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Transhumanism is a recent movement that extols man’s right to shape his own evolution, by maximizing the use of scientific technologies, to enhance human physical and intellectual potential. While the name is new, the idea has long been a popular theme of science fiction, featured in such films as 2001: A Space Odyssey, Blade Runner, the Terminator series, and more recently, The Matrix, Limitless, Her and Transcendence. However, as its adherents hint at in their own publications, transhumanism is an occult project, rooted in Rosicrucianism and Freemasonry, and derived from the Kabbalah, which asserts that humanity is evolving intellectually, towards a point in time when man will become God. Modeled on the medieval legend of the Golem and Frankenstein, they believe man will be able to create life itself, in the form of living machines, or artificial intelligence. Spearheaded by the Cybernetics Group, the project resulted in both the development of the modern computer and MK-Ultra, the CIA’s “mind-control” program. MK-Ultra promoted the “mind-expanding” potential of psychedelic drugs, to shape the counterculture of the 1960s, based on the notion that the shamans of ancient times used psychoactive substances, equated with the “apple” of the Tree of Knowledge. And, as revealed in the movie Lucy, through the use of “smart drugs,” and what transhumanists call “mind uploading,” man will be able to merge with the Internet, which is envisioned as the end-point of Kabbalistic evolution, the formation of a collective consciousness, or Global Brain. That awaited moment is what Ray Kurzweil, a director of engineering at Google, refers to as The Singularly. By accumulating the total of human knowledge, and providing access to every aspect of human activity, the Internet will supposedly achieve omniscience, becoming the “God” of occultism, or the Masonic All-Seeing Eye of the reverse side of the American dollar bill.
In this reference volume, more than 200 fictional feature-length movies with a primary focus on an athletic endeavor are discussed, including comedies, dramas, and biopics. Brief summaries and credit information are provided for an additional 200 films, and appendixes include made-for-teleivion movies and documentaries.
Chronicles the creation of Meredith Willson’s The Music Man—reprinted now as the Broadway Edition Composer Meredith Willson described The Music Man as “an Iowan’s attempt to pay tribute to his home state.” Now featuring a new foreword by noted singer and educator Michael Feinstein, this book presents Willson’s reflections on the ups and downs, surprises and disappointments, and finally successes of making one of America’s most popular musicals. Willson’s whimsical, personable writing style brings readers back in time with him to the 1950s to experience firsthand the exciting trials and tribulations of creating a Broadway masterpiece. Fresh admiration of the musical—and the man behind the music—is sure to result.
This hugely successful Off Broadway show played for almost three years at New York's Orpheum Theatre, winning an Obie award as the Best of the Season. Billed as "a musical about an old operetta"-Little Mary Sunshine gently spoofs such old-time favorites like "Rose Marie" and "Naughty Marietta"-but has a personality all its own. The plot is a little bit of everything: Colorado Rangers led by stalwart Captain Jim; the lovely Mary Sunshine, her 'naughty' maid Nancy; a chorus of gigling schoolgirls and the ominous but benevolent Indian chief. Hearts are won and lost and won again, in this delightful, laugh-filled and charming show. -- Publisher's description.