Author: M. Anne Katzenberg File Type: pdf This book is virtually required reading for biological anthropologists and will be a useful, up-to-date primer on osteological analyses for a wider audience.The Quarterly Review of Biology, March 2009 a comprehensive guide to the ever-changing discipline of physical anthropology provides an in depth introduction to human skeletal biology. The structure of the book makes it easy for the reader to follow the progression of the field of human skeletal biology.PaleoAnthropology, 2009 IssueThe First Edition of Biological Anthropology of the Human Skeleton is the market-leading reference and textbook on the scientific analysis of human skeletal remains recovered from archaeological sites. Now, featuring scores of new or thoroughly revised content, this Second Edition provides the most comprehensive and up-to-date coverage of the topic available.Like the previous edition, this Second Edition is organized into five parts with contributing chapters written by experts in the field of human skeletal biology Part One covers theory and application Part Two discusses morphological analyses of bone, teeth, and age changes Part Three reviews prehistoric health and disease Part Four examines chemical and genetic analysis of hard tissues and Part Five closes with coverage of quantitative methods and population studies. Each chapter includes a review of recent studies, descriptions of analytical techniques and underlying assumptions, theory, methodological advances, and speculation about future research.New or thoroughly revised content includesullTechniques in the analysis of human skeletal and dental remainsllExtensive coverage of new technologies, including modern morphometric techniquesllAdvances in the field of forensic anthropologyllEnhanced discussion of ethical terms regarding the study of aboriginal peoples remains where those people are no longer the dominant culturelulThis book serves as an indispensable research guide to biological anthropologists, osteologists, paleoanthropologists, and archaeologists. Now with a stronger focus on teaching complex material to students, this revised edition provides enhanced case studies and discussions for future directions, making it an invaluable textbook for advanced undergraduates and graduate students in biological anthropology and forensic anthropology programs.ReviewMuch expanded, this edited volume amply demonstrated advances that had taken place in less than a decade in histological analyses of bone and tooth, the biomechanics of bone biology, trace element and stable isotope studies, and CT and other imaging approaches. (Journal of Antropological Research, Winter 2009)This book is virtually required reading for biological anthropologists and will be a useful, up-to-date primer on osteological analyses for a wider audience. (The Quarterly Review of Biology, March 2009)The editors and the individual authors are to be recommended for having produced a volume that skeletal biologists, aspiring and seasoned, can profitably add to their personal libraries. (American Journal of Human Biology, January 2009)Biological Anthropology of the Human Skeleton is a comprehensive guide to the ever-changing discipline of physical anthropology and provides an in depth introduction to human skeletal biology. The structure of the book makes it easy for the reader to follow the progression of the field of human skeletal biology. (PaleoAnthropology, 2009)From the Back CoverAdvance praise for the Second EditionThe substantial widening of the coverage and the inclusion of issues that have received increased or revitalized research interest since publication of the First Edition will provide unrivalled comprehensiveness.Holger Schutkowski, PhD, University of Bradford, UKI enthusiastically recommend the publication of this Second Edition. It is already an excellent volume and [will] no doubt find its way into many upper-division courses.Patricia Lambert, PhD, Utah State UniversityThe First Edition of Biological Anthropology of the Human Skeleton is the market-leading reference and textbook on the scientific analysis of human skeletal remains recovered from archaeological sites. Now, featuring scores of new or thoroughly revised content, this Second Edition provides the most comprehensive and up-to-date coverage of the topic available.Like the previous edition, this Second Edition is organized into five parts with contributing chapters written by experts in the field of human skeletal biology Part One covers theory and application Part Two discusses morphological analyses of bone, teeth, and age changes Part Three reviews prehistoric health and disease Part Four examines chemical and genetic analysis of hard tissues and Part Five closes with coverage of quantitative methods and population studies. Each chapter includes a review of recent studies, descriptions of analytical techniques and underlying assumptions, theory, methodological advances, and speculation about future research.New or thoroughly revised content includesullTechniques in the analysis of human skeletal and dental remainsllExtensive coverage of new technologies, including modern morphometric techniquesllAdvances in the field of forensic anthropologyllEnhanced discussion of ethical terms regarding the study of aboriginal peoples remains where those people are no longer the dominant culturelulBiological Anthropology of the Human Skeleton, Second Edition serves as an indispensable research guide to biological anthropologists, osteologists, paleoanthropologists, and archaeologists. Now with a stronger focus on teaching complex material to students, this revised edition provides enhanced case studies and discussions for future directions, making it an invaluable textbook for advanced undergraduates and graduate students in biological anthropology and forensic anthropology programs.

Author: Jason Kersten File Type: mobi The true story of a brilliant counterfeiter who amadea millions, outwitted the Secret Service, and was finally undone when he went in search of the one thing his forged money couldnat buy him family. Art Williams spent his boyhood in a comfortable middle-class existence in 1970s Chicago, but his idyll was shattered when, in short order, his father abandoned the family, his bipolar mother lost her wits, and Williams found himself living in one of Chicagoas worst housing projects. He took to crime almost immediately, starting with petty theft before graduating to robbing drug dealers. Eventually a man nicknamed aDaVincia taught him the centuries-old art of counterfeiting. After a stint in jail, Williams emerged to discover that the Treasury Department had issued the most secure hundred-dollar bill ever created the 1996 New Note. Williams spent months trying to defeat various security features before arriving at a bill so perfect that even law enforcement had difficulty distinguishing it from the real thing. Williams went on to print millions in counterfeit bills, selling them to criminal organizations and using them to fund cross-country spending sprees. Still unsatisfied, he went off in search of his long-lost father, setting in motion a chain of betrayals that would be his undoing. In The Art of Making Money, journalist Jason Kersten details how Williams painstakingly defeated the anti-forging features of the New Note, how Williams and his partner-in-crime wife converted fake bills into legitimate tender at shopping malls all over America, and how they stayed one step ahead of the Secret Service until trusting the wrong person brought them all down. A compulsively readable story of how having it all is never enough, The Art of Making Money is a stirring portrait of the rise and inevitable fall of a modern-day criminal mastermind. An Interview with Jason Kersten, author of THE ART OF MAKING MONEY Q What compelled you to write The Art of Making Money? A Curiosity about the crime of counterfeiting initially drew me in. Master counterfeitersa criminals who produce superior quality notes and sell themaare extremely rare. Unlike other kinds of career criminals, they are also craftsmen, and they typically learn from another master through apprenticeship. When Art Williams learned to counterfeit from a master at just 16, he was the last link in a chain of counterfeiters that went back generations. I found this so fascinating, this idea of legacy. I wanted to know how Art learned the art of counterfeiting, the dynamics of that student- teacher relationship and how it changed him. Then of course there was his pursuit of a counterfeit of the 1996 New Note, the most secure US bill ever created. It was a quest, and quests always make for great stories. While it was the world of counterfeiting that originally attracted me to Artas story, what ultimately made a book-length project worthwhile wasnat the crime, but the man. Artas quest to reconnect with his father was far more compelling than his criminal escapades, and it is the conflict that arises between these two goals that gives his story so much dramatic weight. Q How did you find Art Williams and his story? A Art Williams actually found me. Back in 2004, the Hollywood producer Paul Pompian spent a week in Chicago scouting locations for one of his films. Paul didnat have a car, so one of his friends loaned him a car and driver. That driver turned out to be Art Williams. As the week went by, Art kept hinting to Paul that if he really wanted to make an interesting movie, he should listen to his story. Of course, being a veteran Hollywood man, Paul hears such claims on a daily basis, so he pretty much blew Art off the entire week. On his last day in Chicago, Paul had a few hours to kill before heading to the airport. By then he had taken a liking to Art. They were both native Chicagoans, both from the streets, and in a few of the details Art revealed about his past Paul saw shades of his own memories growing up in the city. Paul offered to buy Art lunch and, grudgingly, finally listen to his story. Upon hearing that Art had learned to counterfeit at 16, Paul was shocked, and of course there was much more to the story. He thought that Artas life might indeed not only make a good film, but an interesting book. Eventually he contacted my literary agent in the hopes of finding someone to write it. I really didnat know what to think when my agent told me about Art. I was fascinated, but there was no way I could commit to anything without meeting Art myself. After spending an hour with him on the phone and doing a little research, I though it would at least make an interesting magazine article. The resulting article ran in Rolling Stone in July of 2005, and by then I had learned enough about Artas story to want to write the book. Q How much money did Art Williams counterfeit? A By Artas own estimate, he counterfeited about ten million dollars worth of US currency over a ten-year period. While that is quite a sum for a lone counterfeiter, the dynamics of the crime make getting rich from it a bit more complicated. Since he sold much of it for 30- cents on the dollar, he only got about third or less of the face value. Overhead, his splurging lifestyle, and the countless bills he burned because he wasnat quite satisfied, reduced his net profit even further. Q Have you ever seen one of Art Williamsas counterfeit bills? A I have, though interestingly this didnat happen until the book was almost finished. The bill, a C- note, was stuffed inside a journal sent to me by someone close to Art. This individual had tucked it in there as a memento years earlier and completely forgotten about it. Seeing it was a strange sensation. If I hadnat spent so much time learning about both real and counterfeit currency, I wouldnat have been able to distinguish it from a genuine bill. Holding it in my hand, I realized how easy it would be to just go spend it. Art always told me that spending his bills never felt like a crime to him, and I could see why it was too easy to believe the bill was real. Q While writing this book, did you have fantasies about becoming a counterfeiter yourself? A There came a point when I realized that few peopleaperhaps nobody other than Art and Natalieaknew as much as I did about how Williams made his bills. At the same time, I also had intimate knowledge of the personal tragedies and sufferings that his life as a counterfeiter had caused him. That kind of knowledge tends to strip away the glamour of the crime. Even so, there have certainly been times when Iave daydreamed about making my own bills. Those fantasies are very short-lived. The likelihood that I would wind up in prison aside, counterfeiting at Artas level requires tremendous skill and patience, and it helps if you enjoy the work, which comes down to printing. Art always said he did it more for the challenge than the money, and I believe him. Sadly, if Art applied the same discipline to his counterfeiting to a legitimate endeavor, he would not only be successful, but free.