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"I’m coming home from a party, and I don’t want to end up getting arrested": do driving apps help people break road rules?

<a href="https://theconversation.com/profiles/verity-truelove-1237331">Verity Truelove</a>, <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a>; <a href="https://theconversation.com/profiles/michelle-nicolls-1299069">Michelle Nicolls</a>, <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a>, and <a href="https://theconversation.com/profiles/oscar-oviedo-trespalacios-1417150">Oscar Oviedo-Trespalacios</a>, <a href="https://theconversation.com/institutions/delft-university-of-technology-1040">Delft University of Technology</a> Apps such as Google Maps, Apple Maps and Waze can tell drivers when they are approaching speed cameras or random breath testing stations. Countries such as Germany, France and Switzerland have banned apps from displaying these enforcement locations. But what effect are these apps having in Australia – are they helping drivers break road rules? Our new <a href="https://www.sciencedirect.com/science/article/pii/S0925753524002972">paper</a>, published in the journal Safety Science, examined this question. We found this technology can, in some cases, contribute to people thinking they are invincible on the roads. However, we also found they can sometimes help people drive more safely. <h2>Being made aware of enforcement can help road safety</h2> We conducted focus groups and interviews with a total of 58 drivers from Queensland, to understand how the use of this technology influences perceptions of being caught for breaking road rules. One driver told us: "If I know it’s coming up, I’ll put my phone down. If I was, say, texting or checking something, but then like once a good few 100 metres away, I sort of pick it up again, depending though." Another said: "It sort of depends where I am driving, I guess. Like, if I am driving on a country road and there is a speed camera there I would probably slow down for the speed camera and then sort of speed up again once I am sort of past that; it sort of depends on the circumstances." We also found that, for some people, being made aware of enforcement locations can help drivers better regulate their speed. This helped them comply with road rules more consistently. Waze also shows the speed limit in the area, which further assisted some drivers to stick to the speed limit. One driver told us: "I’m a bit careful if I just look at the speedo and just double check that I’m on the right amount of speed." Another said: "It just gives you a warning like, ‘OK, you need to check your speed.’ Just to double-check you’re going on the right speed perhaps or when it’s a camera coming up." <h2>Concerning behaviours</h2> Concerningly, we also found some drivers who use these apps are looking at and touching their screens more than they otherwise would. This can distract drivers and increase their <a href="https://www.sciencedirect.com/science/article/pii/S0925753524001097">risk of crashing</a>. One driver told us they post traffic updates on the app they use while driving, “which I know is wrong.” Another said: "Just hit the button on the phone. Just two steps after I go past the camera." Another driver told us: "It’s so helpful […] Especially if it’s, say, late night and I’m coming home from a party, and I don’t want to end up getting arrested." One driver said: "I probably feel slightly more invincible, which is probably not a good thing." When asked why these apps are used, one driver said: "I guess the drug and the drink-driving." <h2>Apps can help and hinder road safety</h2> We know breaking road rules significantly contributes to <a href="https://www.who.int/teams/social-determinants-of-health/safety-and-mobility/global-status-report-on-road-safety-2023">crashes and road fatalities</a>, with deaths on Australian roads continuing to <a href="https://www.bitre.gov.au/publications/ongoing/road_deaths_australia_monthly_bulletins">increase</a> over time. On the one hand, when drivers are aware of enforcement measures like cameras and police, they are more likely to stop breaking the rules in those areas. That’s particularly true for behaviours such as speeding and using a phone while driving, we found. Using apps that flag where cameras and police are located also means drivers would be more exposed to enforcement activities than they otherwise would be on a normal drive. On the other hand, our results suggest some drivers are using these applications to break road rules more often in places where they think they won’t be caught. These apps are also not always completely accurate. For instance, even though Waze can display some police operation locations such as roadside breath testing, it can’t capture all on-road police activities. Further, camera locations are not always up to date or accurate. <h2>Weighing benefits against risks</h2> While these apps do have some benefits, it’s important to weigh these against the risks. It’s also important to recognise traffic enforcement isn’t just there to make you comply with road rules at a specific point; it is meant to remind you of the constant risk of being caught and to encourage consistent rule compliance. The goal is to ensure that drivers are following the traffic rules across the entire network, not just in isolated spots. With road fatalities at some of the <a href="https://www.bitre.gov.au/publications/ongoing/road_deaths_australia_monthly_bulletins">highest rates we’ve seen in recent years</a>, we need everyone to work together to stop more preventable deaths and injuries.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/237664/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/verity-truelove-1237331">Verity Truelove</a>, Senior Research Fellow in Road Safety Research, <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a>; <a href="https://theconversation.com/profiles/michelle-nicolls-1299069">Michelle Nicolls</a>, PhD Candidate, <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a>, and <a href="https://theconversation.com/profiles/oscar-oviedo-trespalacios-1417150">Oscar Oviedo-Trespalacios</a>, A/Professor Responsible Risk Management, <a href="https://theconversation.com/institutions/delft-university-of-technology-1040">Delft University of Technology</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/im-coming-home-from-a-party-and-i-dont-want-to-end-up-getting-arrested-do-driving-apps-help-people-break-road-rules-237664">original article</a>.

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Music and dementia: researchers are still making discoveries about how songs can help sufferers

<a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Music is woven into the fabric of our everyday lives. Whether it’s lifting our spirits, pushing us to run faster or soothing us to sleep, we can all <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2021.713818/full">recognise its power</a>. So it’s no wonder it is increasingly being used in medical treatment. As well as proving very useful in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3863265/">cancer treatment</a>, managing <a href="https://www.sciencedirect.com/science/article/pii/S1526590022000153">chronic pain</a> and even helping the brain <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2014.00245/full">recover after a stroke</a>, researchers have also been making great strides in using music to help patients with dementia. It reduces patients’ <a href="https://www.cochranelibrary.com/cdsr/doi/10.1002/14651858.CD003477/full">anxiety and depression</a>, and <a href="https://www.thelancet.com/journals/eclinm/article/PIIS2589-5370(23)00401-7/fulltext">improves wellbeing</a> both for them and their carers <a href="https://www.cambridge.org/core/journals/the-british-journal-of-psychiatry/article/individual-music-therapy-for-depression-randomised-controlled-trial/A1CD72904929CECCB956F4F3B09605AF">by enhancing</a> everyone’s ability to adapt and cope with adversity or stress. <a href="https://www.bamt.org">Music therapy</a> in the form of playing, singing or listening to music can also have a <a href="https://journals.sagepub.com/doi/abs/10.1177/1362361309105660">positive effect</a> on cognitive function – particularly for <a href="https://link.springer.com/article/10.1186/1472-6882-10-39">older adults</a> either with dementia or memory issues. So why does music appear to have such a powerful effect for people with dementia? <h2>Music and the brain</h2> About a decade ago, <a href="https://www.sciencedirect.com/science/article/abs/pii/S1053811911013000">researchers discovered that</a> when people listened to music, multiple areas of the brain were involved in processing it. These included the limbic (which processes emotions and memory), cognitive (involved with perception, learning and reaction) and motor areas (responsible for voluntary movement). This challenged preconceptions that music was processed more narrowly in the brain – and helped explain why it has such a unique neurological impact. Not only that, research has shown that music might help <a href="https://www.sciencedirect.com/science/article/abs/pii/S0306987708002880">regenerate the brain</a> and its connections. Many <a href="https://www.nhs.uk/conditions/dementia/about-dementia/causes/">causes of dementia</a> centre around cell death in the brain, raising the possibility that music could help people with dementia by mending or strengthening damaged neural connections and cells. It’s not just any music that has a regenerative effect on the brain, though. <a href="https://www.frontiersin.org/articles/10.3389/fnhum.2016.00103/full">Familiar and favourite music</a> has been shown to have the biggest impact on the way we feel, and is closely linked with memory and emotions. This is because listening to our favourite songs <a href="https://www.nature.com/articles/nn.2726">releases feel-good hormones</a> that give us a sense of pleasure. Curated music playlists of favourite music could be the key in helping us deal with the <a href="https://journals.sagepub.com/doi/full/10.1177/10298649211030318">stress of everyday life</a>. This is relevant to Alzheimer’s and other forms of dementia because researchers have discovered that parts of the brain linked with <a href="https://academic.oup.com/brain/article/138/8/2438/330016">musical memories</a> are less affected by these conditions than other areas of the brain. This explains why memories and experiences that are linked to <a href="https://link.springer.com/article/10.14283/jpad.2018.19">favourite music</a> are often preserved for people with such conditions. Listening to music can also <a href="https://pubmed.ncbi.nlm.nih.gov/34346261/">help manage</a> their experiences of distress, agitation and “<a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/sundowning">sundowning</a>” – where a person is more confused in the afternoon and evening. In a <a href="https://www.sciencedirect.com/science/article/pii/S0197457224002209?utm_campaign=STMJ_219742_AUTH_SERV_PA&utm_medium=email&utm_acid=224973760&SIS_ID=&dgcid=STMJ_219742_AUTH_SERV_PA&CMX_ID=&utm_in=DM500444&utm_source=AC_">small study</a> conducted by us and our colleagues at the Cambridge Institute for Music Therapy Research, we showed just how great of an effect listening to music can have for people with dementia. We found that when people with dementia repeatedly listened to their favourite music, their heart rate and movements changed in direct response. This showed that people’s physical responses were affected by musical features like rhythm and arrangement. Their heart rate also changed when they sang along to music, or when they began reminiscing about old memories or stories while listening to a song or thinking about the music. These changes are important because they show how music affects movement, emotions and memory recall. Studies have also shown that during and after listening to music, people with dementia <a href="https://www.mdpi.com/2076-3425/13/7/1103">experienced less agitation</a>, aggression and anxiety, and their general mood was improved. They even needed less medication when they had regular music sessions. Other researchers have even begun testing the effects of <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/gps.4721?casa_token=VufeKQP7aNsAAAAA%3AMSOgiwUQYKqmmrLsUFv9glmSnc5BMxoqeMmmt3HX4BJX2Fs2UKeXjnN2850o1Umz0j1NvmrpQ3W3Pw">music training programmes</a> to support cognition for people with dementia. Results have been promising so far – with adults in the study showing improved executive functioning (problem solving, emotion regulation and attention) compared to those who took part in just physical exercise. So, music is likely to continue to be a useful medical treatment for people with dementia. But based on what we know so far, it’s important that it comes from the patient’s own music collection – and is used alongside other management techniques such as using drugs that can slow the progression of dementia or help manage symptoms to support self-care and wellbeing.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/239446/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rebecca-atkinson-1288605">Rebecca Atkinson</a>, Researcher in Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> and <a href="https://theconversation.com/profiles/ming-hung-hsu-2215063">Ming-Hung Hsu</a>, Senior Research Fellow, Music Therapy, <a href="https://theconversation.com/institutions/anglia-ruskin-university-1887">Anglia Ruskin University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/music-and-dementia-researchers-are-still-making-discoveries-about-how-songs-can-help-sufferers-239446">original article</a>.

Mind

Influencer's windscreen smashed in wild road rage act

Video footage has captured the scary moment a New Zealand influencer's windscreen got smashed in a wild road rage incident. Social media influencer Chantelle Baker claimed that the blue Mazda Demio had cut off another car behind her and began tailgating her when she was driving 40km/hr as she was carefully navigating a near-crash. “They started to scream at me from their car, trying to indicate [and] use their hands to tell me to pull over so they could go past,” she said in a video posted to Instagram. “I obviously didn’t. We go a few hundred metres and they decide to throw a rock at my car with my eight-month-old baby asleep in the back seat.” Baker said she saw them down a side road a couple of minutes later and followed their car to get the licence plate. She then recalled them pulling into an area near an old petrol station in Rangiora, Waimakariri, where the footage was filmed. In the viral clip, which has racked up over seven million views on TikTok, the two women can be seen exiting the Mazda and sprinting towards Baker's car. One of them ran up the bonnet and on to the windscreen causing it to shatter. The same woman then goes to the driver's door and tells Baker to "f*** off". Baker then reverses and drives away. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/C9EXimPJtE6/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/C9EXimPJtE6/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Chantelle Baker (@chantellebakernz)</a> </div> </blockquote> New Zealand Police have said that they were aware of the incident and are in the initial stages of investigation. “Police received reports of an incident in the King Street area around 1pm on Saturday where one driver apparently followed another driver after a car failed to merge correctly,” they told news.com.au. “The cars have stopped at a petrol station where a person has reportedly got out and jumped on the other person’s vehicle, breaking a window. No people were injured.” In an update shared on <a href="https://www.instagram.com/p/C9JiK9cpnkt/?hl=en" target="_blank" rel="noopener">Instagram</a>, Baker said that the two girls have come forward and are speaking with Police. Images: Instagram/ Chantelle Baker

Legal

"It's timeless": Apple Music reveals best albums of all time

Apple Music has compiled their list of the top 100 albums of all time, with the number one spot dividing music lovers. Said to be “a modern 21st-century ranking of the greatest records ever made,” the list was compiled by Apple Music’s team of experts “alongside a select group of artists, songwriters, producers, and industry professionals.” “The list is an editorial statement,” the streaming giant said in a press release, “fully independent of any streaming numbers on Apple Music - a love letter to the records that have shaped the world music lovers live and listen in.” Taking out the number one spot, which has divided music lovers, is Lauryn Hill’s 1998 magnum opus The Miseducation of Lauryn Hill. The album beat out other iconic works such as Abbey Road by The Beatles and Thriller by Michael Jackson for the top spot, as well as newer records such as Back to Black by Amy Winehouse and Blonde by Frank Ocean. Following the big reveal, Apple Music’s global creative director, Zane Lowe, described Hill’s album as one that “has not dated, not even a fraction”. “In fact, it feels more fresh and more relevant the more you listen to it … There are a lot of young artists hearing it, and it’s becoming part of their artistic DNA,” he said. “It’s inspiring and influencing them … It’s timeless.” While The Miseducation of Lauryn Hill is certainly popular after selling over 20 million copies and making it one of the best-selling albums of all time, not everyone was so sure it deserved top spot on the list. “Album is fire but no way this gets #1 of all albums,” one user wrote on X, formerly Twitter, while another account declared simply: “BLASPHEMY.” “The most overrated album in history. I’m not saying it’s not good but come on,” a user wrote. Many people also insisted Jackson’s “Thriller” deserved to be number one. “That album had no miss, but Michael Jackson thriller is no 1,” an X user said. “I feel like Michael got snubbed,” another agreed. Check out the top 20 of the coveted list below. You can see the top 100 list in its entirety <a href="https://www.news.com.au/entertainment/music/best-albums-of-all-time-revealed/news-story/620abfb3fc0279559eff1cbbbb552b80" target="_blank" rel="noopener">here</a>. 20. Pet Sounds – The Beach Boys 19. The Chronic – Dr. Dre 18. 1989 (Taylor’s Version) – Taylor Swift 17. What’s Going On – Marvin Gaye 16. Blue – Joni Mitchell 15. 21 – Adele 14. Highway 61 Revisited – Bob Dylan 13. The Blueprint – Jay-Z 12. OK Computer – Radiohead 11. Rumours – Fleetwood Mac 10. Lemonade – Beyoncé 9. Nevermind – Nirvana 8. Back to Black – Amy Winehouse 7. good kid, m.A.A.d city (Deluxe Version) – Kendrick Lamar 6. Songs in the Key of Life – Stevie Wonder 5. Blonde – Frank Ocean 4. Purple Rain – Prince & The Revolution 3. Abbey Road - The Beatles 2. Thriller - Michael Jackson 1. The Miseducation of Lauryn Hill – Lauryn Hill Image credits: Ruffhouse Records / Apple Records / Epic Records

Music

6 little known facts about The Sound of Music

The Sound of Music, released in 1965, continues to be one of the most beloved family films of all time. In honour of the iconic film, we look behind the scenes to reveal some little known facts about one of our favourite movies. 1. Julie Andrews kept falling over during the famous opening mountain scene While Julie Andrews may look graceful twirling atop the mountain in the opening scenes, in reality she kept being knocked over by the draft of the helicopter trying to capture the iconic aerial scene. Andrews said: “the down draft from those jets was so strong that every time… the helicopter circled around me and the down draft just flattened me into the grass. And I mean flattened. It was fine for a couple of takes, but after that you begin to get just a little bit angry… And I really tried. I mean, I braced myself, I thought, ‘It’s not going to get me this time.’ And every single time, I bit the dust.” 2. Christopher Plummer hates the movies Fans of Christopher Plummer’s Captain von Trapp will be disappointed to learn that he hated the film so much he called it “The Sound of Mucus”. “Because it was so awful and sentimental and gooey,” he said. “You had to work terribly hard to try and infuse some minuscule bit of humour into it.” To ease his pain, Plummer drank, even on set. He admitted on the DVD commentary that he was drunk when filming the Austrian music festival scene. 3. Charmian Carr injured herself during “Sixteen going on seventeen” Charmian Carr, who played Liesl Von Trapp, slipped while leaping from a bench in the gazebo scene. She fell through the glass and injured her ankle. In the scene, she is wearing a bandage on her leg, which is covered by make up. 4. Friedrich grew 15 centimetres during the six months of filming Nicholas Hammond, who played Friedrich Von Trapp, grew from 1.60 metres to 1.75 metres in the six months of filming. It caused many continuity problems in the movie as Friedrich had to be shorter than Liesl but taller than Louisa. As the beginning of the film, Hammond had lifts in his films but by the end, Carr who played Liesl had to stand on a box. 5. Mia Farrow auditioned for the role of Liesl. <a href="https://youtu.be/66v7gtwRGdM" target="_blank" rel="noopener">Watch her audition tape here.</a> 6. The film is historically inaccurate The movie is loosely based on the autobiography of Maria von Trapp, The Story of the Trapp Family Singers, but the film took many liberties. For instance, there were 10 von Trapp children, not seven. Maria left the convent to tutor one of the children, not to governess all them. Georg was a kind man, not the stern disciplinarian as depicted the film. Maria and him were married 11 years before the Nazis invaded Austria. And the Von Trapp family didn’t escape from the mountains by crossing over the mountains – that would have led straight to Hitler’s Germany. Image credits: Getty Images

Movies

Dog care below freezing − how to keep your pet warm and safe from cold weather, road salt and more this winter

<a href="https://theconversation.com/profiles/erik-christian-olstad-1505284">Erik Christian Olstad</a>, <a href="https://theconversation.com/institutions/university-of-california-davis-1312">University of California, Davis</a> Time outside with your dog in the spring, summer and fall can be lovely. Visiting your favorite downtown café on a cool spring morning, going to a favorite dog park on a clear summer evening or going on walks along a river when the leaves are changing color are all wonderful when the weather is favorable. But in much of the country, when winter rolls around, previously hospitable conditions can <a href="https://theconversation.com/is-winter-miserable-for-wildlife-108734">quickly turn chilly and dangerous</a> for people and pups alike. Winter brings some unique challenges for dog owners, since dogs still need activity and socialization during colder seasons. Studies have shown that dog owners are almost 50% less likely to walk their dogs <a href="https://doi.org/10.3390/ani11113302">when the weather gets cold</a>. Knowing the basics of winter safety is critical to maintaining a healthy lifestyle for your dog. I am an <a href="https://www.vetmed.ucdavis.edu/faculty/erik-olstad">assistant professor</a> at the University of California Davis School of Veterinary Medicine who weathered polar vortexes with my dog while living in Michigan early in my career. While I’ve since moved to sunny California, I’ve seen how quickly frigid temperatures can turn dangerous for pets. <h2>Breed and age differences</h2> Not all dogs have the same abilities to deal with cold weather. A short-coated dog like a Chihuahua is much more susceptible to the dangers of cold weather than a thick-coated husky. When the weather dips below 40 degrees Fahrenheit (4 degrees Celsius), the well-acclimated husky may be comfortable, whereas the Chihuahua would shiver and be at risk of hypothermia. Additionally, if your dog is used to warm weather, but you decide to move to a colder region, the dog will need time to acclimate to that colder weather, even if they have a thick coat. Age also affects cold-weather resilience. Puppies and elderly dogs can’t withstand the chill as well as other dogs, but every dog is unique – each may have individual health conditions or physical attributes that make them more or less resilient to cold weather. <h2>When is my dog too cold?</h2> Pet owners should be able to recognize the symptoms of a dog that is getting too cold. Dogs will shiver, and some may vocalize or whine. Dogs may resist putting their feet down on the cold ground, or burrow, or try to find warmth in their environment when they are uncomfortable. Just like people, <a href="https://vcahospitals.com/know-your-pet/frostbite-in-dogs">dogs can get frostbite</a>. And just like people, the signs can take days to appear, making it hard to assess them in the moment. The most common sites for frostbite in dogs are their ears and the tips of their tails. Some of the initial signs of frostbite are skin discoloring, turning paler than normal, or purple, gray or even black; red, blistered skin; swelling; pain at the site; <a href="https://www.britannica.com/science/ulcer">or ulceration</a>. Other <a href="https://vcahospitals.com/know-your-pet/frostbite-in-dogs">serious signs of hypothermia</a> include sluggishness or lethargy, and if you observe them, please visit your veterinarian immediately. A good rule to live by is if it is too cold for you, it is too cold for your dog. Getting your dog a <a href="https://www.cnn.com/cnn-underscored/pets/best-winter-dog-coats-jackets">sweater or jacket</a> and <a href="https://www.akc.org/expert-advice/vets-corner/protect-dogs-paws-snow-ice-salt/">paw covers</a> can provide them with protection from the elements and keep them comfortable. Veterinarians also recommend closely monitoring your dog and limiting their time outside when the temperature nears the freezing point or drops below it. <h2>Road salt dangers</h2> Road salt that treats ice on streets and sidewalks <a href="https://www.cbc.ca/news/canada/kitchener-waterloo/ice-salt-toxic-for-pets-1.5020088">can also harm dogs</a>. When dogs walk on the salt, the sharp, rough edges of the salt crystals can irritate the sensitive skin on their paws. Dogs will often lick their feet when they’re dirty, wet or irritated, and if they ingest any salt doing that, they may face GI upset, dehydration, kidney failure, seizures or even death. Even small amounts of pure salt can <a href="https://www.petpoisonhelpline.com/pet-tips/my-dog-ate-road-salt-will-they-be-okay/">disrupt critical body functions</a> in dogs. Some companies make pet-safe salt, but in public it can be hard to tell what type of salt is on the ground. After walking your dog, wash off their feet or boots. You can also keep their paw fur trimmed to prevent snow from balling up or salt collecting in the fur. Applying a thin layer of petroleum jelly or <a href="https://www.akc.org/expert-advice/lifestyle/how-to-make-your-own-paw-balm-for-winter/">paw pad balm</a> to the skin of the paw pads can also help protect your pet’s paws from irritation. <h2>Antifreeze risks</h2> <a href="https://www.britannica.com/science/antifreeze-chemical-substance">Antifreeze, or ethylene glycol</a>, is in most vehicles to prevent the fluids from freezing when it gets cold out. Some people pour antifreeze into their toilets when away from their home to prevent the water in the toilet from freezing. Antifreeze is an exceptionally dangerous chemical to dogs and cats, as it tastes sweet but can be deadly when ingested. If a pet ingests even a small amount of antifreeze, the substance causes a chemical cascade in their body that results in severe kidney damage. If left untreated, the pet may have <a href="https://www.petpoisonhelpline.com/pet-owner-blog/antifreeze-poisoning/">permanent kidney damage or die</a>. There are safer antifreeze options on the market that use ingredients other than ethylene glycol. If your dog ingests antifreeze, please see your veterinarian immediately for treatment. When temperatures dip below freezing, the best thing pet owners can do is keep the time spent outside as minimal as possible. Try some <a href="https://www.akc.org/expert-advice/lifestyle/great-indoor-games-to-play-with-your-dog/">indoor activities</a>, like hide-and-seek with low-calorie treats, fetch or even an interactive obstacle course. Food puzzles can also keep your dog mentally engaged during indoor time. Although winter presents some unique challenges, it can still be an enjoyable and healthy time for you and your canine companion.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/221709/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/erik-christian-olstad-1505284">Erik Christian Olstad</a>, Health Sciences Assistant Professor of Clinical Veterinary Medicine, <a href="https://theconversation.com/institutions/university-of-california-davis-1312">University of California, Davis</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/dog-care-below-freezing-how-to-keep-your-pet-warm-and-safe-from-cold-weather-road-salt-and-more-this-winter-221709">original article</a>.

Family & Pets

How music is changing the way dementia patients think

New research has proven that music truly is the universal language, with experts discovering how the power of music is helping those suffering with dementia. Music therapists have shown that music brings dementia patients back to the present, with some even finding their voice thanks to the nostalgic memories of the past. According to Registered Music Therapist and Managing Director of music therapy company Music Beat, Dr Vicky Abad, the power of music is not to be overlooked when it comes to degenerative diseases. “Music is a window into people’s pasts,” she said. “It builds on strengths and abilities against a disease that can strip a person of their dignity, abilities and quality of life.” The team at <a href="https://www.tricare.com.au/">TriCare Aged Care and Retirement</a>, who see the devastating impact of dementia each and every day, also experience first-hand the impact music has on residents, with many noticing “unrecognisable” changes in personality when a nostalgic tune is played. Louis Rose, an 80-year-old dementia patient and TriCare resident, was diagnosed with dementia six years ago, and requires assistance with many aspects of day to day life. However, listening to music is one thing he can enjoy on his own. “I grew up in Mauritius and while we didn’t have a lot, we certainly had music. Listening to music has always been an escape for me and a way to relax,” Mr Rose said. “When your brain starts to slow down and you find yourself forgetting things, it can be quite frustrating and confusing. Listening to music has been a way to distract myself from what’s going on in my head, it has helped me so much.” Tamsin Sutherland is a regular live music performer at TriCare facilities across Queensland, and has been able to witness incredible moments with the residents as they come alive as soon as she starts to play. “Watching residents who are often non-verbal sing along to the words is incredible,” she said “It really is like they are coming back to life and reconnecting with who they once were. To be part of that is quite emotional for me.” According to Dr Abad, music can help prevent the restless behaviour that often leads to pacing and wandering, especially in the evenings, which are often difficult times for those battling the disease. “Sundowning usually occurs in the late afternoon as dusk approaches, a time that is also associated with what used to be a busy time period in people’s lives,” she noted. “Personalised music is a simple and effective tool to help residents feel validated in their emotions during this time and provides them an opportunity to experience a calmer state of mind”. Image credits: Getty Images

Mind

Country music star dies at age 62

Country music singer Toby Keith has died at the age of 62 after an 18-month battle with stomach cancer. A statement was posted to the musician's website confirming his passing, saying, "Toby Keith passed peacefully last night on February 5th, surrounded by his family." "He fought his fight with grace and courage. Please respect the privacy of his family at this time." Country music icon Dolly Parton led the tributes to the late star shortly after the news of his death broke. Taking to Instagram, she wrote, "It's always hard when we lose our brothers and sisters in country music." "Toby Keith was one of the greats in every way. He will be missed but his music and legacy will live on. Love Dolly." Musician Carrie Underwood also shared a post to her more than 13 million followers on Instagram, calling him a "a true blue cowboy". "Saddle up the horses, Jesus, 'cause a true blue COWBOY just made his ride up to heaven!!!" she wrote. "We're gonna miss you, Toby, but my heart has no doubt that you are standing in the presence of our King right now!!! See you again someday, friend." Image credits: Getty Images

Caring

Sinead O'Connor was once seen as a sacrilegious rebel, but her music and life were deeply infused with spiritual seeking

<a href="https://theconversation.com/profiles/brenna-moore-1457909">Brenna Moore</a>, <a href="https://theconversation.com/institutions/fordham-university-1299">Fordham University</a> When news broke July 26, 2023, that the gifted Irish singer <a href="https://www.bbc.com/news/entertainment-arts-66318626">Sinead O’Connor had died</a>, stories of her most famous performance circulated amid the grief and shock. Thirty-one years ago, after a haunting rendition of Bob Marley’s song “War,” O’Connor ripped up a photograph of Pope John Paul II on live television. “Fight the real enemy,” she said – a reference to <a href="https://theconversation.com/the-catholic-church-sex-abuse-crisis-4-essential-reads-169442">clerical sex abuse</a>. For months afterward, she was banned, <a href="https://www.rollingstone.com/music/music-news/sinead-o-connor-booed-pope-bob-dylan-concert-1176338/">booed and mocked</a>, dismissed as a crazy rebel beyond the pale. Commemorations following her death, however, cast the protest in a very different light. Her “Saturday Night Live” performance is now seen as “invigorating,” <a href="https://www.nytimes.com/2023/07/26/arts/music/sinead-oconnor-snl-pope.html">the New York Times’ pop critic wrote</a>, and “a call to arms for the dispossessed.” Attitudes toward Catholicism, sex and power are far different today than in 1992, whether in New York or O’Connor’s native Dublin. In many people’s eyes, the moral credibility of the Catholic Church around the world <a href="https://news.gallup.com/poll/245858/catholics-faith-clergy-shaken.aspx">has crumbled</a>, and trust in faith institutions of any sort is <a href="https://news.gallup.com/poll/1597/confidence-institutions.aspx">at an all-time low</a>. Sexual abuse, once discussed only in whispers, is now beginning to be talked about openly. I join the chorus of voices today who say O’Connor was decades ahead of her time. But leaving it just at that, we miss something profound about the complexity and depth of her religious imagination. Sinead O’Connor was arguably one of the most spiritually sensitive artists of our time. I am <a href="https://www.fordham.edu/academics/departments/theology/faculty/brenna-moore/">a scholar of Catholicism in the modern era</a> and have long been interested in those figures – the poets, artists, seekers – who wander <a href="https://press.uchicago.edu/ucp/books/book/chicago/K/bo90478851.html">the margins of their religious tradition</a>. These men and women are dissatisfied with the mainstream centers of religious power but nonetheless compelled by something indelibly religious that feeds the wellsprings of their artistic imagination. Throughout her life, O’Connor defied religious labels, exploring multiple faiths. The exquisite freedom in her music cannot be disentangled from <a href="https://www.americamagazine.org/arts-culture/2021/09/16/sinead-oconnor-rememberings-memoir-moore-241369">that something transcendent</a> that she was always after. <h2>‘Rescuing God from religion’</h2> Religion is often thought about as discreet traditions: institutions that someone is either inside or outside. But on the ground, it is rarely that simple. The Catholic Church had a strong hold on Irish society as O’Connor was growing up – a “theocracy,” she called it <a href="https://www.theguardian.com/world/2010/sep/10/sinead-oconnor-pope-visit">in interviews</a> and <a href="https://www.penguin.co.uk/authors/126006/sinead-oconnor">her memoir, “Rememberings</a>” – and for many years she <a href="https://www.reuters.com/article/us-oconnor/singer-sinead-oconnor-demands-pope-steps-down-idUSTRE5BA39Y20091211">called for more accountability</a> for the clerical abuse crisis. But she was also open in her love of other aspects of the faith, albeit often in unorthodox ways. She had a tattoo of Jesus on her chest and continued to critique the church while appearing on television with a priest’s collar. Ten years after her SNL performance, O'Connor took courses at a seminary in Dublin with a Catholic Dominican priest, Rev. Wilfred Harrington. Together, they read the prophets of the Hebrew Bible and the Psalms: sacred scriptures in which God’s voice comes through in darker, moodier, more human forms. Inspired by her teacher, she made the gorgeous album “<a href="https://www.youtube.com/watch?v=xncY5WP12BQ">Theology</a>,” dedicated to him. The album is a mix of some of her own songs inspired by the Hebrew Bible – like “<a href="https://www.youtube.com/wat,h?v=Kf24-rgyOeI">If You Had a Vineyard</a>,” inspired by the Book of Isaiah; and “<a href="https://www.youtube.com/watch?v=Jh7s5BKphw8">Watcher of Men</a>,” which draws from the biblical story of Job – and other tracks that essentially are sung versions of her favorite Psalms. In <a href="https://wfuv.org/content/sinead-oconnor-words-and-music-2007">a 2007 interview</a> with Fordham University’s WFUV radio station, O'Connor said that she was hoping the album could show God to people when religion itself had blocked their access to God. It was a kind of “rescuing God from religion,” to “lift God out of religion.” Rather than preaching or writing, “music is the little way that I do that,” she said, adding, “I say that as someone who has a lot of love for religion.” <h2>Reading the prophets</h2> In doing so, she stood in the long line of the prophetic tradition itself. The great Jewish thinker <a href="https://www.myjewishlearning.com/article/abraham-joshua-heschel-a-prophets-prophet/">Rabbi Abraham Joshua Heschel’s</a> book “<a href="https://www.harpercollins.com/products/the-prophets-abraham-j-heschel?variant=40970012721186">The Prophets</a>” begins with this sentence: “This book is about some of the most disturbing people who have ever lived.” Over and over, the Bible shows the prophets – the prophets who inspired “Theology” – mounting bracing assaults on hypocrisies and insincerities in their own religious communities, and not politely or calmly. To many horrified Catholics, O’Connor’s SNL appearance and her many other criticisms of the church were blasphemous – or, at best, just throwing stones from outside the church for attention. Other fans, however, saw it as prophetic condemnation. It was not just a critique of child abuse but of church officials’ professed compassion for children – sanctimonious pieties <a href="https://www.theguardian.com/world/2009/nov/26/catholic-church-ireland-child-abuse">as they covered up the abuse</a>. In calling this out and so much more, O’Connor was often seen as disturbing: not just the photo-of-the-pope incident, but her androgyny, her shaved head, her openness around her own struggles with mental illness. But for many admirers, as <a href="https://www.youtube.com/watch?v=-VLy1A4En4U">the documentary “Nothing Compares</a>” makes clear, all this showed that she was free, and like the prophets of old, unashamed and unafraid to provoke. <h2>Rasta to Islam</h2> At the same time, O’Connor’s religious imagination was so much more than a complex relationship with Catholicism. Religion around O’Connor was eclectic and intense. She was deeply influenced by <a href="https://theconversation.com/reggaes-sacred-roots-and-call-to-protest-injustice-99069">Rastafarian traditions</a> of Jamaica, <a href="https://wfuv.org/content/sinead-oconnor-words-and-music-2007">which she described</a> as “an anti-religious but massively pro-God spiritual movement.” She considered Sam Cooke’s early album with the Soul Stirrers the best gospel album ever made. She counted among her spiritual heroes Muhammad Ali – and <a href="https://www.bbc.com/news/entertainment-arts-45987127">converted to Islam in 2018</a>, changing her name to Shuhada’ Sadaqat. Yet O’Connor’s vision was not fragmented, as if she were constantly chasing after bits and pieces. The miracle of Sinead O’Connor is that it all coheres, somehow, in the words of an artist who refuses to lie, to hide or not say what she thinks. When asked about spirituality, O’Connor once said that she preferred to sing about it, not talk about it – as she does in so many songs, from <a href="https://www.youtube.com/watch?v=XkP-0rnr_Gw">her luminous singing of the antiphon</a>, a Marian hymn sung at Easter services, to her Rasta-inspired album, “<a href="https://pitchfork.com/reviews/albums/5945-throw-down-your-arms/">Throw Down Your Arms</a>.” In “<a href="https://www.youtube.com/watch?v=haYbyQIEgQk">Something Beautiful</a>,” a track from the “Theology” album, O’Connor speaks both to God and the listener: “I wanna make/ Something beautiful/ For you and from you/ To show you/ I adore you.” Indeed she did. To be moved by her art is to sense a transcendence, a peek into radiance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/210540/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/brenna-moore-1457909">Brenna Moore</a>, Professor of Theology, <a href="https://theconversation.com/institutions/fordham-university-1299">Fordham University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/sinead-oconnor-was-once-seen-as-a-sacrilegious-rebel-but-her-music-and-life-were-deeply-infused-with-spiritual-seeking-210540">original article</a>.

Music

Tony Bennett: the timeless visionary who, with a nod to America’s musical heritage, embraced the future

<a href="https://theconversation.com/profiles/jose-valentino-ruiz-1293457">Jose Valentino Ruiz</a>, <a href="https://theconversation.com/institutions/university-of-florida-1392">University of Florida</a> In the history of American popular music, there have been few luminaries as enduring and innovative as Tony Bennett. With a career that spanned almost 80 years, Bennett’s smooth tones, unique phrasing and visionary musical collaborations left an indelible mark on vocal jazz and the recording industry as a whole. That his <a href="https://apnews.com/article/tony-bennett-dies-c3b3a7e2360449fb936a38794c7c3266">death at the age of 96</a> on July 21, 2023, was mourned by artists as varied as <a href="https://twitter.com/KeithUrban/status/1682395658395824133">Keith Urban</a>, <a href="https://twitter.com/OzzyOsbourne/status/1682411338340126720">Ozzy Osbourne</a> and <a href="https://twitter.com/HarryConnickJR?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1682411086656557056%7Ctwgr%5E04a78435a793b5246d7bc19e09529f2b2f0bcfab%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fvariety.com%2F2023%2Fmusic%2Fnews%2Ftony-bennett-elton-john-reaction-tribute-1235676405%2F">Harry Connick Jr.</a> should come as no surprise. Yes, Bennett was a jazz crooner. But if his voice was always a constant – even late into his 80s, way past an age when most other singers have seen their vocal abilities diminish – then his embrace of the contemporary was every bit a facet of Bennett’s appeal. <h2>Vocal innovator</h2> Bennett’s journey is a testament to the power of daring innovation. From the early days of his career in the 1950s to his final recordings in the early 2020s, he fearlessly explored new musical territories, revolutionizing vocal jazz and captivating audiences across generations. His vocal style and phrasing were distinctive and set him apart from other artists of his time. He utilized a delayed or “laid-back” approach to falling on the note, a technique known as “<a href="https://www.musictheoryacademy.com/how-to-read-sheet-music/rubato/">rubato</a>.” This created a sense of anticipation in his phrasing, adding an element of surprise to his performances. Through Bennett’s skilled use of rubato, he was able to play with the tempo and rhythm of a song, bending and stretching musical phrases to evoke a range of emotions. This subtle manipulation of timing gave his songs a natural and conversational quality, making listeners feel as though he was intimately sharing his stories with them. Armed with this silky, playful voice, Bennett found fame fairly early on in his career, delivering jazz standards alongside the likes of Mel Tormé and Nat King Cole. By the mid-1960s, he was being touted by Frank Sinatra as “the best singer in the business.” But his musical style fell out of fashion in the 1970s – a lean period during which Bennett <a href="https://www.washingtonpost.com/history/2023/07/21/tony-bennett-son-life-career-drugs/">almost succumbed to a drug overdose</a>. Then, in the 1990s, Bennett found a new audience and set off a series of collaborations with contemporary musical stars that would become the standard for his later career. No genre of artistry was deemed off-limits for Bennett. “<a href="https://www.tonybennett.com/music-detail.php?id=11">Duets: An American Classic</a>,” released to coincide with his 80th birthday in 2006, saw collaborations with country stars such as k.d. lang and the Dixie Chicks – now known as the Chicks – and soul legend Stevie Wonder, alongside kindred jazz spirits such as Diana Krall. “Duets II,” a 2011 follow-up, saw further explorations with the likes of Aretha Franklin, Queen Latifah, Willie Nelson and Amy Winehouse, in what would become the <a href="https://faroutmagazine.co.uk/amy-winehouse-final-recording-session/">British singer’s last recording</a>. But his cross-generational, cross-genre and cross-cultural appeal is perhaps best exemplified by his <a href="https://www.nytimes.com/2023/07/21/arts/music/tony-bennett-lady-gaga.html">collaborations with Lady Gaga</a>, first on the 2014 Grammy-winning album “Cheek to Cheek.” The recording brought together two artists from different generations, genres and backgrounds, uniting them in a harmonious celebration of jazz classics. The collaboration not only showcased each one’s vocal prowess, but also sent a powerful message about the unifying nature of music. Lady Gaga, a pop artist with avant-garde leanings, might have seemed an unlikely partner for Bennett, the quintessential jazz crooner. Yet their musical chemistry and mutual admiration resulted in an album that mesmerized audiences worldwide. “Cheek to Cheek” effortlessly transcended musical boundaries, while the duo’s magnetic stage presence and undeniable talent enchanted listeners. The successful fusion of jazz and pop encouraged artists to experiment beyond traditional boundaries, leading to more cross-genre projects across the industry – proving that such projects could go beyond one-off novelties, and be profitable at that. <h2>Timeless artistry</h2> Bennett’s embrace of contemporary artists did not mean that he abandoned his own musical self. By blending traditional jazz with contemporary elements, he managed to captivate audiences across generations, appealing to both longtime fans and new listeners. One key aspect of Bennett’s success was his ability to embody the sentiment of old America, reminiscent of artists like Sinatra, Billie Holiday and Louis Armstrong, while infusing contemporary nuances that resonated with the human condition of a more modern era. His approach to music captured both the essence and struggle of America, giving his songs a timeless and universal appeal. Moreover, his voice conveyed familiarity and comfort, akin to listening to a beloved uncle. Bennett’s albums stood out not only for his soulful voice and impeccable delivery but also for the way he drew others from varied musical backgrounds into his world of jazz sensibilities. As a producer, he recognized the importance of nurturing creativity and bringing out the best in artists. Meanwhile, Bennett’s approach to evolving his own sound while preserving its essence sets him apart as an artist. Fearless in his pursuit of innovation, he delved into contemporary musical elements and collaborated with producers to infuse new sonic dimensions into his later albums. The result drew listeners into an <a href="https://www.youtube.com/watch?v=6kNpdLZwetU">intimate and immersive, concert-like acoustic journey</a>. <h2>Depth of emotion</h2> The greats in music have an ability to speak to the human experience. And either in collaboration with others or on his own, Bennett was able to achieve this time and time again. His albums were successful not only due to their technical brilliance and musicality but also because Bennett’s voice conveyed a depth of emotion that transcended barriers of time and culture, touching the hearts of listeners from various backgrounds. There was a universality in his music that made him a beloved and revered artist across the globe. Bennett’s life spanned decades of societal upheavals in the United States. But in his music, listeners could always find beauty in challenging times. And as the 20th- and 21st-century American music industry went through its own revolutions, Bennett’s artistic evolution mirrored the changes, cementing his place as a music icon who defies the boundaries of time and trends.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/210244/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <iframe style="border-radius: 12px;" src="https://open.spotify.com/embed/playlist/2UxxnhUE5YLchYgutxKEbJ?utm_source=generator" width="100%" height="380" frameborder="0" allowfullscreen="allowfullscreen" loading="lazy"></iframe> <a href="https://theconversation.com/profiles/jose-valentino-ruiz-1293457">Jose Valentino Ruiz</a>, Program Director of Music Business & Entrepreneurship, <a href="https://theconversation.com/institutions/university-of-florida-1392">University of Florida</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/tony-bennett-the-timeless-visionary-who-with-a-nod-to-americas-musical-heritage-embraced-the-future-210244">original article</a>.

Music

Country music star's "racist" song divides audience

A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. Jason Aldean's song, titled Try That in a Small Town, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans. The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”. He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”. Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. <blockquote class="twitter-tweet"> .<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting. This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a> — Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></blockquote> The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. A writer for entertainment industry magazine <a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”. “For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William. He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”. In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.” “My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.” Image credits: Getty Images

Music

Too big, too heavy and too slow to change: road transport is way off track for net zero

<a href="https://theconversation.com/profiles/robin-smit-594126">Robin Smit</a>, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> The need to cut the emissions driving climate change is urgent, but it’s proving hard to decarbonise road transport in Australia. Its share of the nation’s total greenhouse gas emissions <a href="https://ageis.climatechange.gov.au/">doubled</a> from 8% in 1990 to 16% in 2020. New vehicles sold in Australia have <a href="https://theconversation.com/we-thought-australian-cars-were-using-less-fuel-new-research-shows-we-were-wrong-122378">barely improved</a> average emissions performance for the last decade or so. The federal government <a href="https://www.dcceew.gov.au/climate-change/publications/australias-emissions-projections-2022">publishes</a> emission forecasts to 2035 – 15 years short of 2050, the net-zero target date. Our <a href="https://www.transport-e-research.com/_files/ugd/d0bd25_7a6920bdd9e8448385863a7c23ec9ecf.pdf">newly published study</a> forecasts road transport emissions through to 2050. The estimated reduction by 2050, 35–45% of pre-COVID levels in 2019, falls well short of what’s needed. Our findings highlight three obstacles to achieving net zero. These are: Australia’s delay in switching to electric vehicles; growing sales of large, heavy vehicles such as SUVs and utes; and uncertainties about hydrogen as a fuel, especially for freight transport. These findings point to policy actions that could get road transport much closer to net zero. <h2>How was this worked out?</h2> Emissions and energy use vary from vehicle to vehicle, so reliable forecasting requires a detailed breakdown of the on-road fleet. Our study <a href="https://www.transport-e-research.com/software">used</a> the Australian Fleet Model and the net zero vehicle emission model (n0vem). The study focused on so-called <a href="https://www.cummins.com/news/2022/05/26/well-wheel-emissions-simplified">well-to-wheel emissions</a> from fuel production, distribution and use while driving. These activities account for about 75–85% of vehicle emissions. (<a href="https://theconversation.com/how-climate-friendly-is-an-electric-car-it-all-comes-down-to-where-you-live-179003">Life-cycle assessment</a> estimates “cradle-to-grave” emissions, including vehicle manufacture and disposal.) Working with European Union colleagues, our emissions simulation drew on an updated <a href="https://www.transport-e-research.com/_files/ugd/d0bd25_7a6920bdd9e8448385863a7c23ec9ecf.pdf">EU scenario</a> (EU-27) showing the changes in the EU vehicle fleet needed to meet the latest (proposed) CO₂ targets. Our study assumed Australia will be ten years behind the EU across all vehicle classes. We further modified the scenario to properly reflect Australian conditions. For instance, the EU has a much higher proportion of plug-in hybrid vehicles than Australia, where buyers are now bypassing them for wholly electric vehicles. <h2>Energy use is shifting, but too slowly</h2> Using this modified scenario, the simulation produces a forecast fall in total wheel-to-wheel emissions from Australian transport from 104 billion tonnes (Mt) in 2018 to 55-65Mt in 2050. Within the range of this 35–45% reduction, the outcome depends largely on the balance of renewable and fossil-fuel energy used to produce hydrogen. The modelling nonetheless predicts a large shift in energy use in road transport in 2050, as 2019 was basically 100% fossil fuels. The on-road energy efficiency of battery electric vehicles is roughly twice that of fuel cell electric (hydrogen) vehicles and roughly three times that of fossil-fuelled vehicles of similar type. The modelling results make this clear. In 2050, battery electric vehicles account for about 70% of total travel, but 25% of on-road energy use and only about 10% of total emissions. In contrast, fossil-fuelled vehicles account for about 25% of total travel in 2050, 60% of energy use and 75-85% of emissions. That’s even allowing for expected efficiency improvements. This means the shift to a mostly electric fleet by 2050 plus the use of hydrogen is predicted to fall short of what’s needed to get to net zero. It will require aggressive new policies to increase the uptake of electric vehicles across all classes. <h2>Lighter vehicles make a big difference</h2> But that is not the whole story. One neglected issue is the growing proportion of <a href="https://theconversation.com/we-may-be-underestimating-just-how-bad-carbon-belching-suvs-are-for-the-climate-and-for-our-health-190743">big, heavy passenger vehicles</a> (SUVs, utes). This trend is very noticeable in Australia. The laws of physics mean heavier vehicles need much more energy and fuel per kilometre of driving, and so produce more emissions. Currently, a large diesel SUV typically emits a kilogram of CO₂ for every 3 kilometres of driving, compared to 15km for a light electric vehicle and 200 kilometres for an e-bike. An average electric vehicle currently emits 1kg of CO₂ every 7km. This distance is expected to be around 60km in 2050, when renewables power the electricity grid. A lightweight electric car will more than double the distance to 125km per kilogram of CO₂. Reducing vehicle weights and optimising energy efficiency in transport will be essential to meet emission targets. The study modelled the impacts of <a href="https://www.automotiveworld.com/special-reports/vehicle-lightweighting-2/">lightweighting</a> passenger vehicles while keeping buses and commercial vehicles the same. If Australians had driven only small cars in 2019 for personal use, total road transport emissions would have been about 15% lower. The reduction in emissions from simply shifting to smaller cars is <a href="https://www.dcceew.gov.au/climate-change/publications/national-greenhouse-accounts-2019/national-inventory-report-2019">similar to</a> emissions from domestic aviation and domestic shipping combined. Importantly, lightweighting cuts emissions for all kinds of vehicles. <h2>The uncertainties about hydrogen</h2> Fuel cell electric vehicles using hydrogen account for only a few percent of all travel, but most will likely be large trucks. As a result, in our scenarios, they use a little over 10% of total on-road energy and produce 5-20% of total emissions, depending on the energy source used for hydrogen production and distribution. The modified EU scenario includes a significant uptake of hydrogen vehicles by 2050. That’s by no means guaranteed. The uptake in Australia has been negligible to date. That’s due to costs (vehicle and fuel), the need for new hydrogen fuel infrastructure, less mature technology (compared to battery electric vehicles) and limited vehicle availability. <a href="https://theconversation.com/we-must-rapidly-decarbonise-transport-but-hydrogens-not-the-answer-166830">Unresolved aspects</a> of hydrogen in transport include lower energy efficiency, the <a href="https://theconversation.com/for-australia-to-lead-the-way-on-green-hydrogen-first-we-must-find-enough-water-196144">need for clean water</a>, uncertainty about leakage, fuel-cell durability and value for consumers. <h2>How do we get back on track?</h2> Our study suggests Australia is on track to miss the net-zero target for 2050 mainly because of the large proportions of fossil-fuelled vehicles and large and heavy passenger vehicles. These two aspects could become targets for new policies such as public information campaigns, tax incentives for small, light vehicles, bans on selling fossil fuel vehicles and programs to scrap them. Other options to cut emissions include measures to reduce travel demand, optimise freight logistics and shift travel to public transport, to name a few. The study confirms the scale of the challenge of decarbonising road transport. Australia will need “all hands on deck” – government, industry and consumers – to achieve net zero in 2050.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/208655/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/robin-smit-594126">Robin Smit</a>, Adjunct Associate Professor, <a href="https://theconversation.com/institutions/university-of-technology-sydney-936">University of Technology Sydney</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/too-big-too-heavy-and-too-slow-to-change-road-transport-is-way-off-track-for-net-zero-208655">original article</a>.

Travel Trouble

How listening to music could help you beat insomnia

<a href="https://theconversation.com/profiles/victoria-williamson-277929">Victoria Williamson</a>, <a href="https://theconversation.com/institutions/university-of-sheffield-1147">University of Sheffield</a> In our hectic world, a good night’s sleep is worth its weight in gold when it comes to improving <a href="http://www.apa.org/topics/sleep/why.aspx">physical and mental well-being</a>. Much more than a basic method of energy conservation, sleep is a state during which muscle and bone are generated and repaired, and memories and learning systems are updated. Sleep also allows the body and brain to clear out the toxic byproducts of the day’s waking activity that might otherwise build up and cause harm. <a href="http://healthysleep.med.harvard.edu/healthy/matters/benefits-of-sleep/why-do-we-sleep">In short, good sleep is a cornerstone of human health</a>. Sadly, not all of us are blessed with the bounty of a good night’s slumber after a long and often tiring day. <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1978319/">Around 30% of adults</a> experience chronic insomnia at some point in their life – where sleep is disrupted for more than a month. Estimates are even higher in older populations and those who experience regular stress. <a href="http://www.webmd.com/sleep-disorders/features/10-results-sleep-loss#1">Insomnia can be devastating</a>, and has been linked to cognitive deficiencies – such as memory lapses, psychological problems including mood and anxiety disorders, and long-term health concerns including obesity and dementia. The most severe cases of chronic insomnia can even increase <a href="http://www.medicalnewstoday.com/articles/290065.php">the risk of mortality</a>. <figure><iframe src="https://www.youtube.com/embed/TTDDK6goHVg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The cost of insomnia goes well beyond just health. According to the National Sleep Foundation, insomniacs are two to four times more likely to have an accident – with over <a href="https://www.cdc.gov/features/dsdrowsydriving/">72,000 traffic accidents a year</a> in the US alone linked to sleep deprivation. Insomnia also costs US companies an <a href="http://www.nbcnews.com/id/12152327/ns/health-sleep/t/chronic-sleep-problems-costing-us-billions/">estimated $150 billion</a> in absenteeism and reduced productivity, every year. Given our need for regular and deep sleep, it is no surprise then that people with insomnia often reach for the medicine cabinet. Pharmacies in the UK regularly dispense more than <a href="https://www.theguardian.com/society/2012/may/11/nhs-spending-sleeping-pills-50m">15.3m prescriptions for sleep aids</a>. But this is not the safest route to a good night’s slumber, as the use of over the counter and prescription sleep aids can lead to harmful side effects, dependency and withdrawal. <h2>Music for sleep?</h2> Research has shown that listening to “self-selected” music – music of your choice – can actually shorten stage two sleep cycles. This means people reach restful <a href="https://theconversation.com/can-listening-to-music-help-you-fall-asleep-49864">REM sleep – the restorative part of our sleep – more quickly</a>. In the study, students who listened to 45 minutes of <a href="http://lib.semmelweis.hu/sepub/pdf/2008/a18426457">music before bedtime</a> for three weeks saw a cumulative positive effect on multiple measures of sleep efficiency with similar effects reported in older citizens in Singapore. Following all this evidence, the NHS now recommends “<a href="http://www.nhs.uk/Conditions/Insomnia/Pages/Prevention.aspx">listening to soft music</a>” before bedtime as a method to prevent insomnia. With all this in mind, <a href="http://musicwellbeing.group.shef.ac.uk/">our research unit</a>, along with colleagues from the Sleep and Cognition Laboratory at the University of Lincoln and Goldsmiths, University of London, has embarked on a new music sleep project, to find out what people listen to when they are nodding off – and why people believe music helps their sleep. <a href="https://dl.dropboxusercontent.com/u/16722236/Final%20sleep%20infographic.pdf">The first phase of our music sleep survey </a> has been completed by 651 people, who have told us a great deal about the music that helps them to sleep. We discovered the top rated composer of sleep music in our sample is Johann Sebastian Bach. He was followed by Ed Sheeran, Wolfgang Amadeus Mozart, Brian Eno, and Coldplay. Aside from those few top rated artists, there was an enormous variety of individual choices – with 14 different genres and 545 different artists named. And it is this data which will give us the basis to examine the features of effective sleep music. Using computer programs we will be able to pin down the consistent musical features that support sleep among these many diverse musical sounds. <h2>Face the music</h2> We also found out a lot about the reasons why people are turning to music in the first place. And they are varied. In our <a href="https://dl.dropboxusercontent.com/u/16722236/Final%20sleep%20infographic.pdf">research</a>, people highlighted the importance of music for blocking disruptive external (such as traffic) and internal (like tinnitus) sounds, for filling uncomfortable silences, and providing a sense of companionship and security. This suggests that a one size fits all approach to music for sleep is unlikely to suit all insomniacs, because people are tuning into so many different types of music for so many different reasons. <a href="https://www.youtube.com/watch?v=TTDDK6goHVg&feature=youtu.be">The next step for our research</a> will be to expand <a href="http://musicpsychology.co.uk/sleep/">our survey</a> to cover as many populations and cultures as possible. We will then test the music that people report to be consistently effective at different stages of sleep using advanced sleep recording techniques. Our aim is to develop personalised music selection technology, combined with advice on music sleep strategies, as a complete package for people who need to restore their sleep to normal for the sake of their health, quality of life and well-being. Until then, the best advice we can offer when choosing music to put you to sleep is to trust your own musical choices over generic “sleep” playlists. You know best what you are looking for in a bedtime track – based on what you like and what you need from the music at the time. And in the near future we will be armed with the necessary evidence that will allow us to move from this “instinctive approach” to a more informed and optimised application of music as an effective aid in the battle against insomnia.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/61622/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/victoria-williamson-277929">Victoria Williamson</a>, Lecturer in Music , <a href="https://theconversation.com/institutions/university-of-sheffield-1147">University of Sheffield</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-listening-to-music-could-help-you-beat-insomnia-61622">original article</a>.

Music

Tina Turner: an immense talent with a voice and back catalogue that unites disparate music lovers

<a href="https://theconversation.com/profiles/freya-jarman-535397">Freya Jarman</a>, <a href="https://theconversation.com/institutions/university-of-liverpool-1198">University of Liverpool</a> On a few rare occasions (often at the end of a night), I’ve confided to my friends that Tina Turner was one of my biggest celebrity crushes. The revelation has usually been met with some surprise, and not unreasonably. Born in 1939, Tina was older than my mother and nearly 40 years older than me. But to me, she was a complete goddess from the moment I first encountered her. I vividly recall a white button-down shirt and figure-hugging blue jeans (probably the Foreign Affair tour of 1990) and an awakening of teenage desire. Turner has died aged 83. Reflecting now on her 50-year-long career, I can see the threads that made her the perfect icon for the young queer feminist I was in the early 90s. She was a strong and resilient woman who escaped the control of abusive men and went on to forge a stronger solo career afterwards. But her music also pushed boundaries of genre in ways that start to defy categories of gender, race and age, thereby changing the way female performers could be thought of. In 1967, Turner was both the first Black artist and woman to appear on the cover of <a href="https://www.rollingstone.com/music/music-pictures/tina-turner-rolling-stone-covers-916255/">Rolling Stone</a>. She remains the only Black woman to have been inducted twice into the Rock and Roll Hall of Fame. In 2013, she became the oldest person (at 73) to appear on the <a href="https://www.thecut.com/2013/03/tina-turner-oldest-vogue-cover-model.html">cover of Vogue</a>. Vocally, Turner was raised in the church, Spring Hill Baptist Church in Nutbush, specifically. However, her voice was different from the others she came up alongside. Unlike Dionne Warwick, Aretha Franklin or Diana Ross, Turner’s voice had a grit and a rasp, qualities that always added an unexpected edge to her early work. It was also a sound that enabled her to move beyond soul and blues in her solo career. <h2>A genre-fluid singer</h2> Turner’s first solo album (in 1974) was country, replete with steel guitars and talk of the bayou. The very next year, she performed the role of the <a href="https://www.youtube.com/watch?v=2rJGX8uqoL8&ab_channel=StevenPrestidge">Acid Queen</a> in film of The Who’s psychedelic operetta fantasy, Tommy. The role gave its name to an album featuring several notable rock covers by Turner, such as Led Zeppelin’s Whole Lotta Love. Famously, she escaped from an abusive relationship with her singing partner Ike Turner, securing the rights to her stage name to her comparative financial detriment in their divorce settlement in 1978. Ike exerted his dominance in plain sight, slipping verbal threats of violence into <a href="https://youtu.be/FqdhfwUd2lk?t=88">a live performance of I’ve Been Loving You Too Long</a> at a concert in Ghana (1971). From the early 1980s, Turner made what has repeatedly been described as one of the most remarkable career comebacks of the century. The chart success of her cover of Al Green’s <a href="https://www.youtube.com/watch?v=4rFB4nj_GRc&ab_channel=TinaTurner">Let’s Stay Together</a> (1983) came from left of field and the ensuing album, Private Dancer (1984) went platinum five times. <figure><iframe src="https://www.youtube.com/embed/d4QnalIHlVc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Private Dancer represented another musical turn, this time towards the electro-synth pop world inhabited by Heaven 17, whose Rupert Hine and Martyn Ware produced several of the songs. The title song of the album exemplifies the narrative of Tina as a feminist powerhouse. Even 40 years on, the idea of a woman in her mid-40s singing a pop song about sex work is somewhat surprising. It’s not just an allusion to sex work (like, for instance, Blondie’s Call Me). And it’s far from the many songs about female sex workers written and performed by men (take Roxanne by The Police or Killer Queen by Queen for instance). Private Dancer is an explicit and unambiguous declaration of female desire and power in the first person. If anyone were in any doubt that Beyoncé owes a great deal to Turner’s trailblazing, her video for <a href="https://www.youtube.com/watch?v=pZ12_E5R3qc&ab_channel=Beyonc%C3%A9VEVO">Partition</a> is surely evidence, being a direct descendant of Private Dancer with its cage-dancing sex show. Over her 14 solo albums, Turner developed a remarkable capacity to push through boundaries and exist between categories. Along the way, she also changed how a woman in popular music was positioned for consumption. This magic made her fans in all sorts of music listeners. <h2>A musical uniter</h2> Turner’s musical agility allowed her to inhabit contradictory musical spaces simultaneously. For instance, there is the Tina Turner who makes regular appearances on the setlists of DJs at retro club nights, inspiring inebriated patrons to shake their tail feathers in unison. There is an exuberance here that crosses times and identities to bring a crowd together in the ritual of “rolling on the river”. It’s a song that also invites all shades of <a href="https://www.youtube.com/watch?v=GLUJz5xrdds&ab_channel=ThatRPDRChannel">drag performance to honour it</a>. <figure><iframe src="https://www.youtube.com/embed/GC5E8ie2pdM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Then there is the Tina Turner who appears – frequently as the only woman, and perhaps uniquely as a Black woman – on compilations targeted at a predominantly male audience. The world of “dad rock” and “driving anthems” is a stronghold of largely white, male baby boomers. Think Robert Palmer, ZZ Top, The Jam and Whitesnake. There alongside them is Turner with songs like The Best, We Don’t Need Another Hero and Nutbush City Limits. Tina Turner’s capacity to transcend these borders of genre, and with them, borders of race, age, and gender, is what made her the absolute legend that she was. To me, it will also always represent a hybridity that calls to my identity as a queer feminist.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/206526/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/freya-jarman-535397">Freya Jarman</a>, Reader in the Department of Music, <a href="https://theconversation.com/institutions/university-of-liverpool-1198">University of Liverpool</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/tina-turner-an-immense-talent-with-a-voice-and-back-catalogue-that-unites-disparate-music-lovers-206526">original article</a>.

Music

Baby names inspired by music icons

Parents these days are finding baby name inspiration everywhere: from the characters in Disney film Frozen to their favourite chart-topping musicians. Take a look at these popular baby names inspired by leading music icons. Alanis Singer Alanis Morissette made this unique twist on the name Alannah famous. She was named after her father Alan, who is said to have found the name Alanis in a Greek newspaper. Bowie English singer David Bowie could never have guessing he’d inspire a generation of parents to use his iconic surname for their babies. Dylan Bob Dylan is another singer whose last name has been turned on its heard for naming inspiration. Elton Sir Elton John captured a generation with award-winning songs like Tiny Dancer and Candle in the Wind, so it’s little surprise his name is catching on as a unique option. Taylor Once a common American boy’s name, Taylor has become popular as a girl’s name thanks to country pop star Taylor Swift. Enya Irish singer and instrumentalist Enya, whose real name is actually Eithne Ni Bhraonain, is known for chart-topping solo songs such as Sail Away. Fergie Reminiscent of Fergie the Duchess of York and singer Fergie, born Stacy Ann Ferguson, this is a name with attitude. Hendrix Revered American rock guitarist Jimmy Hendix may have only had a career spanning four years, but his name lives on as a modern first name. Joss Musician Joscelyn Eve Stoker, also known by her stage name Joss Stone, made this nickname a household name. Kelis The RnB singer Kelis Rogers is said to have gotten her one-of-a-kind name when her parents combined their names Kenneth and Eveliss. Lennox While Lennox is an aristocratic Scottish surname by tradition, songstress Annie Lennox brought it in vogue as a potential first name. Mya Popularised by RnB singer Mya Harrison, this became a twist on the classically spelt Mia. Ray Jazz musician Ray Charles brought this name back into popularity. It’s also a choice for girls, with spelling switched to ‘Rae.’ Images: Getty

Music

The soundtrack to selling: why advertising with popular music needs to be pitch perfect

<a href="https://theconversation.com/profiles/morteza-abolhasani-1346513">Morteza Abolhasani</a>, <a href="https://theconversation.com/institutions/the-open-university-748">The Open University</a> At some point today, it’s likely that you’ll listen to music. It may be during a commute or school run, while you do some exercise or take some time to relax. Music is all around us – an accessible and popular art form which <a href="https://online.ucpress.edu/mp/article-abstract/22/1/41/62190/Uses-of-Music-in-Everyday-Life?redirectedFrom=fulltext">accompanies our daily lives</a>. Advertisers have long understood the popularity and emotional power of music and used it to sell us things. Much time – and money – is spent on securing the right soundtrack to adverts in a bid to boost sales, such as when Microsoft <a href="https://www.bloomberg.com/news/articles/1999-05-23/sing-a-song-of-selling?leadSource=uverify%20wall">spent a reported US$3 million</a> (£2.4 million) to use The Rolling Stones’ song Start Me Up as part of their advertising campaign for Windows 95. So how do companies choose the right music for their product? And why is it such a valuable ingredient in the mission to make us consume? Research suggests that the specific qualities of music as an art form enhances the science of selling. As one researcher <a href="https://onlinelibrary.wiley.com/doi/10.1002/mar.4220010303">puts it</a>: “Music […] is the catalyst of advertising. It augments pictures and colours words, and often adds a form of energy available through no other source.” Other <a href="https://link.springer.com/chapter/10.1007/978-3-531-18916-1_19">studies have shown</a> how music transports, underlines or amplifies the persuasive message of adverts. Used well, it creates memorable commercials which influence our attitudes to a product or service. Take the visually simple but <a href="https://www.youtube.com/watch?v=J6bGnSEwdKY">compelling advert</a> for Air France, with the soundtrack of Mozart’s Piano Concerto No. 23. It projects grandeur and elegance, in the hope that viewers will associate those qualities with the airline. <figure><iframe src="https://www.youtube.com/embed/J6bGnSEwdKY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">My research</a>, which looked at hundreds of viewer comments about the music used in advertising, suggests it was successful. Air France’s use of a sophisticated piece of classical music created a direct perception of a sophisticated and premium airline. This is supported by other <a href="https://academic.oup.com/edited-volume/38632/chapter-abstract/335307151?redirectedFrom=fulltext">research</a> which suggests that music which matches the main message of an advert has a positive effect on consumer engagement. This alignment, known as “musical congruity”, can result in enhanced attention, a positive emotional response, and improved brand recall, ultimately enhancing the effectiveness of an advert. <h2>Down memory lane</h2> Music is also effective at triggering <a href="https://journals.sagepub.com/doi/abs/10.1177/1470593114521451?journalCode=mtqa">feelings of nostalgia</a>. The extent to which music arouses emotional memories – “musical indexicality” – in adverts creates associations with consumers’ past experiences. The music for <a href="https://www.youtube.com/watch?v=_NwBcCUh24I">an advert</a> for Old Navy inspired <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">positive comments</a> based on viewers’ memories. A good choice of music allows businesses to tap into this nostalgia for commercial benefit, and my <a href="https://journals.sagepub.com/doi/pdf/10.1177/1470593117692021">research suggests</a> that music with autobiographical resonance can be particularly effective. Another example of this is when <a href="https://www.youtube.com/results?search_query=pink+moon+vw">Volkswagen used</a> Nick Drake’s Pink Moon. <figure><iframe src="https://www.youtube.com/embed/_-kqUkZnDcM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As one viewer commented: “Rarely do I get sentimental with commercials, but this one takes me back to the time when I was dating my wife and when we were first married. We used to take drives like this in the mountains and I remember looking at her beautiful face in the moonlight. The music is perfect. The sentiment is perfect.” (In this case, the 1999 advert also had a big impact on Nick Drake’s popularity, with album sales <a href="https://www.rollingstone.com/music/music-news/nick-drake-pink-moon-song-volkwagen-commercial-182739/">dramatically increasing</a> after the advert’s release. Drake, who died at the age of 26, never saw commercial success in his lifetime.) <h2>Commercial clash</h2> But using music to advertise products doesn’t always work. For one thing, music can infiltrate the mind, repeat itself continuously and become extremely difficult to dislodge. This is why we can’t get some jingles out of our heads for ages. Involuntary and repetitive exposure to a piece of music can quickly reach the point of annoyance. The use of popular music in advertising can also provoke arguments around <a href="https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5206">the tensions</a> between artistic endeavour and commercialism. Some people believe a work of art should not be used for the pursuit of profit. In fact, the findings of my study on viewer comments showed that consumers sometimes passionately oppose the use of music by revered musicians being used in adverts, as they believe that doing this undermines its aesthetic integrity. For example, Nike’s use of the The Beatles’ song Revolution was seen by some as exploiting John Lennon’s lyrics to sell shoes. It made some Nike wearers so angry that they boycotted the brand. One wrote: “This is disgusting. Shame on Nike for exploiting priceless art. I will never buy another Nike shoe again.” Another said: “John didn’t mean change the brand of your trainers!” So advertisers need to be careful. For while the right choice of music can attract customers, boost sales, and inspire brand loyalty, the wrong choice can create something of a backlash. For many people, music is precious, and using it as a marketing tool does not always have harmonious results.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/203856/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/morteza-abolhasani-1346513">Morteza Abolhasani</a>, Lecturer in Marketing, <a href="https://theconversation.com/institutions/the-open-university-748">The Open University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-soundtrack-to-selling-why-advertising-with-popular-music-needs-to-be-pitch-perfect-203856">original article</a>.

Music

How one brave mum is shedding light on postnatal depression through the healing power of music

Warning: This article contains sensitive content which some readers may find distressing. It’s no secret that having a baby changes your life in every way. From sleepless nights and feeding routines, to nappy changes and seemingly endless crying, starting a family is, put simply, a life-altering experience. And while the early days of having a newborn can bring love and chaos in equal parts, for some, the days, weeks and months after giving birth can welcome a whole new set of challenges. While most parents are privy to the “baby blues” and a rough day here and there, those struggling with postnatal depression can often be overlooked. Postnatal depression is common, with one in five mums, and one in 10 dads, experiencing postnatal depression symptoms after their baby is born. For Lija (pronounced Le-ah), postnatal depression completely changed her life. Lija, a music teacher from the Central Coast of New South Wales, welcomed her first child, a beautiful daughter named Harper, into the world at the end of 2017. When Lija discovered she was going to become a mum, she was overcome with fear. Lija spoke exclusively with OverSixty about her journey with postnatal depression, and how her feelings of anxiety began as soon as she fell pregnant. “There was this lie in my head that I could not give birth… That I would die. You feel like you can’t make a way through it and you’re predicting all these complications. [Lija’s friends’ traumatic birth experience] confirmed all these feelings and i just thought ‘Maybe you die from this’.” As soon as Lija and her husband began to celebrate the news of their growing family, she quickly began to “spiral” into self-doubt and depressive episodes. “When I found out I was pregnant, it was a spiral. I didn’t think I was good enough, I was crying so much… I didn’t feel like I could tell anyone because I was so gripped in fear.” “It took me about seven months to accept that I was having a kid.” Over the course of her pregnancy, Lija’s mental health continued to plummet with her feelings of fear and self-doubt, which led her down an even darker path. “The worst part was I was suicidal. There were moments where I wanted to end my life because I just felt like my time was up.” These feelings of helplessness led Lija to reach out to a counsellor, who helped manage her mental health symptoms for the rest of her pregnancy and introduced her to hypnobirthing. Her sessions with a hypnobirthing specialist gave Lija the boost she needed to be in tune with her body, and get her through to Harper’s birth with a sense of confidence. “If I’ve grown a baby, I can give birth to a baby. It was all just focus.” When Harper was born, Lija remembers healthcare professionals warning her husband that her mental health could decline, but she was never spoken to directly. “Apparently nurses were talking to my husband after the birth saying ‘She’s going to be prone to postnatal depression, you need to watch her’, but no one told me I was going to be so lonely.” “I was so focused on the birth going well that I hadn’t thought about what happens after, and I didn’t know what postnatal depression was.” When Lija and her husband brought baby Harper home, as they encountered perfectly common issues around sleep and breastfeeding, Lija thought she had failed as a first-time mum. “I felt like I failed as a mum because I couldn't give Harper everything she needed. And that started all these terrible thoughts and I just started to mentally spiral down again. But I didn’t know for about six months that I had postnatal depression.” During the first few months of Harper’s life, Lija began to find simple day-to-day tasks very difficult. “My poor husband… I was a psycho. It began when I said no one was allowed to come over because I was constantly in my pyjamas and I felt ashamed that my house wasn’t clean.” Lija shared that as she began to settle into the reality of being a mum, Harper’s needs always came first. “I was just in such a routine. I needed to have my baby follow a good structure, which meant my mental health took a backseat. So I just kept spiralling and spiralling.” As Lija tried to better herself, she quickly found out that comparing yourself to other new parents is a slippery slope that welcomes thoughts of self-doubt. “I tried to go to a mum’s club and they all seemed so perfect. I feel like they weren’t real. It was like Instagram mums. So to try and look good, I was spending all this money to try and keep up appearances.” As Lija’s mental health continued to suffer, she said it wasn’t until a difficult conversation with her husband that she realised she needed professional help. “I wasn’t being the normal me. There was no joy, there was no laughter, and I felt like I failed as a mother and as a wife. So my husband said ‘I’ve booked you in for a therapy session’, and that was the start of it.” “I wanted to be better for Harper. I wanted to be a good mum for her. So I had to start working on myself.” Now, five years on, Lija is reflecting on her experience with postnatal depression in the best way she knows how: through her music. Lija’s debut single Save Me details her journey of becoming a mum and bettering herself, while painting an honest portrait of the first months of motherhood. <iframe title="YouTube video player" src="https://www.youtube.com/embed/tmHTlybb-rM" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> After being a musician for most of her life, Lija’s passion took a backseat when she became a mother. “I started to miss my music, because I've done music my whole life. It was so hard to walk past my studio and see the guitar going to waste. I started to miss the other half of me as a musician.” After working on Save Me for several years, Lija believes it is the right time to put her story out there in order to help and inspire other parents struggling with postnatal depression. “It’s okay to be vulnerable. Be real, because you can help others with your honesty.” “It’s also important to remember that babies aren’t going to remember the best outfits they were in, or if they had the best pram. They're going to remember if they were loved or not.” Lija has long been a champion of music and its healing power, which became a saviour in her darkest times through her postnatal depression journey. “I went back to teaching music three months after having Harper. I worked one day a week and these kids and teenagers that were singing to me were actually healing me with their music and their talent.” “Music is something I have always turned to. It has always spoken to me, and I thought if I write a song about my journey, that could heal me too. I thought ‘It’s time to kick fear in the butt and write about life’.” Musical talent is something that runs in the family, with Harper’s singing talents already at “the next level”. “I swear she came out singing! Her ability to hear pitch is insane. In lockdown, she would be singing scales while I was teaching music classes over Zoom. She is just so joyous, and she is like my healing.” Lija’s debut single Save Me is out on now. Don't go it alone. Please reach out for help. Lifeline: 13 11 14 or <a href="http://lifeline.org.au/">lifeline.org.au</a> Beyond Blue: 1300 22 4636 or <a href="http://beyondblue.org.au/">beyondblue.org.au</a> Headspace: 1800 650 890 or <a href="http://headspace.org.au/">headspace.org.au</a> PANDA (Perinatal Anxiety & Depression Australia): 1300 726 306 or <a href="https://panda.org.au/">panda.org.au</a> Image credits: Instagram

Music

"Who picks a fight with a rock star?" Jimmy Barnes confronts on-road "bully"

Jimmy Barnes' wife Jane has ripped into a truck driver who "bullied" the couple on the road, with the driver attempting to "fight Jimmy on the roadside". Jane Barnes said the incident occurred on Wednesday night in the south Sydney suburb of Botany Bay, when the couple had been driving home from a charity event. In a furious thread on Twitter, Jane detailed the terrifying incident which resulted in the police being called. Jane wrote, "(He) cut us off across our lane and swiped our mirror, wanted to fight Jimmy on the roadside." "Trucks are like weapons, bullies behind the wheel a danger to us all," she wrote, alongside the hashtags #TOLL and #NOtobullies. Jane then shared a photo of the truck drivers' side profile as he almost came to blows with the rockstar, as well as photos of the truck's license plate and the Barnes' car which shows the drivers' side wing mirror bent out of place. Jane went on to say the truckie had shared his details with the couple and that NSW Police had been called over the altercation. However, she said, officers "couldn't do much" if there were no injuries or damages. Jane's post drew in a wave of attention, with one fan asking, "Who picks a fight with a rock star?" Ms Barnes replied, "Shouldn't matter who it is. This guy was just a pig. Swearing, smug, ignorant, misogynist bully." The musician continued her rant on Instagram, writing, "When you drive a truck you're in charge of a weapon. A bully at the wheel can kill people." Many sent their sympathies to the couple, with some saying the tweet was "poignant" given the increase in accidents on Aussie roads. Image credits: Twitter

Travel Trouble

Inspiration, influence and theft: what the Ed Sheeran case can tell us about 70 years of pop music

a US court <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">ruled in favour of singer-songwriter Ed Sheeran</a>, agreeing his song Thinking Out Loud did not breach musical copyright. The high-profile court case, brought by the estate of soul singer Marvin Gaye, claimed Sheeran’s song was too similar to Gaye’s song Let’s Get It On. On the stand, Sheeran <a href="https://www.theguardian.com/music/2023/apr/28/ed-sheeran-sings-in-court-as-part-of-marvin-gaye-copyright-case">defended his songwriting process</a>, stating: “I draw inspiration from a lot from things in my life and family.” Sheeran’s case brought up some difficult questions around what we understand as inspiration and influence, and what we may hear as theft. Musical copyright cases are part of songwriting history. Radiohead’s Creep was found to be <a href="https://entertainment.time.com/2013/08/22/11-suspiciously-sound-alike-songs/slide/the-hollies-the-air-that-i-breathe-1974-vs-radiohead-creep-1992/">too similar</a> to the Hollies’ The Air That I Breathe, and in 2018, Lana Del Rey’s Get Free <a href="https://variety.com/2018/biz/news/lana-del-rey-claims-lawsuit-with-radiohead-is-over-watch-1202736177/">was found to plagiarise Creep</a>. Mark Ronson and Bruno Mars altered the credits to Uptown Funk to <a href="https://www.rollingstone.com/music/music-news/lawsuit-bmg-uptown-funk-royalties-gap-band-heirs-1234660379/">acknowledge the similarity</a> to The Gap Band’s Oops Upside Your Head. Here in Australia, the flute solo in Men at Work’s Down Under, which quoted the melody of folk song Kookaburra Sits in the Old Gum Tree, was <a href="https://www.theguardian.com/music/2010/jul/06/men-at-work-down-under">ruled as plagiarism</a>. In this case against Sheeran, the song’s chord progression was at the heart of the claim. The prosecution argued Sheeran’s chord progression was too similar to the chord progression of Gaye’s. But can we copyright a chord progression if it is used extensively in other pop songs? Gaye’s song uses four chords that gradually move upward (I-iii-IV-V). These same chords can be heard in the Beach Boys’ I Can Hear Music, the Seekers’ Georgy Girl, the Beatles’ I Feel Fine, in the Motown tune This Old Heart of Mine by the Isley Brothers, Elvis Presley’s Suspicious Minds, Cher’s Believe and ABBA’s Knowing Me Knowing You, among many others. This chord progression and many others are part of the songwriting toolkit of rock and pop and have been heard continuously over the past 70 years. <h2>The 12 bar blues</h2> A chord progression is the main instrumental part you hear in most pop music, usually played by a guitar, piano or synth. One of the oldest chord progressions in pop is the 12-bar blues – a looping pattern of three chords that is very identifiable. As the name suggests, this set of chords stems from early blues and was a way for musicians to easily play together and improvise. A version of this progression can be heard in Muddy Waters’ I’m Your Hoochie Coochie Man or John Lee Hooker’s Boom Boom. You can also hear this progression in a number of other pop songs – listen to verses of Queen’s I Want to Break Free and Kiss by Prince – both use the same chord progression, but sound very different to each other. More recently, Lizzo’s Better in Colour uses the 12-bar blues in a way that makes an old formula fresh. <h2>The ‘doo-wop’ progression</h2> The “doo-wop” progression has appeared in pop music for close to 80 years, and is named because most doo-wop songs feature this chord progression – it was an essential part of its sound. You can hear it in 1950s hits such as the Penguins’ Earth Angel and Frankie Lymon and the Teenagers’ Why Do Fools Fall in Love?. The strength of these chords means they are used in pop music of all kinds, including ELO’s Telephone Line, Don’t Dream it’s Over by Crowded House, Destiny’s Child’s Say My Name, Blank Space by Taylor Swift, and Flowers by Miley Cyrus. Despite its consistent use, these chords still cross genres and eras, and still catch our ears. Comedy act Axis of Awesome use a similar progression in their video for 4 Chords, where they cleverly play almost 50 different songs with a variation on these four simple chords. <iframe title="YouTube video player" src="https://www.youtube.com/embed/oOlDewpCfZQ" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <h2>The I-IV-V (the ‘one, four, five’)</h2> Perhaps the most common chord progressions in rock and pop are those that use the I, IV and V chords in various combinations. They’re usually the first three chords you learn on an instrument and open up thousands of songs to play – from the rock and roll of Summertime Blues by Eddie Cochran, the garage rock of Wild Thing by the Troggs, the bubblegum of Hanson’s Mmmbop and the indie rock of Coldplay’s Yellow, to the modern pop of bad guy by Billie Eilish and good 4 u by Olivia Rodrigo. <h2>Going forward</h2> Rock, pop, blues, doo wop and other musical genres can often be defined by their use of repeated chord progressions. These chord progressions are part of a songwriter’s toolkit in a similar way to how an artist may use different paint brushes. As Sheeran’s lawyer Ilene Farkas <a href="https://www.theguardian.com/music/2023/may/04/ed-sheeran-verdict-not-liable-copyright-lawsuit-marvin-gaye">noted</a>, chord progressions are, "the letters of the alphabet of music […] these are basic musical building blocks that songwriters now and forever must be free to use." It is how these “building blocks” are used, and in what combinations, that gives us a great variety of pop songs over many decades. The true craft of great pop music is to take these formulas and turn them into something unique (while simultaneously making it sound easy). The ruling in Sheeran’s case supports the rights of musical artists to continue to use these progressions as part of a songwriter’s toolkit, and to build from the artists who came before them. It also acknowledges that influence and inspiration from previous works are part of the construction of the pop music we love. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/inspiration-influence-and-theft-what-the-ed-sheeran-case-can-tell-us-about-70-years-of-pop-music-204747" target="_blank" rel="noopener">The Conversation</a>.

Music

Madonna releases “controversial” 20 year old music video

Pop veteran Madonna has finally released the music video for her hit song American Life, 20 years after it was filmed. The video, which is arguably her most controversial yet, was originally set to come out in 2003, but was scrapped at the last minute due to overwhelming negative press. While the song itself was a wry look at Madonna’s own experiences of fame and success, the original video was instead a graphic commentary on the then-imminent American invasion of Iraq. Shot just weeks before the war began, the video shows Madonna and her posse of backup dancers all wearing army garb, preparing for a fashion show that sees soldiers walk the catwalk alongside victims of war. The “fashion” show is observed by disinterested fashion experts, who watch on with impassive faces as violence breaks out on the catwalk, with blood and guts spilling everywhere. Had it have been released at the time of growing tensions between the US and Iraq, the video would’ve been heavily censored, or even banned, due to the numerous graphic depictions of violence, with dismembered and disembowelled victims laying on the runway. In response to the outrage, Madonna said the video would never see the light of day. “I have decided not to release my new video. It was filmed before the war started and I do not believe it is appropriate to air it at this time. Due to the volatile state of the world and out of sensitivity and respect to the armed forces, who I support and pray for, I do not want to risk offending anyone who might misinterpret the meaning of this video,” she said in 2003. Now, two decades later, Madonna’s finally officially released the original music video on her official YouTube channel to mark the album’s 20th anniversary. You can watch the video <a href="https://www.youtube.com/watch?v=bZAMiK6ROZA">here</a>, but be warned that viewer discretion is advised. Despite the backlash that occurred when the video was first filmed, many fans are glad the unseen footage has finally been released. The video has racked up hundreds of thousands of views in less than a week, and multiple comments praising the pop veteran for her bold statement. One commenter wrote, “This video is not only iconic but also a powerful and still relevant message to this day. I'm glad it finally got an official release after all these years!” Image credits: Getty Images

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Madonna releases “controversial” 20 year old music video