Book 2: LA Moves Welcome back to Alana's world - dancing is her number one passion. But everyone at school prefers pop stars to ballroom stars. Can she and her best friend, Meena, pull off a great routine for the school review? Soon enough, a trip to Mademoiselle Coco's Costume Emporium has Alana on another magical dance adventure, this time doing the coolest street dancing moves in LA with the hottest boy band around. Maybe she can show everyone just how cool dancing can be after all? Full of magic, glamour, glitter and loveable characters, each story centres around a brand new dance - from fox trot to tango, samba to street dance. Perfect for fans of Darcey Bussell's Magic Ballerina and Katie Price's Perfect Ponies, as well as TV hits such as Strictly Come Dancing, Dancing on Ice, So You Think You Can Dance?, X-Factor and Britain's Got Talent.

"My personal plan for fitness and well-being"--Cover subtitle.

In this New York Times bestseller from Stuart Woods, Stone Barrington gets a big payday and gets set up for an even bigger fall... Stone Barrington is enjoying his usual dinner at Elaine’s when his boss at Woodman & Weld, the law firm where Stone is “of counsel,” walks in, sits down and hands Stone a check for one million dollars. It seems Stone’s undercover dealings with MI6 had brought in a big new client for the firm, and they’re willing to pay Stone a huge bonus and make him a partner. But almost as soon as he’s taken the deal, Stone gets wind of an impending scandal that might torpedo his big promotion: it seems the lucrative new client he’s introduced to the firm might be a devil in disguise...

In the generations after emancipation, hundreds of thousands of African-descended working-class men and women left their homes in the British Caribbean to seek opportunity abroad: in the goldfields of Venezuela and the cane fields of Cuba, the canal construction in Panama, and the bustling city streets of Brooklyn. But in the 1920s and 1930s, racist nativism and a brutal cascade of antiblack immigration laws swept the hemisphere. Facing borders and barriers as never before, Afro-Caribbean migrants rethought allegiances of race, class, and empire. In Radical Moves, Lara Putnam takes readers from tin-roof tropical dancehalls to the elegant black-owned ballrooms of Jazz Age Harlem to trace the roots of the black-internationalist and anticolonial movements that would remake the twentieth century. From Trinidad to 136th Street, these were years of great dreams and righteous demands. Praying or "jazzing," writing letters to the editor or letters home, Caribbean men and women tried on new ideas about the collective. The popular culture of black internationalism they created--from Marcus Garvey's UNIA to "regge" dances, Rastafarianism, and Joe Louis's worldwide fandom--still echoes in the present.

W. G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss. How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.

2nd in the series. The Wainwrights wed and honeymoon in Salzberg, Austria. Wainwright makes an accidental sighting of the pair who were suspects in the killing of his partners and calls the FBI's Vienna office for help. In the middle of all the excitement, a cablegram informs the newlyweds that Wainwright's brother died in a construction accident. They return to California for the services and his bride is kidnapped. And the fun piles-on from threre.

This book shows how le hip hop reflects a republic of culture rather than a culture industry; a minority identity politics that takes shape as a movement poetics or figural language; and the public valorization of dance as a technique, meriting unemployment compensation and understood as a high-tech knowledge practice.