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The rapid and selective accumulation of neutrophils into the lungs is thought to underlie the pulmonary failure that leads to sepsis-related death. In this study we investigated whether neutrophil TLR4 is important in LPS-induced pulmonary neutrophil recruitment by creating chimeric mice (transferring bone marrow between TLR4+/+ and TLR4–/– mice). In TLR4+/+ mice receiving TLR4–/– bone marrow, 6 weeks after transplant TLR4 was absent in all circulating leukocytes as well as in resident macrophages (these mice were termed LeukocyteTLR4–/–), and these cells were completely nonresponsive to LPS. In TLR4–/– mice receiving TLR4+/+ bone marrow, endothelial cells but not leukocytes were deficient in TLR4 (EndotheliumTLR4–/–). Surprisingly, systemic LPS (0.5 mg/kg) induced a dramatic increase in neutrophil sequestration into the lungs of LeukocyteTLR4–/– mice over the first 4 hours. Concomitantly, numbers of circulating leukocytes decreased by 90%. By contrast, EndotheliumTLR4–/– mice showed very little increase in neutrophil sequestration in the lungs, suggesting that endothelium rather than leukocyte TLR4 was important. Intravital microscopy of peripheral microcirculation in the cremaster muscle revealed about 30-fold more leukocyte–endothelial cell interactions in LPS-treated EndotheliumTLR4–/– mice than in LPS-treated LeukocyteTLR4–/– mice. This is consistent with less sequestration of leukocytes into the lungs of EndotheliumTLR4–/– mice. In conclusion, our data challenge the view that LPS directly activates neutrophils to trap in lungs and suggest a far more important role than previously appreciated for the endothelial cells

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he Gunung Jati New Music Keroncong Orchestra is a keroncong orchestra that regularly performs keroncong music at Tawang Station Semarang. During the keroncong music performance there are various kinds of symbolic interactions between the players and also with the audience. The purpose of this study was to determine how the symbolic interaction in keroncong music performances by the Keroncong Gunung Jati New Music Orchestra. The research method used is qualitative. The data collection techniques used were observation, interview and documentation. The data collected through the stages of data reduction, data presentation, and drawing conclusions. The results showed that the symbolic interaction at the Keroncong Gunung Jati New Musik orchestra performance at Tawang Semarang station included a sawer box as a place for the audience to give sawer money as a form of appreciation. Symbolic interaction between the players and the players, namely during the performance the players give each other song chord codes with gestures of limbs such as finger movements, head nods, speech, winks. And symbolic interactions between the players and the audience in the form of hand movements, head nods, clapping, and sawer money. From these findings it can be concluded that the symbolic interaction that occurs is as an interaction that aims to find chemistry between players and between players and the audience so that the keroncong music performance runs well and smoothly so that the players and the audience are satisfied with their appearance and as an attraction of the Keroncong Orchestra. Gunung Jati New Musik in attracting public interest in keroncong music itself.

This study was devoted to investigating the preservation of gambang Semarang music through the enculturation process comprehensively. Two basic strategies were employed in examining research problems: using theoretical approaches in traditional music, preservation, and enculturation and a qualitative approach. Further, the target and site comprised gambang Semarang music preservation through the enculturation process among Semarang people. The data were collected from observation, interviews, documentation, and library research. Data validity applied source, time, theory, and researcher triangulation. The collected data and information were then analyzed inductively by relying on an interactive analysis model with the following steps: data reduction, display, and verification. It was suggested that the enculturation process of gambang Semarang music within three generations in the nang nok gambang Semarang group served as the activity of cultural awareness of society, artists, and performers. It was to carry out the enculturation process towards young generations, even children, as the future generations. The approaches to the teaching and learning process were modeling, conditioning, and internalization. Such an enculturation process was proven to function effectively as the cultural mechanism and enculturation model in preserving gambang Semarang music as the cultural identity of Semarangan.