This publication investigates new ways of understanding international churches. Based upon recent fieldwork, six migrant Christian communities in Rotterdam were analysed using congregational study methods on how they construct identity. Through the frames of 'koinonia', 'diakonia' and 'kerygma', this research reflects on their composition, characteristics, leadership style, language and social capital. Language is found to be an important shaper or 'carrier' of identity and acts both as badge and bridge of identity. In building identity, MCCs do not behave in ways expected or consistent with the process of integration.

Hype - 'And now, for all you speeding street smarties out there, the one you've all been waiting for, the one that'll pierce your laid-back ears, decoke your sinuses, cut clean thru the schlock-rock, MOR/crossover, techno-flash mind mush. It's the new Number One with a bullet ... with a bullet ... It's Tom, Supernova, Mahler with a pan-galactic biggie ...' And the Hype goes on. And on. Hype, an amphetamine-hit of a story by Hawkwind collaborator Robert Calvert. Who's been there and made it back again. The debriefing session starts here.

Robert Newton Calvert: Born 9 March 1945, Died 14 August 1988 after suffering a heart attack. Contributed poetry, lyrics and vocals to legendary space rock band Hawkwind intermittently on five of their most critically acclaimed albums, including Space Ritual (1973), Quark, Strangeness & Charm (1977) and Hawklords (1978). He also recorded a number of solo albums in the mid 1970s. CENTIGRADE 232 was Robert Calvert's first collection of poems.

The little known FREQ is in many ways former Hawkwind lyricist Calvert's most revealing and satisfying album, originally released in 1984 and now reissued with two bonus tracks. Calvert jettisoned the progressive big-band of stars from his first two albums and replaced them with an arsenal of electronics and advanced computer technology, yielding music that not only fit in with the then-fashionable synth-rock of the early '80s (Heaven 17, The Passage, Kevin Dunn) but also with today's tech-nomads. The other unusual thing about FREQ is that Calvert liberally mixes his political POV within such electronic poems as the machine-over-man polemic "All the Machines are Quiet" and addresses union bastions on "Work Song." Calvert was indeed an unique entity whose concepts were often overrun within the Hawkwind camp. Solo, his lyrical flights of fancy are allowed to run free--a passionate voice in a world of noise.