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To determine the incidence of severe acute respiratory coronavirus virus 2 (SARS-CoV-2) infection among healthcare personnel (HCP) and to assess occupational risks for SARS-CoV-2 infection.
Design:
Prospective cohort of healthcare personnel (HCP) followed for 6 months from May through December 2020.
Setting:
Large academic healthcare system including 4 hospitals and affiliated clinics in Atlanta, Georgia.
Participants:
HCP, including those with and without direct patient-care activities, working during the coronavirus disease 2019 (COVID-19) pandemic.
Methods:
Incident SARS-CoV-2 infections were determined through serologic testing for SARS-CoV-2 IgG at enrollment, at 3 months, and at 6 months. HCP completed monthly surveys regarding occupational activities. Multivariable logistic regression was used to identify occupational factors that increased the risk of SARS-CoV-2 infection.
Results:
Of the 304 evaluable HCP that were seronegative at enrollment, 26 (9%) seroconverted for SARS-CoV-2 IgG by 6 months. Overall, 219 participants (73%) self-identified as White race, 119 (40%) were nurses, and 121 (40%) worked on inpatient medical-surgical floors. In a multivariable analysis, HCP who identified as Black race were more likely to seroconvert than HCP who identified as White (odds ratio, 4.5; 95% confidence interval, 1.3–14.2). Increased risk for SARS-CoV-2 infection was not identified for any occupational activity, including spending >50% of a typical shift at a patient’s bedside, working in a COVID-19 unit, or performing or being present for aerosol-generating procedures (AGPs).
Conclusions:
In our study cohort of HCP working in an academic healthcare system, <10% had evidence of SARS-CoV-2 infection over 6 months. No specific occupational activities were identified as increasing risk for SARS-CoV-2 infection.
In October 2012 the Danish Socialist People's Party chose Annette Vilhelmsen as its leader. With her ascension to power, women simultaneously headed all three of Denmark's governing parties for the first time. Though an exclusively female-led coalition government remains exceptional, in developed democracies the number of female prime ministers and party leaders has grown in recent years. Since 2000, women have governed in Denmark, Germany, Finland, Iceland, New Zealand, and Australia and have commanded coalition partner parties in Austria, Ireland, and Sweden. Just as there are now more female leaders, governments are also nominating more women to cabinets than ever before. Women recently held half of all ministerial posts in Finland, Iceland, Sweden, and Spain. Female ministers are also serving in high-prestige portfolios from which they were traditionally excluded, including finance and foreign affairs.
—Julius Eastman's program note for Stay On It (1973)
Since the new music community's rediscovery of Julius Eastman with the 2005 release of Unjust Malaise, Stay On It has quickly rushed to the head of the pack in listener popularity sweepstakes. Among critics, Mark Swed hails the music as “intensely personal” and “radically ahead of its time.” Steve Smith deems it a “potent metaphor” for the virtues of “crosspollination and collaboration.” And most colorfully of all, Paul Muller affectionately likens the piece to “a slightly out of control street party.” Nor has Eastman's resourceful fusion of relentless pulsation and elements of free improvisation failed to catch the imagination of young, open-eared performers. Captivated by the archival recordings in Unjust Malaise, the artistic directors of the experimental ensembles thingNY and Ne(x)tworks have independently undertaken to “realize” the music in live performance. Without their efforts, it is hard to imagine that Stay On It would have been selected as the representative Eastman composition on the Los Angeles Philharmonic's second Minimalist Jukebox festival in April 2014—the first “official” recognition of Eastman's belated entrée into the minimalist canon. All mighty impressive for a piece whose score is lost.
Yet the task of reconstructing Stay On It is hardly as straightforward as all that. For starters, the piece was not originally rehearsed in traditional “new music” fashion. Following the example set by the composerled ensembles of the 1960s (such as those of Cornelius Cardew and Steve Reich), and anticipating the techniques soon to be favored by the so-called downtown movement, Eastman's working methods were marked by forms of what Walter J. Ong has termed “secondary orality.”
Composer-performer Julius Eastman (1940-90) was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York. His music, insistent and straightforward, resists labels and seethes with a tension that resonates with musicians, scholars, and audiences today. Eastman's provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others assault us with his obsessions. Eastman tested limits with his political aggressiveness, as recounted in legendary scandals he unleashed like his June 1975 performance of John Cage's Song Books, which featured homoerotic interjections, or the uproar over his titles at Northwestern University. These episodes areexamples of Eastman's persistence in pushing the limits of the acceptable in the highly charged arenas of sexual and civil rights.
In addition to analyses of Eastman's music, the essays in Gay Guerrilla provide background on his remarkable life history and the era's social landscape. The book presents an authentic portrait of a notable American artist that is compelling reading for the general reader as well as scholars interested in twentieth-century American music, American studies, gay rights, and civil rights.
Contributors: David Borden, Luciano Chessa, Ryan Dohoney, Kyle Gann, Andrew Hanson-Dvoracek, R. Nemo Hill, Mary Jane Leach, Renée Levine Packer, George E. Lewis, Matthew Mendez, John Patrick Thomas
Renée Levine Packer's book This Life of Sounds: Evenings for New Music in Buffalo received an ASCAP Deems Taylor Award for excellence. Mary Jane Leach is a composer and freelance writer, currently writing music and theatre criticism for the Albany Times-Union.