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Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

The objective of this longitudinal ethnography of a rural small town in Northern Sweden, following the presence and identifying the processes associated with an incoming entrepreneur, was to better understand entrepreneurship in a rural context. The significant shaping of entrepreneurship by context is increasingly recognised, with entrepreneurship in depleted communities being an important part of this research movement. This chapter is positioned at the conjunction of these literatures. The authors have studied this community for 10 years; regularly interviewing the entrepreneur and residents; attending meetings and making observations. The authors found that the entrepreneurial creation of garden provoked a raft of change, such that entrepreneurship reverberated throughout the town. To explain these effects, the authors developed the concept of entrepreneurial energy. Entrepreneurial energy is a vitality produced in and by entrepreneurship. It works, in part, as a role model, holding up examples of what can be done. But much more, the presence of entrepreneurial energy serves to invigorate others. It becomes amplified in new ways of doing, new ways of being, yet calcified in the entrepreneurial actions of others. The authors saw how it unleashed the latent, promoted the possible, to entrepreneurially revive the town.

“Music is Rhythm, Rhythm is Life.” This maxim, uttered by former Motown drummer Bill “Sticks” Nicks to my class and me a few years back, opens a portal to what being human involves. Most accounts of what it means to be human make cognitive capacities, language and reflective thinking, the be-all and end-all of human distinction. But think about it: how many animals do you know who beat rhythm for aesthetic enjoyment and social communion?

In this essay I reflect upon moments from musical experiences, primarily from blues music, to illustrate the place of the spontaneous gesture and ensemble improvisation in interaction, in and out of the music.

This chapter provides an extensive review of literature on the interaction between and interdependence of informal and formal working practices in various workplace settings. The aim of the chapter is to elucidate the organisational, managerial, human relations and social factors that give rise to informal work practices and strategies, on the shop-floor not only at workers and work group levels but also at supervisory and managerial levels. This chapter helps the reader to understand the informal work practice of making a plan (planisa) in a deep-level mining workplace.

To outline the critical role of the sporting context in traumatic experiences, exploring sport as a catalyst to traumatic experiences and as part of the recovery process. In doing this, the chapter also aims to review the qualitative literature on trauma and provide recommendations for future research directions.

The chapter begins by asking two key questions: what silences some stories of trauma in sport and what stories are valued above others? In answering these questions, the qualitative literature is discussed with particular reference to how voice is given to stories of trauma.

Trauma may be silenced by the particular norms and values that exist within sport, creating a culture in which athletes and coaches alike fear to speak out. As a consequence, trauma stories are not voiced but avoided, a strategy that is not conducive to good mental health. The difficulties in coping with trauma may then become ameliorated by the dominance and expectation of stories of growth through adversity.

Creative strategies for allowing athletes to voice stories of trauma are discussed, including the use of visual and written methods.