The Bee Billionaires

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.

Why has punditry lately overtaken news? Why do lies seem to linger so long in the cultural subconscious even after they’ve been thoroughly discredited? And why, when more people than ever before are documenting the truth with laptops and digital cameras, does fact-free spin and propaganda seem to work so well? True Enough explores leading controversies of national politics, foreign affairs, science, and business, explaining how Americans have begun to organize themselves into echo chambers that harbor diametrically different facts—not merely opinions—from those of the larger culture.

When Bloomberg News invited the young American journalist Alex Cuadros to report on Brazil's emerging class of billionaires at the height of the historic Brazilian boom, he was poised to cover two of the biggest business stories of our time: how the giants of the developing world were taking their place at the center of global capitalism, and how wealth inequality was changing societies everywhere. The billionaires of Brazil and their massive fortunes resided at the very top of their country's economic pyramid, and whether they quietly accumulated exceptional power or extravagantly displayed their decadence, they formed a potent microcosm of the world's richest .001 percent. They held sway over the economy, government, media, and stewardship of the environment; they determined the spiritual fates and populated the imaginations of their countrymen. In 2012, Eike Batista ranked as the eighth-richest person in the world, was famous for his marriage to a beauty queen, and was a fixture in the Brazilian press. But by 2015, Batista was bankrupt, his son Thor had been indicted for manslaughter, and Brazil--its president facing impeachment, its provinces combating an epidemic, and its business and political class torn apart by scandal--had become a cautionary tale of a country run aground by its elites. Over four years, Cuadros reported on media moguls and televangelists, energy barons and shadowy figures from the years of military dictatorship, soy barons who lived on the outskirts of the Amazon, and new-economy billionaires spinning money from speculation. His zealous reporting takes us from penthouses to courtrooms, from favelas to art fairs, from scenes of unimaginable wealth to desperate, massive street protests. Within a business narrative that deftly dramatizes the volatility of the global economy, Cuadros offers us literary journalism with a grand sweep.--Adapted from dust jacket.

In this guidebook, Vuyo Jack combines legislative summary, accounting detail and historical context. He analyzes South Africa's numerous Codes of Good Practice (and their subsidiary statements) enacted to promote black business empowerment and explains them in considerable detail. He provides context for understanding the Black Economic Empowerment codes and sample scorecards for various aspects of compliance. Yet this straightforward, accounting-manual treatment of the codes is frequently interrupted by his personal opinions, judgments or remembrances. The author becomes an advocate for a viewpoint rather than a dispassionate reporter on the contents of the code. Readers who are accustomed to more hands-off reporting may wonder whether Jack's advocacy compromises or shades his approach to the bare facts. Nevertheless, getAbstract recommends his thorough explanation to companies working in South Africa.

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.