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What does it mean, in a polarized political climate, that feminism is popular in mainstream pop? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Beyoncé’s concert documentary Homecoming, the Swedish music industry #MeToo petition signed by 2,192 artists, the television show Star and the functions of a music streaming service. The volume discusses the media specificity of the different examples; introduces and explains feminist theories and concepts; and analyses the position of women, gender equality and feminism in mainstream pop music today.

Patient-reported outcome measures (PROMs), increasingly used for research and quality measurement, are lauded for their potential to improve patient-centered care, both through aggregate reporting and when integrated into clinical practice. However, there are few published studies of the resultant use of PROMs in clinical practice. This case study describes the implementation and use of PROMS in a Midwestern multispecialty medical group orthopedic practice among patients undergoing total knee and hip surgery. Specifically, rates of PROMs use by care teams are tracked over time once made available in the electronic health record. During this time, the orthopedics department achieved a patient PROMS survey response rate of 68% at baseline, 58% 3 months post-surgery, and 55% 12 months post-surgery. However, these data were only accessed by the care teams for fewer than 1% of associated clinical encounters. This suggests that making PROMs available for care team review in the electronic health record, even when coupled with relatively high response rates from patients and departmental leadership support is not enough to encourage integration of PROMs into clinical care for patients. Additional effort is required to identify barriers to PROMs use in clinical care and to test methods to enhance use.

Spotify is self-reporting to have 232 million monthly active users in July 2019, including 108 million paying subscribers. Often naturalized by listeners as a mere window into great collections of ...

This article builds on research about gender in music practice, concerned with skewed musical canons, ratios and quotas of gender representation, unfair treatment and power dynamics, and the exclusionary enmeshment with music technologies. The aim is to critically discuss what ‘gender’ is understood to be, how it has been studied and how gendered power has been challenged, in order to suggest new routes for research on gender and music practice. While we count ourselves among the scholars working in the field and critically investigate our own work as well as that of others, the article addresses some additional concerns to those of previous studies by examining how gender is ontologically constructed in these studies, how intersectional approaches can enrich analyses of gender in music practice and how the material dimensions of music practice can be actively addressed. The conclusions outline suggestions for broadening research in gender and music practice.

In this article, the gendered aspects of music streaming are discussed as both discursive and material processes. Its findings are based on focus group discussions about music streaming, analysis of the functions of a music streaming service (Spotify), and examples of when this service promotes gender equality. Using a science and technology perspective and previous literature in the field, this article concludes that music streaming on Spotify displays several gendered cultural patterns and that gender stereotypes are challenged by Spotify. The main results are that the digitalization of music on Spotify has led listeners to masculinize expertise, and that algorithms promote successful white male rock artists. Spotify’s attempts to challenge this are located within isolated interventions, outside of the main code, with little chance of impacting upon listeners who are not already interested in gender equality. In the context of music streaming, discourse on gender often interacts with code to limit gender diversity while reproducing gender stereotypes.

This position paper is written by four key researchers from two projects (one in Norway and one in Sweden) aiming to define and discuss terms and concepts in Gender Studies. It is inspired by the concept of dialogue as a method of academic writing and discusses the methods, results, challenges, and choices made in the two projects. While they both aimed to create and discuss a vocabulary for Gender Studies and gender research, the projects took shape from different approaches, and produced different results. In this position paper, we want to discuss the meaning of doing conceptual work and deciding on definitions of terms. Our aim is not to determine which approach is “better”, but rather to understand how the field of Gender Studies and gender research is being built.

In the past decades a large number of students have taken courses and degrees in Gender Studies around Europe and proceeded to find employment. This article is based on a quantitative and qualitative study carried out in 2012 of Gender Studies students in Sweden, their education and employment. The design of the study was inspired by a large European research project investigating Women’s Studies in Europe and concerned with the motives for doing Gender Studies among Swedish students, as well as who the students were, how they evaluated their Gender Studies education and what work they proceeded to after they left the university. In this article the results are discussed in terms of dilemmas: between Gender Studies’ critique of neoliberalism,employability and the former students’ wishes to be employed, and their evaluation of their studies and employment. The Swedish study is also compared with previous research in order to understand general and particular traits in Swedish Gender Studies education and employment. Analysis points to interesting contradictions within Gender Studies in relation to the labor market, student groups and employability.

Chapter 7 emphasizes ongoing transformations in music cultures online, addressing the video sharing site YouTube as a basis for music listening and music video watching, and tracing its development during the period of the study. The chapter examines how the do-it-yourself culture of YouTube, often used as an example of user collaboration and participation, has shifted to increasing editorial functions and commercial messages, exemplifying changes in online music culture. It maps and discusses the structure for music on YouTube and how different functions provide entry points shaping musical discovery on the site. The theoretical concepts intermediation, participation and spreadability are, in this chapter, used to understand how YouTube permeates contemporary music culture. The chapter, further, addresses the role of advertisements on YouTube, a growing part of YouTube’s interface at the time, as well as looking at how political/aesthetic resistance takes form in memes on YouTube during the time of the study. The latter is done through an analysis of so called viral videos with music content. These are exemplifying how music takes place on the site, and how music contributes to the commercially focused activity on the site, as well as participatory culture.?

This chapter explores identity issues in commercial streaming services, which have grown steadily in the 2010s to become the dominant form of music consumption in the Nordic countries, with about 60% of all Internet users in 2015. The chapter offers an alternative to the dominant trend in music industry studies by focusing not on the industry’s interests but instead on broader cultural issues. The chapter presents case studies of two female Sámi artists and their representations on Spotify, YouTube, MySpace, and artists’ websites, taking various aspects of the services into account, including the interface and the algorithm-based recommendations. Informed by feminist cultural studies, the argument is that the industry continues a history of reinforcing stereotypes of ethnicity, indigeneity, and femininity. Thus, commercial streaming is not only making music available to global audiences, it is also selling images of Otherness within an unequal capitalist global media system.

With the internet and digital media technology increasingly central to practices around music, this shift is often seen as contributing to a networked music use characterized by individualism. Drawing on a focus group study with young adults in Stockholm and Moscow, this article argues, however, that digital music use today is shaped by discourses of difference, with gender a significant factor both in constructions of the ideal music and technology user, and in terms of musical influence and guidance. Taking into account contemporary research on new media technology, as well as feminist studies of technology and music, the article questions ideas of a neutral user of new music technologies, showing how the gendering of music and media technology can be seen as simultaneously context-bound and cutting across geographies. Music use in the online media age

Based on a national Swedish survey among former gender studies students followed by focus group interviews, this article investigates the students’ perspectives on gender studies and work. We ask how they understand their education in between generic critical knowledge and the labor market. How can the students’ backgrounds and talk about gender studies and work be understood intersectionally? What does it mean for the future of gender studies? The analysis is based on intersectional subject positions as developed by Dorthe Staunæss (2003) and compares the results with other critical feminist studies of higher education (Ahmed 2012; Berggren 2006; Mählck 2013; Orupabo 2014). The analytical method uses the concepts “gap” (Åse 2000), ”in sync” (Staunæss 2010) and “comfortable” (Ahmed 2010) in order to understand the contradicting results of the survey and talk in the focus groups. In our analysis we discuss the gaps the students identify between their studies and their experiences of finding work on the labor market as both significant for the humanities and social sciences in general and as specific for gender studies. The gender studies students are however employed and find their education useful on the labor market, a success that they also ascribe (partly) to their privileged background in terms of class and ethnicity. Among the participants persons with academically educated parents and parents born in Sweden were over-represented. The article also discusses what this skewed participation in gender studies education may mean for the discipline and the labor market for gender studies students. Finally it proposes four directions for the future development of gender studies.

This article focuses on the concept of ”strong women” in popular music and interrogates the idea of role models. Ideas of ”strong women” are analysed in the context of a contemporary Western society characterised by neo-liberalism and post-feminism. Advocacy of role models is regarded as an example of a political strategy that places the responsibility for social change on the individual. This is done from a feminist cultural theoretical perspective where discourse is seen as having an impact on material subject positions and where post-feminist culture is seen as part of contemporary discourse about Western women. The issue is discussed through the analysis of two empirical materials consisting of interviews; one about teenage girls’ music use and gender in everyday life and the other about female rockmusicians, mainly in their early twenties, participating in feminist music associations. In both studies the participants testify to a positive influence from female singers and musicians as role models, where these artists and musicians in different ways provide strength to the individual girl/woman. The authors regard this mediatised discourse as problematic but it is juxtaposed against the individual narratives where role models are regarded as very important. Questions concerning authenticity, politics and identification are vital themes in our analysis of these narratives. Popular music is, in some respects, described as an arena dominated by white men. Furthermore the research and public discussion about “strong women” and role models take part in reproducing the hierarchies of popular music genres. These hierarchies are understood by the authors as representing asymmetrical power relations of gender, ethnicity/race and class.

During the past decades media technologies for producing and consuming popular music have gone through major changes. The digitalization of older media and so-called new media has transformed the landscape for music use. Technological developments in radio, television, the internet, computers, mobile phones and mp3 players shape the ways in which popular music is consumed today. This article examines two intersecting aspects of how today's media landscapes are interwoven into and shape teenage girls' uses of popular music. First, it argues that media technologies shape the girls' uses of music in the context of their everyday lives and the spaces they inhabit. Second, media technologies take part in the girls' practices of gender. For example, through their relations with their brothers and new media technology in the home, the girls are negotiating how to be 'girls', 'daughters' and 'sisters'.

This article is based on ethnographic fieldwork done with a group of 14 to 16 year-old girls in a medium sized Swedish town. The study aimed to investigate the relationship between everyday music u ...

Six healthy volunteers received single 2- and 4-mg doses of lorazepam by 5-min intravenous infusion, in tablet form by mouth in the fasting state, and by deltoid intramuscular injection in a six-way crossover study. A seventh subject received the 4-mg iv, po, and im doses. Concentrations of lorazepam and its glucuronide metabolite in multiple plasma samples and in all urine collected during 72 hr after each dose were determined by electron-capture GLC. Mean kinetic variables for intravenous lorazepam after 2- and 4-mg doses, respectively, were: volume of distribution (Vd), 1.14 and 1.30 liters/kg; elimination half-life (t1/2β), 14.3 and 14.6 hr; total clearance, 1.05 and 1.10 ml/min/kg; and cumulative urinary excretion of lorazepam glucuronide, 81.1 and 82.3% of the dose. With the possible exception of Vd, all kinetic variables were dose independent. Following a lag time averaging 15–17 min, absorption of oral lorazepam was first order, with apparent absorption half-life (t1/2α) values averaging 40 (2-mg dose) and 22 (4-mg dose) min. Absorption was 91–95% complete. No lag times were observed after intramuscular injection of lorazepam; absorption was first order, with t1/2a values averaging 12 (2-mg dose) and 19 (4-mg dose) min. The completeness of absorption was 83–100%. Absorption kinetics for both oral and intramuscular lorazepam were dose independent. Plasma t1/2β for intact lorazepam was independent of dose and administration route.