Life/Death Rhythms of Capitalist Regimes Debt before Dishonour explores the cyclical theory of cultural development, with particular attention paid to the introduction of democratic forms of government in the British Empire and the United States republic. The cyclical theory allows a forecast of the fading of the dominance of the United States as an imperial power. Similar to cultural survival of the loss of dominance experienced by the British Empire after the Great War, the United States will survive in a new form. Which superpower will take over the reins remains to be seen, but the likely contender is the Peoples Republic of China. This conclusion and the timing will allow long-term planning by corporations and governments. In the age of political correctness, it is unlikely that readers will experience any such forecasts by government bodies. Throughout history, societies have used and abused debt, revolted and warred over debt, and have forbidden usury. But the modern financial world as we know it simply cannot exist without usury. Since the 1400s, modern governments have found new ways to expand debt to produce modern economies, which are still subject to the age-old basic principle of debt that it needs to be repaid or dire consequences ensue. Those who cannot remember the past are condemned to repeat it. George Santayana (1863 1952)
MY LIFE IN CRIME is the story of one man's career spent in the criminal justice system as a probation officer. It chronicles many of the people he knew and supervised, and includes his views about the system. Many of his opinions fly in the face of politically-correct attitudes, and his book calls for more understanding and better treatment of offenders. Criminals. Crooks. Perhaps in these pages you will see people you know--or perhaps you will see yourself.
In the autumn of 1915 Will Bird was working on a farm in Saskatchewan when the ghost of his brother Stephen, killed by German mines in France, appeared before him in uniform. Rattled, Bird rushed home to Nova Scotia and enlisted in the army to take his dead brother's place. And We Go On is a remarkable and harrowing memoir of his two years in the trenches of the Western Front, from October 1916 until the Armistice. When it first appeared in 1930, Bird's memoir was hailed by many veterans as the most authentic account of the war experience, uncompromising in its portrayal of the horror and savagery, while also honouring the bravery, camaraderie, and unexpected spirituality that flourished among the enlisted men. Written in part as a reaction to anti-war novels such as All Quiet on the Western Front, which Bird criticized for portraying the soldier as "a coarse-minded, profane creature, seeking only the solace of loose women or the courage of strong liquor," And We Go On is a nuanced response to the trauma of war, suffused with an interest in the spiritual and the paranormal not found in other war literature. Long out of print, it is a true lost classic that arguably influenced numerous works in the Canadian literary canon, including novels by Robertson Davies and Timothy Findley. In an introduction and afterword, David Williams illuminates Bird's work by placing it within the genre of Great War literature and by discussing the book's publication history and reception.
Shows that Earth was visited by an extraterrestrial race who bioengineered modern man in its image and taught man how to construct the pyramids • Examines the flaws in Darwin’s theory of evolution and presents startling new evidence of intelligent intervention • Reveals the messages coded in the pyramids left by the ancients concerning impending Earth changes at the end of the Mayan calendar For millennia the development of humanity showed a consistent homogenous pattern. Then suddenly, around 3000 B.C.E., great civilizations sprang up around the globe. All the creation myths of these civilizations tell of gods who came down to Earth and fashioned man in their own image, teaching them the arts of agriculture and civilized life. In addition, the dominant architectural design in Egypt, Sumeria, Peru, Mexico, and China was the pyramid, though science has never been able to explain why or where these peoples obtained the advanced technological knowledge to construct such edifices. The abruptness and similarities of these evolutionary leaps calls into question the Darwinian theory of evolution, given that there are no traces of any intermediate evolutionary forms. Now, using the most current research on DNA, Will Hart shows that these gods were actually visitors from other worlds who genetically engineered modern humanity from the beings that then inhabited the planet. He also suggests that the Bible and other creation stories have been interpreted falsely as myth when they should have been read as history. The structures left by our ancestors were designed in accordance with precise astronomical and geodetic alignments to make them visible from outer space and to survive for thousands of years with the intent of communicating information relating to physical and temporal events. Humanity’s current stage of development has finally reached the point where the secret messages of these structures can be decoded to reveal the fate of humanity in the coming Earth changes.
This third volume of The Papers of Will Rogers documents the evolution of Rogers's vaudeville career as well as the newlywed life of Will and Betty Blake Rogers and the birth of their children. During these years, the Rogerses moved to New York City, and after many years of performing with Buck McKee and horse Teddy, Rogers began a solo act in vaudeville as a talking, roping cowboy. He appeared on the same playbill with such performers as Fred Stone, Eddie Cantor, and Houdini, and his stage career expanded to include an appearance in the Broadway musical comedy "The Wall Street Girl." Volume Three ends with Rogers's successful transition from vaudeville to Broadway, on the brink of his breakthrough as a star of the Ziegfeld Follies.
In the early years of his performing career, Will Rogers was a vaudeville performer of limited prominence. Around the age of thirty-five, however, this Oklahoma cowboy philosopher shed his role as local stage entertainer and moved toward fame as a Broadway star and nationally beloved humorist. This documentary history, volume four in the definitive five-volume Papers of Will Rogers, reveals Rogers’s personal and professional transformation during what may have been the most productive period of his diverse career. Between 1915 and 1928—the years covered by this volume—Rogers developed his unique monologues of topical humor, sampled the relatively new medium of radio, and pursued a career in silent films. He also tried his voice in sound recordings, witnessed his work as a writer reach millions of readers of daily newspapers, became one of the most sought-after speakers on the dinner circuit, and embarked on a three-year tour of the nation’s lecture halls. In addition to Rogers’s personal correspondence with family members and friends, editors Steven K. Gragert and M. Jane Johansson present more than one hundred letters and telegrams to and from people Rogers touched both inside and outside public life, including prominent figures in politics, show business, literature, industry, government, publishing, and the arts. Much of this material, gleaned from private collections, interviews, manuscripts, and sound recordings, has never before been published.
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