Agatha Christie’s most beloved character, Belgian detective Hercule Poirot, is being called upon once more to solve a mystery in a new novel, the first one authorized by the Christie estate since the legendary author’s death.
The Poirot torch will be passed on to bestselling British crime writer Sophie Hannah, who has written several novels including the popular Waterhouse and Zailer series.
Set in 1920s London, Hannah’s The Monogram Murders sees Poirot trying to solve a series of hotel guest murders. In a recent interview, Hannah said she intends not to mimic Christie’s writing style, but to pay homage to his iconic character.
“I know Hercule Poirot so well,” she said. “I’ve read all the books in which he stars, several times. I started reading him when I was 12 so, you know, he’s a very familiar and much-loved character to me and I wouldn’t want to change him in any particular way.”
Christie, one of the most successful authors of all-time, introduced Poirot to the world in her 1920 debut novel The Mysterious Affair at Styles. He would be brought back for more than 30 other novels and dozens of short stories. The cunning investigator has also been portrayed many times in television and movies by such venerable actors as Albert Finney, David Suchet and Peter Ustinov.
Christie died in 1976 at the age of 85.
The Monogram Murders is slated to be published in September by HarperCollins.
WIKIPEDIA ON POIROT
Hercule Poirot is a fictional Belgian detective, created by Agatha Christie. Poirot is one of Christie’s most famous and long-lived characters, appearing in 33 novels, one play (Black Coffee), and more than 50 short stories published between 1920 and 1975.
Poirot has been portrayed on radio, on screen, for films and television, by various actors, including John Moffatt, Albert Finney, Sir Peter Ustinov, Sir Ian Holm, Tony Randall, Alfred Molina and David Suchet.
The first actor to portray Hercule Poirot was Charles Laughton. He appeared on the West End in 1928 in the play Alibi which had been adapted by Michael Morton from the novel The Murder of Roger Ackroyd.
Austin Trevor debuted the role of Poirot on screen in the 1931 British film Alibi. The film was based on the stage play. Trevor reprised the role of Poirot twice, in Black Coffee and Lord Edgware Dies. Trevor said once that he was probably cast as Poirot simply because he could do a French accent. Leslie S. Hiscott directed the first two films, with Henry Edwards taking over for the third.
Albert Finney playing Poirot in the 1974 film, Murder on the Orient Express
Tony Randall portrayed Poirot in The Alphabet Murders, a 1965 film also known as The ABC Murders. This was more a satire of Poirot than a straightforward adaptation, and was greatly changed from the original. Much of the story, set in contemporary times, was played for comedy, with Poirot investigating the murders while evading the attempts by Hastings (Robert Morley) and the police to get him out of England and back to Belgium.
Albert Finney played Poirot in 1974 in the cinematic version of Murder on the Orient Express. As of 2013 Finney is the only actor to receive an Academy Award nomination for playing Poirot, though he did not win.
Peter Ustinov as Poirot in a 1982 adaptation of the novel Evil Under the Sun
Peter Ustinov played Poirot six times, starting with Death on the Nile (1978). He reprised the role in Evil Under the Sun (1982) and Appointment with Death (1988).
When Christie’s daughter, Rosalind Hicks, observed Ustinov during a rehearsal, she said, “That’s not Poirot! He isn’t at all like that!” Ustinov, overhearing, remarked “He is now!”
He appeared again as Poirot in three made-for-television movies: Thirteen at Dinner (1985), Dead Man’s Folly (1986), and Murder in Three Acts (1986). Unlike earlier adaptations that were set during the time in which the novels were written, however, these TV movies were set in the contemporary era. The first of these was based on Lord Edgware Dies and was made by Warner Bros.. It also starred Faye Dunaway and David Suchet as Inspector Japp, just before Suchet began to play the famous detective. David Suchet considers his performance as Japp to be “possibly the worst performance of [his] career”.
Anatoly Ravikovich, Zagadka Endkhauza (End House Mystery) (1989; based on “Peril at End House”)
David Suchet starred as the eponymous detective in Agatha Christie’s Poirot in the ITV series 1989 until in June 2013, he announced he was bidding farewell to the role. “No one could’ve guessed then that the series would span a quarter-century or that the classically trained Suchet would complete the entire catalogue of whodunits featuring the eccentric Belgian investigator, including 33 novels and dozens of short stories.” His final appearance, in an adaptation of Curtain: Poirot’s Last Case, aired on 13 November 2013.
Heini Göbel, (1955; an adaptation of Murder on the Orient Express for the West German television series Die Galerie der großen Detektive)
José Ferrer, Hercule Poirot (1961; Unaired TV Pilot, MGM; adaptation of “The Disappearance of Mr. Davenheim”)
Martin Gabel, General Electric Theater (4/1/1962; adaptation of “The Disappearance of Mr. Davenheim”)
Horst Bollmann Black Coffee 1973
Ian Holm, Murder by the Book, 1986
Alfred Molina, Murder on the Orient Express, 2001
Konstantin Raikin, Neudacha Puaro (Poirot’s Failure) (2002; based on “The Murder of Roger Ackroyd”)
In 2004, NHK (Japanese public TV network) produced a 39 episode anime series titled Agatha Christie’s Great Detectives Poirot and Marple, as well as a manga series under the same title released in 2005. The series, adapting several of the best-known Poirot and Marple stories, ran from 4 July 2004 through 15 May 2005, and in repeated reruns on NHK and other networks in Japan. Poirot was voiced by Kōtarō Satomi and Miss Marple was voiced by Kaoru Yachigusa.
Radio adaptations of the Poirot stories also appeared, most recently twenty seven of them on BBC Radio 4 (and regularly repeated on BBC 7, later BBC Radio 4 Extra), starring John Moffatt; Maurice Denham and Peter Sallis have also played Poirot on BBC Radio 4, Mr. Denham in The Mystery of the Blue Train and Mr. Sallis in Hercule Poirot’s Christmas. In 1939, Orson Welles and the Mercury Players dramatised Roger Ackroyd on CBS’s Campbell Playhouse. A 1945 radio series of at least 13 original half-hour episodes (none of which apparently adapt any Christie stories) transferred Poirot from London to New York and starred character actor Harold Huber, perhaps better known for his appearances as a police officer in various Charlie Chan films. On 22 February 1945, “speaking from London, Agatha Christie introduced the initial broadcast of the Poirot series via shortwave”.


The Westbank First Nation Self-Government Agreement PDF: An Overview
The Westbank First Nation Self-Government Agreement has been in effect since September 8, 2005. This agreement outlines the terms and conditions of self-governance for the Westbank First Nation, which is located in British Columbia, Canada.
The agreement was signed by the Westbank First Nation, the Government of Canada, and the Government of British Columbia. It is considered a milestone in the history of Indigenous self-determination in Canada, as it recognizes the rights of the Westbank First Nation to self-govern and manage its own affairs.
The PDF version of the Self-Government Agreement is available online, and provides a comprehensive overview of the terms and conditions of the agreement. Here is a brief summary of some of the key elements of the agreement:
1. Government Structure
The Self-Government Agreement outlines the structure of the new Westbank First Nation government, which includes a Chief and Council elected by the members of the First Nation. The agreement also establishes a system of decision-making that involves community consultation and consensus.
Under the Self-Government Agreement, the Westbank First Nation has jurisdiction over a wide range of areas, including land management, natural resource management, education, and social services. This gives the First Nation the ability to make decisions and policies that reflect its values and priorities.
3. Financial Transfers
The Self-Government Agreement provides for financial transfers from the federal and provincial governments to the Westbank First Nation. These transfers are intended to support the new government and help it to fulfill its responsibilities.
4. Land Management
The Self-Government Agreement provides for the transfer of certain lands to the Westbank First Nation, which will be managed by the First Nation according to its own laws and regulations. This gives the First Nation greater control over its territory and resources.
5. Culture and Language
The Self-Government Agreement recognizes the importance of preserving the cultural heritage and language of the Westbank First Nation. The agreement provides for the creation of programs and initiatives that will support these goals.
In conclusion, the Westbank First Nation Self-Government Agreement is a landmark document that recognizes the rights of Indigenous peoples to self-govern and manage their own affairs. The PDF version of the agreement provides a comprehensive overview of the terms and conditions of the agreement and can be accessed online. It is an important resource for anyone interested in learning more about Indigenous self-determination in Canada.


Parenting Version 3.0: The Ultimate Playbook for Parents in the 21st Century is the perfect guide for busy parents who want to make the most of their parenting journey. The book provides a comprehensive overview of the latest parenting techniques and strategies that can help you raise extraordinary and overachieving children. The book is written in an easy-to-understand format and is packed with valuable ideas, suggestions, and methods that will help you become a successful, positive, and extraordinary parent.
The book also covers the changing landscape of the job market and what skills and attributes children need to succeed in the 21st century. It explains why the traditional ideas of consistency and stability in a job may not be relevant in today’s world, and how children today are more attracted to self-employment, own businesses and creative endeavors.
The book provides an introduction to a parenting system that will help your children become successful, happy, and peaceful, and achieve their full potential. With Parenting Version 3.0, you will learn how to create a home full of peace and love, parent your children for the future, and not just for the present.
Parenting is one of the most important and powerful things a person can do. The book emphasizes the importance of raising children who will become successful and fulfill their potential. Whether you are a seasoned parent or just starting out, Parenting Version 3.0 is a must-read for anyone who wants to make a positive impact on their children’s lives.
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Boy meets girl. Girl’s father disapproves. Boy overcomes obstacle and sways girl’s father. Everyone lives happily ever after… or do they? The boy is Frederic, the pirate apprentice. The girl is Mabel, the Major-General’s daughter. The obstacle is the apprenticeship Frederic is under obligation to see to fruition on his twenty-first birthday. The plot thickens when Frederic finds out he was born on February 29th of leap year and therefore isn’t turning twenty-one after all! Gilbert & Sullivan deliver comedic punchline after punchline in this much-loved and much-performed operetta.


I've been reading a lot lately, thanks to a wondeful two-week break. Just thought I'd share some of what I've consumed in the way of literature.
Daughter of Fortune by Isabel Allende
It's the story of a young woman who grows up in Chile and follows her lover to California during the Gold Rush. Great for the historical context and vivid imagery of the untamed West. Not so great for the value of the overall story and the maturation process of the characters. I give it a 5 on a 1-10 scale.
The Kite Runner by Khaled Hosseini
A complex story about a boy who grows up in Afghanistan prior to the Russian takeover and control of the Taliban. This is a beautifully written book. It delves into the psyche of children, the importance of father/son relationships, the ravages of war, the horrors of sadism, the hope of freedom and the overall reality of suffering as a normal part of life. There are graphic descriptions in this book that are difficult to read, especially for the squeamish. However, I highly recommend this book; it is a must-read. I give it a 9.
The Great Divorce by C.S. Lewis
Unlike many of Lewis' works, this is very easy to read. It explores the ideas of heaven and hell. Lewis says to participate in Heaven, humans must relinquish every souvenir of Hell. I don't agree with all of his theology, but he offers some interesting perspective and thought-provoking ideas. This is written in fiction form as the dream of a young man. It scores a 6, points being taken off for faulty theology.
I am currently reading The Problem of Pain, also by Lewis. Will let you know what I think.


Willy Hess (composer)
Willy Hess (12 October 1906 – 9 May 1997) was a Swiss musicologist, composer, and famous Beethoven scholar. He achieved fame after compiling and publishing a catalogue of works of Beethoven that were not listed in the "complete" edition. He orchestrated the Piano Concerto No. 0, in E-flat from a piano score.
Hess was born in Winterthur, where he attended primary and high school, and later studied at the Zurich Conservatory (merged in 1999 into the School of Music, Drama, and Dance (HMT), itself merged in 2007 into the Zurich University of the Arts (ZHdK)) and at the University. He also taught piano, counterpoint, composition, and wrote about music.
Among other works, he wrote "3 Ländler, Op. 28 for 4-hand piano duet. He also wrote a Sonata for Viola and Bassoon, the only classical-style chamber work written for that combination of instruments.
He died in Winterthur.
- James F. Green: The New Hess Catalog of Beethoven's Works (Vance Brook Publishing, 2003), ISBN 978-0-9640570-3-6
- Vestas Feuer — A Beethoven operatic fragment first completed and published by Hess.
- List of compositions by Ludwig van Beethoven
This article needs additional citations for verification. (October 2010)


Social Thought and Sociological TheoryThomas Hobbes in'the seventeenth century drew a picture of human society in these words:
“Human society Was surrounded by a continuous fear and aggressive death danger and the short life of an individual had fallen a prey to loneliness, poverty, unpleasantness and cruelty.”
According to Hobbes, man was busy in the continuous attempt of achieving power because of which the social world was changed into a field of wars and fights. The sociologists of that time accepted the opinion of Hobbes about the society and began to search the answer of the question keeping in view the condition of the society as how to create, maintain and change the patterns of social organization. Long before Thomas Hobbes, sociological thoughts had a modified form, the earliest example of this is the birth of a renowned Muslim historian, philosopher and sociologist, Abdur Rel‘iman Khuldun, on May 27, 1337. in Tunis who presented sociological thoughts on modern research lines which became a torch bear for modern sociological thought and theory.
Among the ancient Greek philosophers, Socrates, 400 BC, is honour as the founder of much physical and social knowledge. Socrates’ way of reasoning and thinking was scientific and he provided a foundation for modern physical and social knowledge and took the knowledge from theological age to scientific age.
The period of progress of social thought started after the rise of Islam. Islamic education produced such social thinkers who brought revolution in human life. These thinkers include the names of Ibne Sena, Ibne Rushud, Toosi, Imam Abu I-ianifa, Imam Ghazali, Imam Razi and Al-Farabi. These thinkers introduced
logical thinking by taking it away from magic and whims but the Muslim suffered a downfall in the fields of art and knowledge, the West availed of these arts and knowledge and promoted modern knowledge. Among these, Western thinkers is August Comte, Emile Durkheim, Max Weber, Karl Marx, George Samuel, Montesque, John Locke and Rousseau.
The basic aim of social thought is to end dispersion from the society, to lessen the problems and to promote harmony, control, justice and unity in the society.
Sociological TheoryMeaning and Nature :
Theory is a mental activity. This is an action of construction cf thoughts through which we can explain that how the different incidence take place.
Its basic aim is to explain social situations. It keeps in view different characteristics of society and derives principles about it.
Theory also presents the solution of social problems and gives an organized shape to the facts of a society, laying the foundation of knowledge. All physical and social learning are based on theory and the stages of evolution of knowledge were settled by acceptance or rejection process.
A social theory is based upon four elements.
All social themes can be divided into four perspectives:
1. Functional theory
2. Conflict theory
3. Exchange theory
4. Interactionism and role theory
Sociological theory has the following characteristics from which its f importance can be judged:
1. It surrounds the observable facts of the phenomenon of social theory.
2. The indicators of the theory are simple and measurable.
3. It has the capacity to foretell the facts.
4. Not only it explain the social phenomena but also points to views of new researches in the fields of research.
Eastern Sociological Thinkers1. Imam Ghazali
l. Bibliographical Sketch
2. Spcial Thoughts
(i) Concept of social life
(ii) Social action
(iii) Theory of J ustice
2. Shah Waliullah
l. Bibliographical Sketch
2. Theory of Origin and Evolution
(i) Origin of society
(ii) Evolution of society
3. Social Ailment Theory
3. Ibne Khuldoon
(i) Life history
(ii) Theory of Ethnocentrism
(iii) Rise and fall of nations
(iv) Social life


Watch The Trailer
Zig Ziglar was one of the most influential speakers and authors of his time, inspiring more than 250,000,000 people around the world to pursue a life of greater significance.
- Learn how Zig Ziglar changed his life from a failed salesman to a world renowned best-selling author and motivational speaker
- See the stories of real people who implemented the teachings of Mr. Ziglar and become giants in their industries
- Learn to overcome adversity and struggles of any kind in a healthy and effective way
- Enjoy this wonderful and motivational story
BEST SELLING AUTHOR & RADIO HOST
AUTHOR / SPEAKER
FOOTBALL PLAYER AND COACH
CEO OF EASTMAN-BEAUDINE
PASTOR JACK GRAHAM
PASTOR – PRESTONWOOD CHURCH
AUTHOR / SPEAKER
DR. JOE VITALE
ARTIST / AUTHOR
CEO OF COAST TO COAST
ENTREPRENEUR / SPEAKER
CEO EDGE GLOBAL INC.
JULIE ZIGLAR NORMAN
ZIG ZIGLAR CORP
BEST SELLING AUTHOR
KRISH DHANAM TRAINING
Zig is a documentary about Hilary Hinton Ziglar’s success and transformational journey from his early years in Yazoo City, Mississippi, to his failed initial sales career, to world-wide, highly-acclaimed motivational speaker and best-selling author.
Zig (the Documentary) will tell this transformational story through the words of accomplished businessmen, best-selling authors, and celebrities that were inspired by Zig’s teachings and used those in their personal success journey. Zig will bring this inspirational story to millions for the first time and for millions more it will reinforce the message that it is never too late to invest in yourself.
Financially broke at 45, Zig Ziglar hit a tipping point and transformed his life to inspire millions. Seth Godin, Dave Ramsey, Howard Partridge and all the other documentary interviewees were inspired by Ziglar and achieved success in life. “It is your attitude, not your aptitude that determines your altitude.” – Zig Ziglar


Seven Young Adults With And Without Disabilities Explore Finding Their Place in the World
Young adults with and without disabilities explore the theme of identity through personal stories. Each writer examines a time of uncertainty and confusion in their lives. Through story, they share their unique experiences. The result is a beautiful message of growth and understanding. The stories were developed in a 6-week workshop led by Stephen Donart and Molly Wiesman. Then the performance was directed by Stephen Donart.
July 24th Through August 8th
Closed Captioning and Audio Description Available.


A great sign appeared in the sky, a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars. Revelation 12:1
For many centuries, Catholics all over the world have rejoiced to honor Mary and call upon her aid under the title “Queen of Heaven.” According to St. John’s vision in Revelation 12:1, she appeared in heaven wearing a crown of 12 stars on her head, symbolic of the 12 tribes of Israel, and the 12 apostles who were the foundation stones of the New Israel, the Church. Mary is clearly the heavenly Queen of the People of God.
This title for Mary was also foreshadowed in the story of the Annunciation. When the angel Gabriel appeared to Mary, he promised her that her son would reign forever as the Messiah:
He will be great, and will be called the Son of the Most High, and the Lord God will give to him the throne of his father David, and he will reign over the house of Jacob forever, and of his kingdom there will be no end (Lk 1:32-33).
Now, if Mary’s son was to inherit an everlasting Kingdom, this implies that Mary was literally to be the “Queen Mother” of His Kingdom, for we know for a fact that in ancient Israel, the mother of a king usually received the role and title of “Queen Mother.” As Catholic theologian Dr. Mark Miravalle points out:
In the Old Testament, Our Lady’s role as Advocate is foreshadowed in the office of the “Queen Mother.” …[T]he Queen Mother tradition refers to the tradition among the Davidic Kings to appoint their mothers as their queens of the kingdom, and who then became the principle advocates for the people of Israel to their kingly sons (cf. 1 Kings 2:19). The Queen-Mother was referred to as the “Gebirah” or “Great Lady” of the Kingdom, who gave the people of the kingdom their greatest intercession to the king. The Queen Mother, the “Great Lady” was therefore the principle advocate and intercessor for the people of the kingdom. (From the Marians of the Immaculate Conception)
Mary is indeed our Queen, for her Son is the King of kings! But she is also our Beloved Mother, and as St. Therese so aptly expressed it:
Mary is more Mother than Queen.


School of Sustainability assistant professor Tyler DesRoches, sustainability fellow Daniel Fischer and their co-authors have published a new paper, Sustainable consumption communication: A review of an emerging field of research, in the Journal of Cleaner Production.
According to Fischer, the paper provides a review of sustainable consumption communication (SCC) as a field of research. Analyzing 67 papers, the authors describe 4 types of SCC research that conceptualize and relate the terms very differently.
The abstract follows.
Communication plays an important role in promoting sustainable consumption. Yet how the academic literature conceptualizes and relates communication and sustainable consumption remains poorly understood, despite growing research on communication in the context of sustainable consumption. This article presents the first comprehensive review of sustainable consumption communication (SCC) research as a young and evolving field of scholarly work. Through a systematic review and narrative synthesis of N = 67 peer-reviewed journal articles, we consolidated the research conducted in this field into four distinct types: communication as an approach to (1) behavior change, (2) self-empowerment, (3) systems change, and (4) reflection on current discourses and practices around sustainable consumption. Our findings reveal that most journal articles focus on incremental changes in individual consumer behavior (“weak” sustainable consumption) and employ communication as an intervention tool with little reference to communication science and theory. They also reveal integration challenges arising from the disciplinary diversity and fragmentation characteristic of the research field. Future research should develop shared frameworks and terminology, diversify its foci, synthesize relevant evidence, and innovate critical perspectives that go beyond one-way business-to-consumer communication. The results of our review can serve researchers engaged in sustainable consumption communication to better systematize their efforts and contribute more effectively to changing systems of consumption in the future.


The Life of Isaac Asimov
Having spent 30 years writing science fiction classics, Isaac Asimov turned his efforts to educating an America that dangerously neglected science. Here's how the great scientist and author understood the world of the 20th century, giving us insights as relevant today as ever before.
Born in Petrovichi, Russia, in 1920, Isaac Asimov had a rough first year. He was one of 16 children in the village to develop double pneumonia—and the only one to survive.
The Asimov family migrated to Brooklyn, New York, when he was three years old. He taught himself to read at age five using the magazines and newspapers sold in his parent's chain of candy stores.
"Self-education is, I firmly believe, the only kind of education there is. The only function of a school is to make self-education easier; failing that, it does nothing. - Isaac Asimov
By age 17, Asimov aspired to write professionally. He produced his first science fiction story, Cosmic Corkscrew in 1937. It was about a man who travelled into the future to find the Earth deserted, but could never return in time to find out what happened.
The story was rejected by Astounding Science Fiction and was eventually lost.
"So the universe is not quite as you thought it was? You'd better rearrange your beliefs, then. Because you certainly can't rearrange the universe. - Isaac Asimov
Science Studies and Early Career
As an undergraduate, Asimov originally studied Zoology, switching to Chemistry citing his reluctance to dissect a cat. He earned a Masters in Chemistry and then a Doctor of Philosophy in Biochemistry by 1948.
"I believe in evidence. I believe in observation, measurement, and reasoning, confirmed by independent observers. I'll believe anything, no matter how wild and ridiculous, if there is evidence for it. The wilder and more ridiculous something is, however, the firmer and more solid the evidence will have to be. - Isaac Asimov
Between his studies, he served as a civilian in the Navy for three years, and was drafted into the US Army, serving for nine months before receiving an honourable discharge. He also met his first wife, Gertrude Blugerman, and they went on to have two children together before separating in 1970.
"Maybe happiness is this: not feeling like you should be elsewhere, doing something else, being someone else. - Isaac Asimov
Back in academia, Asimov became a professor of Chemistry at the Boston University School of Medicine, while writing science fiction stories in his free time. However, writing remained his passion and he pared back his work at the university to write prolifically.
Science Fiction Epics
He created science fiction exclusively in the early years, including I, Robot (1950), a groundbreaking collection of short stories based on his Three Laws of Robotics and the concept of robots with positronic brains living among humans.
"Part of the inhumanity of the computer is that, once it is competently programmed and working smoothly, it is completely honest. - Isaac Asimov
He would later convert I, Robot into a screenplay with the help of the sci-fi author Harlan Ellison (see his fascinating collection, Angry Candy) however the screenplay was never filmed. Instead, the eventual 2004 movie was based on an outside script which retrospectively incorporated Asimov's concepts.
The 1999 movie Bicentennial Man was also based on a short story by Asimov, which he and Robert Silverberg adapted into the novel The Positronic Man (1994).
"Writing, to me, is simply thinking through my fingers. - Isaac Asimov
Asimov's famed Foundation novels depict a vast interstellar empire shaped by psychohistory, in which the future of humanity can be predicted through mathematical calculations and the principle of determinism. These were collated in his books Foundation: Trilogy (1951), Foundation and Empire (1952) and Second Foundation (1953), and made into a TV series in 2021.
"Humanity has the stars in its future, and that future is too important to be lost under the burden of juvenile folly and ignorant superstition. - Isaac Asimov
Asimov's The Last Question (1956) was centred on the ability of mankind to reconcile and reverse the process of entropy. It was his personal favourite story.
"I undertook to tell several trillion years of human history in the space of a short story and I leave it to you as to how well I succeeded. I also undertook another task, but I won't tell you what that was lest l spoil the story for you. - Isaac Asimov
In 1968, the Science Fiction Writers of America voted Asimov's Nightfall (1941) the best science fiction short story ever. The hook: on a planet with six suns, night is about to fall for the first time in two thousand years and bring about the end of civilisation.
He later described Nightfall as an archetypal example of social science fiction developed in the 1940s, where authors moved away from gadgets and space opera and towards sci-fi based explorations of the human condition.
In his later career, Isaac Asimov switched away from science fiction and focused on writing non-fiction in the popular science genre.
"In 1969 the United States went into a kind of tizzy, and so did I. I was overcome by the ardent desire to write popular science for an America that might be in great danger through its neglect of science. - Isaac Asimov
Writing Science Fact
Asimov wrote hundreds of regular non-fiction columns in Fantasy and Science Fiction which were periodically collected into books and gave Asimov a reputation as a great explainer of science. He wrote reference works, such as The Intelligent Man's Guide to Science (1960) and urged other sci-fi writers to do the same.
"There is a cult of ignorance in the United States, and there has always been. The strain of anti-intellectualism has been a constant thread winding its way through our political and cultural life, nurtured by the false notion that democracy means that my ignorance is just as good as your knowledge. - Isaac Asimov
During his career, Asimov won dozens of awards and 14 honorary doctorate degrees from universities.
The Death of Asimov
At the age of 57, he suffered from a heart attack and underwent lifesaving triple bypass surgery, contracting HIV from a blood transfusion in the process. His medical status was shrouded in secrecy due to fear of public prejudice, and he died in 1992 in New York City.
Ten years later, after most of his physicians had passed away themselves, his second wife, Janet Asimov, went public with his true cause of death.
Asimov on Writing
"There is a single light of science, and to brighten it anywhere is to brighten it everywhere. - Isaac Asimov
Asimov's approach to writing science fiction saw him imagine an ending first, then a beginning, then "let everything in-between work itself out as I come to it".
He would type a draft, edit it by hand, then re-type the final version. Further edits were, to him, "like chewing used gum" and he believed writing multiple revisions meant the work as a whole was a failure. His prose became known for its clear, direct voice, and he refused to dress his narrative in literary devices.
"I made up my mind long ago to follow one cardinal rule in all my writing—to be clear. I have given up all thought of writing poetically or symbolically or experimentally, or in any of the other modes that might (if I were good enough) get me a Pulitzer prize. I would write merely clearly and in this way establish a warm relationship between myself and my readers, and the professional critics—well, they can do whatever they wish." - Isaac Asimov
Thanks to his extensive scientific training, Asimov was a sober rationalist, and found it his personal mission to convey this kind of thinking to the public.
"It is no defense of superstition and pseudoscience to say that it brings solace and comfort to people... If solace and comfort are how we judge the worth of something, then consider that tobacco brings solace and comfort to smokers; alcohol brings it to drinkers; drugs of all kinds bring it to addicts; the fall of cards and the run of horses bring it to gamblers; cruelty and violence bring it to sociopaths. Judge by solace and comfort only and there is no behavior we ought to interfere with. - Isaac Asimov
In fact, he was a man driven by the need to devour knowledge and run it through his unique Asimov-filter, to communicate philosophical and scientific ideas for the betterment of society.
Through his work, Isaac Asimov was intent on raising the intellectual awareness of humanity. He feared that without such change, society would be its own downfall.
"Suppose that we are wise enough to learn and know—and yet not wise enough to control our learning and knowledge, so that we use it to destroy ourselves? Even if that is so, knowledge remains better than ignorance. It is better to know — even if the knowledge endures only for the moment that comes before destruction — than to gain eternal life at the price of a dull and swinish lack of comprehension of a universe that swirls unseen before us in all its wonder. That was the choice of Achilles, and it is mine, too. - Isaac Asimov


Gastonia, NC 28052
James Neil is a London-based film curator and filmmaker. Contributors include Jonathan Rosenbaum, Geoff Andrew, Jean-Michel Frodon, Richard Combs, Laura Mulvey, Philip French, James Quandt, Gary Crowdus, Samir Farid, Edward Said, and Chris Marker. With interviewees Elia Suleiman, Moufida Tlatli, Turkan Soray, Gillo Pontecorvo, Saadi Yacef, and others.
Like other technologies that would transform life in the 20th century such as the automobile and the airplane, the film camera helped to further a modernist spirit across the Middle East and North Africa, and took inspiration from both Western and Eastern sources. Through periods of uneven development, cinema in this extensive region found its true artisans, and master directors emerged.
This anthology presents a fascinating collection of essays with contributions by and interviews with esteemed international film critics and writers. It appraises films by directors who have roots in the region alongside works by European filmmakers who have portrayed these countries with strong cinematic visions.
Featuring hundreds of striking film stills and unique graphic materials such as storyboards and posters, this book brings alive on the page a diverse and vibrant cinema culture. Films made in this region have maturity and stand alongside some of the finest cinema in the world. This book is a critical tribute to that achievement.
|Genre||ART / Film & Video|
|Publisher Date||2017-08-03 00:00:00.0|
|Subtitle||Made in the Middle East|
|Country of Origin||United States|
Social Reproduction Theory: Remapping Class, Recentring Oppression (Hardcover)Category :- Healthcare, Lab & Life Science Price :- $67.37
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The Beauty Queen of Jerusalem
Season 1 | 10 x 48'
Season 2 | 10 x 48'
Language | Hebrew, English, Ladino Turkish & Arabic
Shlomo Mashiach, Oded Davidoff & Ester Namdar Tamam
Sarit Yishai-Levi (based on novel by)
yes TV & Artza Productions
The loves, heartbreak, jealousy and pain of the three Ermosa sisters – Luna, Rachelika, and Becky - their parents, grandparents and children, set during the early-mid 20th century in Jerusalem.
Based on the international best-selling novel by Sarit Yishai-Levi, The Beauty Queen of Jerusalem unravels, recreates and brings to life the story of a family set against the backdrop of the Ottoman Empire, The British Mandate and Israel’s War of Independence.
A colorful, passionate and tragic series interwoven with Judeo-Spanish traditions and the history of a nascent country.


Overcast and rain continues. I drove into Custer in the afternoon. I visited the library for wifi and it poured down rain while I was there. I did stop to eat dinner before leaving Custer. I stopped at a local restaurant called Pizza Mill. They had about six tables. They had a very limited menu but a customer in line recommended the special of the day. It was a BBQ brisket sandwich and fries. It was one of the best brisket sandwiches I have ever had and the fries were fabulous!
Here are a few photos of my day…..look at the birds sitting on the buffalo…they took a ride as the buffalo crossed the road in front of my car.
The second picture was taken as I was driving into Custer along the side of the highway.
The third picture is a sign on the side of the horse stable just below the campground I am staying in. You can take trail rides.


All accepted contributions will be included in the electronic version of the GENP 2018 Book of Proceeding avaible on this webside starting from the date of the conference.
A number of selected high-impact full text papers,as extended version, will be considered for the special journal issue of MOLECULES, the peer-reviewed open access scientific journal that focuses on all aspects of synthetic organic chemistry and natural product chemistry.
To cover publication costs, Molecules charge an Article Publication Charge (APC) equal to 1800 CHF (1559,52 euro).
Molecules offer APC discounts to the GENP2018 participants equal to 10% of the publication charge.
|MOLECULES Article Publication Charge (APC)||Offer for the GENP 2018 members|
|1800 CHF (1559,52 euro)||1620 CHF (1403,57 euro)|
This discount can be added to other initiatives already active:
- many institutions would support this project and cover the publishing fee.
- authors may be entitled to a discount if their institute is participating in the MDPI Institutional Open Access Program (IOAP). For more information, please see:
- Also, the publication fees will be reduced if they have previously received a discount code.
(SOURCE: Scimago Journal & Country Rank)
- Open Access – free for readers, with article processing charges (APC) paid by authors or their institutions.
- High visibility: indexed by the Science Citation Index Expanded (Web of Science), MEDLINE (PubMed) and other databases.
- Rapid publication: manuscripts are peer-reviewed and a first decision provided to authors approximately 15 days after submission; acceptance to publication is undertaken in 5.1 days (median values for papers published in this journal in 2017).
- Recognition of Reviewers: reviewers who provide timely, thorough peer-review reports receive vouchers entitling them to a discount on the APC of their next publication in any MDPI journal, in appreciation of the work done.
- Testimonials: See what our authors say about Molecules.
- Sections: published in twelve topical sections.


I purchased 'Ashley Wins the First Day of School' and donated it to my daughter's first grade class after my daughter told me that they had Kirsten Passmore, Little Miss Wheelchair of Texas 2013, visit to discuss her life with Cerebral Palsy.
'Ashley Wins the First Day of School' is about a little girl that starts school and is nervous because she has a disability. She is worried about what her classmates will think of her, but after playing a game she realizes that her classmates have quickly accepted her.
Here is a picture of my daughter's first grade class listening to their teacher read 'Ashley Wins the First Day of School'. (Look how attentive they are!)
Since I attended school, times have changed for the better. When I went to school, kids seemed to have been separated from one another; 'normal' kids in one class and 'disabled' kids in another class. It seems as if our paths never crossed, therefore not giving the 'normal' kids an understanding of how normal the 'disabled' kids were and how much we all had in common. When my older kids attended elementary school years ago I was so impressed with how EVERY student was placed together and that certain kids were chosen and paired up with a buddy (aka helper, friend). It is the same with my youngest girls now. Schools include all the kids in one class, granted those kids that need extra help are moved around to certain classes but they all know each other, play with each other and communicate with each other.
'Ashley Wins the First Day of School' is a book that belongs in every school, every classroom, every daycare, hospital/ doctor waiting rooms and even in every child's home. This book shows kids and grown ups that just because someone is different in your eyes, you should not be scared to approach them because you will find out that they are just like you.
If you or anyone you know is interested in purchasing 'Ashley Wins the First Day of School', go to this link http://www.heelswithwheels.com/index.php/en/shop/publications and enter FREESHIPPING !
Feel free to follow Angela Irick so you can keep up with anymore upcoming projects that she may have and let her know you read her interview and her book review:
Heels with Wheels: http://www.heelswithwheels.com/index.php/en/


日期：2018-07-27 / 人气：
Xu Tiancai, a former mayor of Tainan, is currently the chairman of the Business Development Research Institute of the consortium. Bachelor of economics, Chinese Culture University, master of economics, Chinese Culture University, and Ph. D. in economics, New School, New York. It was an important financial think tank in the inner-party of the Democratic People's Republic of China. In 1987, the book "Taiwan economy shock" was published. It was a rare monographs that criticized the Kuomintang economic policy at that time. With Peng Baixian, it was the famous financial "Standing Committee" in the inner-party of the Democratic People's Republic of China.


Home / Fun on North
Enjoy fun on North!
Libations with Librarians
Grab a pint or just grab a seat! We’d love to see you in the Lounge for our monthly book club with the Berkshire Athenaeum, Libations with Librarians. Check for monthly book details on our Facebook
Tuesdays Craft on North
An evening of cocktails, crafts and laughs! Bring your own project or learn a new one with us!
Check for weekly Craft’s details on our Events Calendar
Wednesdays Knit on North
Chilly winter nights are on their way. Why not gather at Hotel on North for some great company, scrumptious food, and warm hospitality? Join us for a weekly gathering of people who want to sit and knit together! Bring your own project, work at your own pace, and relax. No formal lessons will be given – we just would like to spend time with you!
Check for Details on our Events Calendar


Bud the Bunny is the first of the Marvelous Menagerie debut. His book first came out in 2006 and it had a different art style. Then Bud got a make-over and his book came out with with illustrations by Eisner nominated Travis Hanson.
Bud’s story begins with simple sentences where each page adds a new “B” word as Bud goes about his day and meets up with his friend Bee. The ending is a fun tongue-twister sentence of alliteration for all ages.
You can buy Bud’s book on Amazon or other online retailers.


VOYAGE TO THE FRONTLINE OF CLIMATE CHANGE
The Open Passage Expedition successfully sailed through the infamous Northwest Passage during the summer of 2009. The crew not only succeeded in a sailing through some of the most dangerous waters in the world, but they also learned more about the people and the land in the far North.
The New Northwest Passage: A Voyage to the Front Line of Climate Change, is published by Great Plains Publications of Winnipeg. It is available at bookstores across Canada and on Amazon.com. An ebook version will be released in Summer, 2012, with an interactive iPad app due for release by Christmas 2012. The documentary film, by the same name, is entered in festivals around the world.
The Arctic is garnering global attention today because climate change is causing its sea ice to melt at a rapid pace, affecting the region’s communities and the wildlife they rely on for food and livelihood. This was the story that the crew of the Silent Sound wanted to learn more about when they set off from Victoria, BC. Four months and four days later, the Silent Sound docked in Halifax, on the opposite side of Canada, with a tale to tell.
With only four crew and the ticking clock of Arctic sea ice setting the pace, the Silent Sound sailed 8,000 nautical miles, or 15,000 kilometres, over the top of North America. From Victoria the expedition went north across the Gulf of Alaska and Bering Sea before entering the Arctic and turning east. Throughout the summer the boat slowly wound her way between the ice floes to visit communities such as Tuktoyaktuk, Sachs Harbour, Cambridge Bay and Pond Inlet in the Canadian Arctic. In each port the team listened to the stories of people’s lives and how they are being changed by the Arctic’s shifting climate, politics and economic fortunes.


In his exploration of America’s punitive turn at the end of the twentieth century, legal scholar Jonathan Simon examines the publications of Cesare Lombroso (1825-1909), often called the “father” of positivist criminology , to create a policy template for the American criminal justice system. To clarify, a positivist criminologist applies methods characteristic of the natural sciences to explain criminality. Simon finds that American penal policy traditionally assumes that crime stems from a distinct class of people. Such people, positivism suggests, inherently lean towards law-breaking and as such, require isolation and incapacitation. Simon considers that the increase in incarceration and halt of therapeutic rehabilitation between 1975 and 1985 reflect an anti-scientific approach to crime. This approach contrasts with the state’s prior view and its repression of crime through positivist-endorsed mechanisms, including eugenics, medicine, educational, and penal measures.
However, Simon contends that the ideas of crime control as science and the distinct, dangerous “criminal type” remain in the American criminal justice system. As such, though 1980s policy emphasized retribution and deterrence, it also simultaneously instituted positivist measures such as pretrial detention. Likewise, the incarcerated classes reflect those that positivism traditionally targets, “including the poor, recent immigrants, and minorities”. In fact, when famed sociologist Charles A. Ellwood celebrated the English publication of Lombroso’s work in 1912, he noted that if Lombroso’s theory of crime “…is at all correct, it is evident that the criminal class is not essentially different in its genesis from the pauper class” I should note here, though that Ellwood also argued that this parallelism was not explicit in Lombroso’s thought processes.
Simon argues that contemporary American crime policy represents a synthesis between the scientifically based findings and protective measures of Lombrosan positivism and the adjudicative control of state institutions. American crime control reflects the synthesis in its incorporation of extralegal danger assessments for selecting prosecution subjects as well as prosecutors’ flexibility to pursue extended isolation and repression for especially dangerous criminals.
Simon concludes by discussing that though Lombroso remains largely forgotten by the general public, his “project” of linking state institutions and resources with scientific and cultural assumptions and his framing of crime as a mortal threat to the state remains embedded in American crime consciousness. Simon’s analysis reveals the social nature and links between both scientific and legal policy, constantly shifting between outlining origins and detailing why the American state provided such fertile ground for positivist approaches to criminality. Additionally, he illustrates the importance of recognizing “where change holds sway and where continuity”. In identifying an intuitive but false assumption regarding policy change, Simon convincingly argues that Lombroso’s influence persists. In short, Simon’s historical research demonstrates what Zelizer might call the institutional and cultural persistence of Lombrosan positivism as well as the process evolution of the criminal justice system.
In conclusion, Simon’s analysis holds value for historians and criminologists alike in its model of systematically discussing and deconstructing the theoretical and cultural bases of a seemingly objective system. Likewise, it hold value for policymakers in its call to reassess the biases encoded in the criminal justice system and for its presence in a policy-targeted journal. However, if Simon were to argue his points more succinctly and in a more publicly available format, his call might resonate more forcefully.
Bernard, Thomas J., Jeffrey B. Snipes, and Alexander L. Gerould. “Biological Factors and Criminal Behavior” in Vold’s Theoretical Criminology. New York: Oxford University Press, 2010.
Heidt, Jon, and Johannes P. Wheeldon. “Biological Positivist Theories” in Introducing criminological thinking: Maps, theories, and understanding. 38-58. Sage Publications, 2014.
Simon, Jonathan. “Positively punitive: How the inventor of scientific criminology who died at the beginning of the twentieth century continues to haunt American crime control at the beginning of the twenty-first.” Tex. L. Rev. 84 (2005): 2135-2172.
Wolfgang, Marvin E. “Pioneers
in Criminology: Cesare Lombroso (1825-1909).” Journal of Criminal Law
and Criminology 52, no. 4 (Winter 1961): 361-391.
 Jonathan Simon, “Positively Punitive: How the Inventor of Scientific Criminology Who Died at the Beginning of the Twentieth Century Continues to Haunt American Crime Control at the Beginning of the Twenty-First,” Texas Law Review 84, no. 2135 (2006): 2138.
 Simon, “Positively Punitive: How the Inventor of Scientific Criminology Who Died at the Beginning of the Twentieth Century Continues to Haunt American Crime Control at the Beginning of the Twenty-First,”, 2168.
 Ibid, 2169.
 Ellwood, Charles A. “Lombroso’s theory of crime.” J. Am. Inst. Crim. L. & Criminology 2 (1911): 723.
 Simon, “Positively Punitive: How The Inventory of Scientific Criminology Who Died at the Beginning of the Twentieth Century Continues to Haunt American Crime Control at the Beginning of the Twenty-First,”, 2170.
 Otis L. Graham, Jr. “The Uses and Misuses of History: Roles in Policymaking,” The Public Historian 5, no. 2 (1983): 12.
 Julian E. Zelizer, “Clio’s Lost Tribe: Public Policy History Since 1978,” Journal of Policy History 12, no. 3 (2000): 383-388.
This essay was adapted from a review I wrote for a graduate level history course.


Nurse Coaching through a Nursing Lens: The Theory of Integrative Nurse Coaching
The roots of nurse coaching began with the legacy of Florence Nightingale (1820-1910), and her words continue to inspire us today (Dossey, 2010; NIGH, n.d.). The Nurse Coach role and nurse coaching are a fundamental part of nursing practice. The American Nurses Association (ANA), the American Holistic Nurses Association (AHNA), and 19 other professional nursing organizations have officially recognized the Nurse Coach role, and in 2013, the ANA published The Art and Science of Nurse Coaching:T he Provider’s Guide to Coaching Scope and Competencies (Hess et al., 2013). Written by six members of the AHNA, this book defines and explains the Nurse Coach role within the context of the ANA’s Nursing: Scope and Standards of Practice, 2nd Edition (ANA, 2010). In addition, the Nurse Coach role also integrates the Holistic Nursing: Scope and Standards of Practice, 2nd Edition (AHNA & ANA, 2013).
The American Holistic Nurses Credentialing Corporation (AHNCC, n.d.) has also recognized nurse coaching through a Nurse Coach Certification process that began in 2013. With the growing role of nurse coaching, holistic nurses are challenged to explore integrative health and wellness coaching through our nursing lens. What nursing theories guide your nurse coaching practice? How do you describe the role of Nurse Coach and integrative nurse coaching to clients and other nurses or interprofessional colleagues? The International Nurse Coach Association (INCA, n.d.) was established in 2010 to explore these questions and further expand the Nurse Coach leadership role and voice. The Theory of Integrative Nurse Coaching was developed as the organizational framework for INCA’s 96-hour Integrative Nurse Coach Certificate Program. Below is a brief overview of the supporting theory and Integrative Nurse Coaching.
Co-Founder, Director of International Communications | + posts
Barbara Dossey, PhD, RN, AHN-BC, FAAN, HWNC-BC, is an internationally recognized integrative, holistic nursing pioneer, a nurse theorist (Theory of Integral Nursing; co-author, Theory of Integrative Nurse Coaching), and Florence Nightingale Scholar. She is Co-Director, International Nurse Coach Association (INCA) and Core Faculty, Integrative Nurse Coach™ Certificate Program (INCCP), Miami, Florida; International Co-Director, Nightingale Initiative for Global Health (NIGH); and Director of Holistic Nursing Consultants (HNC), Santa Fe, New Mexico. She has authored or co-authored 25 books including Holistic Nursing: A Handbook for Practice (7th ed., 2016); Nurse Coaching: Integrative Approaches for Health and Wellbeing (2015); The Art and Science of Nurse Coaching: The Provider’s Guide for Coaching Scope and Competencies (2013); Florence Nightingale: Mystic, Visionary, Healer (2010, Commemorative Edition). She is a founding member of the American Holistic Nurses Association and Holistic Nurse of the Year. She is an 11-time recipient of the prestigious American Journal of Nursing Book of the Year Award, and has received many other awards. Barbara is also on the ANA’s Healthy Nurse Healthy Nation™ Grand Challenge Advisory Board.
As Co-Founder of the International Nurse Coach Association for over a decade, Susan has been teaching and developing coaching program and currently through the Integrative Nurse Coach™ Academy. She is Board Certified in Health and Wellness Coaching, Holistic Nursing, and Clinical Nutrition. Susan has authored several chapters on Nutrition and Environmental Health for Holistic Nursing, Integrative Nursing, and Nurse Leadership textbooks.
She has co-authored Nurse Coaching and Self-Assessment chapters in; Holistic Nursing: A Handbook for Practice, 7th edition (2015-2020) and is co-author of the award winning book (ANA Gold Seal, 2015) Nurse Coaching: Integrative Approaches for Health and Wellbeing (2015) and The Art and Science of Nurse Coaching, an ANA Publication (2013), that led the way to establishing the standards for practice in the emerging Nurse Coach role. For the past 20 years, she has been the Nurse Coach and Nutrition consultant for Special Immunology Services at Mercy Hospital in Miami and is currently the Director of Nurse Coaching at Rezilir Health in Hollywood, Florida.
Susan continues to integrate lifestyle health and wellness education into diverse communities, bringing her expertise and passion as a nurse, clinical nutritionist, and medical anthropologist. She has developed and implemented integrative health initiatives for diverse community organizations including the Yellow Courtyard, Integrative Health Symposium, Urban Zen, New York Open Center, The Lower East Side Girls Club, Kripalu, Omega Institute, and the University of Miami and Florida Atlantic University.
As a concerned global citizen, Susan is the founder and education director of the Earthrose Institute, a not-for-profit organization dedicated to environmental health education and advocacy. She maintains a private practice as an Integrative Nurse Coach™ with a focus on nutrition and the environment.


Virtual Reality: 10 Facts10 Facts offer an at a glance guide to some of the key information relating to Alan Ayckbourn's plays.
Copyright: Simon Murgatroyd. Please do not reproduce without the permission of the copyright holder.
- Virtual Reality is Alan Ayckbourn's 56th play.
- The world premiere was held at the Stephen Joseph Theatre, Scarborough, on 3 February 2000.
- It is the one of only several plays which Alan Ayckbourn has withdrawn due to unhappiness with the final play; most of the other withdrawn plays are his earliest writing. As a result, Virtual Reality has never been published and is not available for production.
- One of the play's inspirations was Alan sitting at a restaurant and noticing a table where the couple did not speak to each other for most of the night, choosing instead to be talking on their mobile phones throughout the entire meal.
- Virtual Reality begins a cycle of four plays (including the Damsels In Distress trilogy) set in London. Alan rarely writes plays set in London, but felt his increased time in the capitol in recent years influenced his decision. Other notable plays set in London include Sugar Daddies and Private Fears In Public Places.
- Virtual Reality is considered one of Alan Ayckbourn's end-stage plays; plays written specifically for end-stage production (although several of them have gone on to be produced in the round). The other plays are: Bedroom Farce, A Small Family Business, Haunting Julia and Things We Do For Love. Although Jeeves and House were originally performed as end-stage plays, unlike the other plays they were not specifically written for end-stage performance.
- Virtual Reality was the first Ayckbourn play of the new millennium; although due to it being withdrawn and never been published, it is now very difficult to see how Alan Ayckbourn saw the new century in!
- The character of the literary agent Beth was apparently loosely inspired by Alan Ayckbourn's own long-standing agent Margaret 'Peggy' Ramsay.
- The name of the virtual gardener McGregor is a nod to both the Mr McGregor character in Beatrix Potter's Peter Rabbit novels as well as Alan's long-standing designer Roger Glossop, who has a Beatrix Potter attraction (and accompanying theatre-in-the-round) in the Lake District.
- The original set - designed by Roger Glossop - featured a dual revolve to allow for quick scene changes; this did however prove a particularly challenging show for the Stephen Joseph Theatre to tour as a result.


The book focuses on the shift from training to learning to collaborative learning in the modern socially networked age; to accelerate talent engagement, development and organisational change for Breakthrough Results. It outlines key principles, processes, tools to accelerate learning in organisations, using latest research in Neuroscience and practical case studies which bring the learning to life. The book covers paradigm shifts in learning, whole brain, whole person approaches to learning, creating learning cultures, designing Accelerated Learning Programs is relevant to individuals, business leaders and learning specialists.
What’s New: the authors invite readers to engage with the topic, and accelerate their learning through various gamification mechanics and brain-break activities in the book and on-line. There are a rabbit-hole of resources, tools and rewards through opting in to an on-line process and ways of interacting with other readers and learners through social media.
Walt Disney has been accredited with the inspirational, but profound quotation -“Think, Believe, Dream, and Dare!” If there was ever a quotation that symbolises the vision, imagination, creative development and tenacity associated with this new publication from Debbie Craig and Kerryn Kohl, Walt Disney aptly sums it up.
This work is an integrative and holistic chronical on accelerated learning and contains a vast array of pragmatic learning applications, solutions, frameworks, tools and case studies. I have had the pleasure of working with Debbie over the last fourteen years and with Kerryn over the last three years and I know that this project has been a special labour of love for both of them. From the early ideas and stirrings of commitment, to the forging of the concept design and content structure, to the insightful awareness of the dynamically changing business backdrop, Debbie and Kerryn have crafted a distinctive resource which will be invaluable to anyone who understands that learning and personal development is the single biggest differentiator in achieving greatness.
This project has been a remarkable collaborative effort between the editors, the chapter contributors and the Heads of Learning across business sectors – all of whom have provided seasoned experience, stimulating perspectives, novel learning techniques and practical case studies within the publication. Having worked in the field of Strategic Change, Talent Management and Management and Leadership Development for a number of decades, I believe that in today’s fast-changing world, this is a definitive piece of work which positions and focuses learning and growth as a critical driver of excellence, which should appeal to leaders, managers, young talent and technical and learning specialists alike.
Debbie and Kerryn bring with them a rich and refreshing blend of specialist expertise, knowledge and international business exposure and are relentless in their insatiable appetite, drive and courage to “push the envelope” and make a difference within this important field of learning, growth and development.
It has been a privilege to be associated with this publication.
John Gatherer, Co- founder and Partner, Catalyst Consulting


1. Spirit films—also called “spirit dramas” or “spirit comedies” in newspapers of the period—were fairly numerous. John T. Soister, who has indexed early American science fiction, fantasy, and horror films, writes, “While not quite a dime a dozen, pictures dealing with Spiritualism were fairly plentiful during the late 1910s and 1920s” (Soister et al. 2012, 36). Soister identifies dozens of films from throughout the silent period that involve spiritualist séances, ghosts, and the trappings thereof. The Mistletoe Bough (1904) shows a ghost leading her husband to her body, and The Phantom Carriage (1921) depicts a man whose ghost must become the collector of souls for a year. Period newspaper articles make note of the popularity of “psychic” films and describe the related events and music surrounding them, including séances and musical performances. Although it is difficult to match any particular pieces of music with individual films, extant materials show that spirit films were often accompanied by “special music;” The Mistletoe Bough would likely have been accompanied by one or another version of the song that tells the story of the film. Advertisements reveals that the Tully Sisters’ Orchestra accompanied the 1922 film Whispering Shadows, and Adele V. Sullivan’s music library indicates that she accompanied spirit films The Thirteenth Chair (1929) and Halfway to Heaven (1929), two “part-talking” films that had mediums as characters (Adele V. Sullivan Papers). Hazel Burnett’s music library similarly includes music for accompanying spirit films, such as pieces for the “fantastique,” witches, “enchantment,” and “visions” (Josephine Burnett Collection). Handwritten indicia show that she used Edward MacDowell’s “Will O’ the Wisp” and excerpts from Der Freischütz for at least one motion picture that would have involved spirits. This conflation of the spirit or ghost and other supernatural being is common in all of the music meant to accompany such things.
2. Silent film accompaniments depicting real-life activities and events often referenced the existing music used for those events: parades were accompanied by marches; children were accompanied by nursery rhymes, and so on. Thus films involving ghosts required music that matched public expectations for what ghosts sounded like, as established by earlier stage works and the sounds of the séance. Thanks to the popularity of Spiritualism and the documentation of séances in the public press and other outlets, performers knew how to accompany films that incorporated Spiritualist elements. At séances, ghosts spoke and sang through spirit trumpets—long cones that muted and distorted sound (Connor, in Buse and Stott 2002, 212). Spirits playing instruments—either themselves, through unseen means, or by taking control of a medium’s body and using it to play—was common. Violins emitted both pleasant and eerie sounds, the latter being created by playing tremolo, or a very rapid repetition of the same pitch, and sul ponticello, or near the bridge of the instrument (Adorno and Eisler 1947). Strummed guitars and other stringed instruments signified ghostly appearances and interaction with musical technology. Mediums used glass harmonicas to signal the presence of spirits and to communicate their messages; sudden sounds, such as the breaking of glass or sudden low noises also contributed to the soundscape of the séance (Mannoni and Crangle 2000, 141). Spirits also engaged with mechanical forms of musical reproduction, playing or interfering with phonographs and music boxes.
3. Music for spirit films was relatively easy to source and replicate. There was a large body of preexisting music as well as new works that could create the sound of the Spiritualist church and séance. This repertoire included Spiritualist hymns or pastoral songs, indicating a Spiritualist service or individual. Widely known pieces included “Lead, Kindly Light,” “Sweet By-and-By,” “The Land Beyond the River,” and “Auld Lang Syne,” which appears in The Spiritualist Hymnal in a version with different lyrics (National Spiritualist Association 1911). Music for Spiritualist services was modeled on Protestant church music. It employs multi-verse hymn forms and often borrows the music of preexisting Christian hymns while giving them new words. But the repertoire for the Spiritualist Church is intended to be reassuring and promising to its congregation of life beyond death and the possibility of communication between the living and the dead, and in fulfilling this mission, it is rather staid. In addition to the Hymnal, accompanists could use such works as Messages from spirit land in song form, published in 1910 (Beebe and Legg 1910); The Spirit Minstrel (Packard and Loveland 1860); The Golden Echoes (Tucker 1897), and many more books of music used in séances or services or attributed to spirits. Screenings of Do the Dead Talk? (1920) were accompanied by séances by practicing mediums before and after the film as well as a choir that sang spiritualist songs (“Do the Dead Talk,” 1921; “At the Majestic” 1921). However, none of the repertoire from the Spiritualist Church or other organizations were used frequently at séances; they were intended instead for large gatherings of Spiritualists at services where leaders spoke about the beliefs of the religion rather attempting to contact the dead.
4. Just as mediums performing in séances borrowed from the operatic and vaudeville stages, where tremolos and high pitches or harmonics on the strings had been used for a long time as signifiers of the otherworldly, so did cinema accompanists. Writing his instruction guide for cinema piano and organ accompanists in 1914, London-based accompanist W. Tyacke George suggested that keyboard accompanists mimic exactly this, as well as use “Oriental” music for anything “weird” or “mysterious”: “Pictures showing ghost or magic scenes require something weird, say the First Movement from Bendix’s “Pasha’s Dream’ or Schubert’s “Erl King” (George 1914, 17, 25). George also advised performers on creating sound effects, noting that the tom-tom, “when struck softly [….] gives a mysterious, evil-boding tone, highly suitable for ghost scenes” while poltergeists and other noisy spirits could be aurally represented through the use of a box filled with broken glass or china tipped from side to side. (George, 34, 36) Celebrated film accompanist Edith Lang, writing in 1920, described using the organ to create raps, unclear voices, and stingers—sudden loud chords—to represent breaking glass and other sudden movements or appearances on the part of a spirit. She and George West also recommended accompanists used organ stops and instruments that sounded like the instruments used in séances: by the late 1910s, the timbres of certain instruments and organ stops, like the flute, clarinet, and horn, had come to represent the supernatural (Lang and West 1920: 54-55). Lang and West provided a list of repertoire suitable for “scenes of ‘mystery, or suppressed alarm, sinister forebodings, ghost scenes, supernatural apparitions, etc.,’” stating that such music should be “Misterioso” in nature, with tremolo and either sudden silence or stingers (sudden loud chords) for the best effect in horror. (Lang and West 1920, 54-55) A spirit strumming the guitar or playing a run on the piano in the séance was transformed in the cinema into several quick grace notes; the coming and going of spirits at a séance represented by rapid and dramatic shifts in dynamics; and the sounds of muted brass suggested distant heralds from the afterlife. Because of widespread notions that black Americans were more susceptible than whites to believing in the supernatural, including “‘conjure’ men and ‘spiritualists’,” accompanists may also have used black spirituals to suggest a character’s belief in ghosts (Reed 2003, 98). Finally, film accompanists were encouraged to use both popular and classical songs to create supernatural atmospheres, even when there were no vocalists to sing them in the cinema. They selected songs that were popular locally or nationally, or had been in existence long enough for the public to become familiar with them. Songs about ghosts, both humorous and serious, made their way into the photoplayer’s repertoire. Schubert’s “Erl King” was recommended frequently for ghost films, even if the ghosts were benevolent and not threatening like the phantom king of the title. Robert Schumann’s “Widmung,” in which the narrator sings of love beyond death, was also popular (Leonard 2019).
5. Both new songs and new instrumental music about ghosts were composed for the cinema as well. These fall into several broad categories: ghost pieces and songs for novice performers and audiences (often specifically children), which were often repurposed for the cinema by experienced players; pieces about phantom musicians; works called “misteriosos” in which the music mimics gestures that might be found in ghost stories, such as creaking stairs, finding an open window, the presence of a breeze or the wind, heartbeats, trembling, and other physical elements, or creates suspense; and, finally, works that borrowed or were influenced heavily by preexisting works representing the supernatural.
6. Between 1900 and 1927, more than 100 pieces with “ghost” in the title were published (not including references to the “Holy Ghost”), most of them for piano and all of them suitable for use in cinema accompaniment. Ghost pieces are characteristic works that evoke a sense of ghostly presence through texture, timbre, rhythm, and harmony. (See Fig. 2-1.) These works, often composed by vaudeville and cinema accompanists or written for photoplay albums, include pieces like Cora Salisbury’s “Ghost Dance: a Dainty Novelette” (1911); “The Phantom Melody,” by Albert Ketelbey (1912); Mathilde Bilbro’s “Ghost Tales” (1918); Charles Tomlinson Griffes’s “Phantoms” (1918); and N. Louise Wright’s “The Ghost” (1924). Many of these were sold as individual pieces and also published in magazines like The Etude and Melody Magazine. In 1911, an article in The Etude suggested that for Halloween, piano students be encouraged to learn a variety of pieces referencing the supernatural that were widely available, including Horvath’s “Mystic Procession” (published in The Etude in 1910); “Ghosts” by Schutte; “By Lantern Light” by Rockwell (published in The Etude in 1911) and “Will-o-the-Wisp” by Behr (Watson 1911, 699). These pieces include various musical signifiers of the ghostly gleaned from séances and the stage, including rapping or knocking, a hymn-like section use of a minor key, tremolo, motifs emulating the strumming of strings, and stingers. Works for ensembles also include calls for special string and brass effects to emulate the sounds of séances and the presence of spirits.
7. Numerous works also reference ghosts playing instruments, as they did in séances. Composers developed a subgenre that depicted the musical abilities of spirits, including pieces like Ted Snyder and Bert Kalmar’s “The Ghost of the Violin” (1912); “The Ghost of the Saxophone” by F. Henri Klickmann (1917); and Fred Rose’s “The Phantom of the Blues” (1927). These pieces were designed to a sense of nostalgia and eeriness at the same time. Even more common were works designed to accompany spirits dancing. These relied on audience familiarity with French composer Camille Saint-Saëns’s well-known 1874 concert piece Danse Macabre. Works intended for accompanying both grotesque or monstrous body horror and ghosts or spirit-animated figures like skeletons were common, as demonstrated by the moods indicated on sheet music: pieces like ‘Gruesome Tales’ (Rapée and Axt 1923) and ‘Rage: for fiendish anger, sudden outbursts of madness, etc.’ (Axt 1925) could be used for introductions; for setting a scene in a convent, manor house, or slum; or to accompany the actions of a phantom, monster, or person possessed. Other pieces were clearly composed with particular images in mind: ‘Mysterious furioso: suitable for infernal and wierd [sic] scenes, witches, etc.’ (Langey 1919); and ‘Stealthy Escape: Terror, hideous monster, dark mystery’ (Zamecnik 1927) both make reference to specific figures and elements found in spirit films and horror movies. Many misteriosos were appropriate for and used to accompany spirit films. I’ve chosen three that were widely available, were published with orchestral parts, and are significant in length to analyze here.
Three Case Studies
8. Two frequently used misteriosos, Thomas S. Allen’s “Dance of the Skeletons” (1901, republished for cinema accompaniment in 1916), and Ellsworth Stevenson’s “Phantom Visions: Skeleton Dance” (1917), include elements that call on perceivers’ memories of pre-existing pieces dealing with Death and skeletons and ghosts, but also adhere to the aesthetic conventions for the grotesque in general. This made them useful beyond simply accompanying images of dancing skeletons or mischievous or malicious ghosts, just as the piece on which they are patterned, Saint-Saëns’s Danse Macabre, came to be employed as a generic signifier of ghosts and ‘spooky’ situations itself. In the third piece I analyze here, Paul Levy’s “Sinister Theme” (1918), many of the same aesthetics apply even though the work does not name or directly cite the supernatural. Further, while it is titled “Sinister,” Levy’s piece can be performed to signify ghostly presence without overtones of evil thanks to the wide use of misteriosos to accompany benelovent spirits.
9. Most music for the cinematic spirit was composed over a fairly long time, most pieces nonetheless adhered to stylistic conventions established in the 1910s or even earlier, such as in the Gothic-themed works by Camille Saint-Saëns, Franz Liszt and Hector Berlioz. In 1911, cinema accompanist and author of the column “Music and the Picture” for Moving Picture World Clarence Sinn made recommendations for The Ghost of the Vaults. (Sinn 1911, 32) Having already attended one showing of the film in which the accompanist used a number of cues from Wagner’s opera Tannhäuser and Chopin waltzes for happy scenes and Beethoven’s “Funeral March” (from the composer’s Third Symphony) for the spooky scenes within the titular vault, he endorsed the use of this funereal music, writing that “first [Beethoven’s March] was given as a funeral march befitting the ghostly character of the scene; then a mysterious character was given to the number;” that is, the accompanist modified or extemporized on the “Funeral March” to make it sound more “mysterious” or “creepy,” perhaps by adding tremolos, sudden changes of dynamics, and/or altering the tempo.
10. In both Allen’s “Dance of the Skeletons” and Stevenson’s “Phantom Visions: Skeleton Dance,” the composers call on musical memories of Saint-Saëns’s Danse Macabre to reference animated bones, phantoms, and an embodiment of Death himself, including the use of tremolo, grace notes, dotted rhythms, chromatic passages that suggest instability, and an overall narrative that ends with the coming of dawn and the gradual creeping away of the dead. Saint-Saëns himself was inspired by a poem by Henri Cazalis in which Death, playing the violin, calls forth the dead to dance on Halloween night. Incorporating the Dies irae motif and a tritone—the so-called “devil in music,” the interval of an augmented fourth or diminished fifth (for example, A to D-sharp/E-flat)—Saint-Saëns’s piece contains two distinct themes, first presented separately and then in various forms of contrapuntal interaction. The work ends with the break of day and the crow of the cock, sending the skeletons back into their graves for another year. By 1922, Danse macabre was referenced as a work “every musician should know” by film music columnist Norman Stuckey, who advised that it should be used to accompany the “weird.” (Stuckey 1921, 778) Allen’s and Stevenson’s earlier homages are clear presages of the long and storied career the French work would have in influencing music for accompanying spirits.
11. In Allen’s reissuance of “Dance of the Skeletons” for cinema use in 1916, the composer also provided a textual program in the music to help the performer understand exactly what is going on in the piece by adding parenthetical notes under the treble line. “Dance of the Skeletons” begins with an introduction, two bars of tremolos in the middle of the piano’s register and a quickly rising and falling melodic runs an octave above these, marked “wind; skeletons arriving in the storm;” all of these emphasize D minor. Allen alternates these two bars with two bars of heavy fortissimo chords outlining the subtonic, marked “thunder.” The skeletons continue to arrive throughout the eighteen bars of the introduction, then politely “line up” as the thunder crashes in A major, and the dance proper begins. Like in Saint-Saëns’s piece, Allen creates two separate themes and textures, which are then interwoven. He begins with two repeated sections of eight bars each: the A section introduces an unequal, dotted rhythm to indicate the jerking motions of the skeletons, while in the B section, “little ones” and “big ones” take turns dancing with one another. Here both sizes of skeletons are signified by an augmentation of the earlier dotted rhythm, but the little skeletons are represented by a higher pitch and lower volume—mezzo forte—while the big ones dance more heavily in a lower register and at fortissimo. After these two passages, the skeletons start ‘getting excited’—the dotted rhythms speed up, and there is a mix of musical materials from the “little ones” and “big ones” until, with a sudden crescendo ending abruptly with a long rest, “they all fall.” Together the various skeletons resume dancing, and in this C section the “dance goes smooth.” Allen incorporates a new rhythmic motif of triplets that he uses for sixteen bars as the skeletons enjoy their party. At the end of this section, however, there is sudden “confusion,” complete with descending chromatic sixteenth notes and an accented and fortissimo bass line. The reason for this confusion is soon given, musically and in words: “dawn [is] approaching].” The music depicts the skeletons’ mix of continued dancing (continued smooth eighth note triplets) and panic (the dotted rhythm that led to their earlier falling returns). Both rhythmic motifs become less frequent as the dynamic fades to piano, and, with a few last stingers, as prescribed by Lang and West, the skeletons are “going, going, gone.” Allen’s “Dance” is descriptive both musically and textually. Although he does not employ the common Dies irae motif, his use of minor key areas, chromaticism, and rhythmic instability are all musical signifiers of danger and death and correlate with the Gothic affiliations created in the Saint-Saëns work.
12. Allen’s “Dance” was recorded by an ensemble called Sodero’s Band for Edison first in 1904 and again in 1915 on an Amberol, or cylinder record, for use in the cinema. (Edison Phonograph Monthly, October 1903: 12; Edison Kinetograph Monthly, October 1915: 10) The Walter Jacobs Company of Boston purchased the rights to the sheet music in 1916, and advertised it as music cinema musicians could perform without having to pay additional tax or fees to the composer. (Motography, January 12, 1918: 57) Film music critic and cue sheet compiler Clarence Sinn recommended “Dance of the Skeletons” as non-taxable music in Moving Picture World (January 26, 1918: 510), which almost certainly resulted in the continuing use of the piece. “Dance of the Skeletons” had a long life in the cinema: it was likely performed in cinemas for the first time in the year it was published, and The Film Daily records it being performed before and during the picture at a showing of an unidentified film at the Roxy Theater in New York in November 1927 (November 20, 1927: 5)
13. Stevenson’s “Phantom Visions: Skeleton Dance” (1920) also borrows from Saint-Saëns’s music to depict skeletons animated by spirits. Stevenson marks his piece as ‘“misterioso” and calls for special instrumental effects, including the use of col legno (using the wood of the bow to tap the strings), mutes in the brass, muffled drums, “castanets or bones” in the percussion, and a “wind whistle” to create an especially eerie sound. The Dies irae motif is set between various voices, sometimes has other pitches interpolated between its four pitches, and appears in inversion and retrograde, making it less obvious to perceivers. Stevenson’s only other deviation from the skeleton dance as established by Saint-Saëns and imitated by Allen is in his orchestration. Rather than giving the melody to the violin, Stevenson assigns it—as Lang and West advise—to the winds, starting with the bassoon before handing it off to the oboe, the clarinet, and flute. Like Allen’s “Dance,” however, Stevenson’s is structurally similar to the Danse macabre: a quiet introduction with staccato quarter notes outlining the tonic—F minor—leads into an A section of twenty bars that uses a rhythmic figure of triplets on the upbeat followed by dotted rhythms. A long, low horn line moves from scale degrees 5 to 6 and back, not only providing additional emphasis on the key and key relationships but also a funeral march-like complement to the constant octaves in the bass line.
14. The sixteen-bar B section abandons the jerky dotted rhythms for longer and more even note values in suspenseful progressions in A-flat major over three and four bars that move from tonic to subtonic to dominant and back to tonic. Over each progression, the dynamics grow from pianissimo to a sforzando on the return of the tonic and short forte before dropping to pianissimo and beginning the progression again. While the sforzando chords soon become predictable, they nonetheless adhere to Lang and West’s good practice guidelines for stingers and allow the performer to add anticipation and surprise for the perceivers of the film. The A sections returns and segues into the C section, a Trio. The Trio, like the passages of confusion in Allen’s “Dance,” offer highly chromatic motifs in the upper winds which crescendo rapidly from pianissimo to forzando and then drop again, suggesting, again like Saint-Saëns and Allen, a period of chaos as dawn approaches. The performer then has the option of repeating either just the A section or the A and B sections before bringing the piece to an end in which the skeletons offer one last sudden stomp before disappearing into their graves. Stevenson’s piece was frequently recommended for use in a variety of films, including those not in the Gothic genre. Within the genre, however, it was a favorite recommendation of Max Winkler’s for films involving all kinds of secret, stealthy evildoing and murder, including the 1921 The Price of Silence (Winkler 1921, 591).
15. Paul Levy (a pseudonym for prolific early film arranger and composer Sol P. Levy)’s “Sinister Theme: for scenes of impending danger” was composed in 1918 and was published in 1925 in the photoplay album The PianOrgaN Film Books of Incidental Music, Vol. 1: Misteriosos, which contained seven such generic pieces by a number of well-known film composers. Vely’s piece is marked “Andante molto e misterioso,” becoming faster in tempo throughout its A section until it becomes “piu animato” at the beginning of the B section. The A section offers suitably dramatic, suspense-building left-hand motifs that are staccato eighths followed by two chromatic sixteenths slurred to an eighth an octave above the initial eighth and accented, creating frequent but irregularly spaced stingers, contrasted with syncopated sustained chords in the right hand. At bar eleven, this motivic arrangement is interrupted by a series of dramatic sustained chords tied to falling sixteenths that bring the A section to and end at bar fourteen. The B section consists primarily of running chromatic sixteenth and thirty-second notes, evoking a feeling of excitement or confusion, not unlike the chaos created when the dancing skeletons fall down. The piece returns to the A material at bar thirty-two, where the initial motif returns. In this piano score for the piece, Vely offers cues as to which instruments are playing when, and, following West and Lang’s advice, gives the A motif to the low winds and strings, while the upper winds and violins are assigned the more chromatic passages that suggest the otherworldly.
16. While all of these pieces are influenced by earlier works, it is also important to note the ways in which these later works were designed for use specifically in the cinema. All three—and the majority of works in this genre—are highly sectional and non-developmental. This is particularly cinematic. Music for the ballet engages in fairly simple forms, but includes variations and even sonata form; music for vaudeville was usually designed to fit a single sketch or act. Cinema allowed for multiple acts without pause, but, in its earliest days, could also be unpredictable in duration because of varied film speeds. Thus an accompanist might fit Piece A to Film A at Cinema A, but in Cinema B, the same film might take an additional thirty seconds to show, or, more likely, took thirty seconds less. Single pianists or organists could easily jump to a cadence as needed, but the ensembles of 3-30 musicians common to larger movie palaces weren’t as nimble. The result was cinema music with multiple subdivisions and cadential points that could be rapidly and easily edited for films as they came to the theater. Allen’s “Dance” could easily be ended at bars 16, 34, 50, 66, and 74. Stevenson’s “Skeleton Dance” is divided into sections ending at bars 20, 37, 53, and 71, and can be performed with or without the Trio section. There is evidence, based on the copy of the work held by the Mirskey Collection at the University of Pittsburgh, that conductors also used the trio separately or repeated it in performance. Vely’s “Sinister Theme” is similarly repetitive and sectioned so that performers using it to accompany a film could easily stop at several different points to fit the projection. Musicians could end at bar 14, 29, or 31, in addition to the written end—all of these allowed for an accompanist or ensemble to play a final cadence in the tonic. They could also end more abruptly for the purposes of suspense or interruption. Accompanists could thus play any scene for which this was the music as a complete and finished encounter, could leave the audience in suspense, or could segue directly into another work for the following title card or scene.
17. In addition, these works were composed for variable instrumentation. All have parts for piano, which could be used alone, and for a variety of instruments. In most cases, the instrumentation for this genre was that of the standard classical orchestras, but sometimes also included the banjo, saxophone, and other instruments not typically found in classical orchestras. Most if not all of the instrumental parts include cues for other instruments, so that one instrument could double for a missing one in performances, a practice that was common because of the small sizes of cinema orchestras. In “Skeleton Dance,” the piano-conductor and violin-conductor parts both include full cues, including expression and timbre markings, for every instrument that carries the primary theme of a dotted rhythm preceded by stepwise ascending eighth note triplets, plus percussion and many supporting instruments. Cues in each instrumental part are extensive and indicate that the published anticipated a variety of ensembles using the music. The second violin can fill in for the clarinets; the viola for the bassoon; the cello for the viola or bassoon; the clarinet for the oboe, violin 2, and viola; and so on.
18. Despite the apparent popularity—as judged by the sales, recordings, and published recommendations—of misteriosos like these works, many recommendations for spirit films still relied on pre-existing works with equally pre-existing connotations. Musicians using such pre-existing pieces and hoping to evoke these connotations—what Anahid Kassabian calls “affiliating identifications”—assume that perceivers bring with them a shared understanding of the works’ “histories forged outside the film scene.” (Kassabian 2001, 3) For cinema accompanists who had little time to learn new pieces, it is easy to understand why older and better-known music remained in circulation even as new pieces composed specifically for the genre were hailed as appropriate and effective in use. This likely explains why, in recommending music for The Haunted House (1917), accompanist and columnist Ernst Luz prescribed older and more established musical signifiers for the supernatural for the film, including Schubert’s “Erl King.” He did recommend some newer pieces, including generic “mysteriosos,” leaving the exact title for individual performers to select from the dozens available in new sheet music publications or photoplay albums. (Luz 1915, 2417)
19. Archived music libraries like Sullivan’s and Hamack’s contain numerous pieces to be used in conjunction with the supernatural, including several of the pieces listed above. (Sullivan Papers; Claire H. Hamack Papers) Hamack’s repertoire also included pieces titled “Meditation;” “Ominous Forebodings;” “Dance of the Devils,” which was specifically intended for accompanying “sprites;” “Enchanted Forest;” and various mysteriosos. Sullivan’s library contained music for “celestial visions;” “death bed scenes;” “magic;” “mystique;” and the “fantastique;” and works called “Haunted House;” “Lure of Souls;” “Mysterious Event” (marked for “Foreboding” and “Eastern mysticism”); “Queer Antics” (for “phantom”); as well as multiple mysteriosos. As in many music libraries for silent film, the pieces in these libraries are not arranged in a particular order and do not always bear markings that enable researchers to connect them with specific films. Burnett owned additional pieces that could have been used to accompany spirit films, including “By Moonlight;” “After Sundown;” and “Moonlight Sketches.”
20. In creating new works, composers developed a rich and deep body of sounds and music signifying the supernatural that extended from the séance to the repertoire for silent films. Because they were not expected to follow any particular existing sonic conventions in their performances but were trusted as inherently capable of selecting the perfect sounds and pieces from existing sources and creating original soundscapes, mediums and film accompanists developed and expanded sonic representations of kindly or mischievous ghosts. These representations were widely circulated and heard. When sound arrived, spirit films like Topper (1937) were supplied with soundtracks that emulated the scores silent spirit films had received, with musical motifs and effects right out of Lang’s recommendations and the compositions that emulated the soundscapes created by women for séances. These elements created by mediums and cinema musicians are still present in the scores for films with ghosts today: as I will demonstrate in Chapter 4, we can hear nostalgia and humor in the scores for movies such as Ghost (1990), The Haunted Mansion (2003), and Cabin in the Woods (2012).
Josephine Burnett Collection. Harry Ransom Center, University of Texas at Austin.
Claire H. Hamack Papers. Silent Film Music Collection. American Music Research Center, University of Colorado-Boulder.
Adele V. Sullivan Papers. Silent Film Music Collection. American Music Research Center, University of Colorado-Boulder.
Adorno, Theodor W., and Hanns Eisler. 1947 (2007). Composing for the Films. London: Bloomsbury.
“At the Majestic.” 1921. The Fort Wayne Sentinel. May 20, 1921:21.
Beebe, G. H, and E. Chouteau Legg. 1910. Messages from Spirit Land in Song Form. Oklahoma City, Okla.: Beebe Publishing Co.
Connor, Steven. 1999. “The Machine in the Ghost: Spiritualism, Technology and the ‘Direct Voice.’” In Ghosts: Deconstruction, Psychoanalysis, History, edited by Peter Buse and Andrew Stott, 203-225. New York: St. Martin’s Press.
“Do the Dead Talk.” 1921. The Fort Wayne Journal-Gazette, May 15, 1921: 8B.
Edison Kinetograph Monthly. 1915. October.
Edison Phonograph Monthly. 1903. October.
George, Tyacke. 1914. Playing to Pictures. London: E. T. Heron and Co.
Josephine Burnett Collection. Harry Ransom Center, University of Texas-Austin.
Kassabian, Anahid. 2001. Hearing Film : Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.
Kates, Zaida Brown and G. Tabor (George Tabor) Thompson. 1911. Spiritualist hymnal: a new collection of words and music for the congregation and choir, specially adapted for spiritualist meetings. Washington, D. C.: National Spiritualist Association.
Lang, Edith, and George West. 1920. Musical accompaniment of moving pictures a practical manual for pianists and organists and an exposition of the principles underlying the musical interpretation of moving pictures. Boston: Boston Music Co.
Leonard, Kendra Preston. 2019. “The Gothic and Music: Scoring ‘Silent’ Spectres.” The Gothic and the Arts, ed. David Punter. Edinburgh: University of Edinburgh Press.
Luz, Ernst. 1917. ‘The Music and the Picture.’ Motion Picture News. October 6.
Mannoni, Laurent, and Richard Crangle. 2000. The Great Art of Light and Shadow: Archaeology of the Cinema. Exeter, Devon: University of Exeter Press.
Motography. 1918. January 12.
Packard, J. B, and J. S Loveland. 1860. The Spirit Minstrel; Collection of Hymns and Music, for the Use of Spiritualists, in Their Circles and Public Meetings. Boston: Bela Marsh.
“Presentations.” 1927. The Film Daily. November 20.
Reed, Teresa L. 2003. The Holy Profane: Religion in Black Popular Music. Lexington: University Press of Kentucky.
Sinn, Clarence. 1911. “Music for the Picture.” Moving Picture World. July 15.
———. 1918. “Music for the Picture.” Moving Picture World. January 26.
Soister, John T., Henry Nicolella, Steve Joyce, and Harry Long. 2012. American Silent Horror, Science Fiction and Fantasy Feature Films, 1913-1929. Jefferson, N.C: McFarland.
Stuckey, Norman. 1921. “Music for the Photoplay.” Exhibitors Trade Review 11, no. 11 (Feb. 11, 1922): 778.
Tucker, S. W. 1897. The Golden Echoes: A New Collection of Original Words and Music for the Use of Meetings, Lyceums and the Home Circle. Boston: Banner of light Publishing Company.
Watson, Jo-Shipley. 1911. “A Good Musical for Halloween.” Etude, October 1911: 699.


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