How To Make A Killing

The international financial system is not only economic, but political. Making a Killing explores the often-overlooked world of terrorist financing and the involvement of the international banking system. In order to address the threat of terrorist organizations in a post-9/11 world – and how they are funded and financed in particular – the international community has constructed a vast architecture of counterterrorist finance laws, policies, and institutions. Connecting the fields of security studies, political economy, and finance, Ian Oxnevad argues that a bank’s institutional link to a state (as a state-owned bank or a bank with strong state connections) will protect it from any enforcement action for violations of anti-money laundering and counter-terrorism financing regulations. In the face of states blocking such enforcement actions, these regulations prove ineffective in preventing the financing of terrorism, as the state’s self-interest supersedes its interest in preventing terrorist financing. Making a Killing seeks to assess how effective new laws and regulations have been, as well as to identify best practices for future attempts to counter the financing of terrorism.

In 'Making a Killing', Ashcroft provides a first-hand view of the secret world of private security in Iraq where ex-soldiers employed to protect US and British interests can make up to $1000 a day. But he also reveals a new kind of warfare where the rules are still being written. Originally published: 2006.

Using Marxism, anarchism, and social ecology to explore domination, power, and hierarchy, the author criticizes the use and abuse of animals in capitalist society and argues for the abolition of animal involvement in industry and as a human food source.

Provides an overview of the gun industry, including an analysis of gun violence in today's society in relation to the manufacturing of new guns that are more lethal and more easily concealed

(Applause Books). What does a "producer" actually do? How does one travel from that great idea for a show to a smash hit opening night on Broadway? John Breglio cannot guarantee you a hit, but he does take the reader on a fascinating journey behind-the-scenes to where he himself once stood as a child, dreaming about the theatre. Part memoir, part handbook, I Wanna Be a Producer is a road map to the hows and wherefores, the dos and don'ts of producing a Broadway play, written by a Broadway veteran with more than 40 years of experience. This comprehensive and highly informative book features practical analysis and concepts for the producer and is filled with entertaining anecdotes from Breglio's illustrious career as a leading theatrical lawyer and producer. Breglio recounts not only his first-hand knowledge of the crucial legal and business issues faced by a producer, but also his experiences behind the scenes with literally hundreds of producers, playwrights, composers, and directors, including such theatre luminaries as Michael Bennett, Joe Papp, Stephen Sondheim, Andrew Lloyd Webber, Patti Lupone, August Wilson, and Mel Brooks. Whether you are a working or aspiring producer, an investor, or are just curious about the backstage reality of the theater, Breglio shares his knowledge and experience of the industry, conveying practical information set against the real-life stories of those who have devoted their lives to the craft.

A dramatic and compelling journey into the dark heart of globalization. What happens when multinational corporations decide that the use of armed force is just business by other means? In Making a Killing, Madelaine Drohan looks at the shocking number of companies that have linked up with mercenaries, warlords, armies and private militias in order to make a profit. In a world where multinationals often rival national governments in size and clout, the implications of such partnerships are ominous. What leads respectable corporations down the path to violence? Drohan answers this question by examining the actions of several companies operating in Africa, such as Ranger Oil West Africa, which used the mercenary group Executive Outcomes to take on rebels in Angola’s long-running civil war; and Talisman Energy, whose security was provided by Sudanese army units conducting a scorched-earth policy in the oil fields. Drohan traces the modern roots of corporate armed force, beginning with Cecil Rhodes’ British South Africa Company, which at the turn of the century built its own army. Also included is the stranger-than-fiction tale of ex-MI5 spymaster Sir Percy Sillitoe, who was hired by the De Beers diamond king to prevent the Soviet Union from acquiring smuggled diamonds in order to develop the hydrogen bomb. These accounts read like adventure stories in the tradition of Rudyard Kipling and Ian Fleming, but they are essential reading for anyone interested in the effects of unfettered multinational influence. Making a Killing provides a road map for corporations, policy makers and investors struggling to come to terms with their roles in today’s increasingly globalized world.

Newtown, Connecticut. Aurora, Colorado. Both have entered our collective memory as sites of unimaginable heartbreak and mass slaughter perpetrated by lone gunmen. Meanwhile, cities such as Chicago and Washington, D.C., are dealing with the painful, everyday reality of record rates of gun-related deaths. By any account, gun violence in the United States has reached epidemic proportions. A widely respected activist and policy analyst—as well as a former gun enthusiast and an ex-member of the National Rifle Association—Tom Diaz presents a chilling, up-to-date survey of the changed landscape of gun manufacturing and marketing. The Last Gun explores how the gun industry and the nature of gun violence have changed, including the disturbing rise in military-grade gun models. But Diaz also argues that the once formidable gun lobby has become a "paper tiger," marshaling a range of evidence and case studies to make the case that now is the time for a renewed political effort to attack gun violence at its source—the guns themselves. In the aftermath of Newtown, a challenging national conversation lies ahead. The Last Gun is an indispensable guide to this debate, and essential reading for anyone who wants to understand how we can finally rid America’s streets, schools, and homes of gun violence and prevent future Newtowns.

He wants me to fuck about with paper clips in some office with a smile on my face, fuck him . . . but there's just one thing I've got to take care of first. I've got to do something to make this right. Four years on from the collapse of the Lehman Brothers and still we find ourselves in crisis. It's time to work out what's wrong. It's time to look at the heart of the system. You Can Still Make A Killing is the story of the normal men and women who fill the City's institutions, of a world radically altered when right became wrong, and of the private worlds that fall apart when there are no alternatives in sight. This production reunites director Matthew Dunster with playwright Nicholas Pierpan, following their collaboration in 2010 on Pierpan's play The Maddening Rain (Old Red Lion and Soho Theatre). The cast includes Alecky Blythe (writer of London Road), which marks her much-anticipated return to acting, and Kellie Bright (Love and Money, Royal Exchange and Young Vic). It will run at the Southwark Playhouse in its main house (which holds 150 seats) from 10 October until 3 November 2012. A German production will open at Theatre Ulm in April, 2013.