bluuebunny/crossref_metadata_2025_split huggingface dataset:
Where Does the Music Come From?
Authors: Smith Steven C. 
Published: June 2020

Abstract
The dawn of sound film has been mythologized and misreported (for example, The Jazz Singer was not the first movie with sound). This chapter offers an extensively researched look at Hollywood’s approach to sound and music between 1929 and 1931. During this period, most filmmakers were reluctant to include any music in movies, unless it was clearly motivated by an onscreen performance (by a singer, jazz band, etc.). Contrary to this approach, Max Steiner believed that underscoring would not only be accepted by audiences but could improve a film’s emotion and pacing. Using much previously unpublished material, this chapter follows Steiner’s swift rise from RKO staff orchestrator to studio musical director, and his first attempts to include music that was not always tied to onscreen action—including his work on 1931’s Best Picture winner, Cimarron.
Revolution
Authors: Smith Steven C. 
Published: June 2020

Abstract
By 1932, RKO was on the verge of collapse, due to a lack of quality films and industry-wide contraction caused by the Depression. But a new studio production chief—29-year-old David O. Selznick—would lead a dramatic course correction. Selznick commissioned better movies at RKO and encouraged Steiner to provide full dramatic scoring for as many of them as possible. This was the true beginning of film music in the sound era; and this chapter details Steiner and Selznick’s industry-changing innovations. Symphony of Six Million was the first Steiner score to employ separate leitmotivs (à la Wagner) for characters and extensive scoring under dialogue. Other important titles followed: Bird of Paradise, The Most Dangerous Game, and Katharine Hepburn’s screen debut, A Bill of Divorcement. By year’s end, Steiner’s scores were changing the way Hollywood approached music, paving the way for his first screen masterwork.
Startling, Unusual Sensation
Authors: Smith Steven C. 
Published: June 2020

Abstract
Before leaving RKO in late 1932, David O. Selznick greenlit the studio’s most costly and ambitious production: King Kong. The result was a landmark in Hollywood special effects and storytelling; its influence continues today, in the fantasy/action films that dominate the industry. Just as significantly, Kong inspired a Steiner score that is still cited by many directors, screenwriters, and composers as the work that first made them aware of the power of film music. This chapter aims to provide a definitive account of the score’s creation, from Steiner’s use of lyrical melodies and startling dissonance to humanize and add credibility to the title character; through the challenges of recording music whose orchestral richness tested the limits of 1933 sound technology. King Kong’s box office success, at the height of the Depression, temporarily saved RKO. It also launched Steiner into a new era of creative experimentation.
Orchids in the Moonlight
Authors: Smith Steven C. 
Published: June 2020

Abstract
After producing too many movie musicals at the dawn of sound, Hollywood had virtually abandoned the genre by 1932. Steiner was convinced that the public was eager to see a well-made musical—and after the success of Warner Bros.’ 42nd Street in March 1933, he had a chance to prove it. The visually extravagant Melody Cruise was only a modest hit, but it opened the door for a cinematic breakthrough at RKO: Flying Down to Rio, which paired Fred Astaire and Ginger Rogers for the first time. This chapter details the swift evolution of movie musical production and Steiner’s role in it, as he and his team experimented with pre-recording music to be used as “playback” during filming. During Rio’s making, the twice-divorced Steiner began a romance with studio harpist Louise Klos. It would become one of the most significant, and complicated, relationships in Max’s life.
Exodus
Authors: Smith Steven C. 
Published: June 2020

Abstract
The year 1936 would bring the most significant changes in Steiner’s life since his arrival in Hollywood. He was eager to accept an offer to be musical director at David O. Selznick’s new studio—but RKO refused to let him go. After months of intransigence on both sides, Max got his way. Steiner was thrilled to reteam with a producer who emphasized quality over quantity, with each title under Selznick’s personal supervision. For his part, Selznick knew that while his own movies were being shot, Steiner could be loaned—at considerable mark-up—to other studios. This mutually beneficial arrangement led to the happiest year of Max’s life: an Oscar-nominated score for Selznick’s The Garden of Allah; and, most fatefully from a professional perspective, a loan-out to Warner Bros., for its biggest release of 1936.
Falling Star
Authors: Smith Steven C. 
Published: June 2020

Abstract
This chapter dissects the demise of the Hollywood studio system, caused by several factors including the incursion of television. Warner Bros.’ legendary music department became, to quote Steiner, “a ghost town”; Max was among the few composers remaining on staff. Amid constant pressure to economize, Steiner continued to do fine work. He earned Ayn Rand’s praise for his musical depiction of nonconformity in The Fountainhead, created incendiary accompaniment for James Cagney’s valedictory gangster film White Heat; and devised an evocative “glass effect in music” for The Glass Menagerie. “Steiner has written a beautiful score,” Tennessee Williams wrote Jack Warner, “one that blends perfectly with the moods of the play.” Steiner also innovated as musical supervisor of the stereo-surround blockbuster This Is Cinerama, whose panoramic image foreshadowed IMAX. But most of his assignments were cheap, forgettable programmers, and his battles with Louise over Ronald grew increasingly bitter.
Götterdämmerung
Authors: Smith Steven C. 
Published: June 2020

Abstract
The strands of Steiner’s life emphasized in earlier chapters—his yearning for commercial success, his growing debts, and his emotional neglect of his son—reach their fulcrum here in ways both triumphant and tragic. After an anxious year of unemployment, Steiner found a sympathetic partner in director Delmer Daves. Daves’s 1959 film of a racy bestseller, A Summer Place, inspired 71-year-old Max to write a pastiche of dreamy ’50s rock ballads. Steiner had no commercial expectations for the tune, but a recording of the theme rose to Number One on the charts, won a Grammy (beating Elvis and Sinatra), and became the best-selling instrumental of the rock ’n’ roll era. Almost simultaneously, Steiner won his decades-long battle with ASCAP, which agreed to collect royalties on film music. Max would soon receive millions. But in 1962, Steiner received shattering news from which he’d never fully recover: his 22-year-old son, Ronald, had committed suicide.
Robert Kilwardby
Authors: Silva José Filipe 
Published: June 2020

Abstract
Robert Kilwardby is a central figure in late medieval philosophy and theology, but key areas of his thought have until now remained unexamined in a systematic way. Kilwardby taught Arts at the University of Paris and Theology at the University of Oxford around the mid thirteenth century. He is among the first in the Latin West to comment on the newly translated works of Aristotle and among the first Dominicans to comment on the Sentences of Peter Lombard at Oxford. Writing at that time, Kilwardby is both witness and actor in the emerging conflict between the traditions of Augustinianism and the new Aristotelianism. By offering a comprehensive overview of his works, ranging from topics in logic to theology, this book shows the development of those disciplines and traditions in a way that is accessible to nonspecialists and to anyone interested in medieval thought.
The Moabites
Authors: Doak Brian R. 
Published: June 2020

Abstract
The Moabites play one of the most nuanced roles of any of Israel’s close neighbors: The heroine of the book of Ruth has all of its action centered upon the person and identity of a woman, Ruth, who happens to be identified as “Moabite.” Much of the scholarly attention on the Moabites not filtered through the Bible focuses on the “Mesha Stele,” a long inscription commissioned by a Moabite king in the middle of the ninth century bce. Since it is the longest text of its type from this time period originating from one of the smaller polities in the Levant, the Mesha Stele offers an invaluable opportunity to look at a native text and the views of the king, Mesha, who produced it. The stele gives us native insight into Moabite religious and royal ideology, and at the same time provides a large percentage of what we know of the Moabite language and dialect.
The Phoenicians
Authors: Doak Brian R. 
Published: June 2020

Abstract
Often reviled in the Bible as overly wealthy traders and false worshipers, the Phoenicians appear in the biblical accounts under the label of their principal cities, Tyre and Sidon. Native inscriptions and new archaeological efforts provide information on Phoenician royal politics, religion, and colonial ambitions as far west as the south of Spain and the far northwestern African coast. The name “Phoenicians” first appears in the Homeric corpus in the eighth century bce, though it is never clear that any particular group called themselves “Phoenicians” during the Iron Age. Nevertheless, the cities of Sidon, Tyre, Byblos, and others constitute a coherent group of city-states that comfortably fit under the Phoenician label. Though excavation has been sparse at key sites, new research has revealed a plethora of data on Phoenician burial customs, art, and architecture.
Covering Emergency
Authors: Graham Aubrey P. 
Published: June 2020

Abstract
This chapter addresses the production of humanitarian photography in relation to spaces of conflict in the Democratic Republic of the Congo. In particular, it addresses the changing trends in NGO image content from negative to positive and their relationship to the region’s social and political contexts. Drawing upon experiences as an anthropologist and as an NGO photographer, the author uses ethnographic vignettes to illustrate how image assignments and field logistics lead to photographic practice that often produces a rosy, controlled visual reality. As a result, such upbeat depictions render invisible the nearby emergencies that fuel the very challenges the population strives to overcome, although associated captions and other text bring the conflict back into the images. Ultimately, this chapter advocates for imagery that encompasses the “beauty and the mess” of the region, challenging both the mere marketing of smiles and the simplistic sale of visualized suffering and disaster.
Making a Difference?
Authors: Copeland Ian R. 
Published: June 2020

Abstract
In Malawi as elsewhere, several NGOs recruit fee-paying “volun-tourists” drawn to a seductive fusion of service and adventure. This chapter considers one such organization—World Camp, Incorporated—and its use of musical strategies during residencies that take place in primary schools and conclude with student-led performances. The efficacy of World Camp’s public health interventions is a matter of considerable ambivalence. In wedding biomedical lyrical content to locally legible musical forms, students enact a hybridized genre with the potential to subvert autochthonous models of knowledge circulation. Volunteers, meanwhile, perceive their students’ performative capabilities through a romantic prism of endemic musicality, an interpretive move that elides the complexity of local praxis and rehashes racial tropes. Ultimately, this chapter argues that volunteers’ reception of their students’ performances completes a circuit of semiotic validation, reifying outsiders’ sense of altruism and perpetuating a model of humanitarian intervention with compromised regard for local impact.
Mobutu’s Ghost
Authors: Ndaliko Chérie Rivers 
Published: June 2020

Abstract
Both environments of mass uncertainty and emergent efforts at radical social change inspire calls for the arts to “get the word out.” Yet the distribution of information is inseparable from the distribution of resources, and the logics of broadcast are inherently colored by the politics of patronage. Moreover, the audiences addressed by such media are not open-ended, democratic masses but rather distinct publics constituted by the very forms of discourse chosen by the works: gender roles are consolidated around songs addressed either to men or women, political preferences swayed through the promotion of certain celebrities, ethnic identities unified or exacerbated via the use of different languages, and so on. However widely it spreads, distribution is never even nor unbiased; it is always colored by processes of disparity.
Mice, Cows, and Real Rwandans
Authors: Brower Lowell 
Published: June 2020

Abstract
As an alternative to NGO- or state-initiated arts, this chapter explores traditional oral performance genres mobilized by Kinyarwanda-speakers from DR Congo resettled in a Rwandan refugee camp. Storytellers and poets find ways to unite their communities, obliquely re-narrate their histories, endure amid “emergency conditions,” and assert their agency in an environment otherwise bent toward defining them as passive refugees and victims. Close linguistic attention to the moments and manner in which these stories and poems are performed reveals that oral traditions are not simply sources of automatic authenticity in which to couch development messages, but rather the very means by which substantive demands for development can be articulated and promulgated. Like any other foreign intervention, arts projects initiated amid humanitarian crises would do best to begin by listening to local voices.
Introduction
Authors: Plank Geoffrey 
Published: June 2020

Abstract
The introduction highlights the distinctiveness of the Atlantic as the least-navigated temperate ocean in the medieval and early modern period. When Europeans first crossed the Atlantic in the eleventh century, they faced no deep-water competition from indigenous Americans or Africans, but maritime supremacy did not easily translate into power on land. The introduction examines the Norse colonization of Greenland and attempted colonization of Newfoundland to illustrate the military challenges Europeans faced across the Atlantic. Compared to subsequent colonists, the Norse were unusually isolated. After encountering indigenous American military resistance, they abandoned their colony on Newfoundland. The Europeans who crossed the ocean in the late fifteenth and sixteenth century had larger ships to ferry and supply people and maintain communications, but even with these advantages, colonists depended on indigenous American trading partners and military allies in order to survive.
Ships
Authors: Plank Geoffrey 
Published: June 2020

Abstract
Chapter 1 analyzes military influences on the design of ships. The chapter begins with various accounts of initial indigenous American and African responses to European sailing ships. Though the reactions varied, enduring legends developed in many places associating ships with profound power. In the fifteenth and sixteenth centuries, all European sailing ships, including merchant vessels, were potential instruments of war. Endemic violence on the sea required merchants to arm themselves. Northern European sailing vessels were challenged by rowed galleys arriving from the Mediterranean, inaugurating new forms of combat at sea. To facilitate defense and for attacks on other vessels, ship designers raised and covered decks, built castles in the fore and aft, moved the rudders to the rear of the ships, dispensed with rowers, increased the size of their vessels, and eventually installed heavy guns. The chapter closes with specialization of European warships in the late seventeenth and eighteenth centuries.
The Birth of the Trio
Authors: Friedwald Will 
Published: June 2020

Abstract
After Cole worked a series of gigs with Shuffle Along producer Flournoy Miller, a local restaurant owner hired him to bring a group to the Swanee Inn, which could accommodate only three musicians. Cole formed his first trio with guitarist Oscar Moore and bassist Wesley Prince. Moore suggested naming the group after Old King Cole and his Fiddlers Three. From 1937 to 1940, they enjoyed success in Los Angeles and made recordings very early for a series of commercial transcription services. After spending most of 1940 in Hollywood, they expanded in 1941, performing from Chicago to New York. They made their first real commercial recordings for Decca in 1940 and 1941 and were increasingly heard on the radio. Interest in the Trio was about to bubble over; as Nat later put it, “For seven years we knocked around, until something happened.”
Years of Stardust, Night Lights, and Fear of the Dark
Authors: Friedwald Will 
Published: June 2020

Abstract
The late 1950s was perhaps the busiest portion of Cole’s career: in 1957, he concentrated mostly on film and TV work. The Nat King Cole Show had expanded to a half-hour slot, but even though the program was top-rated in most markets, NBC was not able to find a sponsor for it, and Nat reluctantly pulled the plug on it in December 1957. The next year, 1958, he made more than half a dozen full albums and dozens of singles, among them, his first album in Spanish, Cole Español. This was so successful that he spent much of 1959 touring in Latin America: in one week in Brazil, he played to nearly a quarter million people in stadiums and other venues. This was also the year Nat and Maria adopted their only son, Kelly Cole.
Seeing Clearly
Authors: Bommarito Nicolas 
Published: June 2020

Abstract
Many of us, even on our happiest days, struggle to quiet the constant buzz of anxiety in the background of our minds. All kinds of worries—worries about losing people and things, worries about how we seem to others—keep us from peace of mind. Distracted or misled by our preoccupations, misconceptions, and, most of all, our obsession with ourselves, we do not see the world clearly—we do not see the world as it really is. In our search for happiness and the good life, this is the main problem. But luckily there is a solution, and on the path to understanding it, we can make use of the rich and varied teachings that have developed over centuries of Buddhist thought. This book explores the central elements of centuries of Buddhist philosophy and practice, explaining how they can improve life and teach us how to live without fear. Mining important texts and lessons for practical guidance, it provides a guide to the very practical goals that underpin Buddhist philosophy. After laying out the basic ideas, the text walks readers through a wide range of techniques and practices we can adopt to mend ingrained habits.
Three Lives and Astrobiology
Authors: Mix Lucas 
Published: June 2020

Abstract
This chapter explores the concept of life across traditions, from science to philosophy to theology. The term “life” covers at least three constellations of meaning or life-concepts: biological life, internal life, and rational life. Biological life shares traits with all cellular life on Earth (archaea, eubacteria, and eukarya). Internal or conscious life shares subjective interiority with humans. Rational life shares intellect with all minds that can distinguish truth from non-truth. These three lives possess different origins, extents, and futures. The chapter then identifies three distinct “hard problems of life” relating to the origin and extent of biological organization, consciousness, and reason: moving from non-life to life, from life to sentience, and from sentience to rationality. The Drake equation, the Fermi paradox, and the anthropic principle provide concrete examples in astrobiology.
What Are Extremophiles?
Authors: Mariscal Carlos , Brunet T.D.P. 
Published: June 2020

Abstract
This chapter studies the concept of an extremophile. In the 1970s, R. D. MacElroy coined the term “extremophile” to describe microorganisms that thrive under extreme conditions. This hybrid word transliterates to “love of extremes” and has been studied as a straightforward concept ever since. The chapter then delineates five different ways to think about extremophiles, concluding that the concept is especially prone to the vagueness and arbitrariness that plague other biological categories, since it unavoidably involves debatable assumptions about life's nature and limits. These five concepts are, briefly, human-centric, at the edge of life's habitation of morphospace, by appeal to statistical rarity, described by objective limits, and at the limits of impossibility for metabolic processes. Importantly, these concepts have coexisted, unacknowledged and conflated, for decades. Confusion threatens to follow from the wildly varied inclusion or exclusion of organisms as extremophiles depending on the concept used. Under some conceptions, entire kinds of extremophiles become meaningless. Ultimately, since people's understanding of how life works is shaped by what people take to be its extremes, clarifying extremophily is key for many large-scale projects in biology, biotechnology, and astrobiology.
Earth, Life, Space
Authors: Billings Linda 
Published: June 2020

Abstract
This chapter discusses how the scientific search for evidence of extraterrestrial life has affected people's conception of the terrestrial biosphere. Austrian geologist Eduard Suess originated the term “biosphere” in 1875, describing Earth's biosphere as the area of the planet that supports life. With a deeper understanding of the history and nature of the terrestrial biosphere, the community of scientists engaged in space science and exploration recognizes the possibility of other biospheres beyond Earth. As a result, the quest to find evidence of extraterrestrial life has affected people's conception of the biosphere, the way they think about their home planet and their place on it, and their perspective on the possibility of extraterrestrial biospheres nearby and far away. Indeed, astrobiology, planetary exploration, and exoplanet science have made significant contributions to this changing understanding.
The New Protest #Journalism
Authors: Richardson Allissa V. 
Published: June 2020

Abstract
Chapter 3 introduces the 15 activists who are interviewed for the book. They fall into five broad groups: (1) the Black Lives Matter activists; (2) the “Day 1’s”; (3) the Masters of Agitprop; (4) the Bards; and (5) the Rogues. The Black Lives Matter activists were leaders who self-identified as members of the formal organization. The Day 1’s were the frontline protestors of Ferguson who believed their actions galvanized the movement. The Masters of Agitprop were the creatives who used art as propaganda for the movement. The Bards provided the soundtrack to the movement, blending hip-hop, poetry, and prose to spread news. Lastly, the Rogues were associated loosely with all of these groups, but refused to be labeled Black Lives Matter activists for a variety of reasons.
#WorkWoke
Authors: Richardson Allissa V. 
Published: June 2020

Abstract
Chapter 5 offers a personal account of the author’s brushes with police brutality to frame a broader discussion about the rise of the parallel #SayHerName movement in 2015. The author illustrates how activists have channeled their rage against inequitable systems into social movements, which are often labors of love. The activists explain how their ancestors’ work fuels them to continue to bear witness, even in increasingly polarized times.
#BeforeYouWatch
Authors: Richardson Allissa V. 
Published: June 2020

Abstract
Chapter 6 presents a social media analysis of the activists’ timelines that reveals an incredible reliance upon smartphones to create and distribute breaking movement-related news. This chapter explores the gift and the curse of these devices for today’s freedom fighters. It also outlines six steps in activist media production going from (1) observation to (2) discussion on to (3) authentication of potential news stories and then to (4) production, (5) publication, and finally (6) agitation throughout various counterpublics.