Using his relationships within the drug distribution realm, Richard catapults his growing empire, taking down anyone who stands in his way. Rich Kid’s Family soon becomes a force to reckon with; one that evokes fear in the hearts of all those who dare to cross them. The bloodshed, and bodies through the inner streets of Miami are the only remnants of this ghost crew; leaving detectives within all agencies baffled and astonished with the gruesomeness of the local murders. While hot on the trail, of what seems to be a small-time local drug dealer, the Drug Enforcement Agency investigates the street dealer named Richard Gary. The closer the D.E.A gets to Richard Gary, the more they find out about his alias, Rich Kid, who is well-known within South Miami, but the D.E.A. acts too soon. With nothing to hold him on, they hand Richard over to the federal government for tax evasion charges. With their leader behind bars, The Family must now learn how to operate without him. Will the mistakes they make rip them apart at the seams or will Richard find a way to avenge his crew from behind bars?

    And, in a new afterword for this second edition, he reflects on Ali’s legacy in the era of the ‘war on terror’.

    Like Undaunted Courage and D-Day, this is a tale of achieving the extraordinary against extraordinary odds.  As incredible as the "official" story of the space program is, the true, behind-the-scenes tale is more thrilling, more entertaining, and ultimately more ennobling.

    From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendent Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings--and the patients who lived in them--neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors--chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, "where one could be both mad and safe."

    This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.

    Elsken focuses on the Left Bank of Paris in the 1950s—a time when it was recognised as a centre of creative ferment which would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work has been acclaimed as expanding the boundaries of documentary photography.

    Banksy, Britain’s now-legendary “guerilla” street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy’s work is now venerated, collected, and preserved. Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence.

    It's also the story of a boy born in poverty Texas who grew up in a single-parent household in the heart of South Central, who was pushed through the school system each year and came out illiterate. His options were few, and he turned to drug dealing. This Untold Autobiography is not only personal, but also historical in its implications. Rick Ross chronicles the times by highlighting the social climate that made crack cocaine so desirable, and he points out that at the time, the "cops in the area didn't know what crack was; they didn't associate the small white rocks they saw on homies as illegal drugs." All Rick Ross knew was people wanted it.

    Abdulrahman and Kathy Zeitoun run a house-painting business in New Orleans. In August of 2005, as Hurricane Katrina approaches, Kathy evacuates with their four young children, leaving Zeitoun to watch over the business. In the days following the storm he travels the city by canoe, feeding abandoned animals and helping elderly neighbors. Then, on September 6th, police officers armed with M-16s arrest Zeitoun in his home. Told with eloquence and compassion, Zeitoun is a riveting account of one family’s unthinkable struggle with forces beyond wind and water.

    More than 300 slaves worked the plantation's fields at the height of its prosperity; but nearly 125 years later, the only remembrance of their lives at Somerset, now a state historic site, was a lonely wooden sign marked "Site of Slave Quarters."Somerset Homecoming, first published in 1989, is the story of one woman's unflagging efforts to recover the history of her ancestors, slaves who had lived and worked at Somerset Place. Traveling down winding southern roads, through county courthouses and state archives, and onto the front porches of people willing to share tales handed down through generations, Dorothy Spruill Redford spent ten years tracing the lives of Somerset's slaves and their descendants. Her endeavors culminated in the joyous, nationally publicized homecoming she organized that brought together more than 2,000 descendants of the plantation's slaves and owners and marked the beginning of a campaign to turn Somerset Place into a remarkable resource for learning about the history of both African Americans and whites in the region.

    It is a world erupting with new money and new power, changing so fast it breaks all sense of reality, home to a form of dictatorship-far subtler than twentieth-century strains-that is rapidly rising to challenge the West.When British producer Peter Pomerantsev plunges into the booming Russian TV industry, he gains access to every nook and corrupt cranny of the country. He is brought to smoky rooms for meetings with propaganda gurus running the nerve-center of the Russian media machine, and visits Siberian mafia-towns and the salons of the international super-rich in London and the US. As the Putin regime becomes more aggressive, Pomerantsev finds himself drawn further into the system.Dazzling yet piercingly insightful, Nothing Is True and Everything Is Possible is an unforgettable voyage into a country spinning from decadence into madness.

    Black people must Know Thyself and to know yourself is to know Melanin.

    Back in the days, gangs would battle not with guns, but by breakdancing. Back in the days, the streets-not corporate planning-set the standards for style. Back in the days, Jamel Shabazz was on the scene, photographing everyday people hangin' in Harlem, kickin' it in Queens, and cold chillin' in Brooklyn. Street styling with an attitude not seen in fashion for another twenty years to come, Shabazz's subjects strike poses that put supermodels to shame-showing off Kangol caps and Gazelle glasses, shell-top Adidas and suede Pumas with fat laces, shearling coats and leather jackets, gold rope chains, door-knocker earrings, name belts, boom boxes, and other designer finery. For anyone who wants to know what "keepin' it real" means, Back in the Days is the book of your dreams.

    The earliest records of history show that the art of healing was held in high esteem since the time of Ancient Egypt. In the early 20th century, medical doctors had almost attained the status of sainthood by the promotion of the idea that they alone were "scientists" while other healing modalities and traditional healers who did not follow the "scientific method' were nothing but superstitious, ignorant charlatans who at best would take the money of their clients and at worst kill them with the unscientific "snake oils" and "irrational theories." In the late 20th century, the failure of the modern medical establishment's ability to lead the general public to good health, promoted the move by many in society towards "alternative medicine." Alternative medicine disciplines are those healing modalities which do not adhere to the philosophy of allopathic medicine. Allopathic medicine is what medical doctors practice by an large. It is the theory that disease is caused by agencies outside the body such as bacteria, viruses or physical means which affect the body. These can therefore be treated by medicines and therapies The natural healing method began in the absence of extensive technologies with the idea that all the answers for health may be found in nature or rather, the deviation from nature. Therefore, the health of the body can be restored by correcting the aberration and thereby restoring balance. This is the area that will be covered in this volume. Allopathic techniques have their place in the art of healing. However, we should not forget thatthe body is a grand achievement of the spirit and built into it is the capacity to maintain itself and heal itself.

    Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.