David Pattie

Brandeis University · Rabb School of Continuing Studies

Objective: In the Electronic Surveillance System for the Early Notification of Community-based Epidemics (ESSENCE), influenza was originally defined by a list of 29 and later by a list of 12 diagnosis codes. This article describes a dependent Bayesian procedure designed to improve the ESSENCE system and exploit multiple sources of information with...

This article aims to examine whether words listed in reasons for appointments could effectively predict laboratory-verified influenza cases in syndromic surveillance systems. Data were collected from the Armed Forces Health Longitudinal Technological Application medical record system. We used 2 algorithms to combine the impact of words within reaso...

The Department of Defense Military Health System operates a syndromic surveillance system that monitors medical records at more than 450 non-combat Military Treatment Facilities (MTF) worldwide. The Electronic Surveillance System for Early Notification of Community-based Epidemics (ESSENCE) uses both temporal and spatial algorithms to detect diseas...

The Centers for Disease Control and Prevention (CDC) defines influenza-like illness (ILI) for its sentinel providers as fever (temperature > or =100.5 degrees F or 37.8 degrees C) and a cough and/or a sore throat in the absence of a known cause other than influenza. For electronic disease surveillance systems, classifying ILI with clinical data tha...

In this new study, David Pattie examines the apparent contradiction between authenticity and theatricality in the live performance of rock music, and looks at the way in which various performers have dealt with this paradox from rock music's early development in the 1960s up to the present day.

Partly as a reaction to the perceived victory of MTV in the 1980s, bands and audiences in the 1990s found a variety of means through which their authenticity could be proclaimed in performance; either directly (as with Nirvana or Oasis) or ironically (as with U2). However, this return to authenticity was played out against a stage environment which...

There are several possible dates for the birth of Rock music: the release of Sergeant Pepper in 1967 (or the release of Revolver the year before), which established the album as not only a coherent unit in itself, but as the major source of income for record companies; ‘Like a Rolling Stone’, the first six-minute single, which decisively expanded t...

As noted in the Introduction, there are precious few examples in the academic literature on popular music where live performance is treated as performance, rather than as an expression of sub-cultural solidarity or as an incidental part of the industrial processes of popular culture. One of the few writers who treats the process with anything like...

During the 1970s, the practices which began in the previous decade were professionalised. In both Britain and the United States, networks of touring venues opened up to accommodate rock bands: at the same time, the larger bands began to carry their own backstage crews. For example, the Stones, touring America in the early 1970s, employed a lighting...

So far this century there have been no great technological advances to equal the strides in lighting and sound design in the previous decades: rather, these advances have bedded down, and have become entirely normal parts of the performance event (and, as such, their power to disrupt the processes of authentication that Moore sees as crucial to the...

One of the iconic moments of 1990s rock occurred in a profoundly unlikely location: the backstage area of Norwich Arts Centre, in the aftermath of a Manic Street Preachers gig. An NME reporter, Steve Lamacq, had been critical of the Preachers: in particular, he had accused them of traducing the spirit of rock, of shamelessly mining rock history for...

The New Wave movement at the end of the 1970s had seemed, at least on the surface, to move rock performance away from the more elaborate trappings of theatrical presentation towards a simpler, more direct performance of the self. However, at the beginning of the new decade, the influence of MTV pushed rock performance in the opposite direction — to...

Stage shows in rock, the cliché runs, are about sex; at the heart of the experience is a multiple orgasm, shared by performer and audience, so powerful that it renders them oblivious to anything other than the transcendent moment of communal ecstasy. The thrill of unbridled sexuality has, arguably, always been part of the appeal of popular music (o...