After incredible adventures in the Caribbean with aliens, mutants and reptilians, our heroes return home – to Paris, London, the various cities of Russia. But the call of the “blue blood” brings them back together again. Who is the real alien? This is the fourth book of “The Island of Golden Zandolie” series.All illustrations done by the author.

As issues of employee involvement and participation once more evoke considerable controversy, this textbook provides an accessible overview of the main strands, perspectives and debates in current thinking and practice. It adopts a comparative international approach, addressing developments in the United Kingdom and mainland Europe, the United States and elsewhere. The authors identify two main strands of evolution: one driven by managerial interests in enhancing and controlling employee commitment and performance; the other deriving from employees' attempts to influence high-level organizational decision-making. In particular, they examine and analyze: the background of key concepts, issues and philosophies underpinning

"A significant contribution to the field of calypso studies. . . . Few published works have taken this extensive a look at the political calypsos and what informs them."--Keith Q. Warner, George Mason University, author of Kaiso! The Trinidad Calypso Calypso, a traditional form of music in the Caribbean, began in Trinidad and Tobago as a subtle protest against British rule. Influenced by African and native Caribbean rhythms, the calypso (along with Jamaican reggae) defines the music of the region. Louis Regis examines the evolution of the political calypso from 1962 to 1987, the period of Trinidad/Tobago's independence from Britain, and presents the text of lyrics from this popular folk-urban musical form. Following the songs and their themes chronologically from 1962 forward, Regis discovers the social history, cultural attitudes, and political commentary embedded within the music. He discusses the uneasy alliance between the performer and the politician, the political moods and postures emphasized in the songs, and the national identity of the calypso. Drawing upon voluminous research, Regis's study brings to light little-known and unrecorded songs. With a concluding chapter on the calypso's artistic and performance elements, it will appeal both to specialists in ethnomusicology and to general readers who enjoy the calypso. Louis Regis, the author of Maestro: The True Master and Black Stalin: The Caribbean Man, is one of the West Indies' foremost authorities on the calypso. He teaches at Pleasantville Senior Comprehensive School in Trinidad.

Written in two parts, part 1 explores the development of Calypso, from it's emergence in the pre-colonial period to the post colonial period. In part 2, the focus is on the new Carnival musical practices of soca, rapso, chutney, soca and ragga soca, and the ways in which they contirbuted to the redefination of Trinidadian cultural politics in the neoliberal era. The new rationailities, contigencies, desires and musical experments that animated the new musics and enabled them to gradually displace calypso from its centrality as national expression is examined.

Bob Marley was the Undisputed King of Reggae Music and a Spiritual Leader in the Caribbean and Beyond. His life and work continue to inspire generation after generation. Here are his thoughts and words on... Philosophy "What we really need is the right to be right and the right to be wrong." Success "Me no enjoy success, y'know. Look how slim me is. Me just come to do God's work, me no really enjoy it." Music "My music will go on forever. Maybe it's a fool say that, but when me know facts me can say facts. My music will go on forever." Sex "Children are wonderful. It don't take plenty, y'know, just a nice girl who don't take birth control. Sexual intercourse is a wonderful thing." Ganja "The more people smoke herb, the more Babylon fall." Politics "Government sometimes maybe not like what we have to say because we say it too... plain." Race "There should be no war between black and white. But until white people listen to black with open ears, there must be well-suspicion." Himself "Bob Marley isn't my name. I don't even know my name yet."