All that glitters is not gold. Gold is the new cocaine - and it's just as lucrative, dangerous, and destructive.

Dirty Gold is a searing expose on the booming gold mining industry and destruction on the land and people of Latin America. It looks closely at a small US firm in Miami that helped transform the city into the nation's No.1 importer of gold into the United States. The book follows the meteoric rise and fall of a group of drug traders known as 'the three amigos' who laundered narco money through gold illegally brought into the US and raked in millions before they were caught.

Whilst they were making their millions, the humanitarian situation in Colombia, Peru, and many other countries deteriorated dramatically.

Al Pacino and Greta Gerwig star in this comedy drama adapted from Philip Roth's novel 'The Humbling'. Ageing actor Simon Axler (Pacino) is suffering from mental health problems and, with his once-successful career in decline, he considers suicide. He finds a new lease of life when he encounters Pegeen (Gerwig), a much younger gay woman who is the daughter of his friends, and the two embark on an unlikely affair. As their relationship develops Axler is given the opportunity to return to the stage, but can he successfully revive his career?

The Misfit Economy is about people who are just as innovative, entrepreneurial, and visionary as the Jobses, Edisons, and Fords of the world, except they're not operating out of Silicon Valley. They're in the street markets of Sao Paulo and Guangzhou, the rubbish dumps of Lagos, the flooded coastal towns of Thailand. They are pirates, slum dwellers, computer hackers, dissidents, and inner city gang members. Across the globe, diverse innovators are working in the black, grey, and informal economies to develop solutions to myriad challenges. Far from being "deviant entrepreneurs" that pose threats to our social and economic stability, these innovators display remarkable ingenuity, pioneering original methods and best practices that we can learn from and apply to formal markets in urgent need of change.

Kasie Fitzgerald knows who she's supposed to be. She's a rising-star-workaholic at a global consulting firm. She's the fiancee of a well-connected man who's won the approval of her parents. People know that she's reliable, serious, proper, cautious, pragmatic, and yes, a little predictable. She's who Dave and her family want her to be. But as her thirtieth birthday looms, buried feelings begin to resurrect. Her friend takes her to Vegas for one last wild and crazy night. In a dress much shorter and sexier than anything she has ever dared to wear before, she hits the blackjack tables. And meets him. Under the tailored clothes it's clear that this is a man who is intense, powerful, and maybe even a little dangerous. With a touch of trepidation she accepts his invitation to get a drink, and before long, she's in his hotel room. She never gets his full name. Perhaps his anonymity is one of the reasons she's able to give herself over to him and to the moment so completely. Perhaps it's why she's just had the most exquisite and passionate sex of her life. Shaken by her own behaviour, Kasie tries to chalk it up to one crazy night. But when the mysterious gentleman she's just had a fling with shows up in her office-as the CEO of a firm her company does a billion dollars of business with a year, demanding that shehandle his account, and so much more-things will never be the same again. And there's no telling where this will go...

A freelance writer, Kaori Lynn is in a great position in her life. She is thirty years old, newly divorced with a great career. Her loving, but rivaling friends, Stacey and Vanessa, often try to get Kaori out on the town. Kaori's admirer, Darold Walker, wants to tell her how he feels, but the timing never seems to be right. Owner of a popular poetry club, Darold thinks that Kaori should be with him, but she's constantly being put to the side by her man, divorce lawyer Jackson Carver. Darold doesn't understand why she stays with Jackson, especially when he treats her as nothing more than eye candy. Kaori knows what she wants but does she know the SECRET of the man she loves? After discovering Jackson's promotion to partner at the firm, Kaori begins to find out just how much turmoil their three year relationship is in when she's faced with having to make a valuable life decision on trust in the midst of confusion. Tina Carver, Jackson's mother, is heartless toward Kaori. Tina, a socialite, pries in all of her son's relationships adversely trying to force the women out of their lives. Although, Kaori feels strong enough to stand up to her, she is hoping Jackson will defend her. Kaori wants to know what Tina is trying to entail and in the midst finds her impeccable strength is weakening. Kaori caters to Jackson while forgetting her own personal desires not realizing that they're fading away. Wanting and needing to feel loved and appreciated by Jackson, she often finds herself in the relationship alone. What does she have to do to help her to cope? Because I Love, will take you on a journey and make you think twice about what you think you know about LOVE.

Natalie hates being a call girl. Answering an ad, she becomes a chaperone for two teenaged girls on vacation in Europe. The girls are wicked. When the travelers return to America, one of them arrives with a baby.

Winner of the 2007 Alan Merriam Prize presented by the Society for Ethnomusicology

aThe Games Black Girls Play is beautifully and passionately written. This book presents an engaging reflexive narrative that ranges from childhood memories to involvement with ethnomusicological scholarship. Gaunt makes a convincing argument that the playsongs of African American girls is the foundation of African diasporic popular music-making. In a radical counter-history, she shows how African American girls-interlocutors who are triply minoritized through race, gender, and age-are producing music culture that has profound influences on popular music and the popular imagination. She calls for an engaged ethnomusicology and moves gracefully through an array of anti-essentialist perspectives on race and gender. She argues that akinetic oralitya is key to African American musicking and that the body is always a locus of memory and communality. From somatic historiography to serious cross-talk with girls, Gaunt offers new methodologies for ethnomusicological work. The reader is pulled into a world in which Black girls are masters of musical knowledge, and in emerging from the book, we can't see the world of American popular music in the same way. When we chant Miss Mary Mack, Mack, Mack is dressed in black, black, black, with silver buttons, buttons, buttons, all down her back, back, back, we suddenly see how musical play and embodied knowledge generates a world of raced and gendered sociality. Oo-lay oo-lay! Congratulations, Kyra!a
--President Elect Professor Deborah Wong, Society for Ethnomusicology (October 27, 2007)

aFusing academic prose with vividly rendered memories, Gauntas journey isrefreshing. . . . Gaunt successfully lifts ignored girls from obscurity to center stage. . . . With The Games Black Girls Play, Gaunt has created a necessary space for translating black girlsa joy in a society that typically overlooks it. Hopefully, others will take their turn and jump in to keep the games going.a
--"Bitch"

"In thoughtful and affectionate prose, Gaunt makes plain how the schoolyard syncopations of body and voice are both oral-kinetic play and improvised lessons in socializing girls into the unique social practices of black urban life. . . . The Games Black Girls Play is a smart, delightful and witty polemic of attributions; a cultural benchmark of the complex web of history, race and gender to suggest a agendered musical blacknessa and an aethnographic trutha linking the aintergenerational cultures of black musical expressiona as embodied in the infectious playfulness of black girls."
--"Black Issues Book Review"

"Very informative and insightful. . . . A valuable source to add to oneas collection."
--"AllHipHop.com"

"By placing black girls at the center of her analysis, Kyra Gaunt challenges us to be ever mindful of the importance of gender, the body, and the everyday in our discussions of black music. "The Games Black Girls Play" is an exciting and original work that should forever transform the way we think about the sources of black, indeed American, popular music. This is a bold, brilliant, and beautifully written book."
--Farah Jasmine Griffin, Columbia University

"The Games Black Girls Play not only makes the point that black girls matter, but that the games, thoughts, and passions of black girls matter in a world that regularly rendersblack girls invisible and silent. Gaunt brilliantly argues that the culture of black girls is a critical influence on contemporary black popular culture."
-- Mark Anthony Neal, author of" New Black Man: Rethinking Black Masculinity"

"A particular strength of Gaunt's text is the ethnographic dimension of her discussions. The reader is privy to the personal musical and cultural experiences of African American females of varying ages (including Gaunt herself)."
--"New Black Man Book Review"

aIt is written in an accessible style and the inclusion of personal musical and cultural experiences and histories of a variety of women, including the author, adds to the appeal. The infectious playfulness of the topic and Gauntas own personal style and passion shine though.a
--"Journal of Folklore Research"

When we think of African American popular music, our first thought is probably not of double-dutch: girls bouncing between two twirling ropes, keeping time to the tick-tat under their toes. But this book argues that the games black girls play --handclapping songs, cheers, and double-dutch jump rope--both reflect and inspire the principles of black popular musicmaking.

The Games Black Girls Play illustrates how black musical styles are incorporated into the earliest games African American girls learn--how, in effect, these games contain the DNA of black music. Drawing on interviews, recordings of handclapping games and cheers, and her own observation and memories of gameplaying, Kyra D. Gaunt argues that black girls' games are connected to long traditions of African and African American musicmaking, and that they teach vital musical and social lessons that are carried intoadulthood. In this celebration of playground poetry and childhood choreography, she uncovers the surprisingly rich contributions of girls' play to black popular culture.

This volume details a comprehensive range of methods for imaging epithelial-to-mesechymal transition (EMT)/MET in in vivo systems, and methods to leverage these systems to dissect the underlying mechanisms. Chapters guide readers through studying different features of epithelial-mesenchymal plasticity, past and future research of the EMT, in vivo systems, and in vivo imaging. Written in the highly successful Methods in Molecular Biology series format, chapters include introductions to their respective topics, lists of the necessary materials and reagents, step-by-step, readily reproducible laboratory protocols, and tips on troubleshooting and avoiding known pitfalls. Authoritative and cutting-edge, The Epithelial-to Mesenchymal Transition: Methods and Protocols aims to provide methods in EMT will help to unite and drive research in this exciting field forwards.