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South Africa is in the eye of a slow-building economic storm: junk status, political upheaval, civil unrest, spiralling unemployment, state capture and the fallout from Covid-19. There is no better time to assess the impact of one of the biggest economic experiments in Africa that began a quarter of a century ago: black economic empowerment, or BEE, the legislation-backed effort to transfer wealth to black people and to facilitate their broader participation in the economy to redress the inequalities created by apartheid. In The BEE Billionaires, Chris Bishop gets up close and personal with some of the biggest names in BEE: Sandile Zungu, Gaby Magomola, Sipho Nkosi, Richard Maponya, the Kunene Brothers, Gibson ‘Mr Gautrain’ Thula, Fred Robertson, Ipeleng Mkhari, Tshepo Mahloele, Tim Tebeila, Linda Mabhena-Olagunju and even President Cyril Ramaphosa. These are the people who made it, who carry the flag for black empowerment. By examining their struggles and the impact of BEE on their successes, Bishop seeks to uncover the ways in which BEE as an upliftment scheme has both succeeded and failed. Because, while BEE has made billionaires of some, it has ruined others and remains one of the most controversial policies born in those first heady days of democracy. There is also a debate over how long the BEE codes should remain. By examining those individuals who have been either shunned or burnt by BEE, as well as various deal facilitators and other key insiders – including the president of South Africa – Bishop hopes to answer one very complex question: Has BEE achieved what it was set up to do, or, in the long term, will it prove more of a hindrance than a help?
"In The BEE Billionaires, Chris Bishop gets up close and personal with some of the biggest names in BEE: Sandile Zungu, Gaby Magomola, Sipho Nkosi, Richard Maponya, the Kunene Brothers, Gibson 'Mr Gautrain' Thula, Fred Robertson, Ipeleng Mkhari, Tshepo Mahloele, Tim Tebeila, Linda Mabhena-Olagunju and even President Cyril Ramaphosa. These are the people who made it, who carry the flag for black empowerment. By examining their struggles and the impact of BEE on their successes, Bishop seeks to uncover the ways in which BEE as an upliftment scheme has both succeeded and failed. Because, while BEE has made billionaires of some, it has ruined others and remains one of the most controversial policies born in those first heady days of democracy. There is also a debate over how long the BEE codes should remain. By examining those individuals who have been either shunned or burnt by BEE, as well as various deal facilitators and other key insiders - including the president of South Africa - Bishop hopes to answer one very complex question: Has BEE achieved what it was set up to do, or, in the long term, will it prove more of a hindrance than a help?."--Publisher's description.
A masterclass in becoming a wealth-generating entrepreneur! Do you have what it takes to become a billionaire? Written by the founder of Forbes Africa, this is a masterclass on how the brightest and most successful entrepreneurs across Africa made their fortunes, as well as a timely look at how the work of entrepreneurs can influence lives in Africa and create the jobs that empty state coffers can no longer afford. Chris Bishop gets up close and personal with the biggest names in business on the continent: Aliko Dangote, Patrice Motsepe, Nicky Oppenheimer, Christo Wiese, Wendy Appelbaum and Stephen Saad, among others. These are the stories of how they not only survived, but thrived, in the fast and furious world of African business: Narendra Raval, the penniless priest who became a steel baron; Tim Tebeila, the barefoot apple-seller who turned into a mining millionaire; Herman Mashaba, the ‘knocksman’ who went from running dice games and dealing drugs to running a city; Pascal Dozie, the economics student who studied with Mick Jagger ... This is a rich tapestry of stories about the super-wealthy and the qualities that make them so spectacularly successful, in arguably the most challenging economic arena in the world.
NATIONAL BESTSELLER “The Social Network, the much anticipated movie…adapted from Ben Mezrich’s book The Accidental Billionaires.” —The New York Times Best friends Eduardo Saverin and Mark Zuckerberg had spent many lonely nights looking for a way to stand out among Harvard University’s elite, competitive, and accomplished student body. Then, in 2003, Zuckerberg hacked into Harvard’s computers, crashed the campus network, almost got himself expelled, and was inspired to create Facebook, the social networking site that has since revolutionized communication around the world. With Saverin’s funding their tiny start-up went from dorm room to Silicon Valley. But conflicting ideas about Facebook’s future transformed the friends into enemies. Soon, the undergraduate exuberance that marked their collaboration turned into out-and-out warfare as it fell prey to the adult world of venture capitalists, big money, and lawyers.
Gannon Elliott never expected to become a father justto hire an editor for his magazine. But the billionairehad been bred to compete and win, like all in theElliott dynasty, and now to win a challenge, he neededthe best—his ex-lover Erika Layven.More than anything, Erika wanted a baby, and theway she saw it, Gannon, who'd ruined her for anyother man, owed her. It didn't matter that his greeneyes drew her like a bee to honey, that his killer bodput sinful thoughts in her head. She'd simply draw upa contract and treat him like any other business deal.But Erika made one fatal mistake. She underestimatedGannon's charms….
When our tyrannical CEO fires every wake-up-call service on the planet, what's a lowly admin to do? I secretly start making the calls myself. Luckily he doesn't seem to mind my get-your-ass-out-of-bed attitude. But now the calls are turning hot, like pay-by-the-minute hot, and he wants to take me out on a date. He's scouring Manhattan to find the sexy vixen who wakes him up every morning. No way can I let him know it's me!
The "Financial Times"' world news editor tells the epic story of post-apartheid South Africa--a country once so full of promise, now teetering on the brink of chaos
Anne Marie Jackson has always dreamed of visiting Italy ever since she shared her first kiss with a dashing Italian exchange student in high school. Now, one divorce and one postcard from Giovanni later, Anne Marie follows her heart to Italy, where her former flame has promised to show her the sights. Giovanni is elusive but Marco Moretti, a mysterious, handsome Italian, seems to be everywhere. The persistent, irresistible Marco wants to find Giovanni as badly as she does so they team up to find him. And on the way they find something they didn't expect - love, Italian style.
A 2022 Best Comedy Book, Vulture A rousing call for liberals and progressives to pay attention to the emergence of right-wing comedy and the political power of humor. "Why do conservatives hate comedy? Why is there no right-wing Jon Stewart?" These sorts of questions launch a million tweets, a thousand op-eds, and more than a few scholarly analyses. That's Not Funny argues that it is both an intellectual and politically strategic mistake to assume that comedy has a liberal bias. Matt Sienkiewicz and Nick Marx take readers––particularly self-described liberals––on a tour of contemporary conservative comedy and the "right-wing comedy complex." In That's Not Funny, "complex" takes on an important double meaning. On the one hand, liberals have developed a social-psychological complex—it feels difficult, even dangerous, to acknowledge that their political opposition can produce comedy. At the same time, the right has been slowly building up a comedy-industrial complex, utilizing the humorous, irony-laden media strategies of liberals such as Jon Stewart, Samantha Bee, and John Oliver to garner audiences and supporters. Right-wing comedy has been hiding in plain sight, finding its way into mainstream conservative media through figures ranging from Fox News's Greg Gutfeld to libertarian podcasters like Joe Rogan. That's Not Funny taps interviews with conservative comedians and observations of them in action to guide readers through media history, text, and technique. You will find many of these comedians utterly appalling, some surprisingly funny, and others just plain weird. They are all, however, culturally and politically relevant—the American right is attempting to seize spaces of comedy and irony previously held firmly by the left. You might not like this brand of humor, but you can't ignore it.