The Imaginators is the story of three children and the power of imagination. Anne and Tim have just moved to a new town. Anne refuses to play with her little brother, Tim, fearing that kids at her new school will see them and make fun of her. Then they meet the girl from next door, the fabulous Nina Frances Elizabeth Vanderhelden. Using moving boxes and other objects found in the garage, Nina takes an eager Tim and a reluctant Anne on a great make-believe adventure. The three battle the child-eating monster, the Mooklecratz. The children discover their own strengths, the value of cooperation, and the unlimited power of their imaginations as they figure out how to defeat the beast."--back cover.
The Imaginators is the story of three children and the power of imagination. Anne and Tim have just moved to a new town. Anne refuses to play with her little brother, Tim, fearing that kids at her new school will see them and make fun of her. Then they meet the girl from next door, the fabulous Nina Frances Elizabeth Vanderhelden. Using moving boxes and other objects found in the garage, Nina takes an eager Tim and a reluctant Anne on a great make-believe adventure. The three battle the child-eating monster, the Mooklecratz. The children discover their own strengths, the value of cooperation, and the unlimited power of their imaginations as they figure out how to defeat the beast."--back cover.
Until now, the public life of James Walker Hood (1831-1918), bishop of the African Methodist Episcopal Zion (AMEZ) Church and a major political and religious leader of the nineteenth century and the early twentieth, has gone largely unexamined. For God and Race recovers the public career of Hood as a representative of the major builders of independent black Christianity during this period who understood faithfulness to God as inseparable from the quest for racial justice, and it explores Hood's role in the AMEZ Church, a denomination known for its singular success in promoting leadership for the abolitionist movement.
If The COSMOS could be divided into QUADRANTS of CONSTELLATIONS, look for LIFE on OTHER PLANETS; in, QUADRANTS `-23, `-32; and, `-13!!!!!~ A NEW `-KIND OF NUMEROLOGY; CALLED PENDULUM FLOW - ITS WITH `-GODS INNER/OUTER WORKINGS `-WITH; AND, `-FROM; HIS `-DIVINE HOLY(-)SPIRIT!!!!!~ PENDULUM LEVEL = CHANGE!!!!!~ CHANCE = PENDULUM FLOW!!!!!~ PENDULUM FLOW = `-CLOCKWORK; OF, THE UNIVERSAL `-GODS; `-HOLY(-)SPIRIT!!!!!~ A NEW KIND OF `-NUMEROLOGY; THAT IS NOT, `-OF THE OCCULT; AS, IT IS NO LONGER CONCEALED; BUT IS REVEALED, `-BY `-GOD; AND, HIS DIVINE HOLY(-)SPIRIT; AND IS OF COURSE, OF A RIGHTEOUS; AND, `DIVINE `-INTERVENTION; `-OF `-GODS `-HAND-`!!!!!~ (IT IS THE GLORY OF `-GOD TO CONCEAL A MATTER, BUT THE `-GLORY OF KINGS IS TO SEARCH OUT A MATTER. (PROVERBS 25:2)!!!!!~ (=) RECIPROCAL-SEQUENCE -{(252)}-) `-WHOM, WAS TO BE `-SITTING; AT, THE RIGHT `HAND; OF `-GOD, `UPON; `-HIS RESURRECTION (=) `-JESUS CHRIST!!!!!~ `AND; `-WHOM, WAS `-EVERYTHING; `CREATED, `-WITH, AND; `-THROUGH (=) THE UNIVERSAL FATHER `-GODS SON (=) `-JESUS CHRIST!!!!!~ `-A; PENDULUM FLOW!!!!!~ There is the -THEORY of EVOLUTION!!!!!~ There is ALSO, The -THEORY; and/or, LAW; of CARDINAL NUMBERS!!!!!!~ These NUMBERS; ALL PROVE, -that; there, is `-a; -`UNIVERSAL `-GOD, `-that `-EXISTS!!!!!~ The `THEORY; and/or, `LAW of `CARDINAL NUMBERS!!!!!~ `-It `-BEATS; `-EVOLUTION-!!!!!~ `-GODS HOLY(-)SPIRIT (=) `-A/THE 360 INVERSE SPHERICAL/SPIRITUAL LAW OF FORCE!!!!!~ ({/}) `-A/THE 360 INVERSE SPHERICAL/SPIRITUAL LAW OF RECIPROCITY!!!!!~ `-MATHEMATICAL PENDULUM FLOW EQUATION: [IF (a); AND/OR, (b) EQUALS (0 -to- 9); AND, IF (a) DOES NOT EQUAL (b); AND/OR, IF (b) DOES NOT EQUAL (a); THEN, {(ab) = RECIPROCAL = (ba)} (=) `-GODS `ACTIVE SPIRIT `FORCE (=) GODS `LAW OF `RECIPROCITY]!!!!!~ THE PURE LANGUAGE `-NUMEROLOGY (=) THE EQUATIONS OF `-PENDULUM FLOW!!!!!~
An explosive inside look at The Dirty Dozen, the star-studded war film that broke the rules, shocked the critics, thrilled audiences, and became an all-time, cult-movie classic . . . The year was 1967. A cinematic blockbuster exploded across American popular culture. The Dirty Dozen didn’t just reinvent the “men on a mission” war story, it blew the genre to pieces. Like its ragtag team of crazies, murderers, and misfits, it defied authority, mocked the military, and still managed to deliver action, adventure, and no-holds-barred Nazi-killing. It also received four Oscar nominations, launched the careers of many Hollywood legends, and inspired generations of filmmakers like Sam Peckinpah, Quentin Tarantino, and James Gunn. Based on exclusive interviews with the surviving cast and crew, friends and families of the stars, and other Hollywood insiders, Killing Generals is a riveting must-read for film buffs, military fans, and anyone who loves a down-and-dirty adventure tale. To quote the character played by Charles Bronson, “Boy oh boy—killing generals could get to be a habit with me.” Detailed, insightful, and gossipy, Epstein’s homage spotlights the movie’s endless barrage of cinematic gold. During a time when America was reeling from turmoil—the Vietnam War, civil rights protests, social upheaval—Hollywood held an indelible mirror up to a changing society. Films like Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, Cool Hand Luke, and In the Heat of the Night would define the era. But it was a gritty, violent, darkly comic World War II movie called The Dirty Dozen that would really strike a chord with audiences—and become the year’s biggest box office success. Heading up the all-star cast were Lee Marvin, Ernest Borgnine, John Cassavettes, Charles Bronson, Donald Sutherland, Jim Brown, Robert Ryan, Clint Walker, and at his most terrifying best, Telly Savalas, propelling many of them to stardom. More than a viewing companion to an iconic film, Killin’ Generals brings to vivid life a pivotal epic in American history and pop culture, when going to the movies—in person—was a way of life shared by millions.
Filling in a key chapter in communications history, Dwayne R. Winseck and Robert M. Pike offer an in-depth examination of the rise of the “global media” between 1860 and 1930. They analyze the connections between the development of a global communication infrastructure, the creation of national telegraph and wireless systems, and news agencies and the content they provided. Conventional histories suggest that the growth of global communications correlated with imperial expansion: an increasing number of cables were laid as colonial powers competed for control of resources. Winseck and Pike argue that the role of the imperial contest, while significant, has been exaggerated. They emphasize how much of the global media system was in place before the high tide of imperialism in the early twentieth century, and they point to other factors that drove the proliferation of global media links, including economic booms and busts, initial steps toward multilateralism and international law, and the formation of corporate cartels. Drawing on extensive research in corporate and government archives, Winseck and Pike illuminate the actions of companies and cartels during the late nineteenth century and early twentieth, in many different parts of the globe, including Africa, Asia, and Central and South America as well as Europe and North America. The complex history they relate shows how cable companies exploited or transcended national policies in the creation of the global cable network, how private corporations and government agencies interacted, and how individual reformers fought to eliminate cartels and harmonize the regulation of world communications. In Communication and Empire, the multinational conglomerates, regulations, and the politics of imperialism and anti-imperialism as well as the cries for reform of the late nineteenth century and early twentieth emerge as the obvious forerunners of today’s global media.
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