When Buddy Stebbins stumbles onto the thirteenth floor of a shabby old building, he finds himself suddenly transported aboard a leaking pirate ship in a howling storm—three hundred years in the past! Cast adrift with Captain John Crack-stone, Buddy washes up in New England, where his plucky ancestor, Abigail, is caught up in the witchcraft mania. In an adventure filled with ghosts, witches, pirates, and razzle-dazzle treasure, Buddy might be able to save his wayward ancestors. But will he find his way back to the thirteenth floor—and home?
The outcome is anything but predictable when an exhausted hotel guest sets out in search of sleep in this kid-pleasing romp full of visual humor. Will Mr. Snore ever get some shut-eye at the busy Sharemore Hotel? The room on the first floor is too noisy. The room on the second floor is too crowded. The room on the third floor is too damp. Everywhere Mr. Snore goes, with a dutiful bellhop leading the way, he encounters something that’s bound to keep him awake. Why is it so hard to find some peace and quiet? Perhaps Mr. Snore will have better luck on the thirteenth floor. . . . From author and playwright Wade Bradford and award-winning illustrator Kevin Hawkes comes a laugh-out-loud tale that plays with expectations and revelations — and reveals a surprisingly thought-provoking final twist.
Sam Wentworth is not sure about his new friends. On his first day at a new school, Sam is surprised to fall in with the popular crowd--it's all because he plays the same online video game as some of the football players. Still, he's bothered by the way they bully other gamers. When they get their hands on a pirated copy of The 13th Floor, a game banned for violence and gore, Sam and his new friends find the game so hypnotic that they can't stop playing, even after bad things start happening to them.
One of the readers of the first edition of this book considered it to be the best work that has been written on the subject of 9/11. The 3rd edition seeks to make a very good book even better. Framing 9/11, 3rd Edition contains all of the material that was present in the first two editions. This includes critical discussions on: The collapse of Building 7; the no-planes issue; controlled demolition; the work of Dr. Judy Wood; commentary on the views of Bill Maher and Matt Taibi concerning 9/11; Conspiracy and other 'C' words, as well as a series of 'Did You Know?' features. The current, updated edition of Framing 9/11 involves more than 150 pages of new material, and much of this is contained in chapter of this book entitled: ‘Unscientific America: 9/11, Sam Harris, and Noam Chomsky’. The penultimate chapter of this book also contains new material. It consists of an overview of, and introduction to, the work of Rebekah Roth which is given expression in her Methodical trilogy as well as through a variety of interviews. The final chapter of the 3rd Edition gives expression to an exploration of ‘The 9/11 Delusion and Its Consequences.” This discussion will critically examine the etiology of our current dilemma and provide an outline concerning how the very first step taken toward the pathology in which we are mired today began when Americans (both leaders and ordinary citizens) ceded their moral and intellectual agency to something other than the truth and, in the process became vulnerable to the 9/11 delusion. By becoming entangled in that delusion, all too many people were prepared to commit crimes against peace (i.e., unprovoked aggression against other people and nations) which, in turn, led to war crimes and crimes against humanity. However, our nightmare began when people (both leaders and ordinary citizens) denied themselves and others the opportunity (a) to establish the truth about, among other things, 9/11 and (b) to use that truth to work to create conditions that are conducive to the realization of “inalienable sovereignty” for everyone.
Recognized for its distinctive musical features and its connection to periods of social innovation and ferment, the genre of psychedelia has exerted long-term influence in many areas of cultural production, including music, visual art, graphic design, film, and literature. William Echard explores the historical development of psychedelic music and its various stylistic incarnations as a genre unique for its fusion of rock, soul, funk, folk, and electronic music. Through the theory of musical topics—highly conventional musical figures that signify broad cultural concepts—and musical meaning, Echard traces the stylistic evolution of psychedelia from its inception in the early 1960s, with the Beatles' Rubber Soul and Revolver and the Kinks and Pink Floyd, to the German experimental bands and psychedelic funk of the 1970s, with a special emphasis on Parliament/Funkadelic. He concludes with a look at the 1980s and early 1990s, touching on the free festival scene, rave culture, and neo–jam bands. Set against the cultural backdrop of these decades, Echard's study of psychedelia lays the groundwork and offers lessons for analyzing the topic of popular music in the twentieth and twenty-first centuries.
The official records of the proceedings of the Legislative Council of the Colony and Protectorate of Kenya, the House of Representatives of the Government of Kenya and the National Assembly of the Republic of Kenya.
