This chapter explores the history and present of the singles charts, and the phenomenon of the number one single, in a specifically Australian context. The history of the Australian singles charts are explored, from their beginnings in Go-Set magazine in 1966, based on sales of physical product, to the present-day situation, where the ARIA singles charts are primarily based on listens on streaming services. The chapter goes on to discuss the ways in which these differing consumption methods over the years affects the composition of the charts. While the charts in Australia often reflect overseas success by international artists, the particular music industry ecosystem in Australia can affect the success of different music.Similarly, the number one singles by Australian artists from the last decade are discussed, suggesting that it is increasingly difficult to have Australian chart success without international success.

However, there is a darker side to anti-amyloid monoclonal antibodies including lecanemab. ARIA, an acronym for amyloid-related imaging abnormalities, have occurred in all trials of anti-amyloid MABs. They occur in two forms, swelling (edema) of the brain (ARIA-E) and microhemorrhages (ARIA-H). Most of the time they are harmless and without symptoms, and they usually resolve within a month or two after stopping the drug. Rarely, they can be severe. As described in a case study, I was one of the subjects in the aducanumab trial who had severe ARIA of both types, swelling and bleeding. I required ICU care for two days, but I eventually fully recovered over the next few months. So far, three research subjects have died during the lecanemab clinical trial.

The fog of Alzheimer’s is a commonly used metaphor, and I think it’s a pretty good one. It refers to the loss of mental acuity, disorientation, and forgetfulness that are common in Alzheimer’s. But one aspect of the metaphor that is not emphasized is that like the fog bank on the ocean, the fog of Alzheimer’s can come and go. It does for me. Sometimes there is an obvious cause such as running a fever, getting too tired, or having a second glass of wine. On the day after I got my second Covid-19 vaccination I was not mentally sharp and had trouble concentrating despite not having any other side effects. Once or twice a week on first awakening in the morning, I think I am in my childhood bedroom. It only takes a few seconds to get reoriented, and it actually is a pleasant rather than scary experience. Sometimes the fog comes in for no apparent reason, lasts a few minutes or a few hours, and then goes away. I wonder what is behind these mysterious, seemingly unprovoked but temporary episodes of cognitive impairment.

Euridice had a poetic text by Ottavio Rinuccini, and music by Jacopo Peri and Giulio Caccini; its performers included Florentine singers plus others from Mantua and Rome; and its sponsor, Jacopo Corsi, was one of the four instrumentalists who provided the accompaniment. Although it is the “first” opera to have survived complete, it has tended to be treated as an academic exercise, and as a mere forerunner of the seemingly more successful early operas by the likes of Claudio Monteverdi. But having reconstructed the stage, it is now possible to read Euridice in a much more practical light, as something of and for the theatre. Both the text and the music make much more sense in these pragmatic terms, especially given the hitherto unrecognized revisions made to the libretto as decisions needed to be made during the rehearsals leading up to the premiere. Matters of casting, stage movement, costumes, and gesture all come into play, often cued by explicit or implicit directions in the surviving sources. This also offers a more careful way of reading poetic librettos and musical scores that are too often viewed in the abstract without grasping their performative functions.

This chapter analyzes both Wagner's formal processes and his harmonic and motivic structure in the Ring. The first half of the chapter focuses on the forms Wagner employed in these four operas, including such traditional operatic forms as arias and ensembles, as well as Wagner’s own theory of the "poetic-musical period" and the use of Stabreim, and various strophic and "symphonic" forms. The chapter's second half turns attention onto structure, which largely means Wagner's approach to handling tonality. Far from abolishing this system, as is sometimes supposed, Wagner worked exclusively within it. And yet the extreme way in which he sometimes pushed its logic explains in large part the magnetic effect he has had on radical artists and thinkers of the last century and a half.