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In antitrust class-action litigation, courts are increasingly unlikely to accept the presumption that all class members were harmed by price-fixing among a group of firms or by exclusionary behavior by a single firm. Econometric methods typically applied in antitrust and other settings estimate the average effect of the challenged conduct, but do not inform impact for individual class members. We present classwide econometric methods and statistical tests for detecting the existence (or lack thereof) of common impact and determining what proportion (if any) of the proposed class suffered injury in many class actions. We conclude that econometric tools can meaningfully inform the legal process, even when courts demand proof of common impact.

This article aims to introduces generalist librarians who have music among their subject responsibilities to jazz fake-books as a library resource.

The article begins with a review of jazz as a subject in the professional literature of both librarianship and music education. The second section discusses the origin and history of fake-books, while the third offers suggested selection criteria. This is followed by a bibliography of recommended fake-books, all of which were in print at the time of writing, along with information to facilitate the acquisition process.

Although fake-books in electronic form have become available in recent years, they require an investment in both hardware and software on the purchaser's part. They also carry end-user licensing agreements that make them impractical as library purchases. Print fake-books remain a worthwhile area of study for collection development librarians.

In preparing this article the author discovered that jazz as printed music has been largely ignored in library literature, and has been treated only occasionally in scholarly literature in general.

There has been virtually no explication of poetry-writing pedagogy in historical accounts of Australian distance education during the 1930s. The purpose of this paper is to satisfy this gap in scholarship.

The paper concerns a particular episode in the cultural history of education; an episode upon which print media of the 1930s sheds a distinctive light. The paper therefore draws extensively on 1930s press reports to: contextualise the key educational debates and prime-movers inspiring verse-writing pedagogy in Australian education, particularly distance education, in order to; concentrate specific attention on the creation and popular reception of Brave Young Singers (1938), the first and only anthology of children's poetry written entirely by students of the correspondence classes of Western Australia.

Published under the auspices of the Australian Council for Educational Research (ACER) with funds originating from the Carnegie Corporation, two men in particular proved crucial to the development and culmination of Brave Young Singers. As the end result of a longitudinal study conducted by James Albert Miles with the particular support of Frank Tate, the publication attracted acclaim as a research document promoting ACER's success in educational research investigating the “experiment” of poetry-writing instruction through correspondence schooling.

The paper pays due critical attention to a previously overlooked anthology of Australian children's poetry while simultaneously presenting an original account of the emergence and implementation of verse-writing instruction within the Australian correspondence class curriculum of the 1930s.

This paper depicts barbershop singing as a masculine social form, and compares and contrasts the original masculine form with the ways the form is feminized. Two organizations, Sweet Adelines International (SAI) and The Barbershop Harmony Society (BHS) perform and promote barbershop singing. We document the devices used to feminize the form (naming, song selection, choreography, fashion, and organizational style), and argue that an interaction between form and content takes place in the women’s organization that genders the form in spite of its original masculine meanings. Theoretically significant is the description of how feminizing a masculine form reinforces the conservative ethos of, and hence senses of membership in, the barbershop form. Demonstrating that forms can accommodate even culturally distinctive content has implications for understanding the interaction between form and content.

Women’s representation is widely debated within the comic book cannon. Many comic and cultural scholars argue that women characters are overly sexualized, objectified, or excluded from this literary genre (Child, 2013; Danziger-Russell, 2012; Fesak, 2014; Lepore, 2014; Simone, 1999). However, few scholars have adequately addressed how comic book readers make sense of women’s representation within graphic storytelling. The author’s research addresses the issue of women’s representation in comics with special attention to how audiences interpret these supposed images of women’s empowerment. Capitalizing from the author’s time spent working at a local comic book store and a series of 20 in-depth interviews that the author conducted with comic book readers, the author draws from a series of personal field notes, participant observation, and transcribed interviews to understand how gendered relationships in comic books manifest in real-life experiences. Ultimately, the author argues that static comic book stereotypes about hegemonic masculinity and emphasized femininity shape consumers’ gendered realities. More specifically, this study demonstrates how popular character archetypes like the love interest, the nag, and the slut are redefining readers’ relationship to women both within and outside of comic book culture. By examining this culture, and its audience at large, this research advances a more nuanced understanding of how graphic narratives contribute to gender difference and violence against women, thereby situating women’s empowerment within popular culture.

Alongside the ubiquitous computer games apparently the marketing success of the 1992 toy season was a series of 25 year old puppets who had featured in a repeat showing of the orginal ITV series on BBC — Thunderbirds — more than 70 franchises have been sold to sell goods marked with the International Rescue logo and it is alleged that these products are even bigger than the previous smash marketing hit the Teenage Mutant Ninja turtles, saving thousands of jobs and making substantial profits for the British toy industry. The characters are licensed for right‐owners ITC (originally the international marketing arm of ATV, the ITV company which put out the programme, and now an independent company, ATV having long since lost its ITV franchise) by Copyright Promotions, Europe's largest licensing company (‘Thunderbirds are go to save the toy industry’ Sunday Telegraph 15/11/92).

Birding, the active seeking out and identification of birds, is a wide‐spread and fast growing avocation on this continent, and indeed throughout the world. Jon Rickert's A Guide to North American Bird Clubs lists 17 national/continental organizations for both professional ornithologists and amateur birders and 844 state, provincial, and local associations. In addition, there are those legions of “unorganized” bird watchers and occasional, inquisitive discoverers of backyard birds. Members of this diverse congregation of birders have at least one thing in common — the need for a reliable identification tool enabling them to correctly label the just‐seen, unfamiliar bird. A field guide is just such a tool.

This paper describes the personal history and intellectual development of Morris B. Holbrook (MBH), a participant in the field of marketing academics in general and consumer research in particular.

The paper pursues an approach characterized by historical autoethnographic subjective personal introspection or HASPI.

The paper reports the personal history of MBH and – via HASPI – interprets various aspects of key participants and major themes that emerged over the course of his career.

The main implication is that every scholar in the field of marketing pursues a different light, follows a unique path, plays by idiosyncratic rules, and deserves individual attention, consideration, and respect … like a cat that carries its own leash.

In the case of MBH, like (say) a jazz musician, whatever value he might have depends on his originality.