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The historian, Arthur M. Schlesinger (1999), once wrote that “a basic theme of American history has been the movement, uneven but steady, from exclusion to inclusion” – a movement “fueled by ideals” (p. 173). He might well have been talking about the United States’ public education system where it has become evident that segments of its pupil population have been overlooked or neglected. The good news is that there have been some efforts to ameliorate this problem. However, despite these efforts, there continues to be lingering problems for culturally and linguistically diverse students with gifts and talents. In this chapter, we address how to maximize the success potential of these students.

NEXT JANUARY, it will be ten years since I acquired The library world from W H Smith & Son Ltd. Next July, NEW LIBRARY WORLD may be ten years old.

The purpose of this paper is to examine whether new sovereign credit rating (SCR) changes are valuable, and relevant information is provided to bond and equity markets in 30 African countries that received an SCR during the period 1994–2014.

This study applies a combination of GARCH models and event study techniques.

This study shows that the financial markets do not significantly react to SCR announcements, possibly because these African markets are already perceived to be risky.

At last, a significant portion of Africa’s sovereign debt is held by foreign investors (Arslanalp and Tsuda, 2014) who commonly preclude asset managers from investing in low SCR grades. Thus, an unfavorable SCR announcement could lead to a withdrawal of these funds, which could significantly alter both fiscal and monetary policies in the economy.

SCRs is immaterial to investors holding African securities.

Although financial markets are weakly responsive to SCR announcements, they appear to be informationally important in the operation of stocks and bond markets in Africa. Therefore, governments should appreciate the long-term information exchange between investors and borrowers, and the consequential nature of credit ratings in Africa’s nascent financial markets in order to proactively manage the risks of negative ratings.

Studies on credit rating effects on Africa markets are rare.

The classics will circulate wrote a public librarian several years ago. She found that new, attractive, prominently displayed editions of literary classics would indeed find a substantial audience among public library patrons.

A year into the launch of TiVo—the “revolutionary new personal TV service that lets you watch what you want, when you want”—John Tebona, VP of business development, was faced with important decisions about TiVo's revenue model and strategic alliances. With television's move from a network-based model to an interactive one, he had to decide what role TiVo would play in the emerging industry landscape. Would TiVo be just a set-top box or would it live up to the vision of revolutionizing the television viewing experience? What revenue streams should it emphasize to capture the most value? What strategic relationships must TiVo form in an environment where companies were cross-investing in multiple technologies across different industry segments? How could it expand its customer base and accelerate its revenues before competitors like Microsoft's WebTV became the default standard?

To understand that disruptive innovation from a value creation standpoint may not mean a profitable or viable business from a value capture standpoint; products are far easier to create than robust business architectures with solid profit engines; the future of interactivity is clouded by the conflicting visions of the varied players; and control over standards is a valuable choke point.

The cofounder of Compass Records, a small, independent music-recording company, must decide whether to “produce and own” the next album of an up-and-coming folk musician or simply “license” her finished recording. This case presents information sufficient to build cash-flow forecasts for either investment alternative. Discounted cash flow (DCF) analysis reveals that licensing will be the more attractive alternative unless the student assesses the value of the options for follow-on albums included in the “produce-and-own” contract.

This paper aims to explore the gendered narratives of change management at Marks and Spencer (M&S) and uses them as a lens to consider the gendered nature of the change process itself.

Two extant stories: Sleeping Beauty and the Trojan War are taken, along with the cultural archetype of the American West gunslinger to explore the gender aspects of change. The Marks and Spencer case is analysed using the corollary patriarchal narrative of Sleeping Beauty, a story whose organising logic is revealed as one of concern for patriarchal lineage, and legitimate succession. The paper, draws on the Marks and Spencer principals' memoirs and biographies.

Sleeping Beauty is shown as a narrative saturated in misogyny, aggression and violence. This violence, which is shown to characterise the Marks and Spencer case, is amplified in the second narrative, the Trojan War, in the highly personalised battles of the über‐warriors of The Iliad. The paper concludes that violent, hyper‐masculine behaviour creates and maintains a destructive cycle of leadership lionisation and failure at the company which precludes a more feminine and possibly more effective construction of change management.

Demonstrates how M&S, gendered from its birth, its development through the golden years, the crisis, its changes in leadership and its recent change management has attempted to respond to its changing environment.

The aim of this paper is to explore the entry and success of hip‐hop entrepreneurs in the music industry and identify the competitive reactions of well‐established firms within the industry.

The paper used anecdotal data and popular press coverage to trace the evolution of the hip‐hop music industry in the USA and discuss aspects of the marketing strategies of key players in the industry. Additionally, the strategic response of dominant firms to their success within the industry is explored.

Hip‐hop music and its ensuing culture is now a well‐established industry that has enormous marketing power. Although few championed their efforts in the beginning, the contributions of Black American entrepreneurs to the music industry is becoming increasingly recognized by existing firms within the industry and beyond. The failure of major record companies to capitalize on the hip‐hop phenomenon resulted in the creation of new ventures and a new industry. While one could argue that very few key Black American entrepreneurs remain in the industry, the impact and influence of these entrepreneurs and those that have been recruited by major labels suggests that the hip‐hop entrepreneurs should not be ignored.

This paper sheds light on the development of the hip‐hop music industry, which could be of value to aspiring Black American entrepreneurs and marketing managers of companies in other industries that target young urban customers as well as companies that are interested in forming partnerships with Black American entrepreneurs.