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{6} In the pages that follow I explore in depth how music as well as some extra musical sounds work alongside the visual components of the Canadian War Museum to create compelling representations of combatants that range from political adversaries, to First Nations peoples (Aboriginal peoples in Canada), to Canadian soldiers. In particular, I focus my attention on the permanent exhibits that flow chronologically from the first permanent exhibit ( Ground: Earliest Times to 1885 through the last ( Violent Peace:1945 Present Such representations, I argue, convincingly persuade museum visitors that while hegemonic Canadians are fully developed subjects, cultural both at home and abroad, lack a fully fledged subjective self. As a result, the War Museum sonic content sways visitors to believe that Canada’s military is critically needed to maintain peace at home and on the international scene, thus supporting the government’s involvement in increasingly unpopular international conflicts..

Feldman deftly illustrates these early modern themes through a combination of musical and visual analyses, historical anecdote, and documentation (Balatri’s diaries are a particularly fascinating source). Yet portions of both chapters in Part One leave the reader somehow missing the scholarly revelation in all of this material. Her Chapter 1 discussion of the castrato’s image conflated with that of the grotesque character of Pulcinella (22 29, passim) is far less convincing than her careful analyses of Anton Maria Zanetti’s wonderful caricatures, which persuasively illustrate the castrato as “the inverted self, the Other that presses up against, antagonizes, and thereby creates the self” (24).

Devices also come with specific Bluetooth profiles. If Bluetooth is the common language connecting devices, you can think of a profile as a dialect associated with a certain use. For example, you probably aren’t going to be able to connect a mouse and a camera because a camera doesn support the Human Interface Device Profile.

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There, he treats those who can’t or won’t seek legitimate healthcare: criminals, illegal immigrants, misfits; their clientele becomes increasingly unpredictable. Game of Thrones’ Carice Van Houten plays Anna, a medical researcher who’s unwittingly drawn into the business. In the vein of Mary Kills People and Trust Me, the ‘hugely rewarding’ centres on the good doctor (and that bass heavy voice of his) juggling the illegal operation and a fraught personal life.

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