This article explores the representation of women electric guitarists on Instagram. It examines the ways in which their practices as electric guitarists are represented and surveys the spectrum of gender expressions represented on Instagram. It also considers the interconnectedness between these representations and their significance. The research findings are based on textual analysis of the Instagram content of sixteen electric guitarists of varying ages, success levels, and career stages. The findings show that Instagram is a platform through which a multiplicity of representations of women electric guitarists can be observed that can contribute to a deeper, more nuanced understanding and narrative. This article demonstrates that Instagram is an important site of analysis in its ability to contribute to shaping the discourses around gender and the electric guitar and the normalisation of diverse individuals occupying this role.

The weaning process negatively affects the haematological parameters and innate immune response of dairy calves, even when managed under an intensive milk program. Here we describe haematological and innate immunity changes in 47 Holstein calves aged 69-85 days subjected to a gradual weaning process. Blood samples were collected at six (D-6), four (D-4), and two (D-2) days before and on the weaning day (D0) for the phagocytosis assay and to measure the production of reactive oxygen species (ROS) after stimulation with Staphylococcus aureus, Escherichia coli, and Mannhemia haemolytica, in addition to total protein (TP), haptoglobin (Hp), and iron concentration. The highest mean neutrophil number was recorded at D-2. The absolute number of monocytes was initially high on D-6 and D-4 but declined as the calf progressed to weaning. The number of basophils decreased rapidly, reaching a low value on D-4, and remained low for the remainder of the study period. The TP, Hp, and Fe concentrations decreased. Overall, polymorphonuclear leukocyte phagocytosis activity induced by S. aureus and E. coli decreased from D-6 to D-2, indicating persistence of the low phagocytosis rate for S. aureus. ROS production was constant for all bacterial stimulations from D-6 to D-2, followed by an increase on D0. Phagocytosis and ROS production indicate that the weaning process dampens the innate immune response relative to exposure to these common pathogenic bacteria in dairy calves. Phagocytosis and the corresponding indicators of intracellular killing activities (ROS production and myeloperoxidase index) represent the most accepted core mechanisms for the early elimination of pathogenic microorganisms in calves. Despite a slow gradual weaning management system, the study concluded that intensive milk production programs contribute to innate immune response suppression during weaning.

In 2018, Barbra Streisand released her 36th studio recording, Walls. The album's songs, a mixture of originals and covers, focus on the cruelty of President Donald Trump. In orchestrating and celebrating a particular set of positive feelings—love, hope, and longing—Walls, like much of Streisand's work, is deeply sentimental. Understanding our current political crises, Walls asserts, is more an act of sympathy than intellect; we must “feel the tears” that have been cried. Using Walls as the focus, this essay explores the ways Streisand's sentimentality has always been intertwined with her political activism. This fusion is not unique to Streisand, and my essay here is intended to show how deeply rooted the connection between sentimentality and politics has been in US American cultural history. From its development as an independent philosophical idea in the eighteenth century, through its nineteenth century popularization via women-authored novels, sentimentality has always had a political valence as well as a racialized character. I trace this sentimental–political aesthetic, what Jennifer Williamson, Jennifer Larson, and Ashley Reed call the “sentimental mode,” through two key recordings from the 1960s and 1970s: “People” and “Evergreen.” I then turn to Walls, which uses music to instruct listeners in the affective identification with the suffering of others. However, in its focus on racial others—such as immigrants from the global South—Walls also brings with it the problematic racial legacy of sentimental politics where genuine concern for the downtrodden was mixed with essentialist ideas of racial identity and hierarchy.