Kavi Sharma loves singing and dancing, so when her middle school announces a musical revue, she and her friends Sophie and Pari decide to perform a dance together. If only they could agree on what dance style to do! Soon, all Kavi can think about is the revue, and her schoolwork starts to slip, which has never happened to her before. Kavi’s little brother Rishi says she has a bad case of "Broadwayitis." Can she find a way to stay on top of on her schoolwork and get her dance moves down before the curtain goes up? Kavi’s singing practice pays off when she’s cast in the spring musical. Will this be her stepping stone to Broadway stardom? When an unexpected event threatens the performance, Kavi knows one thing for certain: The show must go on!

Meet Ivan the gorilla, Stella the elderly elephant, Bob the stray dog, Ruby the baby elephant, and more, discovering just what makes them so special. Featuring simple text and live-action stills taken directly from the major motion picture now streaming on Disney+, this 32-page I Can Read book is sure to be a hit with young readers! The One and Only Ivan: Cinematic I Can Read is a Level One I Can Read book, which means it’s perfect for children learning to sound out words and read full sentences. Whether shared at home or in a classroom, the short sentences, familiar words, and simple concepts of Level One books support success for children eager to start reading on their own.

BLACK ENTERPRISE is the ultimate source for wealth creation for African American professionals, entrepreneurs and corporate executives. Every month, BLACK ENTERPRISE delivers timely, useful information on careers, small business and personal finance.

Television Brandcasting examines U. S. television’s utility as a medium for branded storytelling. It investigates the current and historical role that television content, promotion, and hybrids of the two have played in disseminating brand messaging and influencing consumer decision-making. Juxtaposing the current period of transition with that of the 1950s-1960s, Jennifer Gillan outlines how in each era new technologies unsettled entrenched business models, an emergent viewing platform threatened to undermine an established one, and content providers worried over the behavior of once-dependable audiences. The anxieties led to storytelling, promotion, and advertising experiments, including the Disneyland series, embedded rock music videos in Ozzie & Harriet, credit sequence brand integration, Modern Family’s parent company promotion episodes, second screen initiatives, and social TV experiments. Offering contemporary and classic examples from the American Broadcasting Company, Disney Channel, ABC Family, and Showtime, alongside series such as Bewitched, Leave it to Beaver, Laverne & Shirley, and Pretty Little Liars, individual chapters focus on brandcasting at the level of the television series, network schedule, "Blu-ray/DVD/Digital" combo pack, the promotional short, the cause marketing campaign, and across social media. In this follow-up to her successful previous book, Television and New Media: Must-Click TV, Gillan provides vital insights into television’s role in the expansion of a brand-centric U.S. culture.

From Elvis and a hound dog wearing matching tuxedos and the comic adventures of artificially produced bands to elaborate music videos and contrived reality-show contests, television--as this critical look brilliantly shows--has done a superb job of presenting the energy of rock in a fabulously entertaining but patently "fake" manner. The dichotomy of "fake" and "real" music as it is portrayed on television is presented in detail through many generations of rock music: the Monkees shared the charts with the Beatles, Tupac and Slayer fans voted for corny American Idols, and shows like" Shindig! "and "Soul Train "somehow captured the unhinged energy of rock far more effectively than most long-haired guitar-smashing acts. Also shown is how TV has often delighted in breaking the rules while still mostly playing by them: Bo Diddley defied Ed Sullivan and sang rock and roll after he had been told not to, the Chipmunks' subversive antics prepared kids for punk rock, and things got out of hand when" Saturday Night Live "invited punk kids to attend a taping of the band Fear. Every aspect of the idiosyncratic history of rock and TV and their peculiar relationship is covered, including cartoon rock, music programming for African American audiences, punk on television, Michael Jackson's life on TV, and the tortured history of MTV and its progeny.

On the front lines of customer service, every day presents new and unexpected challenges—and even the most dedicated employees can be caught unprepared. They need confidence. They need training. They need help. Those who work on the front lines of customer service never know what new and unexpected challenges await them each day. But they do know one thing--they will be needed. But how can you prepare for the unexpected? How can customer service reps get the training and confidence required to tackle the unknown? In Be Your Customer’s Hero, internationally recognized customer service expert Adam Toporek provides the answers to preparing for the surprises awaiting the CSR. Through short, simple, actionable advice, in quick, easy-to-read chapters, this invaluable guide shows customer-facing CSRs how to: Achieve the mindset required for Hero-ClassTM service Understand the customer’s expectations--and exceed them Develop powerful communication skills Avoid the seven triggers guaranteed to set customers off Handle difficult and even irrational customers with ease Armed with the tools and techniques in Be Your Customer’s Hero, you will have all they need to transform themselves into the heroes their customers need.