Polo Cant Stop Wont Stop

Wisdom to inspire is a book of poems, Collection of words designed to inspire, motivate and encourage right thoughts and right actions. These poems come from the depths of my soul, from the very essence of who I am. Poems that tells stories, simple stories of where I have been, what I have seen and heard of the nature of people, places and things. Poems, that come from experiences lived, experiences that gave me strength to live and grow into the person I am today.

"A cinematic narrative of glamour, grit, luxury, and luck, Fashion Killa draws on exclusive interviews with the leaders of the fashion world to tell the story of the hip-hop artists, designers, stylists, and unsung heroes who fought the power and reinvented style around the world over the last fifty years. Set in the sartorial scenes of New York, Paris, and Milan, journalist Sowmya Krishnamurthy's reporting on the intersecting histories of hip-hop and contemporary fashion focuses on the risk takers and rebels-the artists, designers, stylists, models, and tastemakers-who challenged a systemic power structure and historically reinvented the world of haute couture. Fashion Killa is a classic tale of a modern renaissance; of an exclusionary industry gate-crashed by innovators; of impresarios-Sean "Diddy" Combs, Dapper Dan, Virgil Abloh-hoisting hip-hop from the streets to the stratosphere; of supernovas-Lil' Kim, Cardi B, and Megan Thee Stallion-allying with kingmakers-Anna Wintour, Donatella Versace, and Ralph Lauren; of traditionalist fashion houses-Louis Vuitton, Fendi, and Saint Laurent-transformed into temples of rap gods like Kanye West, Nicki Minaj, and Travis Scott. Krishnamurthy explores the connections between the DIY hip-hop scene and the exclusive upper-echelons of high fashion. She tracks the influence of music and streetwear on the most exclusive (and exclusionary) luxury brands. At the intersection of cultural commentary and oral history, Fashion Killa commemorates the contributions of hip-hop to music, fashion, and our culture at large"--

Virginia is for lovers, but in the heartless and unforgiving streets of Virginias 7even Cities: where disillusioned hustlers pitch narcotics on project blocks without a conscience, disgruntled stick up kids terrorize the streets with their ambitions attached to ski masks and twin pistols, and dispirited young females strip themselves of their self-worth and sell their most sacred possessions all for a piece of the Devils Pie, love is an ideal often spoke about, but seldom seen. The 7even Cities, where the disenfranchised take to the streets to obtain the American Dream of lavish homes, luxury automobiles, and tailored garments, while the aristocracy relentlessly aim to squander their hopes with oppressive laws and a multi-million dollar penal system. This is Virginia through the clairvoyant eyes of Marquis Cream Cureton in his classic debut novel, When the Smoke Clears: An Urban Novel. Inspired by true events, Cream narrates the story of Secoya Smoke Harris, a promising college basketball player with ambitions as vast as the oceans are blue, who tip-toed the fine line between success and the streets. Originally from the gang infested streets of Compton, California, Smoke cant resist the lure of the underworld of the 7even Cities, and in one costly decision finds himself incarcerated in Virginias Department of Corrections and marked for death by his big homie. His basketball career ruined and future bleak, Smoke apprehensively makes the decision to dive head first into the streets and get money the only way he sees possibletrafficking marijuana. Beef inevitable, bodies dropping, and indictments looming, Smoke drowns himself in a cloud of haze from the finest bud California has to offer in order to escape the harsh reality that in the streets nothing last forever, and no one ever wins; there are only those that survive the game and live to tell about it behind penitentiary walls, and those that lose, taking their last breath in the streets. Which side will Smoke find himself? Only God knows, When the Smoke Clears.

How can we create a model of politics that reaches beyond the nation-state, and beyond settler-colonialism, authoritarianism, and neoliberalism? In Beyond the Pink Tide, Macarena Gómez-Barris explores the alternatives of recent sonic, artistic, activist, visual, and embodied cultural production. By focusing on radical spaces of potential, including queer, youth, trans-feminist, Indigenous, and anticapitalist movements and artistic praxis, Gómez-Barris offers a timely call for a decolonial, transnational American Studies. She reveals the broad possibilities that emerge by refusing national borders in the Americas and by seeing and thinking beyond the frame of state-centered politics. Concrete social justice and transformation begin at the level of artistic, affective, and submerged political imaginaries—in Latin America and the United States, across South-South solidarities, and beyond.

This international seminar’s fifth edition, dedicated to the theme Desenho (...) Cidade (...) Corpo, Habitando a Terra (Drawing [...] City [...] Body, Inhabiting the Earth) was held as a joint activity between: this C.I.A.U.D./F.A./U.Lisboa Research Project, the University of São Paulo, represented by the Maria Antônia University Centre, and the Faculty of Architecture and Urbanism of the Federal University of Juiz de Fora. Its objectives were threefold: To discuss how Drawing in/of the City and the elements that identify it (geographical area, inhabitants, natural landscape and/or built landscape; present, desired or memorable facts and data) are represented and identified through the presence and/or action of the body, in the form of gestures, movements, interventions, displacements or permanence. To problematise the association between Drawing and City from the starting point of the perception of the Body, assuming this mediation as a condition for the particular construction of that relationship. To identify the presence of the Body in the Representations/Drawings of the City, submitting this event or phenomenon to analysis, aiming for cognitive production. The contributions will be of interest to artists, academics and professionals in the fields of drawing and the arts, architecture, sociology, philosophy, urbanism and design.

Polo Can't Stop Won't Stop. Notebook Small daily diary / journal / notebook to write in, for creative writing, for creating lists, for Scheduling, Organizing and Recording your thoughts. Makes an excellent gift idea for birthdays, Christmas or any special occasion. - Perfectly sized at 6" x 9" - 120 page - Softcover bookbinding - Flexible Paperback

The power of the Bible to transform lives and societies has seldom been demonstrated more vividly than in Chiapas in southern Mexico. Beginning in the early 1940s, young men and women of the Summer Institute of Linguistics devised written scripts and then translated the Bible into the languages of the most neglected and most oppressed of indigenous peoples: the Tzeltals, Tzotzils, Chols and Tojolabals. A major part of this book is the narrations of indigenous people who experienced the Bible's power to heal bodies and create loving families. They became apostles, seeding new congregations. They refused to accept what they saw as idols made by human hands and rejected the cults of village saints. For this, they were, like the first Christians, persecuted and driven from their lands and homes, yet they never lost faith. They staked their lives on the Bible's promises. One pastor vowed, "We shall not be stopped." As evidence of such faith and determination, evangelical churches are growing stronger and more numerous. Simultaneously, the Catholic Church in Chiapas taught the "option for the poor" of the Theology of Liberation. Marxist revolutionaries from northern Mexico took advantage of this structure, leading to the Zapatista revolt of subcommander Marcos. When the revolt failed, what had been hailed as a "Revolt of the Indians" deteriorated into a deadly political struggle of "Indians against Indians," with defenseless villagers caught in the middle.