A call to arms for Americans to assert and preserve our national sovereignty by stopping the globalist agenda of the United Nations. Is the United Nations the benign force for good that so many proclaim? Or is there a darker agenda at work behind the scenes? Nathan Tabor reveals the sinister plan behind the glossy image of world cooperation painted by the UN and its defenders. The Beast on the East River includes original research into key policy areas, including population control, education, and the international criminal court. And it offers practical steps that concerned American citizens can take before it’s too late. In his debut book, rising conservative voice Nathan Tabor offers a frightening exposé of the United Nations’ global power grab and its ruthless attempt to control US education, law, gun ownership, taxation, and reproductive rights. “We are already very nearly at the point of no return,” says Tabor, “and most Americans aren’t even aware of the impending danger. This book is a call to immediate action—read its contents very carefully. What you will discover may surprise and anger you.” “His book provides a measured intellectual argument against allowing the corrupt collectivist internationalists of the UN, and its many metastasized affiliates, to undermine and eventually steal one of America’s most precious possessions: its sovereignty.” —Henry Mark Holzer, CBN (The Christian Broadcasting Network)
The unforgettable saga of two immigrant families and the forbidden love that could not keep them apart. “East River” is a novel by Sholem Asch, first published in 1946, and a New York Times bestseller of that year. Unlike the denser Jewish pockets of the lower East Side of New York, East 48th Street by the river was, even at the beginning of the twentieth century, an international neighborhood made up of Orthodox Jews, Catholic Irish, nostalgic Poles, chauvinistic Italians, all hungry, all overworked, all insecure. But although these folk were all, so to speak, melting in the same pot, they were kept at a certain distance from one another, by their inherited prejudices, the most pernicious of which were supplied by their religions. To allow them to live together and work together toward a happier life, and to turn them from their European pasts toward a high American future, they needed, in Asch’s view, the religion of love. And the same religion was needed to get the bosses and workers together in the garment industry, so as to end the sweatshops, the subcontracting system, and destructive strikes. Set in the diverse, impoverished neighborhood of 48th Street and the East River in Manhattan, during the years before World War I, Asch’s novel is a captivating tale of the inevitable and wrenching consequences of peaceful coexistence between Jews and Christians.
This book constitutes the refereed proceedings of the joint 9th Asia-Pacific Web Conference, APWeb 2007, and the 8th International Conference on Web-Age Information Management, WAIM 2007, held in Huang Shan, China, June 2007. Coverage includes data mining and knowledge discovery, P2P systems, sensor networks, spatial and temporal databases, Web mining, XML and semi-structured data, privacy and security, as well as data mining and data streams.
During the Middle Ages and after two hundred and fifty years of inbreeding, this geographically isolated community of genetically diseased killers is all but destroyed by an earthquake. Its few survivors scatter to the four winds and resettle afar. Now, a mad man tries to resurrect their lineage, hoping to recreate an army of mercenaries from what remains of their genetically noxious descendants. Waiting for them are the agents of World Interconnect (WI-7), who attempt to stifle this deadly march of evil. WI-7s quest is international; its failure would be catastrophic.
A 3-volume definitive career/biography of stop motion animator/visual effects creator Ray Harryhausen, written over a period of 10 years with Harryhausen's cooperation. This edition, Vol. 2, features interviews with Ray and his colleagues, and is profusely illustrated with hundreds of rare images (many never previously published). In-depth chapters cover Mighty Joe Young, The Beast from 20,000 Fathoms, It Came From Beneath the Sea, The Animal World, Earth vs. the Flying Saucers, 20 Million Miles to Earth and The 7th Voyage of Sinbad. Supplemental material includes advertising art & posters from different countries, Filmographies of key cast and crew, Glossary of technical terminology, Ray Harryhausen "Timeline," trivia and obscure facts and figures related to Ray's films, and a section on Harryhausen collectibles.
From nineteenth-century paintings of fires raging through New York City to scenes of Manhattan engulfed by a gigantic wave in the 1998 movie Deep Impact, images of the city’s end have been prolific and diverse. Why have Americans repeatedly imagined New York’s destruction? What do the fantasies of annihilation played out in virtually every form of literature and art mean? This book is the first to investigate two centuries of imagined cataclysms visited upon New York, and to provide a critical historical perspective to our understanding of the events of September 11, 2001. Max Page examines the destruction fantasies created by American writers and imagemakers at various stages of New York’s development. Seen in every medium from newspapers and films to novels, paintings, and computer software, such images, though disturbing, have been continuously popular. Page demonstrates with vivid examples and illustrations how each era’s destruction genre has reflected the city’s economic, political, racial, or physical tensions, and he also shows how the images have become forces in their own right, shaping Americans’ perceptions of New York and of cities in general.
From Hollywood Hills mansions and Century City towers, to South Central motels and the oceanside refinery, The Beasts of Electra Drive by Rohan Quine spans a mythic L.A., following seven spectacular characters (or Beasts) from games designer Jaymi’s game-worlds. The intensity of those Beasts’ creation cycles leads to their release into real life in seemingly human forms, and to their combative protection of him from destructive rivals at mainstream company Bang Dead Games. Grand spaces of beauty interlock with narrow rooms of terror, both in the real world and in cyberspace. A prequel to Quine’s other five tales (and Winner in the NYC Big Book Award 2021, and a Finalist in the IAN Book of the Year Awards 2018), The Beasts of Electra Drive is a unique explosion of glamour and beauty, horror and enchantment, exploring the mechanisms and magic of creativity itself. Jaymi is an independent games designer living on Electra Drive in the Hollywood Hills. Opposed to him are his former colleagues at Bang Dead Games. Their mounting competitiveness regarding his own extravagant game-creation reaches a point where they attack him physically with a flying drone. Bang Dead is preparing the global release of a game called Ain’tTheyFreaky!, centring on five tabloid-flavoured social-media “Newsfeeds” for the victimisation of certain people by others—the “Gal Score”, “Guy Score”, “Trivia Score”, “Arts Score” and “Cosy Score”. Jaymi decides to fight back, for self-protection and to counteract this game’s destructive effects. He takes an irrevocable step: after creating Amber, the most dangerous of the characters (or Beasts, as he calls them) who will populate Jaymi’s project The Platinum Raven, he releases Amber from that game, such that Amber slithers out from Jaymi’s computer monitor. Appearing human, this now-incarnated Beast is sent to stalk Ain’tTheyFreaky!’s creators in real life. While Amber terrorises them, Jaymi creates a second Beast, Evelyn, a woman of ease and freedom, from his project The Imagination Thief. Incarnated too, she joins Amber in sabotaging a Bang Dead venture in the physical world. As Jaymi’s output spawns three more titles—The Host in the Attic, Apricot Eyes and Hallucination in Hong Kong—he jumps into the creation cycles and subsequent incarnations of five more varied and human-seeming Beasts. These are Shigem, Kim, the Platinum Raven, Scorpio, and his own simulacrum the Jaymi Beast. Targeted by a more lethal drone attack than the first one, he decides that his Beasts’ missions must escalate: they will infiltrate the very substance of Ain’tTheyFreaky!. Evelyn, Shigem and Kim therefore sneak into one of the game’s visual environments (a mythically seedy Downtown L.A.), where they try to put an end to some of the casually-programmed cruelty in the game. Shigem shames one Bang Dead programmer into secretly working for Jaymi instead; and Kim persuades another high-ranking Bang Dead employee to join Jaymi likewise. Five of the Beasts proceed to sabotage Ain’tTheyFreaky! at code level, turning its own server farm into a radically different kind of environment than before. Their sabotage takes aim at the game in such a way as to break it down into its constituent glyphs and pixels—then electrifies these, recombining them into brand-new forms of such enchanted love and wickedness and originality that they’d certainly have been forbidden by Bang Dead. Amid the resultant conflict, a Beast is sent to kill a human; a Beast is arrested, before escaping and wreaking revenge; and another human is lashed to the top of the transmitter tower above the Hollywood Sign, where... After the ensuing convulsions of destruction and violent creation have run their course, Jaymi’s Beasts slip away to their appointed onscreen destinations, one by one; and he is left alone again, just as he was before he brought them into being. As he fires up his newly-completed game The Imagination Thief for the first time, however, it is clear that neither he nor the world around him will ever quite be as before.
