This science fiction adventure represents the ultimate survivor genre, a hero against all odds, against powerful special interests too-big-to-fail, a system controlled by ultimate insiders who often seem hell-bent on obsession, the last war, escalation, and world economic domination, to create a brave new world, another dystopia. And the story focuses on a black site scientist with an urgent mission: to reach the next underground bunker with unparalleled destruction and equipment that smolders, a place with sections that have damage beyond description, beyond all known languages from some unknown experiment, as the experiment may have fractured time or seriously damaged a local aspect of the universe. As people often say the most important trait is location-location-location, a real estate term regarding a vital place or vulnerable point. And in this case, the concern is about a weapon of mass destruction, a favorite human pursue since prehistoric times, and this weapon is not a mother of all bombs, not MOAB or the insidious neutron bomb, but a new age experiment that directed a complex particle beam at a universal pressure point in space, universal defect in spacetime or support aspect, well, similar to the way someone brings down a high-rise building by damaging the main support beam, and in this case to collapse the universal wave function, as the universe may represent a bubble, a supreme algebraic bubble, a supreme bulkhead. And this secret military experiment, one without checks and balances, appears to have punctured the universe with a special warp bubble pierce, and might initiate deflation at faster than light speed, to deflate the universe, as space can move faster than light, which in this case will quickly collapse the universe, to bring about the End of Days, eschatology, the final events of history, and the ultimate human destiny.

This science fiction adventure represents the ultimate survivor genre, a hero against all odds, against powerful special interests too big to fail, a system controlled by ultimate insiders who often seem hell-bent on obsession, the last war, escalation, and world economic domination to create a brave new world; another dystopia. And the story focuses on a black site scientist with an urgent mission: to reach the next underground bunker with unparalleled destruction and equipment that smoldersa place with sections that have damage beyond description, beyond all known languages from some unknown experiment, as the experiment may have fractured time or seriously damaged a local aspect of the universe. As people often say, the most important trait is location-location-location, a real estate term regarding a vital place or vulnerable point. And in this case, the concern is about a weapon of mass destruction, a favorite human pursuit since prehistoric times. And this weapon is not a mother of all bombs, not MOAB or the insidious neutron bomb, but a new-age experiment that directed a complex particle beam at a universal pressure point in spaceuniversal defect in space time or support aspect, well, similar to the way someone brings down a high-rise building by damaging the main support beam, and in this case, to collapse the universal wave function, as the universe may represent a bubble, a supreme algebraic bubble, a supreme bulkhead. And this secret military experiment, one without checks and balances, appears to have punctured the universe with a special warp bubble pierce and might initiate deflation at faster-than-light speed to deflate the universe, as space can move faster than light, which in this case will quickly collapse the universe to bring about the end of days, eschatology, the final events of history, and the ultimate human destiny.

In Manhattan, New York, Monday, 9:28 a.m., a Norwegian Nobel Prize Committee member, new Swedish Academy committee secretary, and permanent seasoned adviser, “the specialist” of intangible cultural heritage investigates a well-known Scandinavian metaphysical poet named Erika Segersäll Unræd, also known as persona no grata.

After many months of long work commutes, dense traffic, work stress as a wage slave, one difficult diet after another, and sleepless nights of tossing and turning, Bonnie seems quite exhausted, malnourished, and timeless. Such as, when will relief arrive? And, when will I find paradise? And especially, when will she find someone to love and cherish? So, she buys another lottery ticket.

Provides a critical space in which to interrogate the ways in which postcolonial voices are imagined and struggle to be valued, heard, and responded to. Takes the imagination of the postcolonial as its focus, acknowledging that it is a troubling, unsettling, and ambiguous concept requiring re-visiting and re-interpretation.

When it was formed, Trojan Records epitomised the punk DIY ethic over a decade before 1976. With a blizzard of individual labels and a marketing strategy that involved selling product out of the backs of vans, the company spearheaded the injection of reggae and ska into the vein of British youth consciousness. In its first brief six-year incarnation, Trojan produced nearly 30 hit singles, created the legendary compilation series Tighten Up and launched new acts like Jimmy Cliff, Desmond Dekker, Ken Boothe, The Pioneers, Bob And Marcia, Greyhound and Dave And Ansell Collins, all against a background of cut-throat politics, cultural division and prejudice. Featuring a comprehensive discography, Young, Gifted And Black is the official story of Trojan Records, lifting the lid on the scheming, backbiting and sheer seat-of-the-pants inspiration that made the label such a powerful force for black UK music.

"[Stanley is] as clear-eyed about music as he is crazy in love with it." —Mikael Wood, Los Angeles Times A monumental work of musical history, Yeah! Yeah! Yeah! traces the story of pop music through songs, bands, musical scenes, and styles from Bill Haley and the Comets’ “Rock around the Clock” (1954) to Beyoncé’s first megahit, “Crazy in Love” (2003). Bob Stanley—himself a musician, music critic, and fan—teases out the connections and tensions that animated the pop charts for decades, and ranges across the birth of rock, soul, R&B, punk, hip hop, indie, house, techno, and more. Yeah! Yeah! Yeah! is a vital guide to the rich soundtrack of the second half of the twentieth century and a book as much fun to argue with as to quote.

Calypso, with its diverse cultural heritage, was the most significant Caribbean musical form from World War I to Trinidad and Tobago Independence in 1962. Though wildly popular in mid-1950s America, Calypso--along with other music from "the island of the hummingbird"--has been largely neglected or forgotten. This first-ever discography of the first 50 years of Trinidadian music includes all the major artists, as well as many obscure performers. Chronological entries for 78 rpm recordings give bibliographical references, periodicals, websites and the recording locations. Rare field recordings are cataloged for the first time, including East Indian and Muslim community performances and Shango and Voodoo rites. Appendices give 10-inch LP (78 rpm), 12-inch LP (33 1/3 rpm), extended play (ep) and 7-inch single (45) listings. Non-commercial field recordings, radio broadcasts and initially unissued sessions also are listed. The influence of Trinidadian music on film, and the "Calypso craze" are discussed. Audio sources are provided. Indexes list individual artists and groups, recording titles and labels.

In Race and the American Story, Stephanie Shonekan and Adam Seagrave provide a unique window into race relations in contemporary America. Shonekan, a Black woman who grew up in Nigeria and Trinidad before emigrating to the US and Seagrave, a white man who grew up in California's Napa Valley, have entwined their life histories to shed light on how Americans experience race. This book explores the authors' insights into the personal and social effects of racism and contains both an open acknowledgment of the realities of racism and a hopeful approach to confronting it. Race and the American Story provides a historically sensitive, culturally informed, and refreshingly novel treatment of race in the US. Combining the power of storytelling with the authors' expertise as scholars of politics and culture, this book shows how two very different personal stories relate to the American story--a story that is in danger of disintegrating in the twenty-first century.