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Whether you’re just wondering how on Earth we can finally be free or maybe that there is no hope, either way, ‘Just Imagine’ will answer both questions. Perhaps you are worried about the future of our generations or what a world of love actually looks like. Again, either way and in visionary based detail, ‘Just Imagine’ will answer many questions. With creatively imaginative and spiritually based channeling, ‘Just Imagine’ will take you on a journey of self-discovery through the biggest tool ever known in universal history; our imagination. This widely unused tool is not only why we’re here, but our brains cannot tell the difference between reality and imagination. ‘Just Imagine’ is the spark that can easily create Heaven on Earth. When a large collective imagines the same reality, it begins to manifest. When that reality is utterly beautiful, loving, euphoric and an absolutely pristine paradise, this future starts creating before our eyes. We are the creators of our dreams, the magnets to our wildest fantasies and the shapers of our collective future. A world that is so majestically enchanting, abundantly nourishing and liberatingly ecstatic, is ours to create. Oneness is effortlessly harmonious Harmony is peaceful unity Unity is one love Love is a simple intention Intention is everything Everything is us Just Imagine
Dawn Colclasure’s dark poetry collection, Songs of the Dead (formerly named Topiary Dreams), is not only dark, but passionate. Anger, fear, hurt and betrayal run under the skin of this work and shine through especially bright in poems such as "No Turning Back," "Deep Within" and "I am Madness." Colclasure examines the dark side of human nature; murder, drug use, violence, insanity and isolation. But, beyond the tales of death and darkness there’s also a message of empowerment; the voice of someone who has taken too much, for too long and has finally had enough. Songs of the Dead is a re-release of the chapbook originally published in 2003 and with more than twenty-seven new poems; it has more than earned the title “expanded”. Colclasure has a flair for prose, with lines such as “walk on the moon and hear the stars breathe,” (from "Death Shows my Pain") and different poetry forms stop the reader from falling into a sing-song rhythm of sameness and help to keep the collection fresh and interesting, page after page.
Waterman is the first comprehensive biography of Duke Kahanamoku (1890–1968): swimmer, surfer, Olympic gold medalist, Hawaiian icon, waterman. Long before Michael Phelps and Mark Spitz made their splashes in the pool, Kahanamoku emerged from the backwaters of Waikiki to become America’s first superstar Olympic swimmer. The original “human fish” set dozens of world records and topped the world rankings for more than a decade; his rivalry with Johnny Weissmuller transformed competitive swimming from an insignificant sideshow into a headliner event. Kahanamoku used his Olympic renown to introduce the sport of “surf-riding,” an activity unknown beyond the Hawaiian Islands, to the world. Standing proudly on his traditional wooden longboard, he spread surfing from Australia to the Hollywood crowd in California to New Jersey. No American athlete has influenced two sports as profoundly as Kahanamoku did, and yet he remains an enigmatic and underappreciated figure: a dark-skinned Pacific Islander who encountered and overcame racism and ignorance long before the likes of Joe Louis, Jesse Owens, and Jackie Robinson. Kahanamoku’s connection to his homeland was equally important. He was born when Hawaii was an independent kingdom; he served as the sheriff of Honolulu during Pearl Harbor and World War II and as a globetrotting “Ambassador of Aloha” afterward; he died not long after Hawaii attained statehood. As one sportswriter put it, Duke was “Babe Ruth and Jack Dempsey combined down here.” In Waterman, award-winning journalist David Davis examines the remarkable life of Duke Kahanamoku, in and out of the water. Purchase the audio edition.
Claudia Roesch offers a study of Mexican American families and evolving notions of masculinity and motherhood in the context of American family history. The book focuses both on the negotiation of family norms in social expert studies and on measures taken by social workers and civil-rights activists for families. The work fills gaps in research regarding the history of the American family in the 20th century, the history of Mexican Americans, and the history of social sciences. Taking a long-term perspective from the first wave of Mexican mass immigration in the 1910s and 1920s until the new social movements of the 1970s, the study takes into account influences of the Americanization and eugenics movements, modernization theory, psychoanalysis, and the Chicano civil-rights movement. Thus, Claudia Roesch offers important new findings on the nexus between the scientization of social work and changing family values in the age of modernity.
Nae-Née is a dystopian science fiction story. It is a cautionary tale of a loss of liberty along with our ecosystem. It takes place in the present. Nae-Née posits a world not unlike our own, as it confronts the major taboo of our time: the conflict between human overpopulation and the human desire to pass on one’s DNA and culture, and to rest assured that the next generation will care for the previous one and continue all that matters to it. Our planet’s ecosystem is being stressed past capacity to the brink of collapse due to biodiversity loss, rising sea levels, floods, droughts, overdependence on fossil fuels, and the climate changes that drive all that. In short, the human species is in dire trouble due to overpopulation – its own. No one seems remotely inclined to sacrifice any comfort or control over their habits in order to save the environment and ultimately their own future existence, happiness or sense of purpose. But there is a significant difference: nanite technology has advanced sufficiently to be of actual, practical use to physicians and scientists. Nae-Née is a safe, reliable, user-friendly form of birth control. It is a microscopic device made of nanites – little robots. It contains a life-time supply of super-concentrated RU486, which the device releases whenever it detects a rise in hormones that indicates a fertilized embryo is about to implant itself. All that the inventors – a husband-and-wife team – wanted was a convenient device that would prevent pregnancy every time without constantly pumping a woman’s body full of artificial hormones. Its name literally translates as “not born” and was chosen by Avril, the wife, to reflect her husband’s Scottish background and her own French ancestry. The story is told from Avril's point of view, a woman with Asperger's and a professor of women's medical history. The world’s leaders have decided to make it the duty of every human being to participate in a bold new world policy, and they have drafted a treaty at the United Nations, and every nation has agreed to sign onto it. This is done on a date that doom-sayers have anticipated with predictions of various – and often unrelated – dire consequences: December 21, 2012. Under the terms of the treaty, all women must have a government-registered Nae-Née device. Henceforth, every birth of any new human being must be licensed, and not everyone who wants a license to reproduce shall be granted one.
Teen films of the 1980s were notorious for treating consent as irrelevant, with scenes of boys spying in girls' locker rooms and tricking girls into sex. While contemporary movies now routinely prioritize consent, ensure date rape is no longer a joke, and celebrate girls' desires, sexual consent remains a problematic and often elusive ideal in teen films. In Consent Culture and Teen Films, Michele Meek traces the history of adolescent sexuality in US cinema and examines how several films from the 2000s, including Blockers, To All the Boys I've Loved Before, The Kissing Booth, and Alex Strangelove, take consent into account. Yet, at the same time, Meek reveals that teen films expose how affirmative consent ("yes means yes") fails to protect youth from unwanted and unpleasant sexual encounters. By highlighting ambiguous sexual interactions in teen films--such as girls' failure to obtain consent from boys, queer teens subjected to conversion therapy camps, and youth manipulated into sexual relationships with adults--Meek unravels some of consent's intricacies rather than relying on oversimplification. By exposing affirmative consent in teen films as gendered, heteronormative, and cis-centered, Consent Culture and Teen Films suggests we must continue building a more inclusive consent framework that normalizes youth sexual desire and agency with all its complexities and ambivalences.