How long would it take for a Pella Vista to recover from the atrocious crimes committed by a beloved member of their community? A decade passed and the crimes on Cropely street can still be felt across Pella Vista. The perpetrator had been convicted and sent to a maximum security mental facility, how could the community still feel as though they were exposed and scared? The once safe town fell victim to the reputation that attracted the outlaws to flock to an abandoned strip mall. Gordon receives a promotion just in time for events to heat up.

How long would it take for a Pella Vista to recover from the atrocious crimes committed by a beloved member of their community? A decade passed and the crimes on Cropely street can still be felt across Pella Vista. The perpetrator had been convicted and sent to a maximum security mental facility, how could the community still feel as though they were exposed and scared? The once safe town fell victim to the reputation that attracted the outlaws to flock to an abandoned strip mall. Gordon receives a promotion just in time for events to heat up.

This book documents the work of the American Women's Hospital Service, of which the author became president in 1919.

Among the few truly experimental composers in our cultural history, Harry Partch's life (1901–1974) and music embody most completely the quintessential American rootlessness, isolation, pre-civilized cult of experience, and dichotomy of practical invention and transcendental visions. Having lived mostly in the remote deserts of Arizona and New Mexico with no access to formal training, Partch naturally created theatrical ritualistic works incorporating Indian chants, Japanese kabuki and Noh, Polynesian microtones, Balinese gamelan, Greek tragedy, dance, mime, and sardonic commentary on Hollywood and commercial pop music of modern civilization. First published in 1949, Genesis of a Music is the manifesto of Partch's radical compositional practice and instruments (which owe nothing to the 300-year-old European tradition of Western music.) He contrasts Abstract and Corporeal music, proclaiming the latter as the vital, emotionally tactile form derived from the spoken word (like Greek, Chinese, Arabic, and Indian musics) and surveys the history of world music at length from this perspective. Parts II, III, and IV explain Partch's theories of scales, intonation, and instrument construction with copious acoustical and mathematical documentation. Anyone with a musically creative attitude, whether or not familiar with traditional music theory, will find this book revelatory.