You’ll inhale this tell-all book about the tobacco industry and never look at a No Smoking sign the same way again!" —Margaret Atwood, via Twitter Mad Men meets Bad Blood in this addictive, behind-the-scenes globe-trotting narrative of moral ambiguity, law, public policy, and big tobacco. “Given everything the lawyer knew up to that point about smoking, as far as he could tell, cigarettes shouldn’t even have been available as a mass market product...” It’s the start of the new millennium and a young lawyer is recruited to work for an unnamed multinational company. It isn’t until his second interview that the product the company produces is revealed to him: cigarettes. Possibly the most controversial consumer product in human history: seductive, addictive, and deadly—yet completely legal. Over the next decade, he travels the world as he works as legal counsel to help successfully market cigarettes in dozens of countries. Firebrand ventures into the heart of the tobacco industry and the icy paradoxes of capitalism, each chapter a counterintuitive lesson on how cigarette companies—the target of increasingly intense anti-smoking campaigns and government regulations, including the 1964 Surgeon General’s Report and 200-billion-dollar debt of the 1998 Master Settlement Agreement—continue to pivot and thrive in the 21st century, inhaling profits from their one billion smokers worldwide. As Mad Men did for the alcohol-fueled, oversexed, corrupt world of New York advertising, Firebrand does for the even more despised world of big tobacco, in an addictive, behind-the-scenes piece of storytelling. The lawyer’s work takes him from manufacturing factories to hocking “sticks” at UK corner store counters; from tacky resorts in Spain and pirate city-states to luxury hotels and Grand Prix events across European and Asian cities. A contemporary tale of our ambiguous times, told with character-based drive and dry humour, Firebrand is a grand tour of the compelling paradoxes of globalization and corporate culture, shrink-wrapped in an engrossing narrative of a morally dubious yet completely legal enterprise. “This is storytelling at its best. Wry observation, compelling narrative, fascinating characters, page-turning writing, and an age-old question driving it all...” —Joel Bakan, author of The New Corporation: How ‘Good’ Corporations are Bad for Democracy
Hot Art traces Joshua Knelman's five-year immersion in the shadowy world of art theft, which takes him from Egypt to Los Angeles, New York to London, and back again, through a web of deceit, violence, and corruption. With a cool, knowing eye, Knelman delves into the lives of professionals such as Paul, a brilliant working-class kid who charmed his way into a thriving career organizing art thefts and running loot across the United Kingdom and beyond, and LAPD detective Donald Hrycyk, one of the few special investigators worldwide who struggle to keep pace with the evolving industry of stolen art. As he becomes more and more immersed in this world, Knelman learns that art theft is no fringe activity--it has evolved into one of the largest black markets inthe world, which even Interpol and the FBI cannot contain. Sweeping and fast-paced, Hot Art is a major work of investigative journalism and a thrilling joyride into a mysterious criminal world"--
Sweeping and fast-paced, Hot Art is a major work of investigative journalism and a thrilling joyride into a mysterious criminal world. Hot Art traces Joshua Knelman’s five-year immersion in the shadowy world of art theft, where he uncovers a devious game that takes him from Egypt to Los Angeles, New York to London, and back again, through a web of deceit, violence, and corruption. With a cool, knowing eye, Knelman delves into the lives of professionals such as Paul, a brilliant working-class kid who charmed his way into a thriving career organizing art thefts and running loot across the United Kingdom and beyond, and LAPD detective Donald Hrycyk, one of the few special investigators worldwide who struggle to keep pace with the evolving industry of stolen art. As he becomes more and more immersed in this world, Knelman learns that art theft is no fringe activity—it has evolved into one of the largest black markets in the world, which even Interpol and the FBI admit they cannot contain. In this battle, the thieves are winning. Sweeping and fast-paced, Hot Art is a major work of investigative journalism and a thrilling joyride into a mysterious criminal world.
Love Letters' features work from over 40 of our most celebrated writers, including Margaret Atwood, Michael Faber, Audrey Niffenegger, Jan Morris, Jeanette Winterson and Neil Gaiman.
You’ll inhale this tell-all book about the tobacco industry and never look at a No Smoking sign the same way again!" —Margaret Atwood, via Twitter Mad Men meets Bad Blood in this addictive, behind-the-scenes globe-trotting narrative of moral ambiguity, law, public policy, and big tobacco. “Given everything the lawyer knew up to that point about smoking, as far as he could tell, cigarettes shouldn’t even have been available as a mass market product...” It’s the start of the new millennium and a young lawyer is recruited to work for an unnamed multinational company. It isn’t until his second interview that the product the company produces is revealed to him: cigarettes. Possibly the most controversial consumer product in human history: seductive, addictive, and deadly—yet completely legal. Over the next decade, he travels the world as he works as legal counsel to help successfully market cigarettes in dozens of countries. Firebrand ventures into the heart of the tobacco industry and the icy paradoxes of capitalism, each chapter a counterintuitive lesson on how cigarette companies—the target of increasingly intense anti-smoking campaigns and government regulations, including the 1964 Surgeon General’s Report and 200-billion-dollar debt of the 1998 Master Settlement Agreement—continue to pivot and thrive in the 21st century, inhaling profits from their one billion smokers worldwide. As Mad Men did for the alcohol-fueled, oversexed, corrupt world of New York advertising, Firebrand does for the even more despised world of big tobacco, in an addictive, behind-the-scenes piece of storytelling. The lawyer’s work takes him from manufacturing factories to hocking “sticks” at UK corner store counters; from tacky resorts in Spain and pirate city-states to luxury hotels and Grand Prix events across European and Asian cities. A contemporary tale of our ambiguous times, told with character-based drive and dry humour, Firebrand is a grand tour of the compelling paradoxes of globalization and corporate culture, shrink-wrapped in an engrossing narrative of a morally dubious yet completely legal enterprise. “This is storytelling at its best. Wry observation, compelling narrative, fascinating characters, page-turning writing, and an age-old question driving it all...” —Joel Bakan, author of The New Corporation: How ‘Good’ Corporations are Bad for Democracy
This book is a myth for our time. It is a story, not in that it has a plot, but rather that it grows as it goes on. It consists of 72 interwoven chapters, which can be read independently, but together name the collective experience of life in the present age. Each chapter addresses a current personal, cultural, or spiritual topic, and each word participates meaningfully in the development of these ideas. At the beginning of October 2019, I had an urge to sit down and begin speaking. This book is a record of all that I said over the course of the following 40 days. I offer here the result of that work. Anyone who wishes to contact me may do so at heller.joshua.98@gmail.com. I warmly welcome any curiosity or conversation.
This keepsake edition of Joshua was taken from the King James translation of the Bible. The King James Translation is a masterwork of style, and the most important book in the English language, it has been the driving force in shaping the English-speaking world for hundreds of years. The Book of Joshua is the story of Israel from the conquest of Canaan to the Babylonian exile. It tells of the campaigns of the Israelites in central, southern and northern Canaan, the destruction of their enemies, and the division of the land among the Twelve Tribes, framed by speeches, the first by God commanding the conquest of the land, and, the second by Joshua warning of the need for faithful observance of the Law as revealed to Moses.
When the trumpets sounded, the people shouted, and at the sound of the trumpet, when the people gave a loud shout, the wall collapsed; so every man charged straight in, and they took the city." The Book of Joshua (Hebrew: 'Sefer Y'hoshua') is the sixth book in the Hebrew Bible and the Christian Old Testament. Its 24 chapters tell of the entry of the Israelites into Canaan, their conquest and division of the land under the leadership of Joshua, and of serving God in the land. 'Joshua' forms part of the biblical account of the emergence of Israel which begins with the exodus of the Israelites from slavery in Egypt, continues with the book of Joshua, and culminates in the Judges with the conquest and settlement of the land. The book is in two roughly equal parts. The first part depicts the campaigns of the Israelites in central, southern and northern Canaan, as well as the destruction of their enemies. The second part details the division of the conquered land among the twelve tribes. The two parts are framed by set-piece speeches by God and Joshua commanding the conquest and at the end warning of the need for faithful observance of the Law (torah) revealed to Moses. It's a story of miracles, bloody battles, and dividing the land among the 12 tribes. Characterized as an historical account, the book of Joshua tells how a leader's obedience to God resulted in divine help in the face of overwhelming odds. The King James Version Douay-Rheims Version The American Standard Version Bible in Basic English Version Webster Bible Version Chapter and Verse Commentary by Matthew Henry.
Motherhood, Respectability and Baby-Farming in Victorian and Edwardian London explores a largely obscured marketplace of motherhood that provided ways for women to manage the stigma of illegitimacy and their respectable identities within Victorian and Edwardian society. It focuses on the extent of women’s ‘dirty work’, when maternal problem management was fundamental to the general maintenance of respectability and, by extension, to Empire and Civilisation. Despite its intrigue, history has struggled to understand and represent an uncomfortable but significant artefact of Western modernising society: ‘baby-farming’. During a period when ideologies of respectability and civilisation arguably mattered most, the ‘right’ kind of parenthood – especially motherhood – became paramount. As the ‘wrong’ offspring could jeopardise a woman’s chances of being respectable, a wholesale, informal, and somewhat clandestine marketplace emerged that catered to various maternal difficulties. Within this marketplace, a pregnancy or newborn child who may have compromised a woman’s respectability could be ‘disposed’ of through different means, for a fee. From the Victorian period to the present, the commercialised maternal practices associated with baby-farming have become firmly established within collective consciousness as being synonymous with child murder, female pathology, and ‘infanticide for hire’. This book provides a revised, far more complex, and nuanced narrative history which reveals all that was associated with baby-farming – including all possible outcomes – to be entirely natural, rational, and even necessary products of their time; an understandable outcome of the period’s ‘civilising offensive’. Motherhood, Respectability and Baby-Farming in Victorian and Edwardian London will be of great interest to students and scholars of criminology, sociology, history, and gender studies.
Los Angeles Documentary and the Production of Public History, 1958–1977 explores how documentarians working between the election of John F. Kennedy and the Bicentennial created conflicting visions of the recent and more distant American past. Drawing on a wide range of primary documents, Joshua Glick analyzes the films of Hollywood documentarians such as David Wolper and Mel Stuart, along with lesser-known independents and activists such as Kent Mackenzie, Lynne Littman, and Jesús Salvador Treviño. While the former group reinvigorated a Cold War cultural liberalism, the latter group advocated for social justice in a city plagued by severe class stratification and racial segregation. Glick examines how mainstream and alternative filmmakers turned to the archives, civic institutions, and production facilities of Los Angeles in order to both change popular understandings of the city and shape the social consciousness of the nation.
Mass media in the late nineteenth century was full of news from Mars. In the wake of Giovanni Schiaparelli’s 1877 discovery of enigmatic dark, straight lines on the red planet, astronomers and the public at large vigorously debated the possibility that it might be inhabited. As rivalling scientific practitioners looked to marshal allies and sway public opinion—through newspapers, periodicals, popular books, exhibitions, and encyclopaedias—they exposed disagreements over how the discipline of astronomy should be organized and how it should establish acceptable conventions of discourse. News from Mars provides a new account of this extraordinary episode in the history of astronomy, revealing how major transformations in astronomical practice across Britain and America were inextricably tied up with popular scientific culture and a transatlantic news economy that enabled knowledge to travel. As Joshua Nall argues, astronomers were journalists, too, eliding practice with communication in consequential ways. As writers and editors, they played a pivotal role in the emergence of a “new astronomy” dedicated to the study of the physical constitution and life history of celestial objects, blurring harsh distinctions between those who produced esoteric knowledge and those who disseminated it.
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