dress. Sumptuary Laws in a Global Perspective, c. 1200 – 1800, Cambridge [u. a.] 2019, Cambridge University Press, XVII u. 505 S. / Abb., £ 95,00. (Kim Siebenhüner, Jena) Briggs, Chris / Jaco Zuijderduijn (Hrsg.), Land and Credit. Mortgages in the Medieval and Early Modern European Countryside (Palgrave Studies in the History of Finance), Cham 2018, Palgrave Macmillan, 339 S. / graph. Darst., € 149,79. (Anke Sczesny, Augsburg) Rogger, Philippe / Regula Schmid (Hrsg.), Miliz oder Söldner? Wehrpflicht und Solddienst in Stadt, Republik und Fürstenstaat 13.–18. Jahrhundert (Krieg in der Geschichte, 111), Paderborn 2019, Schöningh, XI u. 282 S. / Abb., € 64,00. (Tim Nyenhuis, Düsseldorf) Seggern, Harm von (Hrsg.), Residenzstädte im Alten Reich (1300 – 1800). Ein Handbuch, Abteilung I: Analytisches Verzeichnis der Residenzstädte, Teil 1: Nordosten (Residenzenforschung. Neue Folge: Stadt und Hof, I.1), Ostfildern 2018, Thorbecke, XVII u. 687 S., € 85,00. (Martin Fimpel, Wolfenbüttel) Walsh, Michael J. K. (Hrsg.), Famagusta Maritima. Mariners, Merchants, Pilgrims and Mercenaries (Brill’s Studies in Maritime History, 7), Leiden / Boston 2019, Brill, XX u. 300 S. / Abb., € 116,00. (Jann M. Witt, Laboe) Hodgson, Natasha R. / Katherine J. Lewis / Matthew M. Mesley (Hrsg.), Crusading and Masculinities (Crusades – Subsidia, 13), London / New York 2019, Routledge, XII u. 365 S., £ 110,00. (Melanie Panse-Buchwalter, Kassel) Pálosfalvi, Tamás, From Nicopolis to Mohács. A History of Ottoman-Hungarian Warfare, 1389 – 1526 (The Ottoman Empire and Its Heritage, 63), Leiden / Boston 2018, Brill, XIV u. 504 S. / Abb., € 135,00. (Sándor Papp, Szeged) Rubin, Miri, Cities of Strangers. Making Lives in Medieval Europe (The Wiles Lectures), Cambridge [u. a.] 2020, Cambridge University Press, XV u. 189 S. / Abb., £ 18,99. (Uwe Israel, Dresden) Hummer, Hans, Visions of Kinship in Medieval Europe (Oxford Studies in Medieval European History), Oxford / New York 2018, Oxford University Press, 380 S., £ 65,00. (Wolfgang P. Müller, New York) Kuehn, Thomas, Family and Gender in Renaissance Italy 1300 – 1600, Cambridge / New York 2017, Cambridge University Press, XV u. 387 S., £ 24,99. (Inken Schmidt-Voges, Marburg) Houlbrooke, Ralph, Love and Dishonour in Elizabethan England. Two Families and a Failed Marriage, Woodbridge 2018, The Boydell Press, XX u. 272 S., £ 50,00. (Inken Schmidt-Voges, Marburg) Müller, Miriam, Childhood, Orphans and Underage Heirs in Medieval Rural England. Growing up in the Village (Palgrave Studies in the History of Childhood), Cham 2019, Palgrave Macmillan, XII u. 213 S. / Abb., € 74,89. (Carola Föller, Erlangen) Parsons, Ben, Punishment and Medieval Education, Cambridge 2018, D. S. Brewer, VII u. 252 S. / Abb., £ 60,00. (Benjamin Müsegades, Heidelberg) Boer, Jan-Hendryk de / Marian Füssel / Maximilian Schuh (Hrsg.), Universitäre Gelehrtenkultur vom 13.–16. Jahrhundert. Ein interdisziplinäres Quellen- und Methodenhandbuch, Stuttgart 2018, Steiner, 589 S. / Abb., € 78,00. (Caspar Hirschi, St. Gallen) Jones, Robert W. / Peter Coss (Hrsg.), A Companion to Chivalry, Woodbridge / Rochester 2019, The Boydell Press, IX u. 338 S. / Abb., £ 60,00. (Stefan G. Holz, Heidelberg / Stuttgart) Schreier, Gero, Ritterhelden. Rittertum, Autonomie und Fürstendienst in niederadligen Lebenszeugnissen des 14. bis 16. 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“What's the brief?” is an everyday question within the graphic design process. Moreover, the concept and importance of a design brief is overtly understood well beyond design practice itself—especially among stakeholders who work with designers and clients who commission design services. Indeed, a design brief is often an assumed and expected physical or metaphoric artefact for guiding the creative process. When a brief is lacking, incomplete or unclear, it can render an already ambiguous graphic design process and discipline even more fraught with misinterpretation. Nevertheless, even in wider design discourse, there appears to be little research on design briefs and the briefing process (Jones and Askland; Paton and Dorst). It seems astonishing that, even in Peter Phillips’s 2014 edition of Creating the Perfect Design Brief, he feels compelled to comment that “there are still no books available about design briefs” and that the topic is only “vaguely” covered within design education (21). While Phillips’s assertion is debatable if one draws purely from online vernacular sources or professional guides, it is supported by the lack of scholarly attention paid to the design brief. Graphic design briefs are often mentioned within design books, journals, and online sources. However, this article argues that the format, function and use of such briefs are largely assumed and rarely identified and studied. Even within the broader field of design research, the tendency appears to be to default to “the design brief” as an assumed shorthand, supporting Phillips’s argument about the nebulous nature of the topic. As this article contextualises, this is further problematised by insufficient attention cast on graphic design itself as a specific discipline. This article emerges from a wider, multi-stage creative practice study into graphic design practice, that used experimental performative design research methods to investigate graphic designers’ professional relationships with stakeholders (Meron, Strangely). The article engages with specific outcomes from that study that relate to the design brief. The article also explores existing literature and research and argues for academics, the design industry, and educationalists, to focus closer attention on the design brief. It concludes by suggesting that experimental and collaborative design methods offers potential for future research into the design brief. Contextualising the Design Brief It is critical to differentiate the graphic design brief from the operational briefs of architectural design (Blyth and Worthington; Khan) or those used in technical practices such as software development or IT systems design, which have extensive industry-formalised briefing practices and models such as the waterfall system (Petersen et al.) or more modern processes such as Agile (Martin). Software development and other technical design briefs are necessarily more formulaically structured than graphic design briefs. Their requirements are generally empirically and mechanistically located, and often mission-critical. In contrast, the conceptual nature of creative briefs in graphic design creates the potential for them to be arbitrarily interpreted. Even in wider design discourse, there appears to be little consistency about the form that a brief takes. Some sources indicate that a brief only requires one page (Elebute; Nov and Jones) or even a single line of text (Jones and Askland). At other times briefs are described as complex, high-level documents embedded within processes which designers respond to with the aim of producing end products to satisfy clients’ requirements (Ambrose; Patterson and Saville). Ashby and Johnson (40) refer to the design brief as a “solution neutral” statement, the aim being to avoid preconceptions or the narrowing of the creative possibilities of a project. Others describe a consultative (Walsh), collaborative and stakeholder-inclusive process (Phillips). The Scholarly Brief Within scholarly design research, briefs inevitably manifest as an assumed artefact or process within each project; but the reason for their use or antecedents for chosen formats are rarely addressed. For example, in “Creativity in the Design Process” (Dorst and Cross) some elements of the design brief are described. The authors also describe at what stage of the investigation the brief is introduced and present a partial example of the brief. However, there is no explanation of the form of the brief or the reasons behind it. They simply describe it as being typical for the design medium, adding that its use was considered a critical part of addressing the design problem. In a separate study within advertising (Johar et al.), researchers even admit that the omission of crucial elements from the brief—normally present in professional practice—had a detrimental effect on their results. Such examples indicate the importance of briefs for the design process, yet further illustrating the omission of direct engagement with the brief within the research design, methodology, and methods. One exception comes from a study amongst business students (Sadowska and Laffy) that used the design brief as a pedagogical tool and indicates that interaction with, and changes to, elements of a design brief impact the overall learning process of participants, with the brief functioning as a trigger for that process. Such acknowledgement of the agency of a design brief affirms its importance for professional designers (Koslow et al.; Phillips). This use of a brief as a research device informed my use of it as a reflective and motivational conduit when studying graphic designers’ perceptions of stakeholders, and this will be discussed shortly. The Professional Brief Professionally, the brief is a key method of communication between designers and stakeholders, serving numerous functions including: outlining creative requirements, audience, and project scope; confirming project requirements; and assigning and documenting roles, procedures, methods, and approval processes. The format of design briefs varies from complex multi-page procedural documents (Patterson and Saville; Ambrose) produced by marketing departments and sent to graphic design agencies, to simple statements (Jones and Askland; Elebute) from small to medium-sized businesses. These can be described as the initial proposition of the design brief, with the following interactions comprising the ongoing briefing process. However, research points to many concerns about the lack of adequate briefing information (Koslow, Sasser and Riordan). It has been noted (Murray) that, despite its centrality to graphic design, the briefing process rarely lives up to designers’ expectations or requirements, with the approach itself often haphazard. This reinforces the necessarily adaptive, flexible, and compromise-requiring nature of professional graphic design practice, referred to by design researchers (Cross; Paton and Dorst). However, rather than lauding these adaptive and flexible designer abilities as design attributes, such traits are often perceived by professional practitioners as unequal (Benson and Dresdow), having evolved by the imposition by stakeholders, rather than being embraced by graphic designers as positive designer skill-sets. The Indeterminate Brief With insufficient attention cast on graphic design as a specific scholarly discipline (Walker; Jacobs; Heller, Education), there is even less research on the briefing process within graphic design practice (Cumming). Literature from professional practice on the creation and function of graphic design briefs is often formulaic (Phillips) and fractured. It spans professional design bodies, to templates from mass-market printers (Kwik Kopy), to marketing-driven and brand-development approaches, in-house style guides, and instructional YouTube videos (David). A particularly clear summary comes from Britain’s Design Council. This example describes the importance of a good design brief, its requirements, and carries a broad checklist that includes the company background, project aims, and target audience. It even includes stylistic tips such as “don’t be afraid to use emotive language in a brief if you think it will generate a shared passion about the project” (Design Council). From a subjective perspective, these sources appear to contain sensible professional advice. However, with little scholarly research on the topic, how can we know that, for example, using emotive language best informs the design process? Why might this be helpful and desirable (or otherwise) for designers? These varied approaches highlight the indeterminate treatment of the design brief. Nevertheless, the very existence of such diverse methods communicates a pattern of acknowledgement of the criticality of the brief, as well as the desire, by professional bodies, commentators, and suppliers, to ensure that both designers and stakeholders engage effectively with the briefing process. Thus, with such a pedagogic gap in graphic design discourse, scholarly research into the design brief has the potential to inform vernacular and formal educational resources. Researching the Design Brief The research study from which this article emerges (Meron, Strangely) yielded outcomes from face-to-face interviews with eleven (deidentified) graphic designers about their perceptions of design practice, with particular regard to their professional relationships with other creative stakeholders. The study also surveyed online discussions from graphic design forums and blog posts. This first stage of research uncovered feelings of lacking organisational gravitas, creative ownership, professional confidence, and design legitimacy among the designers in relation to stakeholders. A significant causal factor pointed to practitioners’ perceptions of lacking direct access to and involvement with key sources of creative inspiration and information; one specific area being the design brief. It was a discovery that was reproduced thematically during the second stage of the research. This stage repurposed performative design research methods to intervene in graphic designers’ resistance to research (Roberts, et al), with the goal of bypassing practitioners’ tendency to portray their everyday practices using formulaic professionalised answers (Dorland, View). In aiming to understand graphic designers’ underlying motivations, this method replaced the graphic designer participants with trained actors, who re-performed narratives from the online discussions and designer interviews during a series of performance workshops. Performative methodologies were used as design thinking methods to defamiliarise the graphic design process, thereby enabling previously unacknowledged aspects of the design process to be unveiled, identified and analysed. Such defamiliarisation repurposes methods used in creative practice, including design thinking (Bell, Blythe, and Sengers), with performative elements drawing on ethnography (Eisner) and experimental design (Seago and Dunne). Binding these two stages of research study together was a Performative Design Brief—a physical document combining narratives from the online discussions and the designer interviews. For the second stage, this brief was given to a professional theatre director to use as material for a “script” to motivate the actors. In addition to identifying unequal access to the creative process as a potential point of friction, this study yielded outcomes suggesting that designers were especially frustrated when the design brief was unclear, insufficiently detailed, or even missing completely. The performative methodology enabled a refractive approach, using performative metaphor and theatre to defamiliarise graphic design practice, portraying the process through a third-party theatrical prism. This intervened in graphic designers’ habitual communication patterns (Dorland, The View). Thus, combining traditional design research methods with experimental interdisciplinary ones, enabled outcomes that might not otherwise have emerged. It is an example of engaging with the fluid, hybrid (Heller, Teaching), and often elusive practices (van der Waarde) of graphic design. Format, Function, and Use A study (Paton and Dorst) among professional graphic designers attempts to dissect practitioners’ perceptions of different aspects of briefing as a process of ‘framing’. Building on the broader theories of design researchers such as Nigel Cross, Bryan Lawson, and Donald Schön, Paton and Dorst suggest that most of the designers preferred a collaborative briefing process where both they and client stakeholders were directly involved, without intermediaries. This concurs with the desire, from many graphic designers that I interviewed, for unobstructed engagement with the brief. Moreover, narratives from the online discussions that I investigated suggest that the lack of clear frameworks for graphic design briefs is a hotly debated topic, as are perceptions of stakeholder belligerence or misunderstanding. For example, in a discussion from Graphic Design Forums designer experiences range from only ever receiving informal verbal instructions—“basically, we’ve been handed design work and they tell us ‘We need this by EOD’” (VFernandes)—to feeling obliged to pressure stakeholders to provide a brief—“put the burden on them to flesh out the details of a real brief and provide comprehensive material input” (HotButton) —to resignation to an apparent futility of gaining adequate design briefs from stakeholders because— “they will most likely never change” (KitchWitch). Such negative assumptions support Koslow et al.’s assertion that the absence of a comprehensive brief is the most “terrifying” thing for practitioners (9). Thus, practitioners’ frustrations with stakeholders can become unproductive when there is an inadequate design brief, or if the creative requirements of a brief are otherwise removed from the direct orbit of graphic designers. This further informs a narrative of graphic designers perceiving some stakeholders as gatekeepers of the design brief. For example, one interviewed designer believed that stakeholders ‘don’t really understand the process’ (Patricia). Another interviewee suggested that disorganised briefs could be avoided by involving designers early in the process, ensuring that practitioners had direct access to the client as a creative source, rather than having to circumnavigate stakeholders (Marcus). Such perceptions appeared to reinforce beliefs among these practitioners that they lack design capital within the creative process. These perceptions of gatekeeping of the design brief support suggestions of designers responding negatively when stakeholders approach the design process from a different perspective (Wall and Callister), if stakeholders assume a managerial position (Jacobs) and, in particular, if stakeholders are inexperienced in working with designers (Banks et al.; Holzmann and Golan). With such little clarity in the design briefing process, future research may consider comparisons with industries with more formalised briefing processes, established professional statuses, or more linear histories. Indeed, the uneven historical development of graphic design (Frascara; Julier and Narotzky) may influence the inconsistency of its briefing process. Inconsistency as Research Opportunity The inconsistent state of the graphic design brief is reflective of the broader profession that it resides within. Graphic design as a profession remains fluid and inconsistent (Dorland, Tell Me; Jacobs), with even its own practitioners unable to agree on its parameters or even what to call the practice (Meron, Terminology). Pedagogically, graphic design is still emerging as an independent discipline (Cabianca; Davis), struggling to gain capital outside of existing and broader creative practices (Poynor; Triggs). The inherent interdisciplinarity (Harland) and intangibility of graphic design also impact the difficulty of engaging with the briefing process. Indeed, graphic design’s practices have been described as “somewhere between science and superstition (or fact and anecdote)” (Heller, Teaching par. 3). With such obstacles rendering the discipline fractured (Ambrose et al.), it is understandable that stakeholders might find engaging productively with graphic design briefs challenging. This can become problematic, with inadequate stakeholder affinity or understanding of design issues potentially leading to creative discord (Banks et al.; Holzmann and Golan). Identifying potentially problematic and haphazard aspects of the design brief and process also presents opportunities to add value to research into broader relationships between graphic designers and stakeholders. It suggests a practical area of study with which scholarly research on collaborative design approaches might intersect with professional graphic design practice. Indeed, recent research suggests that collaborative approaches offer both process and educational advantages, particularly in the area of persona development, having the ability to discover the “real” brief (Taffe 394). Thus, framing the brief as a collaborative, educative, and negotiative process may allow creative professionals to elucidate and manage the disparate parts of a design process, such as timeframes, stakeholders, and task responsibilities, as well as the cost implications of stakeholder actions such as unscheduled amendments. It can encourage the formalisation of incomplete vernacular briefs, as well as allow for the influence of diverse briefing methods, such as the one-page creative brief of advertising agencies, or more formal project management practices while allowing for some of the fluidity of more agile approaches: acknowledging that changes may be required while keeping all parties informed and involved. In turn, collaborative approaches may contribute towards enabling the value of contributions from both graphic designers and stakeholders and it seems beneficial to look towards design research methodologies that promote collaborative pathways. Mark Steen, for example, argues for co-design as a form of design thinking for enabling stakeholders to combine knowledge with negotiation to implement change (27). Collaborative design methods have also been advocated for use between designers and users, with stakeholders on shared projects, and with external collaborators (Binder and Brandt). Others have argued that co-design methods facilitate stakeholder collaboration “across and within institutional structures” while challenging existing power relations, albeit leaving structural changes largely unaffected (Farr 637). The challenge for collaborative design research is to seek opportunities and methodologies to conduct design brief research within a graphic design process that often appears amorphous, while also manifesting complex designer–stakeholder dynamics. Doubly so, when the research focus—the graphic design brief—often appears as nebulous an entity as the practice it emerges from. Conclusion The research discussed in this article suggests that graphic designers distrust a creative process that itself symbolises an inconsistent, reactive, and often accidental historical development of their profession and pedagogy. Reflecting this, the graphic design brief emerges almost as a metaphor for this process. The lack of overt discussion about the format, scope, and process of the brief feeds into the wider framework of graphic design’s struggle to become an independent scholarly discipline. This, in turn, potentially undermines the professional authority of graphic design practice that some of its practitioners believe is deficient. Ultimately, the brief and its processes must become research-informed parts of graphic design pedagogy. Embracing the brief as a pedagogical, generative, and inseparable part of the design process can inform the discourse within education, adding scholarly value to practice and potentially resulting in increased agency for practitioners. The chameleon-like nature of graphic design’s constant adaptation to ever-changing industry requirements makes research into the role and influences of its briefing process challenging. Thus, it also follows that the graphic design brief is unlikely to quickly become as formalised a document or process as those from other disciplines. But these are challenges that scholars and professionals must surely embrace if pedagogy is to gain the research evidence to influence practice. As this article argues, the often obfuscated practices and inherent interdisciplinarity of graphic design benefit from experimental research methods, while graphic designers appear responsive to inclusive approaches. Thus, performative methods appear effective as tools of discovery and collaborative methodologies offer hope for organisational intervention. References Ambrose, Gavin. Design Thinking for Visual Communication. Fairchild, 2015. Ambrose, Gavin, Paul Harris, and Nigel Ball. The Fundamentals of Graphic Design. Bloomsbury, 2020. Ashby, M.F., and Kara Johnson. Materials and Design: The Art and Science of Material Selection in Product Design. Elsevier Butterworth-Heinemann, 2010. 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IntroductionCulinary education in Ireland has long been influenced by culinary education being delivered in catering colleges in the United Kingdom (UK). Institutionalised culinary education started in Britain through the sponsorship of guild conglomerates (Lawson and Silver). The City & Guilds of London Institute for the Advancement of Technical Education opened its central institution in 1884. Culinary education in Ireland began in Kevin Street Technical School in the late 1880s. This consisted of evening courses in plain cookery. Dublin’s leading chefs and waiters of the time participated in developing courses in French culinary classics and these courses ran in Parnell Square Vocational School from 1926 (Mac Con Iomaire “The Changing”). St Mary’s College of Domestic Science was purpose built and opened in 1941 in Cathal Brugha Street. This was renamed the Dublin College of Catering in the 1950s. The Council for Education, Recruitment and Training for the Hotel Industry (CERT) was set up in 1963 and ran cookery courses using the City & Guilds of London examinations as its benchmark. In 1982, when the National Craft Curriculum Certification Board (NCCCB) was established, CERT began carrying out their own examinations. This allowed Irish catering education to set its own standards, establish its own criteria and award its own certificates, roles which were previously carried out by City & Guilds of London (Corr). CERT awarded its first certificates in professional cookery in 1989. The training role of CERT was taken over by Fáilte Ireland, the State tourism board, in 2003. Changing Trends in Cookery and Culinary Textbooks at DIT The Dublin College of Catering which became part of the Dublin Institute of Technology (DIT) is the flagship of catering education in Ireland (Mac Con Iomaire “The Changing”). The first DIT culinary award, was introduced in 1984 Certificate in Diet Cookery, later renamed Higher Certificate in Health and Nutrition for the Culinary Arts. On the 19th of July 1992 the Dublin Institute of Technology Act was enacted into law. This Act enabled DIT to provide vocational and technical education and training for the economic, technological, scientific, commercial, industrial, social and cultural development of the State (Ireland 1992). In 1998, DIT was granted degree awarding powers by the Irish state, enabling it to make major awards at Higher Certificate, Ordinary Bachelor Degree, Honors Bachelor Degree, Masters and PhD levels (Levels six to ten in the National Framework of Qualifications), as well as a range of minor, special purpose and supplemental awards (National NQAI). It was not until 1999, when a primary degree in Culinary Arts was sanctioned by the Department of Education in Ireland (Duff, The Story), that a more diverse range of textbooks was recommended based on a new liberal/vocational educational philosophy. DITs School of Culinary Arts currently offers: Higher Certificates Health and Nutrition for the Culinary Arts; Higher Certificate in Culinary Arts (Professional Culinary Practice); BSc (Ord) in Baking and Pastry Arts Management; BA (Hons) in Culinary Arts; BSc (Hons) Bar Management and Entrepreneurship; BSc (Hons) in Culinary Entrepreneurship; and, MSc in Culinary Innovation and Food Product Development. From 1942 to 1970, haute cuisine, or classical French cuisine was the most influential cooking trend in Irish cuisine and this is reflected in the culinary textbooks of that era. Haute cuisine has been influenced by many influential writers/chefs such as Francois La Varenne, Antoine Carême, Auguste Escoffier, Ferand Point, Paul Bocuse, Anton Mosiman, Albert and Michel Roux to name but a few. The period from 1947 to 1974 can be viewed as a “golden age” of haute cuisine in Ireland, as more award-winning world-class restaurants traded in Dublin during this period than at any other time in history (Mac Con Iomaire “The Changing”). Hotels and restaurants were run in the Escoffier partie system style which is a system of hierarchy among kitchen staff and areas of the kitchens specialising in cooking particular parts of the menu i.e sauces (saucier), fish (poissonnier), larder (garde manger), vegetable (legumier) and pastry (patissier). In the late 1960s, Escoffier-styled restaurants were considered overstaffed and were no longer financially viable. Restaurants began to be run by chef-proprietors, using plate rather than silver service. Nouvelle cuisine began in the 1970s and this became a modern form of haute cuisine (Gillespie). The rise in chef-proprietor run restaurants in Ireland reflected the same characteristics of the nouvelle cuisine movement. Culinary textbooks such as Practical Professional Cookery, La Technique, The Complete Guide to Modern Cooking, The Art of the Garde Mange and Patisserie interpreted nouvelle cuisine techniques and plated dishes. In 1977, the DIT began delivering courses in City & Guilds Advanced Kitchen & Larder 706/3 and Pastry 706/3, the only college in Ireland to do so at the time. Many graduates from these courses became the future Irish culinary lecturers, chef-proprietors, and culinary leaders. The next two decades saw a rise in fusion cooking, nouvelle cuisine, and a return to French classical cooking. Numerous Irish chefs were returning to Ireland having worked with Michelin starred chefs and opening new restaurants in the vein of classical French cooking, such as Kevin Thornton (Wine Epergne & Thorntons). These chefs were, in turn, influencing culinary training in DIT with a return to classical French cooking. New Classical French culinary textbooks such as New Classical Cuisine, The Modern Patisserie, The French Professional Pastry Series and Advanced Practical Cookery were being used in DIT In the last 15 years, science in cooking has become the current trend in culinary education in DIT. This is acknowledged by the increased number of culinary science textbooks and modules in molecular gastronomy offered in DIT. This also coincided with the launch of the BA (Hons) in Culinary Arts in DIT moving culinary education from a technical to a liberal education. Books such as The Science of Cooking, On Food and Cooking, The Fat Duck Cookbook and Modern Gastronomy now appear on recommended textbooks for culinary students.For the purpose of this article, practical classes held at DIT will be broken down as follows: hot kitchen class, larder classes, and pastry classes. These classes had recommended textbooks for each area. These can be broken down into three sections: hot kitche, larder, and pastry. This table identifies that the textbooks used in culinary education at DIT reflected the trends in cookery at the time they were being used. Hot Kitchen Larder Pastry Le Guide Culinaire. 1921. Le Guide Culinaire. 1921. The International Confectioner. 1968. Le Repertoire De La Cuisine. 1914. The Larder Chef, Classical Food Preparation and Presentation. 1969. Patisserie. 1971. All in the Cooking, Books 1&2. 1943 The Art of the Garde Manger. 1973. The Modern Patissier. 1986 Larousse Gastronomique. 1961. New Classic Cuisine. 1989. Professional French Pastry Series. 1987. Practical Cookery. 1962. The Curious Cook. 1990. Complete Pastrywork Techniques. 1991. Practical Professional Cookery. 1972. On Food and Cooking. The Science and Lore of the Kitchen. 1991. On Food and Cooking: The Science and Lore of the Kitchen. 1991 La Technique. 1976. Advanced Practical Cookery. 1995. Desserts: A Lifelong Passion. 1994. Escoffier: The Complete Guide to the Art of Modern Cookery. 1979. The Science of Cooking. 2000. Culinary Artistry. Dornenburg, 1996. Professional Cookery: The Process Approach. 1985. Garde Manger, The Art and Craft of the Cold Kitchen. 2004. Grande Finales: The Art of the Plated Dessert. 1997. On Food and Cooking: The Science and Lore of the Kitchen. 1991. The Science of Cooking. 2000. Fat Duck Cookbook. 2009. Modern Gastronomy. 2010. Tab.1. DIT Culinary Textbooks.1942–1960 During the first half of the 20th century, senior staff working in Dublin hotels, restaurants and clubs were predominately foreign born and trained. The two decades following World War II could be viewed as the “golden age” of haute cuisine in Dublin as many award-wining restaurants traded in the city at this time (Mac Con Iomaire “The Emergence”). Culinary education in DIT in 1942 saw the use of Escoffier’s Le Guide Culinaire as the defining textbook (Bowe). This was first published in 1903 and translated into English in 1907. In 1979 Cracknell and Kaufmann published a more comprehensive and update edited version under the title The Complete Guide to the Art of Modern Cookery by Escoffier for use in culinary colleges. This demonstrated that Escoffier’s work had withstood the test of the decades and was still relevant. Le Repertoire de La Cuisine by Louis Saulnier, a student of Escoffier, presented the fundamentals of French classical cookery. Le Repertoire was inspired by the work of Escoffier and contains thousands of classical recipes presented in a brief format that can be clearly understood by chefs and cooks. Le Repertoire remains an important part of any DIT culinary student’s textbook list. All in the Cooking by Josephine Marnell, Nora Breathnach, Ann Mairtin and Mor Murnaghan (1946) was one of the first cookbooks to be published in Ireland (Cashmann). This book was a domestic science cooking book written by lecturers in the Cathal Brugha Street College. There is a combination of classical French recipes and Irish recipes throughout the book. 1960s It was not until the 1960s that reference book Larousse Gastronomique and new textbooks such as Practical Cookery, The Larder Chef and International Confectionary made their way into DIT culinary education. These books still focused on classical French cooking but used lighter sauces and reflected more modern cooking equipment and techniques. Also, this period was the first time that specific books for larder and pastry work were introduced into the DIT culinary education system (Bowe). Larousse Gastronomique, which used Le Guide Culinaire as a basis (James), was first published in 1938 and translated into English in 1961. Practical Cookery, which is still used in DIT culinary education, is now in its 12th edition. Each edition has built on the previous, however, there is now criticism that some of the content is dated (Richards). Practical Cookery has established itself as a key textbook in culinary education both in Ireland and England. Practical Cookery recipes were laid out in easy to follow steps and food commodities were discussed briefly. The Larder Chef was first published in 1969 and is currently in its 4th edition. This book focuses on classical French larder techniques, butchery and fishmongery but recognises current trends and fashions in food presentation. The International Confectioner is no longer in print but is still used as a reference for basic recipes in pastry classes (Campbell). The Modern Patissier demonstrated more updated techniques and methods than were used in The International Confectioner. The Modern Patissier is still used as a reference book in DIT. 1970s The 1970s saw the decline in haute cuisine in Ireland, as it was in the process of being replaced by nouvelle cuisine. Irish chefs were being influenced by the works of chefs such as Paul Boucuse, Roger Verge, Michel Guerard, Raymond Olivier, Jean & Pierre Troisgros, Alain Senderens, Jacques Maniere, Jean Delaveine and Michel Guerard who advanced the uncomplicated natural presentation in food. Henri Gault claims that it was his manifesto published in October 1973 in Gault-Millau magazine which unleashed the movement called La Nouvelle Cuisine Française (Gault). In nouvelle cuisine, dishes in Carème and Escoffier’s style were rejected as over-rich and complicated. The principles underpinning this new movement focused on the freshness of ingredients, and lightness and harmony in all components and accompaniments, as well as basic and simple cooking methods and types of presentation. This was not, however, a complete overthrowing of the past, but a moving forward in the long-term process of cuisine development, utilising the very best from each evolution (Cousins). Books such as Practical Professional Cookery, The Art of the Garde Manger and Patisserie reflected this new lighter approach to cookery. Patisserie was first published in 1971, is now in its second edition, and continues to be used in DIT culinary education. This book became an essential textbook in pastrywork, and covers the entire syllabus of City & Guilds and CERT (now Fáilte Ireland). Patisserie covered all basic pastry recipes and techniques, while the second edition (in 1993) included new modern recipes, modern pastry equipment, commodities, and food hygiene regulations reflecting the changing catering environment. The Art of the Garde Manger is an American book highlighting the artistry, creativity, and cooking sensitivity need to be a successful Garde Manger (the larder chef who prepares cold preparation in a partie system kitchen). It reflected the dynamic changes occurring in the culinary world but recognised the importance of understanding basic French culinary principles. It is no longer used in DIT culinary education. La Technique is a guide to classical French preparation (Escoffier’s methods and techniques) using detailed pictures and notes. This book remains a very useful guide and reference for culinary students. Practical Professional Cookery also became an important textbook as it was written with the student and chef/lecturer in mind, as it provides a wider range of recipes and detailed information to assist in understanding the tasks at hand. It is based on classical French cooking and compliments Practical Cookery as a textbook, however, its recipes are for ten portions as opposed to four portions in Practical Cookery. Again this book was written with the City & Guilds examinations in mind. 1980s During the mid-1980s, many young Irish chefs and waiters emigrated. They returned in the late-1980s and early-1990s having gained vast experience of nouvelle and fusion cuisine in London, Paris, New York, California and elsewhere (Mac Con Iomaire, “The Changing”). These energetic, well-trained professionals began opening chef-proprietor restaurants around Dublin, providing invaluable training and positions for up-and-coming young chefs, waiters and culinary college graduates. The 1980s saw a return to French classical cookery textbook such as Professional Cookery: The Process Approach, New Classic Cuisine and the Professional French Pastry series, because educators saw the need for students to learn the basics of French cookery. Professional Cookery: The Process Approach was written by Daniel Stevenson who was, at the time, a senior lecturer in Food and Beverage Operations at Oxford Polytechnic in England. Again, this book was written for students with an emphasis on the cookery techniques and the practices of professional cookery. The Complete Guide to Modern Cooking by Escoffier continued to be used. This book is used by cooks and chefs as a reference for ingredients in dishes rather than a recipe book, as it does not go into detail in the methods as it is assumed the cook/chef would have the required experience to know the method of production. Le Guide Culinaire was only used on advanced City & Guilds courses in DIT during this decade (Bowe). New Classic Cuisine by the classically French trained chefs, Albert and Michel Roux (Gayot), is a classical French cuisine cookbook used as a reference by DIT culinary educators at the time because of the influence the Roux brothers were having over the English fine dining scene. The Professional French Pastry Series is a range of four volumes of pastry books: Vol. 1 Doughs, Batters and Meringues; Vol. 2 Creams, Confections and Finished Desserts; Vol. 3 Petit Four, Chocolate, Frozen Desserts and Sugar Work; and Vol. 4 Decorations, Borders and Letters, Marzipan, Modern Desserts. These books about classical French pastry making were used on the advanced pastry courses at DIT as learners needed a basic knowledge of pastry making to use them. 1990s Ireland in the late 1990s became a very prosperous and thriving European nation; the phenomena that became known as the “celtic tiger” was in full swing (Mac Con Iomaire “The Changing”). The Irish dining public were being treated to a resurgence of traditional Irish cuisine using fresh wholesome food (Hughes). The Irish population was considered more well-educated and well travelled than previous generations and culinary students were now becoming interested in the science of cooking. In 1996, the BA (Hons) in Culinary Arts program at DIT was first mooted (Hegarty). Finally, in 1999, a primary degree in Culinary Arts was sanctioned by the Department of Education underpinned by a new liberal/vocational philosophy in education (Duff). Teaching culinary arts in the past had been through a vocational education focus whereby students were taught skills for industry which were narrow, restrictive, and constraining, without the necessary knowledge to articulate the acquired skill. The reading list for culinary students reflected this new liberal education in culinary arts as Harold McGee’s books The Curious Cook and On Food and Cooking: The Science and Lore of the Kitchen explored and explained the science of cooking. On Food and Cooking: The Science and Lore of the Kitchen proposed that “science can make cooking more interesting by connecting it with the basic workings of the natural world” (Vega 373). Advanced Practical Cookery was written for City & Guilds students. In DIT this book was used by advanced culinary students sitting Fáilte Ireland examinations, and the second year of the new BA (Hons) in Culinary Arts. Culinary Artistry encouraged chefs to explore the creative process of culinary composition as it explored the intersection of food, imagination, and taste (Dornenburg). This book encouraged chefs to develop their own style of cuisine using fresh seasonal ingredients, and was used for advanced students but is no longer a set text. Chefs were being encouraged to show their artistic traits, and none more so than pastry chefs. Grande Finale: The Art of Plated Desserts encouraged advanced students to identify different “schools” of pastry in relation to the world of art and design. The concept of the recipes used in this book were built on the original spectacular pieces montées created by Antoine Carême. 2000–2013 After nouvelle cuisine, recent developments have included interest in various fusion cuisines, such as Asia-Pacific, and in molecular gastronomy. Molecular gastronomists strive to find perfect recipes using scientific methods of investigation (Blanck). Hervè This experimentation with recipes and his introduction to Nicholos Kurti led them to create a food discipline they called “molecular gastronomy”. In 1998, a number of creative chefs began experimenting with the incorporation of ingredients and techniques normally used in mass food production in order to arrive at previously unattainable culinary creations. This “new cooking” (Vega 373) required a knowledge of chemical reactions and physico-chemical phenomena in relation to food, as well as specialist tools, which were created by these early explorers. It has been suggested that molecular gastronomy is “science-based cooking” (Vega 375) and that this concept refers to conscious application of the principles and tools from food science and other disciplines for the development of new dishes particularly in the context of classical cuisine (Vega). The Science of Cooking assists students in understanding the chemistry and physics of cooking. This book takes traditional French techniques and recipes and refutes some of the claims and methods used in traditional recipes. Garde Manger: The Art and Craft of the Cold Kitchen is used for the advanced larder modules at DIT. This book builds on basic skills in the Larder Chef book. Molecular gastronomy as a subject area was developed in 2009 in DIT, the first of its kind in Ireland. The Fat Duck Cookbook and Modern Gastronomy underpin the theoretical aspects of the module. This module is taught to 4th year BA (Hons) in Culinary Arts students who already have three years experience in culinary education and the culinary industry, and also to MSc Culinary Innovation and Food Product Development students. Conclusion Escoffier, the master of French classical cuisine, still influences culinary textbooks to this day. His basic approach to cooking is considered essential to teaching culinary students, allowing them to embrace the core skills and competencies required to work in the professional environment. Teaching of culinary arts at DIT has moved vocational education to a more liberal basis, and it is imperative that the chosen textbooks reflect this development. This liberal education gives the students a broader understanding of cooking, hospitality management, food science, gastronomy, health and safety, oenology, and food product development. To date there is no practical culinary textbook written specifically for Irish culinary education, particularly within this new liberal/vocational paradigm. There is clearly a need for a new textbook which combines the best of Escoffier’s classical French techniques with the more modern molecular gastronomy techniques popularised by Ferran Adria. References Adria, Ferran. Modern Gastronomy A to Z: A Scientific and Gastronomic Lexicon. London: CRC P, 2010. Barker, William. The Modern Patissier. London: Hutchinson, 1974. Barham, Peter. The Science of Cooking. Berlin: Springer-Verlag, 2000. 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