THIS A STORY ABOUT A MAN THAT IS CONVINCED THAT GOD HAD CHOSEN HIM TO BE A PROPHET, AND THAT HE WAS GOING TO GET A BAND TOGETHER FOR GOD. HE IS LED ON A JOURNEY TO MEET DIFFERENT PEOPLE THAT WERE GOING TO BE A PART OF THE BAND THAT GOD IS GETTING TOGETHER. HE DOES LOTS OF LITTLE MIRACLES ALONG THE WAY. HE MEETS A WRITER IN FLORIDA WHO KNEW WHO HE WAS AND WHY HE WAS HERE. GOD HAD TOLD HIM THAT HE WAS GOING TO MEET A MAN NAMED RICK AND HE WAS GOING TO BE TALKING ABOUT GOD AND HIS BAND. HE HITCHHIKES ALL OVER THE U.S. MEETING PEOPLE AND TELLING THEM ABOUT THE BAND. MEETS ANOTHER WRITER IN TUSON AZ. ALONG THE SAME LINES. HE ALSO KNEW WHO HE WAS. RETURNS HOME FROM HIS JOURNEY TO LEARN A BIG LESSON. THEN STARTS THE LEARNING PROCESS, HE HAS A LOT TO LEARN AND HOW TO USE AND CONTROL HIS POWERS THAT GOD HAS GIVEN HIM, TO SHOW PEOPLE THAT HE IS TELLING THE TRUTH ABOUT THE BAND. GETS RUN OVER BY A CAR AND GOD TAKES HIM TO HELL. AND MEETS ANOTHER WRITER. RETURNS TO SEE ALL THE WRITERS AGAIN. TO SEE IF WHAT HE SAW IS WHAT HE REALLY SAW, ABOUT THE COMING DESTRUCTION OF THE WORLD. ECT !!!!!!!!!!!
This book, first published in 1967, examines the foundations and the substance of the Montgomery Legend. His appearance upon the scene in the Western Desert coincided with a change in warfare as ‘ironmongery replaced generalship’, as General Fuller observed, and with Montgomery’s victories came a British need for a Champion for all to see. The public needed a Hero as Britain’s time on the ropes ended, and it was also politically necessary, lest Britain be swamped by the power of its allies.
Venetian artist Carlo Crivelli (c. 1430–1495) is a painter whose individuality of style and mastery of powerful line have fascinated many, but whose life and art have remained enigmatic. This absorbing book, drawing on extensive research in Venice and the Marches, the region of central Italy that Crivelli dominated artistically from 1468 until his death, examines his paintings in depth and traces the fundamental influences of the Vivarini, of Squarcione and Mantegna, and later of Flemish art. Ronald Lightbown, eminent historian of Italian Renaissance art, interweaves stylistic and iconographical analysis of Crivelli’s work with historical and cultural background. The author uncovers the reasons that led patrons to choose the saints that figured in Crivelli’s altarpieces, discusses the initiations of new cults and the devising of an iconography for them, and demonstrates Crivelli’s independence from clerical dictation in the symbolism of his still-life pictures.
During the six months before December of 1776, Commanding General, George Washington had retreated from nine consecutive battles with the British in New Jersey and had lost ninety percent of his army. Brigadier General, Arthur St. Clair answered the call with fresh troops, took over the leadership of a brigade and suggested the strategies of stealth which enabled Washington's army to win the next three battles over the British in just nine days after Christmas in 1776. This drove the British out of New Jersey and avoided what could have been the end of the American Revolution. St. Clair walked with the giants of the American Revolution...Washington, Franklin, Adams, Jefferson, Greene, Lafayette and others. And yet, for more than two centuries, history has been reluctant to mention that St. Clair... * Became one of Washington's most trusted of only 30 major generals. * Built four armies for Washington * Was the military strategist who helped Washington defeat the British in 1776-77. * Was President when the U.S. Constitution and the Northwest Ordinance were drafted. * Was America's first and last foreign-born President. St. Clair also ... * Stopped the Virginia governor from annexing what is now Pittsburgh (1774) * Protected Pennsylvania settlers from Indian attacks incited by the British (1764-69). * Assisted Governor Penn with development of Bedford and Westmoreland Counties (1764-74). * Renounced his allegiance to Great Britain to become a Colonel in the Continental Army (1774). * Established judicial system for six states of the Northwest Territory.
The fight over the “one army concept” is at its peak. Some in the active army believed the concept would never work. Weekend warriors couldn’t be reliable enough to be integrated into the army’s demanding worldwide missions. In 1989, the National Guard’s Second Battalion 220th Infantry needed to perform well at the prestigious Joint Readiness Training Center (JRTC) at Fort Chaffee, Arkansas. The men and officers of the Second Battalion were going to be tested by the army’s best-trained professional opposing force at the infantry’s ultimate proving ground. They had to perform well. Everyone was watching. But this wasn’t your average National Guard unit. Their consistent superior performance during the last several years prompted the National Guard leadership to select them to represent the Guard on this national stage. There are countless distinct challenges for National Guard units that active duty units don’t face. This story describes how the battalion’s exceptional leadership is able to overcome these challenges to turn their unique situation into an advantage. Can the battalion prove to everyone that the “one army concept” works? If so, then what’s next?
First published in 2003. 'All of my music is biographical' declared Sir Malcolm Arnold in an interview in 1991. Arnold's turbulent life has permeated his music to a greater degree than probably any other British composer as Paul Jackson reveals in this illuminating account. Interweaving biographical details with close analyses of Arnold's major works, particularly the nine symphonies, and drawing on sketch materials never previously examined, Jackson provides fascinating insights into Arnold's compositional process, and the ideas informing works such as the John Field Fantasy and the 7th Symphony. Extensive interviews with Arnold himself as well as with his family, friends and colleagues add further perspectives on his relationships with fellow composers and musicians, publishers, critics and family. A combination of joie de vivre and periods of depression and personal tragedy, Arnold's life has mirrored his music in its combination of seemingly disparate elements that make a compelling whole.
In this comprehensive study of a common deity found in the ancient Near East as well as many other cultures, Green brings together evidence from the worlds of myth, iconography, and literature in an attempt to arrive at a new synthesis regarding the place of the Storm-god. He finds that the Storm-god was the force primarily responsible for three major areas of human concern: (1) religious power because he was the ever-dominant environmental force upon which peoples depended for their very lives; (2) centralized political power; and (3) continuously evolving sociocultural processes, which typically were projected through the Storm-god’s attendants. Green traces these motifs through the Mesopotamian, Anatolian, Syrian, and Levantine regions; with regard to the latter, he argues that Yahweh of the Bible can be identified as a storm-god, though certain unique characteristics came to be associated with him: he was the Creator of all that is created and the self-existing god who needs no other.
This handbook explains the importance and practice of using a geographic information system (GIS) in designing and implementing an effective response to large-scale disasters, including wildfires, hurricanes, earthquakes, and terrorist attacks. The handbook is organized according to the accepted methodology of disaster management, which involves planning and identification, mitigation, preparedness, response, and recovery. The first three stages involve tasks that an organization or community can perform before a disaster occurs. The latter two tasks focus on postdisaster efforts. The spatial display and analysis tools of GIS are ideal for assessing disaster risks, consequences, and responses. GIS can display the location, size, value, and significance of assets that may be impacted by disasters. It can show the kinds of environmental, atmospheric, and other conditions that contribute to particular kinds of natural disasters. GIS can also juxtapose a particular kind of asset with specific hazardous conditions over a wide geographic area, thus allowing a precise calculation of potential loss in the immediate area. With this kind of graphic depiction, the choices about what to do and where to do it are clarified for those charged with making fast, cost-effective decisions. This handbook details how GIS software features can be used at each stage of planning and response. The use of GIS in a disaster is illustrated by its application in New York City in the days after September 11, where it was used to provide assistance to rescue and recovery teams. The manual also profiles GIS-based disaster modeling software packages now available at no cost to local communities.
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