Explore the vast range of titles available.

I'm at Goodwood for a day of drift racing, a saloon-car motorsport in which drivers slide or drift around bends. In other forms of motor racing, this was a technique sometimes used to block an opponent's racing line and stop them overtaking; in drift racing, it's the whole point. In fact, the term 'racing' is misleading \" in competition, a panel of judges marks drivers not only for speed (usually between 80 and 100mph), but also for angle of attack, execution and style; the winner is not necessarily the fastest. In competition, drifting is far more than just a flashy crowd- pleaser, and skilled drivers use a range of techniques: a braking drift requires a subtle blend of brake and throttle; a feint drift starts with a waggle of the steering wheel; a long-slide drift begins by pulling the handbrake; a shift lock involves dropping down a gear to drag the rear wheels and begin the slide. My instructor for the day is Kiki Na Na, the managing director of OPT Drift Club, the official body for the UK's growing number of drift racers. Na Na starts by showing me to my car, a souped-up BMW M3 which with all the optional extras is worth about pounds 50,000. The leather seats, Na Na explains, will make it impossible for my body to stay in one position during the drift. 'Don't worry,' he says, 'we have two other Japanese models for you to play with \" there were three, but one went into the tyre wall this morning and is finished'. 'That's comforting,' I reply.

28 Nov 2001. It's 10am LA time and Impact Picture's Paul Anderson is beaming. By his own admission he's doing \"very well indeed\" - and why not (to borrow a line from Britain's best-loved film critic). Barry aside, Mr Anderson .has plenty to smile about. Not only are he and producer Jeremy Bolt surrounded by rollerblading beauties stretching as far as the eye can see, the sun's also shining and it's rather warm, which is more than can be said for the grotty Bournemouth freeze currently descending on our office.

\"Its finished,\" he beamed through broad grin, Shooting an excited glance across our Paris hotel suite At off the Champs Elysées, as we wait eagerly to greet the two men behind what could turn out to be one of the most important films of our time. The grin belongs to one designer-stubbled, stylishly-tailored Jun Aida, outgoing business-focused producer of the 137 million dollar, four-years-in-the-making, digital opus Final Fantasy: The Sprits Within.

First the agonising groans of an over-enthusiastic, Bill Oddieclothed, hairy-nostrilled witch hunter named Helen and now the incoherent Scotch ramblings of our fearless leader... \"I'm the Editor and I'm not f*ing doing it!\"

Batman, Superman, Solid Snake and James Bond, they've all got one thing in common: they wouldn't stand a cat's chance in hell against this month's featured guest. From infiltrating enemy bases in torpedo tubes to performing HALO jumps at 32,000 feet without a parachute, Chris Ryan has done and seen it all. The term 'superhero' doesn't really do justice to the only man to have evaded capture in the SAS's most famous mission. Bravo Two Zero.

Sony doesn't like to be beaten, we all know that. But this year, with a hardware launch incomparable to anything previously in the interactive entertainment industry, the company took great steps to ensure its domination of the bustling E3 floor. Slap bang in the centre of the main hall was where you would find the principal Sony stand, an enormous, tasteful-yet-pompous exhibit that smugly dwarfed the Sega and Nintendo sets to its left and right. Play caught up with brummy ex-Starlight Express roller girl and now teen pop sensation, Lolly, for a quick chat about PlayStation2 Japanese culture and arse scratching...

New bands grilled, fresh gaming talent exposed, and plenty of rubbish talked... it can only be the return of the Play celebrity interviews. This month, we run riot in Paris with America's latest rap export - The Bloodhound Gang

PLAY caught up with Cypress Hill's DJ Muggs for a quick chat about music, getting caught by the fuzz, games and the demon weed...

'When the dust settled, all that was left was the broken remains of a Pounds 10,000 Telecaster and one very angry promoter. He wanted the money for the guitar but instead we signed all the broken bits so they could auction them off. He probably made a packet.' [Pete Doherty] is proud to be a part of the guitar revolution sweeping Britain today. 'I'm delighted that I'm encouraging people to buy guitars,' he says. 'It's also wicked that I'm influencing people musically. Ride into the sunset God bless the Albion!' Er, right on, Pete. [JON FRATELLI] never felt any natural inclination towards the guitar and certainly wouldn't describe himself as anything quite so grand as a musician. 'If I'd had any particular talent as a musician, I'd have plumped for something like a baritone sax or maybe a harp,' he says. 'I picked on the Fender Telecaster just because it was the easiest thing to master. I'm a rubbish guitarist our drummer is better than me! But the beauty of the guitar is that it doesn't matter. If you can master three chords on it, you've the potential to write another Twist And Shout.' He was refused a guitar as a child, and so, aged 17, he sold the contents of his bedroom to buy one for himself. Ten years on, he's become proficient enough to send the band's recent debut album, Costello Music, into the top five. Not that the band's achievements mean much to him. 'The UK music scene isn't very good,' says Jon. 'We're just less bad than everyone else. I certainly shouldn't be a guitarist. It's all been a glorious mistake.' COST Pounds 650 Leicester's Kasabian have just reached No 1 again with their second album, Empire, which fuses electronic beats with the kind of guitar solos Noel Gallagher would be proud of. But then lead guitarist [SERGE PIZZORNO] has wanted to be successful since the age of 15. 'I'd got myself this cheap Vantage guitar,' he says. 'I taught myself [Oasis's] Live Forever. The rest is history. Every key guitarist has a guitar he is associated with, like Hendrix with his Stratocaster, Lennon with his semi Rickenbacker.

Adaptation of cells to environmental changes requires dynamic interactions between metabolic and regulatory networks, but studies typically address only one or a few layers of regulation. For nutritional shifts between two preferred carbon sources of Bacillus subtilis, we combined statistical and model-based data analyses of dynamic transcript protein, and metabolite abundances and promoter activities. Adaptation to malate was rapid and primarily controlled posttranscriptionally compared with the slow, mainly transcription ally controlled adaptation to glucose that entailed nearly half of the known transcription regulation network. Interactions across multiple levels of regulation were involved in adaptive changes that could also be achieved by controlling single genes. Our analysis suggests that global trade-offs and evolutionary constraints provide incentives to favor complex control programs.