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Amanda Dean Martin, DNP, CNEP, ACNP-BC, RNFA, chief, Division of Advanced Practice and Clinical Integration at Banner MD Anderson Cancer Center, kicked off the talk with a brief history of remote patient monitoring and its transition from capturing only objective data like blood pressure to subjective data like the information being collected through ePROs. While Mount Sinai Health System used a grant from the Federal Communications Commission to fund a pilot remote patient monitoring program aimed at improving care of Black and Latinx patients with cancer, questions regarding how to pay for this technology and bill for these services going forward remain. There are a lot of platforms available at different price points,” pointed out panelist Adam Dicker, MD, PhD, FASTRO, FASCO, senior vice president, Radiation Oncology at Thomas Jefferson University Hospitals, Bodine Center for Cancer Treatment.

Some obsessions stay with you for a reason. On its surface, Bertha, the Sewing Machine Girl; or, Death at the Wheel , a ludicrously named melodrama peopled with exaggerated heroines and villains, offers an example of the noncanonical, everyday fare that audiences consumed in playhouses throughout the 19th century. But the deeper I dug, the more questions I uncovered.

This paper considers the nightclub shows of the Rat Pack, focussing particularly on The Summit performances at the Sands Hotel, Las Vegas, in 1960. Featuring Frank Sinatra, Dean Martin, Sammy Davis Jr, Peter Lawford and Joey Bishop, these shows encompassed musical, comic and dance routines, drawing on the experiences each member had in live vaudeville performance. The discussion outlines these individual histories, and draws attention to a shared fascination with impersonation, which forms an explicit and implicit part of the act, as the performers’ stage personas are already emulatory. In addition to the influence of vaudeville, the construction of the Rat Pack also draws on the structures of blackface minstrelsy, with the interactions of the five members being patterned on a fluid variant of the interlocutor–endmen relationships. The interweaving of these influences and performance styles underpins a dominant concern of the troupe, as the comic material frequently negotiates the racial, national and religious identities of the individual performers. In particular, this deals with their shared status of having immigrant ancestry, a status which I term as being ‘hyphenated-American’, suspended between historical, public and aspirational identities.