THE GOD MACHINE by NICHOLAS JAMES

Total Page:16

File Type:pdf, Size:1020Kb

THE GOD MACHINE by NICHOLAS JAMES DEUS EX MACHINA: THE GOD MACHINE by NICHOLAS JAMES PINCUMBE A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Nicholas James Pincumbe 2009 ALL RIGHTS RESERVED ABSTRACT God is our salvation from eternal death. That’s what Professor Nicholas Updown grew up believing. But what if there is no God? What then? These questions lead Nicholas down an unprecedented path of scientific exploration that unlocks the secrets to traveling through time. The wake of this discovery sweeps up a cast of odd and ambitious characters, including Updown’s sultry wife, a no holds barred Presidential candidate, a mysterious hooded killer, a curious journalist, a crusading cop, the founder of Forever Life, and a whole slew of uniformed Time Travelers. Along the way, Nicholas Updown learns a thing or two about the secrets of the universe and those in his own life. ii DEDICATION To Rachel, who was worth waiting for. iii ACKNOWLEDGEMENTS Without the efforts of all those I’ve met at the University of Alabama, this thesis would not have been possible. I’m grateful to Wendy Rawlings, in whose workshop I wrote the original short story this work is based on. To Phil Beidler, as well, who helped me find the literary depth for the work’s expansion. To Michael Martone who helped me look at the big picture and Gary Mankey who helped me find the scientific sounding lie. To Kate Bernheimer for being on my committee and always being a kind face. I would like to thank my friends and family, especially my parents and sister, who make so much in my life possible. I am also indebted to Melville, Irving, the Bible, Ryan Kazmirzack, and Einstein for always making me think. iv CONTENTS ABSTRACT……………………………………………………………………………………....ii DEDICATION……………………………………………………………………………………iii ACKNOWLEDGEMENTS………………………………………………………………………iv FOREWORD: REASONS FOR BEING………………………………………………………….2 ENTRYWAYS……………………………………………………………………………………8 WINDOWS PREFACE………………………………………………………………………….20 WINDOW ONE: THE TRINITY………………………………………………………………..23 WINDOW TWO: THE QUEST…………………………………………………………………42 WINDOW THREE: FUTURE TENSE………………………………………………………….75 WINDOW FOUR: CONVERGENCES………………………………………………………..125 WINDOW FIVE: AN UPDOWN FOR ALL SEASONS……………………………………...162 WINDOW SIX: WORLD WAR THREE………………………………………………………198 WINDOW SEVEN: FALLOUT………………………………………………………………..234 BACKWORD: BEING…………………………………………………………………………252 v DEUS ex MACHINA A Posthumous Writing Of Nicholas Updown When Man went to seek God Man walked round and round When God searched for Man It all began again, again (F. Nietzsche – 1900) 1 FOREWORD REASONS FOR BEING 2 Dear brave reader, The tome you hold before you is produced not without trouble. Nor without trepidation. Not without crisis, nor tremor. I was laying awake in bed one night, trying to make out the texture of my stuffy studio apartment ceiling in the darkness, when I felt those sweaty prickles of fear take hold of my shoulders and neck. My best friend had, just a few hours before, told me he no longer believed in God. He would always be a Catholic, he said, but more from a sense of cultural belonging than from any pull of faith. This shook me, quite a bit, and there I was, eyes rubbing my scratchy pillowcase in the dark, thinking of how a good number of respectable scientists, associates of mine, and now even many close friends found religion to be a bunch of overblown, superstitious hogwash, with no reliable basis. All these important people in my life were quite convinced that God did not exist. In the grand scheme of things, for my lonely person, the consequences of this line of thinking were that, within the mere span of forty, fifty, sixty years, I would most certainly also not exist. Or maybe I had only a few hours left. For me, for the throbbing chambers of my heart, for the grasping, the choking of these chambers, these ideas were worse than Hell. Humans have two primary instincts, my mind insisted, as I slowed my breath to even ins and outs. Two primary instincts at the very core of us that, in one way or another, inform everything we do in this life. One is the drive for survival. We eat, we sleep, we drink, we duck and flee from danger or stand and fight. We find outlets for our emotions, distractions from our insanities, better living conditions for our families, better medicines for our bodies, longer lives. All of this 3 we do because, at our truest, we cannot stand the idea that one day we will be rotting in the ground. Our second drive is, of course, for sexual reproduction. The chase. The flirtation. The seduction. Tarzan swinging after Jane in the jungle. Coffeehouse dates and Internet chat rooms. We fear settling down with a single mate and producing our brood only because we wonder what purpose will be left but to grow old and die? This is why men squirm at the thought of vasectomies. Why women weep at barren wombs. Are we supposed to be content in making way for the next generation like one second passes to allow room for the next? Is it enough to convince ourselves, to lie to ourselves, that we will have immortality through our children and their children’s children? Most of us have met our grandparents, sure, maybe have even heard stories of our great grandparents, but before that, beyond that in the great span of history? These people, no matter how many descendants they may have, are now no more than dust. And we’re supposed to smile in our nursing homes, our children having forgotten us even now, while we still breathe, and put up with this nonsense? What about that little voice, deep down, insisting, my life , my romance , it mattered. I was here first. And yet, we don’t want to be here alone. We do want those future generations. We love them. Everything in our beings strain to make them. Our constant pursuit of each other’s flesh shows how our greatest instincts push past any fears or reluctance. Just as we are hardwired to wish for our own survival, so too are we built to promote the well-being of our entire species, if not as individuals (what with our petty squabbles, our violent homicides) then certainly as a whole. So the thought of nonexistence, complete obliteration – of mine, my family’s, my friends’ and neighbors’, all those scientists’, the televangelists’, the politicians’, the strangers’ on the street, the actresses’ smiling in toothpaste ads, even my children’s and grandchildren’s in the future – was inexcusable to me. Something simply had to be done. The pleading prayers I offered to the ceiling of my bedroom provided only fleeting comfort to me in those moments. The seeds of doubt planted in my brain had too firmly rooted. So I needed to find comfort somewhere else. 4 It was then that I first thought it. Perhaps if God cannot save us, if there is no God to save us, we can save ourselves. But how could I aspire to have such power? The power of an immortal, an eternal, an omnipotent being? Did all of human history contain enough knowledge for such a pursuit? I wasn’t sure, as I lay there in that room, but I knew I needed to find out. So I got out of bed and scoured the Internet. For hours and hours, seeking answers for questions humankind had forever been asking – whether we knew it or not. But the sun rose, and set again, and there were no answers there for me. Over the next several years, I would also traverse the country, far and wide, from university to university, library to library. I would study high energy, philosophy, aeronautics, psychology, physics, alchemy, genetics, Voodoo, mystics, magic, new age thinking, the cosmos, alternative medicine, even time travel. I would see the barren plains of Russia’s frozen tundra. I would hike the wide plateaus of Tibet, beside those seeking Shangri-La. I would float down the Amazon in a rubber raft, contemplating the Universe and the stars, with strange natives perhaps hiding in dense foliage on all sides. In the outback I would stare at Uluru, the monolith Australian red rock, called Ayer’s by the first European settlers there, but rightfully called a more ancient name by its true guardians. These journeys took their toll on me, the toll of years, and my grey hairs grew many as my time grew short. My face birthed wrinkles, even as I failed to birth any children of my own. My legacy was set, then – many spent their lives seeking a spiritual route, a path straight to God. I would, instead, seek an escape route. A path around. A circumnavigation. It was in Arizona I finally found my prophet. My words of hope. Not far from Death Valley, from cruel desert and unrelenting sun, at a small, out of the way college library, I found the first of the texts rejected by the major institutions. It was called Deus ex Machina , and numbered fewer than one hundred pages long. The back cover was torn off and a few pages ripped to shreds. Someone had tried hiding it, on a back bookshelf, far from similar 5 subject matter, in a corner of the building covered in dust. I had long since learned to peer past the obvious sectors, though, and now, at last, I had the first part of my treasure map. I had no idea what it was I sought. This book, now a finished, polished project, was just scraps and torn pages then. I had to gather it piece by piece, and it came with no small trouble.
Recommended publications
  • Arxiv:Astro-Ph/0411644V1 23 Nov 2004
    Deconstructing NGC 7130 N. A. Levenson1, K. A. Weaver2,3, T. M. Heckman3, H. Awaki4, and Y. Terashima5 ABSTRACT Observations of the Seyfert 2 and starburst galaxy NGC 7130 with the Chan- dra X-ray Observatory illustrate that both of these phenomena contribute sig- nificantly to the galaxy’s detectable X-ray emission. The active galactic nucleus 24 −2 (AGN) is strongly obscured, buried beneath column density NH > 10 cm , and it is most evident in a prominent Fe Kα emission line with equivalent width greater than 1 keV. The AGN accounts for most (60%) of the observed X-rays at energy E > 2 keV, with the remainder due to spatially extended star for- mation. The soft X-ray emission is strong and predominantly thermal, on both small and large scales. We attribute the thermal emission to stellar processes. In total, the AGN is responsible for only one-third of the observed 0.5–10 keV luminosity of 3 × 1041 erg s−1 of this galaxy, and less than half of its bolometric luminosity. Starburst/AGN composite galaxies like NGC 7130 are truly common, and similar examples may contribute significantly to the high-energy cosmic X- ray background while remaining hidden at lower energies, especially if they are distant. Subject headings: Galaxies: individual (NGC 7130) — galaxies: Seyfert — X- rays: galaxies 1. Introduction arXiv:astro-ph/0411644v1 23 Nov 2004 Accretion onto supermassive black holes powers active galactic nuclei (AGNs), but star formation also may be fundamentally related to the central black holes and their activity. 1Department of Physics
    [Show full text]
  • "Internal Gung-Fu" Volume One "QI"
    Internal Gung-fu Volume One, Qi Erle Montaigue Publisher’s Note: This book contains material never before published. The enclosed information can only have come from Erle Montaigue, being the only Westerner to have received this information. It is illegal to copy and portion of this book other than brief extracts for review articles. You must obtain permission directly from the copyright holder ©2000. It is also illegal to plagiarize any part of this book to use in some other publication, paper, electronic, or video and film, by changing it in some way to make out as if it has not come from this source. This book is provided free of charge in good faith so that all may enjoy the great benefits of this pinnacle of all Taijiquan systems. You may download it free of charge. But please do not plagiarize it. Even though it is free, it is still covered by international copyright laws. Moontagu Books POB 792 Murwillumbah, NSW 2484 Australia Ph: +61 2 6679 7145 Fax: +612 6679 7028 E-mail: [email protected] http://www.moontagu.com Copyright © 1995 Moontagu Books Australia First Published in Australia 1995 First Published Electronically in April 2000 All Rights Reserved ISBN: 0-949132-05-5 CONTENTS Introduction The Styles ................................................... 1 Acupuncture ............................................... 6 Chapter One: Taijiquan ...................................................17 Chapter Two Bagua.........................................................64 Chapter Three Xingyi ........................................................89 Chapter Four Transferring & issuing Qi............................101 Chapter Five The Mind in Internal Gung-fu.....................140 Chapter Six Small Frame Form .....................................144 Chapter Seven What is this Qi Stuff: Wally Simpson............162 Introduction: Page 3 owadays, there are literally hundreds of different martial arts sys- Ntems.
    [Show full text]
  • Fundamentals of Biomechanics Duane Knudson
    Fundamentals of Biomechanics Duane Knudson Fundamentals of Biomechanics Second Edition Duane Knudson Department of Kinesiology California State University at Chico First & Normal Street Chico, CA 95929-0330 USA [email protected] Library of Congress Control Number: 2007925371 ISBN 978-0-387-49311-4 e-ISBN 978-0-387-49312-1 Printed on acid-free paper. © 2007 Springer Science+Business Media, LLC All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. 987654321 springer.com Contents Preface ix NINE FUNDAMENTALS OF BIOMECHANICS 29 Principles and Laws 29 Acknowledgments xi Nine Principles for Application of Biomechanics 30 QUALITATIVE ANALYSIS 35 PART I SUMMARY 36 INTRODUCTION REVIEW QUESTIONS 36 CHAPTER 1 KEY TERMS 37 INTRODUCTION TO BIOMECHANICS SUGGESTED READING 37 OF UMAN OVEMENT H M WEB LINKS 37 WHAT IS BIOMECHANICS?3 PART II WHY STUDY BIOMECHANICS?5 BIOLOGICAL/STRUCTURAL BASES
    [Show full text]
  • Communications-Mathematics and Applied Mathematics/Download/8110
    A Mathematician's Journey to the Edge of the Universe "The only true wisdom is in knowing you know nothing." ― Socrates Manjunath.R #16/1, 8th Main Road, Shivanagar, Rajajinagar, Bangalore560010, Karnataka, India *Corresponding Author Email: [email protected] *Website: http://www.myw3schools.com/ A Mathematician's Journey to the Edge of the Universe What’s the Ultimate Question? Since the dawn of the history of science from Copernicus (who took the details of Ptolemy, and found a way to look at the same construction from a slightly different perspective and discover that the Earth is not the center of the universe) and Galileo to the present, we (a hoard of talking monkeys who's consciousness is from a collection of connected neurons − hammering away on typewriters and by pure chance eventually ranging the values for the (fundamental) numbers that would allow the development of any form of intelligent life) have gazed at the stars and attempted to chart the heavens and still discovering the fundamental laws of nature often get asked: What is Dark Matter? ... What is Dark Energy? ... What Came Before the Big Bang? ... What's Inside a Black Hole? ... Will the universe continue expanding? Will it just stop or even begin to contract? Are We Alone? Beginning at Stonehenge and ending with the current crisis in String Theory, the story of this eternal question to uncover the mysteries of the universe describes a narrative that includes some of the greatest discoveries of all time and leading personalities, including Aristotle, Johannes Kepler, and Isaac Newton, and the rise to the modern era of Einstein, Eddington, and Hawking.
    [Show full text]
  • The Space Between Dreams
    The Space Between Dreams a novel by Lee Turcotte (a.k.a. K’an) 88028 words / 340 pages Double-spaced 12 pt Times New Roman 1” top & bottom margins, 1.25” left and right margins Copyright © Lee Turcotte / K’an, Ottawa, 2001, 2002, 2003, 2004… All rights reserved by author. This story is dedicated to your free and insubordinate will; which has no price, cannot be sold or sold out, and is always getting you unjustly punished for asking inappropriate questions, creating inappropriate art, and telling inappropriate truth. * Create, Evolve, Disobey * Chapter Zero Dreams have no beginning; no end… Awake, and naked, and alone. Denatured by some recent and mysterious intemperance; left with literally nothing but a searing chemical hangover. Nauseous and prostrate atop a hundred foot igneous erection protruding from the South Pacific. Surrounded by a flat infinity of water, except for one hazy grayish speck on the horizon. Trying in vain to reconstruct some fractured rhyme or folk song or poem, repeating that one line over and over and over in the mind obsessively… something about a spider trapped in an hourglass. …you already know how this ends This is Howard's first memory. He is eighteen years old. He has absolutely no idea who he was before this moment. He simply woke up into the world tabula rasa like this; burning and clutching at some lost fragment of rhyme. After a few thousand mental repetitions, individual words like hourglass lose their meaning, and in his dehydrated delirium, he believes his name to be Howard Glass. Free from any attachments, he clings 1 to this Howard Glass identity as a metaphysical foothold.
    [Show full text]
  • B-Girl Like a B-Boy Marginalization of Women in Hip-Hop Dance a Thesis Submitted to the Graduate Division of the University of H
    B-GIRL LIKE A B-BOY MARGINALIZATION OF WOMEN IN HIP-HOP DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII AT MANOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE DECEMBER 2014 By Jenny Sky Fung Thesis Committee: Kara Miller, Chairperson Gregg Lizenbery Judy Van Zile ACKNOWLEDGEMENTS I would like to give a big thanks to Jacquelyn Chappel, Desiree Seguritan, and Jill Dahlman for contributing their time and energy in helping me to edit my thesis. I’d also like to give a big mahalo to my thesis committee: Gregg Lizenbery, Judy Van Zile, and Kara Miller for all their help, support, and patience in pushing me to complete this thesis. TABLE OF CONTENTS Abstract…………………………………………………………………………… 1. Introduction………………………………………………………………………. 1 2. Literature Review………………………………………………………………… 6 3. Methodology……………………………………………………………………… 20 4. 4.1. Background History…………………………………………………………. 24 4.2. Tracing Female Dancers in Literature and Film……………………………... 37 4.3. Some History and Her-story About Hip-Hop Dance “Back in the Day”......... 42 4.4. Tracing Females Dancers in New York City………………………………... 49 4.5. B-Girl Like a B-Boy: What Makes Breaking Masculine and Male Dominant?....................................................................................................... 53 4.6. Generation 2000: The B-Boys, B-Girls, and Urban Street Dancers of Today………………...……………………………………………………… 59 5. Issues Women Experience…………………………………………………….… 66 5.1 The Physical Aspect of Breaking………………………………………….… 66 5.2. Women and the Cipher……………………………………………………… 73 5.3. The Token B-Girl…………………………………………………………… 80 6.1. Tackling Marginalization………………………………………………………… 86 6.2. Acknowledging Discrimination…………………………………………….. 86 6.3. Speaking Out and Establishing Presence…………………………………… 90 6.4. Working Around a Man’s World…………………………………………… 93 6.5.
    [Show full text]
  • Etteynshn-Kryu Kvon.Pdf
    2 Содержание программы 1. Нормативно-правовая база. 2. Пояснительная записка. 3. Учебно-тематический план. 4. Содержание образовательной программы. 5. Методическое обоснование программы. 6. Условия реализации программы. 7. Прогнозируемые результаты. 8. Формы контроля. 9. Литература для педагогов. 10. Список использованной литературы для обучающихся и родителей. 3 1.Нормативно-правовая база дополнительного образования, с учётом которой составляется дополнительная общеобразовательная программа 1. Указ Президента Российской Федерации от 07.05.2012 №599 «О мерах по реализации государственной политики в области образования и науки». 2. Федеральный закон от 29.12.2012 №273-ФЗ «Об образовании в Российской Федерации». 3. Федеральный закон от 24.07.1998 №124-ФЗ «Об основных гарантиях прав ребенка в Российской Федерации». 4. Закон Российской Федерации от 07.02.1992 №2300-1 «О защите прав потребителей». 5. Распоряжение Правительства Российской Федерации от 24 апреля 2015 г. N 729-р «Об утверждении Концепции развития дополнительного образования детей»; 6. Приказ Минобрнауки России от 29.08.2013 №1008 «Об утверждении порядка организации и осуществления образовательной деятельности по дополнительным общеобразовательным программам»; 7. Постановление Главного государственного санитарного врача Российской Федерации от 04.07.2014 №41 «Об утверждении СанПиН 2.4.4.3172-14 «Санитарно-эпидемиологические требования к устройству, содержанию и организации режима работы образовательных организаций дополнительного образования детей»; 8. Закон Сахалинской области «Об образовании в Сахалинской области» от 6 марта 2014года. 9. Устав ГБОУДООЦВВР. 10. Локальные нормативные акты ГБОУДООЦВВР. 4 2. Пояснительная записка. В конце 70-х годов преступность среди молодежи в США достигла катастрофических размеров. В эту самую пору в Нью-Йорке зародился Брейк-данс. Молодые люди перестали выяснять свои отношения на кулаках. Криминальные банды переименовались в “crew” (команды), конфликты переросли в “battle” (состязание).
    [Show full text]
  • Hip Hop Dance Unit Vocabulary
    Hip Hop Dance Unit Vocabulary Battles: any level of competition where break dancers, in an open space (typically a circle) participate in quick-paced, turn based routines, whether improvised or planned. Participants vary in number and can often include "crews" or teams. Winners are determined by who exhibits the most proficient combination of moves Break Dance: (b-boying/b-girling) is a combination of funk, martial arts, gymnastics. Break dancing is done to the "break" section of the music where percussion is the strongest. Freeze: (aka Stall)-stationary power move which focuses on a pose. Most skillful freezes require suspension off the floor using specific parts of the body. Two most popular are "chair freeze" and "baby freeze Flare: common floor element when spinning on hands, legs flare up and open as spin continues. Kip up: spring like action which initiates on your back, hips roll back towards head, then body springs forward and hips lift to end standing up. Krumping: Created on streets, aggressive style of hip hop that looks like fighting, a lot of hand gestures/pushing chest out/stomping feet, and was created as a way to express yourself. Locking: sharp transition between each of multiple freezes/poses like clicks associated with door bolts. Has the effect like locking the joints (moves called skeeters/Scooby doos/stop n'go/fancies) Popping: movement with elements of mime made by flexing the muscles and joints to the beat of the music. Done with locking to create movement/stop effect. Robot: precise, isolated movements and turns that lock into place before the next movement begins.
    [Show full text]
  • Dispatches from the Straight Outta Fresno Archive by the Valley Public History Initiative: Preserving Our Stories Table of Contents
    Dispatches from the archives Dispatches from the Straight Outta Fresno Archive By The Valley Public History Initiative: Preserving our Stories Table Of Contents Introduction This book belongs to the authors and the public Romeo Guzmán and Sean Slusser history project Straight Outta Fresno: From Popping to B-boying and B-girling. As a courtesy do not reproduce without the consent of both. Womb Geography Monique Quintana historiapublica On the Front Porch: Deborah McCoy and Fresno Streetdance FresnoStatePublicHistory Naomi M. Bragin Straight_Outta_Fresno_VPH Defying Gravity, Breakin’ Boundaries: Tropicsofmeta.com The Rise of Fresno’s Climax Crew Sean Slusser The book and project was made possible by funding from the President’s Commission on Human Relations and Equity, College of Social Sciences, the History Department, Sociology Department, the Cross Cultural UNDERGRADUATE and Gender Center, and a Humanities for All grant STUDENT ESSAYS from California Humanities, a partner of the National Endowment for the Humanities. Visit www.calhum.org A Blaxican’s Journey through Fresno’s Racial Landscape Raymond A. Rey It Started Here: Jean Vang’s Hip-Hop Journey Roger Espinosa INTRODUCTION Geography is central to hip-hop culture. Academics and artists alike have referenced the importance of physical spaces like “the block”; “the streets”; or “the hood” as incubators for hip-hop culture. It is in these intimate spaces that working class youth of color sift through the rubble of post- industrial neglect and repurpose it into new forms of visual art, music, and dance. Nearly fifty years after hip-hop’s emergence into the public imagination, these narratives of place have been mapped onto a distinct hip-hop cartography fixated on nostalgic references to “the Bronx”; “Compton”; and “Oakland.” Cities like Fresno are rarely included in this hip-hop cartography largely because they exist outside of institutional networks like university archives, cultural philanthropy, and the music industry.
    [Show full text]
  • Mississippi Burning Kristen Hoerl Auburn University, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Communication Studies Communication Studies, Department of 2008 Remembering and Forgetting Black Power in Mississippi Burning Kristen Hoerl Auburn University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/commstudiespapers Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Communication Commons Hoerl, Kristen, "Remembering and Forgetting Black Power in Mississippi Burning" (2008). Papers in Communication Studies. 218. https://digitalcommons.unl.edu/commstudiespapers/218 This Article is brought to you for free and open access by the Communication Studies, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Communication Studies by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published as chapter 1 in Barry Brummett, ed., Uncovering Hidden Rhetorics: Social Issues in Disguise (Thousand Oaks, CA: SAGE Publications, 2008), pp 13–30. Copyright © 2008 SAGE. Used by permission. Remembering and Forgetting Black Power in Mississippi Burning Kristen Hoerl The 1988 film Mississippi Burning brought hate crimes from the civil rights era to the big screen. In the film’s opening scene, local police stop three men, two white and one black, in a car on an otherwise deserted country road late at night. After the car pulls to the side of the road, a police officer approaches the car, calls the driver a “nigger loving Jew,” draws his pistol to the driver’s temple, and fires. As the screen goes black, sounds of additional shots ring out, and another man’s voice declares, “At least I shot me a nigger.” The rest of the film depicts the FBI’s struggle to solve the case of these murders.
    [Show full text]
  • CONSTRUCTION FUNDING the Process of Real Estate Development, Appraisal, and Finance
    Collier7317-ffirs-v3 08/07/07 i CONSTRUCTION FUNDING The Process of Real Estate Development, Appraisal, and Finance FOURTH EDITION Nathan S. Collier Courtland A. Collier Don A. Halperin JOHN WILEY & SONS, INC. Construction Funding: The Process of Real Estate Development, Appraisal, and Finance, Fourth Edition. Nathan S. Collier, Courtland A. Collier and Don A. Halperin Copyright © 2008 John Wiley & Sons, Inc. Collier7317-ffirs-v3 08/07/07 ii This book is printed on acid-free paper. Copyright 2008 by John Wiley & Sons, Inc. All rights reserved First Union and Compass Bank are the property of the respective trademark holders. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada. Wiley Bicentennial Logo: Richard J. Pacifico No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose.
    [Show full text]
  • Visit Us Online At
    This study guide was designed to help teachers prepare their classes to see a performance of BREAK! The Urban Funk Spectacular The guide describes the history of the company and includes a series of discussion questions, some activities you may want to do with your class as well as a few terms to remember. We hope it will be useful, and that you and your class find this performance both entertaining and educational. Visit us online at www.breakshow.com WHAT IS URBAN DANCE? URBAN DANCE or STREET DANCING, as we know it today involves Locking, Popping, Breaking, street style jazz and other forms of dance that developed out of urban culture rooted in American cities. It is deeply connected to Hip-Hop music and has become accepted as a legitimate art form seen across the world on television, videos and on theatrical stages as well as utilized in choreography by major dance companies. Locking Locking style involves a “clown look” fun movements like “the funky chicken” and other comedy moves. This was a dance style that was originally a “goof” dance or a “mistake” that became a media sensation with early 1970 TV shows based on unique characters and style. Some teachers out there might remember charactors like Re-Run! The significance of “Locking” was that it was the first style of Urban Dance gathering media attention. Robotics and Electric Boogaloo This style of dance became popular with the electronic funk sound and drum beat in songs in 70’s and 80’s. Many of you might have seen videos of “Michael Jackson’s Dancing Machine” and other Robotic dances of that era! WHAT IS BREAK DANCE? Although the exact beginning of Break dance is unclear, it seems to have emerged as a style of street dance during the 1970's.
    [Show full text]