'Suddenly, flash bombs to my right, I instantly dive low to avoid being a direct target. We stay down, close above ground … before too long life returns in the area and we spot men milling around; Richard and Pitt let them have it, but good. We’re down to our last bit of ammunition. Some Russians have frozen in fear, others lift their arm, others still lie flat on the ground. Not a single one remembers to get up and fire.'On 21 June 1941, assigned to Luftwaffe bomber wing Kampfgeschwader 53, the 23-year-old Arnold Döring took off to fly his first mission against the Soviet Union on the Eastern Front. From that day, he kept a diary describing his operations in vivid detail.These diaries, here translated into English for the first time, give a unique perspective on the action on the Eastern Front, from the point of view of a bomber pilot. Döring’s accounts not only give technical aspects but are also filled with suspense and excitement with their close descriptions of bombing raids and narrow escapes from enemy fighter planes.This unembellished account gives an honest and meticulous record that moves rapidly from one area to another, from one operation to the next. With a detached professionalism, Döring offers us thrilling, action-packed snapshots of life as a Luftwaffe nightfighter.Döring flew a total of 392 aerial attacks and was awarded the Knight’s Cross in April 1945.

The Economic Repercussions of Terrorism offers a theoretical overview of the economics of terrorism and provides a detailed evaluation of the costs of terrorist attacks, focusing in particular on the Madrid bombings of 2004, but also including comparisons with 9/11 and the London bombings of 7/7.Divided into three parts, Part One offers a theoretical overview of the economics of terrorism including an analysis of the roots of terrorism, terrorist financing, the economic consequences of terrorism, and the predatory war economy. Part Two provides an in-depth analysis of the direct and indirect economic costs of terrorist attacks, looking at the security and defence responses, and offering industry sector analyses. Part Three explores the 'other costs' of terrorism, such as the impact of attacks on a government's popularity, and the possibility that terrorists use 'inside information' on attacks to play the stock market.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

'Suddenly, flash bombs to my right, I instantly dive low to avoid being a direct target. We stay down, close above ground … before too long life returns in the area and we spot men milling around; Richard and Pitt let them have it, but good. We’re down to our last bit of ammunition. Some Russians have frozen in fear, others lift their arm, others still lie flat on the ground. Not a single one remembers to get up and fire.'On 21 June 1941, assigned to Luftwaffe bomber wing Kampfgeschwader 53, the 23-year-old Arnold Döring took off to fly his first mission against the Soviet Union on the Eastern Front. From that day, he kept a diary describing his operations in vivid detail.These diaries, here translated into English for the first time, give a unique perspective on the action on the Eastern Front, from the point of view of a bomber pilot. Döring’s accounts not only give technical aspects but are also filled with suspense and excitement with their close descriptions of bombing raids and narrow escapes from enemy fighter planes.This unembellished account gives an honest and meticulous record that moves rapidly from one area to another, from one operation to the next. With a detached professionalism, Döring offers us thrilling, action-packed snapshots of life as a Luftwaffe nightfighter.Döring flew a total of 392 aerial attacks and was awarded the Knight’s Cross in April 1945.

The Economic Repercussions of Terrorism offers a theoretical overview of the economics of terrorism and provides a detailed evaluation of the costs of terrorist attacks, focusing in particular on the Madrid bombings of 2004, but also including comparisons with 9/11 and the London bombings of 7/7.Divided into three parts, Part One offers a theoretical overview of the economics of terrorism including an analysis of the roots of terrorism, terrorist financing, the economic consequences of terrorism, and the predatory war economy. Part Two provides an in-depth analysis of the direct and indirect economic costs of terrorist attacks, looking at the security and defence responses, and offering industry sector analyses. Part Three explores the 'other costs' of terrorism, such as the impact of attacks on a government's popularity, and the possibility that terrorists use 'inside information' on attacks to play the stock market.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.