The prevailing white racial frame surrounding discourse on the sailor work songs called chanties (popularly, “sea shanties”) means that discussions tend to ignore or minimize these songs’ African American heritage. Articulating revised and more just historical narratives of chanties is additionally challenged by the normative approach of setting discussions within the spatial frame of the sea. We may overcome these challenges by recentering the frame of discussion on an adjacently situated space of shoreside labor and its actors, cotton screwmen. Throughout the nineteenth century, the United States’ cotton export trade depended upon screwmen's work of stowing cotton bales aboard ships in port. Although all screwmen were Black men during the profession's formative period, by mid-century, white men had joined the profession in complementary proportion. This created an unusual case, not only of both racial groups performing the same labor but also of white men entering and accommodating to an already-established “Black” labor environment. Importantly, from the advent of their profession, screwmen practiced singing to coordinate their labor. I argue that white sailors who came to work seasonally as screwmen were compelled to acculturate to existing African American work singing, and thus acquired the material and conceptual bases to develop the shipboard work songs best remembered as “chanties.” As the first ever sustained exposition of screwmen's forgotten singing, this essay contests both popular narratives’ granting of exclusive agency to white seafaring and academic discussions that tokenize African American heritage as an “influence” rather than the chanty genre's foundation.

In September 2022 Samson Kambalu attracted international attention when his 5.5 metre statue of John Chilembwe, who led a brief, bloody and ultimately unsuccessful revolt against British colonial rule in Nyasaland in 1915, was displayed on the fourth plinth in London’s Trafalgar Square. This impressive statue towers above an accompanying statue of British missionary, the Rev. John Chorley, who was then Chilembwe’s only known white friend and confidant. The reason for their disparate heights is stated to be an indicator of their respective relevance and locus each to the other in Malawi’s rich history. The artistic merit of the statues is unquestioned. Unfortunately, an apparent lack of rigour in providing historical context to the statues may have unwittingly detracted from the already well known, powerful and compelling story of John Chilembwe. This article seeks to redress the balance in terms of historical accuracy and provide timely context to Chilembwe’s aspirations, tribulations and untimely death at the hands of African police.

‘Newsround’ offers a platform for new discoveries that do not appear within the specialist contributions of this year’s Archaeological Reports, but which nevertheless warrant emphasis, either as a result of their particular characteristics or for the contribution they make to broader archaeological narratives. This section is not intended to be exhaustive, but rather an overview of archaeological research in Greece. It comprises largely preliminary reports (results of excavations that took place up to and including August 2023, where possible) that complement the digital content made available through Archaeology in Greece Online (https://chronique.efa.gr). Due to the diachronic nature of a number of the sites, and for ease of reference, the material is organized geographically in the first instance and then chronologically (earliest to latest) within each section as far as possible.

Uncovering the motivations towards a profession may contribute to a better understanding of how the profession is chosen and will be pursued. However, the research on the attractiveness of the music teaching profession is rather limited and predominantly focused on identity development, thereby overlooking other aspects that may play a role. In pursuing a case study, my aim is to contribute to this field of research by investigating the views of pre-service music teachers enrolled at the University of Karlstad in Sweden. The results depict a unique motivational profile compared to their counterparts in other subjects. These differential aspects are threefold, indicating a high prevalence of ‘extrinsic motivations’ driving their choice of profession, that ‘altruistic reasons’ have lower significance as a motivating factor, and that there is a poor perceived relevance of these individuals’ future profession. In addition, this study provides evidence of the prevalence of ‘musician identities’ over ‘teaching identities’ and foresees the dependence between the participants’ motivation and their future students’ progression. Moreover, I hypothesise that career changes and Pygmalion effects are to be expected if intrinsic motivation towards the profession is not fostered or if this population’s motivation is linked to the progress of their students rather than the challenge of motivating them in the first place.

Amplifiers from Fender's so-called Tweed era (1948–60) are among the most valuable instruments in all popular music. Inside most Fender Tweed amplifiers is a piece of masking tape bearing the signature of the worker who hand-wired the amplifier's circuit. Today, collectors have elevated several of Fender's previously unknown Latina employees into legendary figures with near cultlike followings. In the absence of biographical information about these women, however, the contemporary discourse about them is often highly romanticized. In this article, I present novel historical information about Fender's Tweed-era employees to counter the misinformation surrounding them and Fender's mid-century Fullerton, California factory system more broadly. Analyzing contemporary discourses surrounding Fender's earliest employees, I also critique the persistence of gendered and racialized stereotypes about Fender's female employees being naturally equipped for labor-intensive assembly work due to their supposedly “nimble fingers.” This article also details the social processes through which Fender's Tweed amplifiers have been made “vintage,” and the company's mid-century mass-production techniques have since been attributed the same artisanal values associated with vintage string instrument making. Ultimately, I show how the builder-signatures contained within Fender's Tweed-era amplifiers have been central to the discursive production of value among collectors.

Amid the growing calls for the complete prohibition of the use by law enforcement authorities of live facial recognition (LFR) technology in public spaces, this article advocates for an incremental approach to regulating the use of the technology. By analysing legislative instruments, judicial decisions, deployment practices of UK law enforcement authorities, various procedural and policy documents, as well as available safeguards, the article suggests incremental adjustments to the existing legal framework instead of sweeping regulatory change. The proposed approach calls for adopting national legal rules governing watch lists and introducing spatial, temporal and contextual limitations on the deployment of technology based on the assessment of proportionality and necessity. To enhance the effectiveness of overt surveillance using LFR, the article recommends adopting a transparency procedure that promotes accountability without undermining the objectives of law enforcement. Alternatively, the overt use of the technology should be limited to deterring the commission of crimes and safeguarding public safety, where transparency does not undermine its effectiveness. Limiting the scope of overt use of LFR technology entails that law enforcement agencies primarily utilise covert surveillance, with prior judicial approval, except in urgent cases, as this would improve effective criminal investigation and public safety. The legal adjustments proposed in this article can be implemented through flexible secondary legislation or local policies, rather than rigid statutory rules.

Following the murder of Jîna (Mahsa) Amini on September 16, 2022, her parents decided—despite the threats and intimidation by security forces—to hold a public funeral. Protests were ongoing outside Kasra Hospital in Tehran as word spread across the capital of Jîna's murder.1 The family transferred her body to their hometown of Saqez the next day. Hundreds of people traveled to the Ayçî cemetery within hours of the announcement of the public funeral on social media. There, they helped bury Jîna among Kurdish chants and songs. Kurdish women threw their scarves in the air and chanted Jin, Jiyan, Azadî (Woman, Life, Freedom), among other slogans. In addition to the initial print reports about Jîna's murder by journalists Niloofar Hamedi and Elaheh Mohammadi—both of whom remain imprisoned for their work— social media participated and propelled the protests. Photos, videos, and other types of testimony circulated online. The funeral, solidarity demonstrations in Kurdish cities, towns, and villages, and the observation of mass strikes in the following days captured the attention of Iranians all over the country.

This study aimed to determine lactoferrin (LF) in breast milk-based powders and formulas. Lactoferrin is an important whey protein in all mammalian milks and is responsible in large part for the known antimicrobial effects of human milk in particular. As breast feeding is not always possible, formulas based on cows milk have been developed in order to meet the nutritional needs of the newborn, while more recently human breast milk-based powders have been introduced to offer the biological functionality of human milk to pre-term and critically ill babies. In the present work, the amount of LF in commercial breast milk-based powders was tested by a validated RF-HPLC method for the determination of LF in breast milk in order to examine both the applicability of the method but at a second level the amount of LF in these commercial products. The detection of LF was possible but the complexity of the matrix lead us to the use the standard addition methodology in order to achieve quantification. The results indicated that breast milk-based powders had higher amount of LF than cows milk-based formulas, both non-fortified and fortified.