Explore the vast range of titles available.

Background The COVID-19 pandemic significantly impacted residency recruitment in 2020, posing unique challenges for programs and applicants alike. Anesthesiology programs have adopted alternate methods of recruitment, including virtual open houses and social media, due to limiting personal contact rules implemented by AAMC. This study was undertaken to determine the frequency of virtual events hosted and social media accounts created by programs. Methods Anesthesiology residency programs and departments were examined for social media presence on Twitter, Instagram, and Facebook. Programs’ websites and social media posts were reviewed for virtual open house opportunities. Available sub-internships were collected from the Visiting Student Application Service database. Data was collected after 2020–2021 pre-interview recruitment in October 2020. Results Of 153 total anesthesiology residency programs, 96 (63%) had some form of social media presence. The platforms of choice for programs with social media accounts included Twitter (71, or 46%), Instagram (67, or 44%), and Facebook (47, or 31%). Forty of seventy-six residency-affiliated accounts were created after March 1, 2020; Instagram accounts (26 of 40) represented most of these. Most Anesthesiology programs (59%) offered virtual open houses for prospective applicants. Twitter (25%), Instagram (22%), and Facebook (8%) were used by programs to advertise these events. Conclusions Social media presence of anesthesiology residency programs has grown steadily over the past decade, with exponential growth experienced in 2020. This data suggests that anesthesiology residency programs are employing new, mostly virtual, methods to reach prospective applicants during an unprecedented application cycle amidst the COVID-19 pandemic.

The existence of the real estate brokerage industry is generally attributed to high transaction costs in real estate markets. Brokers are typically expected to market sellers’ properties, assist in contract negotiations, and coordinate the post-contract tasks necessary to close transactions. Presumably, brokers can perform these duties at lower cost than sellers. In addition to cost efficiencies, brokers may also impact market outcomes. Numerous researchers have investigated whether or not the use of brokers as well as various broker actions, broker characteristics, and broker/seller legal relationships affect market outcomes in the form of price and/or, time-on-the-market effects. We extend this line of research by considering price, time-on-market, and probability of sale effects in relation to four specific broker strategies: public open houses, broker open houses, MLS virtual tours, and MLS photographs. The results indicate positive relationships between these strategies and house prices and mixed relationships between these strategies and probability of sale and time-on-market.

Challenges to historic house museums are often mired in the rhetoric of crisis. Toward countering that rhetoric, this essay attempts to draw attention to it and to the complicated history of narrative (and storytelling) in interpretation and the academy. It argues that literary house museums are sites of innovation within the house museum sector with lessons for us all. These lessons include a willingness to leverage “the old, bad history” toward reflective practice and continuity for multigenerational audiences; creating inventive university and school partnerships toward insuring strong community stakeholders; embracing the history of race, gender, and sexuality; and perhaps most importantly, making the most of fiction toward embracing multiple points of view about the past.

Even as museums and sites struggle to attract audiences and bemoan the public's lack of interest in history, people workingoutsidemuseums and universities, without professional training, and often without funding, are approaching history in ways that fire the enthusiasm of thousands. Unmoored by institutional expectations, they are what we might call “outsider history-makers”: genealogists, heritage tourism developers, and re-enactors, among others. They establish emotional connections to the past that operate on the level of instinct more than intellect. As public history professionalizes, the field seems increasingly at odds with this approach. The efforts of the outsiders, however, suggest new strategies for drawing passionate audiences to museums and point to new sets of skills that public history training programs should be teaching their students.

This column explores how paying attention to disability—both to the rich contributions made by people with disabilities and to the sometimes negative attitudes in society that can interfere with those contributions—can foster classroom interactions that are more democratic, more inclusive, and more equitable.

What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.