What Works on Wall Street: A Guide to the Best-Performing Investment Strategies of All Time
Investors -- be they aggressive or conservative, self-directed or professionally managed -- are always on the lookout for an edge. And in James O'Shaughnessy's What Works on Wall Street: A Guide to the Best-Performing Investment Strategies of All Time, they'll find a solid one: authoritative analysis of popular practices from the past. The author examines three decades of stock market data to show how 15 of the most common investment tactics have fared over time.
From Sidney Poitier and Billie Holiday to Halle Berry and Tupac Shakur, African Americans in the Performing Arts profiles African Americans, from the early years to the present day, who have built successful careers in the performing arts. With up-to-date information, including commentary on the history-making event at the 2002 Oscars when African American actors won both best lead actor awards, this volume in the new A to Z of African Americans series offers a wealth of useful information for students, general readers, and lovers of the performing arts.
In this level the theme of challenge in such topics as the achievements of talented women in history, dealing with teenage problems and fighting against tyranny. The characters in this level are at a school of performing arts: they have to do auditions, perform a piece of music and a song, make a film and give a presentation.
This book contains some well-formatted entertaining plays that allow children to act out the stories while the teacher feeds them lines. I tried out the warm-up exercises and two other plays, "Friends 1 and 2 have an argument" and "Goldilocks and the Many Bears" on children ages 4-9 and the kids had a great time! I asked the kids what they thought of the plays and they said, "They were fun!" The kids and I look forward to performing more of these charming little plays.
The reader may be familiar with the quip that books are not finished, they are abandoned. In the case of this book I can say that I know that it is not finished, if by finished is meant that I have covered all the major points in depth and did not neglect the viewpoints of others. That is by way of saying that it was not my intention to write a scholarly treatise, and for several reasons. For one thing, the literature on teachers as performing artists is sparse compared to that concerned with the selection and training of those in the conventional performing arts. The second reason, derived from the first, is that I decided that my focus in this book should be on clarifying several things: Why teaching should be taken seriously as a performing art; why teacher preparatory programs are part of the problem and not the solution; the resistance that should be expected to a truly radical reconceptualization of the selection and training of teachers; and why some of my concrete proposals will be viewed as impractical or require too long a term time-perspective for those (educators and the political community) posessed of the quick-fix mentality.
