"This book will analyze seven terrorist and insurgent groups to determine how these groups fund their organizations, the various ways in which funding supports their operational and organizational principles, and how this funding could be disrupted."--Page viii.

This in-depth, historical analysis of terrorism investigates the major funding streams of terrorists, insurgents, guerrillas, warlords, militias, and criminal organizations throughout the world as well as the efforts of the international community to thwart their efforts. Terrorist financing is an ongoing game of creating, concealing, and surreptitiously utilizing funds. This intriguing book considers every facet of guerrilla funding—from how activities are financed, to what insurgents do with the revenue they generate, to the range of countermeasures in place for deterring their moneymaking activities. Case studies prompt an analysis of past government responses and inform recommendations for countering irregular warfare worldwide. Author Colin P. Clarke presents the business side of terrorism, taking a look at the cash-producing ventures he labels "gray activities" such as diaspora support, charities, fraudulent businesses, front companies, and money laundering as well as "dark activities" including kidnapping for ransom, robbery, smuggling, trafficking, and extortion. He considers the transnational efforts to stop terrorist activities—from wiretaps and electronic surveillance to financial sanctions and the freezing of funds and accounts—and points to the emergence of interagency task forces for detaining and destroying the operations of major criminal organizations across the globe.

This books propels the reader into the center of illegal organizations, and explains how they fund their activities. From the PLO to Al-Qaeda to the IRA, Loretta Napoleoni maps out the arteries of an international economic system that feeds armed groups the world over. She follows the money and gets to the truth of 'the new economy of terror' - a 1.5 trillion dollar system - and assesses the full extent of the role of the West in devloping the economies of armed organizations.

War has always made people rich: from high-tech weaponry to construction and catering, war is a commercial bonanza. But as Solomon Hughes shows in this wide-ranging chronicle, the many incarnations of the War on Terror have dramatically extended the role of private enterprise, bringing market forces and market thinking to bear on areas of public policy that were once the sole preserve and responsibility of politicians and the state. There will always be a private company willing to pitch for this fabulously lucrative business, whether supplying the additional soldiery which made the invasion of Iraq seem possible, or creating databases of people deemed to be a threat to national security. Surveying the activities of private contractors in the provision of frontline mercenaries, security services guarding key installations and VIPs, prisons and law enforcement, media management, and intelligence-gathering at home and abroad, Hughes demonstrated that the private sector and its army of lobbyists and salesmen are continuously lowering the practical and moral barriers to interventions of every kind, from torture and imprisonment without trial, to blanket surveillance of the civilian population, and to outright war. Meanwhile the state is evermore evasive when it comes to taking responsibility for the practices it authorizes via agreements drawn up under a veil of ‘commercial privacy,’ and remains as inept as it has ever been at procuring efficiency and value for money from its contracts. Who is behind companies that reap the dividend of the War on Terror, eagerly plugging the gap between what politicians would like to do – and frequently claim they can and must do – and what is actually possible? How close are they to our political decision-makers? Do they actually deliver what they are contracted to deliver? And at what moral and financial price? Hughes catalogs the appalling record of private contractors doing our governments’ dirtiest work, and asks how we can possibly justify delivering into commercial hands those area of public life which, above all others, demand the very highest standards of scrupulousness and integrity.

'We must have the Quran in one hand and a Kalashnikov in the other.'

For more than 30 years Jenkins has been advising the military, government, and prestigious think tanks on the dangers of nuclear proliferation. Now he goes beyond what the experts know to examine how terrorists themselves think about such weapons.

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.