Shadow Within A City Ii Ghost Squads Apocalypse

Gangland's demise is complete. Ghost Squad's days are numbered. Matrix has brought The Serpent Society to Midwest City...and his evil-ass little sister! Det. Higgins seeks the help of Channel 10 News reporter, Becky Plummer, to help him bring down Lt. Simms. As ShadowKill gains new allies and powers, his list of enemies grows and thanks to Dr. Africanus, they're much more formidable. Meanwhile, BloodOath is off the grid with a new, personal devotion to his true ilk. While Yosul and Prof. Danetta Garvey's relationship strengthens, Sarah has disappeared, Yosul's past is revealed, two Founders of W.I.S.K are introduced, and someone travels through time! Hold on to your seats! KG Bethlehem & F. Kenneth Taylor has packed this installment with tons of surprises!

For decades, Screen World has been the film professional's, as well as the film buff's, favorite and indispensable annual screen resource, full of all the necessary statistics and facts. Now Screen World editor Barry Monush has compiled another comprehensive work for every film lover's library. In the first of two volumes, this book chronicles the careers of every significant film actor, from the earliest silent screen stars – Chaplin, Pickford, Fairbanks – to the mid-1960s, when the old studio and star systems came crashing down. Each listing includes: a brief biography, photos from the famed Screen World archives, with many rare shots; vital statistics; a comprehensive filmography; and an informed, entertaining assessment of each actor's contributions – good or bad! In addition to every major player, Monush includes the legions of unjustly neglected troupers of yesteryear. The result is a rarity: an invaluable reference tool that's as much fun to read as a scandal sheet. It pulsates with all the scandal, glamour, oddity and glory that was the lifeblood of its subjects. Contains over 1 000 photos!

"Nature provided New York with a sheltered harbor but the city with a challenge: to find the necessary capital to build and expand the maritime infrastructure. In the 17th and 18th centuries, the city's government did not have the responsibility or the fiscal resources to develop needed port facilities. To build the infrastructure, the government awarded "water-lots" to private individuals to build wharves and piers, surrendering public control of the waterfront. For over 250 years private enterprise ran the waterfront; the city played a peripheral role. By the end of the Civil War chaos reigned and threatened the port's dominance. In 1870 the city and state created the Department of Docks to exercise public control and rebuild the maritime infrastructure for the new era of steamships and ocean liners. A hundred years later, technological change in the form of the shipping container and jet airplane rendered Manhattan's waterfront obsolete within an incredibly short time span. The maritime use of the shoreline collapsed, mirroring the near death of the city of New York in the 1970s. Ships disappeared and abandoned piers and empty warehouses lined the waterfront. The city slowly and painfully recovered. The empty waterfront allowed visionaries and planners to completely reimagine a shore lined with parkland. Along the new waterfront, luxury housing has transformed the waterfront neighborhoods where the Irish longshoremen once lived. A few remaining piers offer spectacular views of the city's waterways, now a most precious asset. The rebirth has been driven by complex private/public partnerships, with the city of New York playing only a peripheral role. The contentious question of private vs. public control of the waterfront remains a continuing issue in the 21st century"--

Established in 1911, The Rotarian is the official magazine of Rotary International and is circulated worldwide. Each issue contains feature articles, columns, and departments about, or of interest to, Rotarians. Seventeen Nobel Prize winners and 19 Pulitzer Prize winners – from Mahatma Ghandi to Kurt Vonnegut Jr. – have written for the magazine.

This biographical encyclopedia covers every actor and actress who had a regular role in a Western series on American television from 1960 through 1975, with analyses of key players. The entries provide birth and death dates, family information, and accounts of each player's career, with a cross-referenced videography. An appendix gives details about all Western series, network or syndicated, 1960-1975. The book is fully indexed.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.

CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.

In this deep dive into the Jamaican music world filled with the voices of creators, producers, and consumers, Larisa Kingston Mann—DJ, media law expert, and ethnographer—identifies how a culture of collaboration lies at the heart of Jamaican creative practices and legal personhood. In street dances, recording sessions, and global genres such as the riddim, notions of originality include reliance on shared knowledge and authorship as an interactive practice. In this context, musicians, music producers, and audiences are often resistant to conventional copyright practices. And this resistance, Mann shows, goes beyond cultural concerns. Because many working-class and poor people are cut off from the full benefits of citizenship on the basis of race, class, and geography, Jamaican music spaces are an important site of social commentary and political action in the face of the state's limited reach and neglect of social services and infrastructure. Music makers organize performance and commerce in ways that defy, though not without danger, state ordinances and intellectual property law and provide poor Jamaicans avenues for self-expression and self-definition that are closed off to them in the wider society. In a world shaped by coloniality, how creators relate to copyright reveals how people will play outside, within, and through the limits of their marginalization.