Coral reefs worldwide are threatened by thermally induced bleaching. In 2015, the National Oceanic and Atmospheric Administration declared the third recorded global thermal bleaching event during which Hawaiian coral reefs were severely impacted. In order to understand how Hawaiian reefs responded to this event, data were examined from benthic imagery from three sites on leeward Maui that represent a gradient of management. Data were extracted from composite 100m² photomosaic images of reef benthos, which were constructed for July 2014 (prior to bleaching) and June 2016 (following bleaching). In each photomosaic, colonies of mounding Porites (P. lobata, P. evermanni, and P. lutea) were individually outlined and numbered in order to compare colony size class distribution before and after the 2015 bleaching event. Overall, the mounding Porites communities of leeward Maui reefs experienced a shift towards smaller size classes from 2014 to 2016. Changes in size, quantified in both absolute and percent changes, were not correlated with management regimes. These data suggest that management of local stressors may not be sufficient to mitigate the immediate effects of thermal bleaching events on coral reefs.

The present article aims to explore the ambivalent relationship between jazz and Italian authorities during the fascist regime, with a particular focus on the case of Alberto Rabagliati, the singer/actor who, along with other acts such as Trio Lescano, had managed to mediate American jazz with the Italian melodic tradition, creating an insitutionally-acceptable genre. During the years of the so-called MinCulPop (the ministry of propaganda), several jazz events and musicians were banned, on the basis that they would promote foreign and, particularly, negro cultures. Other songs, from other genres, the so-called canzoni della fronda, were also censored, when the authorities would perceive that the lyrics would contain anti-fascist messages. In this essay, the author suggests that a particular canzone della fronda (surprisingly untouched by the MinCulPop) was actually a swing number by Rabagliati himself: Quando canta Rabagliati. In it, it is argued, the singer (and the song’s authors D’Anzi and Galdieri) provide a subtle yet accurate description of a real jazz performance, literally under the nose of the fascist authorities (the song was the signature tune of a successful national radio program). Far from being a political type of protest, the song is here analyzed as a statement of artistic resistance: the resistance of performing a certain genre of music in a country where such genre was prohibited.