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Librarian As Fair Witness: a Comparison of Heinlein's Futuristic
LIBRES Library and Information Science Research Electronic Journal Volume 21, Issue 1, March 2011 Librarian as Fair Witness: A Comparison of Heinlein’s Futuristic Occupation and Today’s Evolving Information Professional Julie M. Still Paul Robeson Library Rutgers University Camden, NJ [email protected] There has been a continuing discussion in library literature on the library as place and on the image of librarians in popular media, but there is little information on the librarian as person. The discussion on librarianship as a profession tends to focus on technology and not so much the people, other than the people skills needed in reference or teaching skills needed for instruction. The worth of the individual librarian tends to get lost in the shuffle. Before we disappear into the machine, it is useful to look at other future scenarios and similar occupations, either reality based or fiction. In this particular case, it is interesting to compare librarians to those in an occupation created by a renowned science fiction author. Robert Heinlein’s Stranger in a Strange Land, his most famous and most controversial novel, is a science fiction classic. The science fiction community recognized it with a Hugo Award, and the book was the first science fiction title to be on the New York Times bestseller list (Stover, 1987, p. 45). Heinlein outlined the novel in 1949 and finished the first draft in 1955 but on the advice of his wife set it aside. It was not published until 1961. The manuscript was edited heavily and an uncut version was published in 1991. -
The Yes Catalogue ------1
THE YES CATALOGUE ----------------------------------------------------------------------------------------------------------------------------------------------------- 1. Marquee Club Programme FLYER UK M P LTD. AUG 1968 2. MAGPIE TV UK ITV 31 DEC 1968 ???? (Rec. 31 Dec 1968) ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- 3. Marquee Club Programme FLYER UK M P LTD. JAN 1969 Yes! 56w 4. TOP GEAR RADIO UK BBC 12 JAN 1969 Dear Father (Rec. 7 Jan 1969) Anderson/Squire Everydays (Rec. 7 Jan 1969) Stills Sweetness (Rec. 7 Jan 1969) Anderson/Squire/Bailey Something's Coming (Rec. 7 Jan 1969) Sondheim/Bernstein 5. TOP GEAR RADIO UK BBC 23 FEB 1969 something's coming (rec. ????) sondheim/bernstein (Peter Banks has this show listed in his notebook.) 6. Marquee Club Programme FLYER UK m p ltd. MAR 1969 (Yes was featured in this edition.) 7. GOLDEN ROSE TV FESTIVAL tv SWITZ montreux 24 apr 1969 - 25 apr 1969 8. radio one club radio uk bbc 22 may 1969 9. THE JOHNNIE WALKER SHOW RADIO UK BBC 14 JUN 1969 Looking Around (Rec. 4 Jun 1969) Anderson/Squire Sweetness (Rec. 4 Jun 1969) Anderson/Squire/Bailey Every Little Thing (Rec. 4 Jun 1969) Lennon/McCartney 10. JAM TV HOLL 27 jun 1969 11. SWEETNESS 7 PS/m/BL & YEL FRAN ATLANTIC 650 171 27 jun 1969 F1 Sweetness (Edit) 3:43 J. Anderson/C. Squire (Bailey not listed) F2 Something's Coming' (From "West Side Story") 7:07 Sondheim/Bernstein 12. SWEETNESS 7 M/RED UK ATL/POLYDOR 584280 04 JUL 1969 A Sweetness (Edit) 3:43 Anderson/Squire (Bailey not listed) B Something's Coming (From "West Side Story") 7:07 Sondheim/Bernstein 13. -
Grumbles from the Grave
GRUMBLES FROM THE GRAVE Robert A. Heinlein Edited by Virginia Heinlein A Del Rey Book BALLANTINE BOOKS • NEW YORK For Heinlein's Children A Del Rey Book Published by Ballantine Books Copyright © 1989 by the Robert A. and Virginia Heinlein Trust, UDT 20 June 1983 All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Ballantine Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Grateful acknowledgment is made to the following for permission to reprint the following material: Davis Publications, Inc. Excerpts from ten letters written by John W. Campbell as editor of Astounding Science Fiction. Copyright ® 1989 by Davis Publications, Inc. Putnam Publishing Group: Excerpt from the original manuscript of Podkayne of Mars by Robert A. Heinlein. Copyright ® 1963 by Robert A. Heinlein. Reprinted by permission of the Putnam Publishing Group. Library of Congress Catalog Card Number: 89-6859 ISBN 0-345-36941-6 Manufactured in the United States of America First Hardcover Edition: January 1990 First Mass Market Edition: December 1990 CONTENTS Foreword A Short Biography of Robert A. Heinlein by Virginia Heinlein CHAPTER I In the Beginning CHAPTER II Beginnings CHAPTER III The Slicks and the Scribner's Juveniles CHAPTER IV The Last of the Juveniles CHAPTER V The Best Laid Plans CHAPTER VI About Writing Methods and Cutting CHAPTER VII Building CHAPTER VIII Fan Mail and Other Time Wasters CHAPTER IX Miscellany CHAPTER X Sales and Rejections CHAPTER XI Adult Novels CHAPTER XII Travel CHAPTER XIII Potpourri CHAPTER XIV Stranger CHAPTER XV Echoes from Stranger AFTERWORD APPENDIX A Cuts in Red Planet APPENDIX B Postlude to Podkayne of Mars—Original Version APPENDIX C Heinlein Retrospective, October 6, 1988 Bibliography Index FOREWORD This book does not contain the polished prose one normally associates with the Heinlein stories and articles of later years. -
“Run with the Fox and Hunt with the Hounds”: Managerial Trade Unionism and the British Association of Colliery Management, 1947-1994
“Run with the fox and hunt with the hounds”: managerial trade unionism and the British Association of Colliery Management, 1947-1994 Abstract This article examines the evolution of managerial trade-unionism in the British coal industry, specifically focusing on the development of the British Association of Colliery Management (BACM) from 1947 until 1994. It explores the organization’s identity from its formation as a conservative staff association to its emergence as a distinct trade union, focusing on key issues: industrial action and strike cover; affiliation to the Trades Union Congress (TUC); colliery closures; and the privatization of the coal industry. It examines BACM’s relationship with the National Union of Mineworkers (NUM) and the National Association of Colliery Overmen, Deputies and Shotfirers (NACODS), the National Coal Board (NCB) and subsequently the British Coal Corporation (BCC). This is explored within the wider context of the growth of managerial trade unions in post-war Britain and managerial identity in nationalized industries. Keywords: Managerial unionism; white-collar trade unions; public ownership; coal industry The British Association of Colliery Management was a very British institution in that it seemed to have the freedom both to run with the fox and hunt with the hounds … Although it never really joined in the dispute [1984-5 miners’ strike] when it came, it took some getting used to a situation in which people who clearly laid full claim to being representatives of “management” could, and did, through their union, criticize that management.1 Former NCB chairman Ian MacGregor’s vituperative attack on BACM reflected the breakdown between the two parties and their distinct 1 outlooks on the future of the industry in the 1980s. -
Magazin Ausgabe 05
2 Oldie Markt 05/04 Plattenbörsen Oldie Markt 05/04 3 Plattenbörsen 2004 Schallplattenbörsen sind seit einigen Jahren fester Bestandteil der europäischen Musikszene. Steigende Besucherzahlen zeigen, daß sie längst nicht mehr nur Tummelplatz für Insider sind. Neben teu- ren Raritäten bieten die Händler günstige Second-Hand-Platten, Fachzeitschriften, Bücher, Lexika, Poster und Zubehör an. Rund 250 Börsen finden pro Jahr allein in der Bundesrepublik statt. Oldie-Markt veröffentlicht als einzige deutsche Zeit- schrift monatlich den aktuellen Börsen- kalender. Folgende Termine wurden von den Veranstaltern bekanntgegeben: Datum Stadt/Land Veranstaltungs-Ort Veranstalter / Telefon 1. Mai Saarbrücken Congresshalle ReRo (02 34) 30 15 60 1. Mai Frankfurt/Main Jahrhunderthalle Wolfgang W. Korte (061 01) 12 86 62 2. Mai Nürnberg Meistersingerhalle First & Last (03 41) 699 56 80 2. Mai Wiesbaden Kurhaus ReRo (02 34) 30 15 60 8. Mai Salzburg/Österreich Kleingmainer Saal Werner Stoschek (085 09) 26 09 9. Mai Dortmund Westfalenhalle-Goldsaal Manfred Peters (02 31) 48 19 39 9. Mai Köln Tanzbrunnen Wolfgang W. Korte (061 01) 12 86 62 9. Mai Innsbruck/Österreich Hüttenberger Saal Werner Stoschek (085 09) 26 09 15. Mai Halle Händelhalle First & Last (03 41) 699 56 80 16. Mai Dortmund Westfalenhalle 2 ReRo (02 34) 30 15 60 16. Mai Berlin Berlin-Arena First & Last (03 41) 699 56 80 16. Mai Linz/Österreich Volkshaus Bindermichl Werner Stoschek (085 09) 26 09 22. Mai München Kolpinghaus Werner Stoschek (085 09) 26 09 22. Mai Amsterdam/Holland Jaap Edenhal ARC (00 31) 229 21 38 91 23. Mai Münster Halle Münsterland ReRo (02 34) 30 15 60 23. -
{PDF EPUB} the Day After Tomorrow by Robert A. Heinlein Sixth Column (The Day After Tomorrow) by Robert A
Read Ebook {PDF EPUB} The Day After Tomorrow by Robert A. Heinlein Sixth Column (The Day After Tomorrow) by Robert A. Heinlein. Published 1949. Originally published as The Day After Tomorrow by Anson McDonald in Astounding Magazine , (later Analog ),1941. 241 pages (from the Virginia Heinlein edition, based on the 1949 Gnome Press hardback.) Review by Mark Yon. Here’s one of my occasional re-reads of Robert Anson Heinlein’s novels. This one is what they call ‘a fixup’, originally being in three parts in the January, February and March editions of Astounding Magazine , under the editorial tuition of John W. Campbell. It became a slightly revised novel in 1949, with the author’s real name rather than his pseudonym, and a little tidying up. Putting it in the context of Heinlein’s other writing, it was published as a novel after his juvenile book Red Planet and before Farmer in the Sky . As written by Anson McDonald, however, it was not written with the intention of being for the juvenile market, but as something more adult. I found it less satisfying than Red Planet and Farmer in the Sky , its adult voice both uncertain and unreal. It reflects the fact that it was written before Heinlein had had any novels published, and seems a little wobbly both in its concept and its delivery: something which would become much less noticeable as Heinlein becomes more confident in later writing. This lack of success may also be partly due to the fact that Sixth Column was based upon an idea given to Heinlein from Campbell, the only major work of Heinlein’s career to be plotted by someone else. -
The New Heinlein Opus List
Nhol.fm Page 253 Wednesday, March 22, 2000 7:21 PM Excerpted from the book Robert A. Heinlein: A Reader’s Companion. This excerpt is from the final press version of the book, and the numbering scheme herein can be considered final. Any updates or changes to this list will use the addendum numbering described on the second page. ©1996–2000 James Gifford. All Rights Reserved. May be duplicated and quoted from according to the terms described in “Reproduction & Use of the Hew Heinlein Opus List” within. The author may be contacted at: [email protected] www.nitrosyncretic.com Nitrosyncretic Press PO Box 4313, Citrus Heights, CA 95611 916-723-4765 voice & fax The New Heinlein Opus List This section presents a complete listing of every known work by Robert A. Heinlein, in the order of creation. Each work is prefaced by a unique identify- ing number, the New Heinlein Opus Number. These numbers, in the format ‘G.nnn,’ have been used throughout this book to identify the work in ques- tion. These numbers have not been used previously for Heinlein’s works. Those readers who are familiar with Heinlein’s opus list may wonder why I did not use Heinlein’s own numbers for these works. The answer is simple: Heinlein’s list was developed and maintained as the core of a filing system for the business management of his works. It was not created until about 1948, with the number of existing works approaching three digits. It is neither complete nor completely accurate in its numbering: there are minor works that do not appear on it, as well as some works that appear out of sequence. -
Robert A. Heinlein's Stranger in a Strange Land and the Church of All
Science Fiction as Scripture: Robert A. Heinlein’s Stranger in a Strange Land and the Church of All Worlds1 Carole M. Cusack Introduction ‘Scripture’ is a term used to refer to the sacred writings of religious groups, for example the Bible in Christianity, the Qur’an in Islam and the Vedas in Hinduism. The etymology of scripture derives from the Latin scriptura, the past participle stem of scribere, ‘to write’.2 This may have had particular significance in past societies where only the most important, authoritative narratives were written down; in an age of mass literacy such as the twenty- first century, potentially all writings are scripture. From the mid-twentieth century Western culture experienced a sharp increase in new religious movements (NRMs), some of which were generated within the West, while others were imported from the other cultures, chiefly the East (India, Tibet, and Japan in particular). Most of these new religions possessed scriptures, generally the writings of founders (for example, Sun Myung Moon’s Divine Principle for the Unification Church, and Dianetics and other books by L. Ron Hubbard, within the Church of Scientology). This paper investigates how Robert A. Heinlein’s bestselling science fiction novel, Stranger in an Strange Land (1961, reissued ‘uncut’ in 1991), became the foundational scripture of the Church of All Worlds (CAW), a Gaia-oriented Pagan religion founded in 1962 by two American college students, Tim Zell (b. 1942) and (Richard) Lance Christie (b. 1944) who met at Westminster College, Fulton, Missouri, and became fast friends. The Church of All Worlds, registered as a religion in the United States in 1968 and now a significant presence in the contemporary Pagan revival, takes its name from the fictional church in Heinlein’s novel. -
2 Records Aug 15 2021
Sept 2, 2021 Latest additions indicated by asterisk (*) C * ? & THE MYSTERIANS 99 TEARS / MIDNIGHT HOUR 10 CC I'M NOT IN LOVE/CHANNEL SWIMMER 1910 FRUITGUM CO, SIMON SAYS REFLECTIONS FROM THE LOOKING GLASS 1910 FRUITGUM CO. SIMON SAYS/REFLECTIONS FROM THE LOOKING GLASS 2 R 1910 FRUITGUM CO. INDIAN GIVER / POW WOW 3 SHARPES QUARTET LES MY LOVE WAS NOT TRUE LOVE/BELLE ST. JOHN R 49TH PARALLEL NOW THAT I'M A MAN / TALK TO ME R 6 CYLINDER AIN'T NOBODY HERE BUT US CHICKENS / STRONG WOMAN.... 6 CYLINDER AIN'T NOBODY HERE BUT US CHICKENS / STRONG WOMAN'S LOVE 8TH DAY IF I COULD SEE THE LIGHT / IF I COULD SEE THE LIGHT (INST) 9 LAFALCE BROTHERS MARIA, MARIA, MARIA/THE DEVIL'S HIGHWAY A TASTE OF HONEY SUKAYAKI / DON'T YOU LEAD ME ON A*TEENS DANCING QUEEN / MAMMA MIA A*TEENS DANCING QUEEN / MAMMA MIA AARON LEE ONLY HUMAN / EMPTY HEART A * ABBA KNOWING ME KNOWING YOU / HAPPY HAWAII A * ABBA MONEY MONEY MONEY / CRAZY WORLD ABBOTT GREGORY SHAKE YOU DOWN / WAIT UNTIL TOMORROW ABBOTT RUSS SPACE INVADERS MEET PURPLE PEOPLE EATER/COUNTRY COOPERMAN ABC ALL OF MY HEART / OVERTURE ABC ALL OF MY HEART / OVERTURE ABC THAT WAS THEN BUT THIS IS NOW / VERTIGO ABC THE LOOK OF LOVE / THE LOOK OF LOVE ABDUL PAULA MY LOVE IS FOR REAL / SAY I LOVE YOU ABDUL PAULA I DIDN'T SAY I LOVE YOU/MY LOVE IS FOR REAL ABDUL PAULA IT'S JUST THE WAY YOU LOVE ME/DUB MIX . PICTURE SLEEVE ABDUL PAULA THE PROMISE OF A NEW DAY/THE PROMISE OF A NEW DAY ABDUL PAULA VIBEOLOGY/VIBEOLOGY ABRAMS MISS MILL VALLEY/THE HAPPIEST DAY OF MY LIFE ABRAMSON RONNEY NEVER SEEM TO GET ALONG WITHOUT YOU/TIME -
Stranger in a Strange Land” by Robert Heinlein
“Stranger In A Strange Land” by Robert Heinlein NOTICE: All men, gods; and planets in this story are imaginary, Any coincidence of names is regretted. Part One HIS MACULATE ORIGIN, 5 Fart Two HIS PREPOSTEROUS HERITAGE, 81 Fart Three HIS ECCENTRIC EDUCATION, 261 Part Four HIS SCANDALOUS CAREER, 363 Part Five HIS HAPPY DESTINY, 425 Preface IF YOU THINK that this book appears to be thicker and contain more words than you found in the first published edition of Stranger in a Strange Land, your observation is correct. This edition is the original one-the way Robert Heinlein first conceived it, and put it down on paper. The earlier edition contained a few words over 160,000, while this one runs around 220,000 words. Robert's manuscript copy usually contained about 250 to 300 words per page, depending on the amount of dialogue on the pages. So, taking an average of about 275 words, with the manuscript running 800 pages, we get a total of 220,000 words, perhaps a bit more. This book was so different from what was being sold to the general public, or to the science fiction reading public in 1961 when it was published, that the editors required some cutting and removal of a few scenes that might then have been offensive to public taste. The November 1948 issue of Astounding Science Fiction contained a letter to the editor suggesting titles for the issue of a year hence. Among the titles was to be a story by Robert A. Heinlein-"Gulf." In a long conversation between that editor, John W. -
The Real Meaning of Technological Literacy
Bates College SCARAB Faculty Books 2019 Technology from the Very Bottom: the real meaning of technological literacy Gene Clough Bates College Follow this and additional works at: https://scarab.bates.edu/books Recommended Citation Clough, Gene, "Technology from the Very Bottom: the real meaning of technological literacy" (2019). Faculty Books. 4. https://scarab.bates.edu/books/4 This Book is brought to you for free and open access by SCARAB. It has been accepted for inclusion in Faculty Books by an authorized administrator of SCARAB. For more information, please contact [email protected]. TECHNOLOGY from the very BOTTOM The real meaning of technological literacy... What it is... How to nurture it... Why it has nothing to do with the computer... And why it matters! Gene Clough TECHNOLOGY FROM THE VERY BOTTOM The AUTHOR, during an early phase of his technological education. TECHNOLOGY FROM THE VERY BOTTOM The Real Meaning of Technological Literacy What it is….. How to grow it in yourself….. How to nurture it in your children….. Why it has (almost) nothing to do with the computer….. And why it matters! by Gene Clough Bates College The title and epigraph for Chapter 1 are from “Forgetfulness”, by Don A. Stuart [John W. Campbell, Jr.], copyright 1937 by Street & Smith Publications, Inc., and originally published in ASTOUNDING STORIES, vol. XIX, No. 4, June 1937, and are used here with the permission of the estate of John W. Campbell, Jr. The title and epigraph for Chapter 3 and the word “grok” are from Stranger in a Strange Land, by Robert A. -
Chris Squire Fish out of Water Mp3, Flac, Wma
Chris Squire Fish Out Of Water mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Fish Out Of Water Country: Europe Released: 2018 Style: Prog Rock MP3 version RAR size: 1253 mb FLAC version RAR size: 1747 mb WMA version RAR size: 1951 mb Rating: 4.3 Votes: 430 Other Formats: MP1 MP2 AIFF ASF MPC VOC VOX Tracklist The New Stereo Mix 1-1 –Chris Squire Hold Out Your Hand 4:15 1-2 –Chris Squire You By My Side 5:02 1-3 –Chris Squire Silently Falling 11:21 1-4 –Chris Squire Lucky Seven 6:56 1-5 –Chris Squire Safe (Canon Song) 15:02 The Original Stereo Mix Re- Mastered 2-1 –Chris Squire Hold Out Your Hand 4:16 2-2 –Chris Squire You By My Side 5:02 2-3 –Chris Squire Silently Falling 11:57 2-4 –Chris Squire Lucky Seven 6:57 2-5 –Chris Squire Safe (Canon Song) 15:06 Bonus Tracks 2-6 –Chris Squire Lucky Seven (Single Mix) 3:30 2-7 –Chris Squire Silently Falling (Single Version) 3:00 2-8 –Chris Squire & Alan White Run With The Fox 4:12 2-9 –Chris Squire & Alan White Return Of The Fox 4:03 Companies, etc. Record Company – Cherry Red Records Phonographic Copyright (p) – Cherry Red Records Ltd. Copyright (c) – Cherry Red Records Ltd. Remastered At – The Audio Archiving Company Credits Artwork, Design – Hugh Gilmour Bass, Twelve-String Guitar, Vocals – Chris Squire Coordinator – Mark Powell Cover, Photography – Laurence Bernes Drums, Percussion – Bill Bruford Engineer – Gregg Jackman Flute – Jimmy Hastings Liner Notes – Sid Smith Orchestrated By – Andrew Pryce Jackman Organ [Pipe Organ] – Barry Rose Organ, Synthesizer [Bass Synthesizer] – Patrick Moraz Piano [Acoustic And Electric Pianos] – Andrew Pryce Jackman Remastered By – Paschal Byrne (tracks: CD2) Remix – Jakko Jakszyk* (tracks: CD1) Saxophone – Mel Collins Written-By, Arranged By, Producer – Chris Squire Notes Issued in digipak format, includes 24 pages booklet with pictures, production notes and tribute to Chris Squire.