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  The Bogle Effect: How John Bogle and Vanguard Turned Wall Street Inside Out and Saved Investors Trillions

  The index fund wouldn't be jack without Jack. It was just one innovation fueled by The Vanguard Group founder Jack Bogle's radical idea in 1975 to make investors the actual owners of his new fund company. While the move was as much to save his job as it was to save investors, the end result was powerful: a fund company for the people and by the people. Bogle began a 50-year process of lowering costs inch by inch, which ultimately unleashed a populist revolt that has saved average investors trillions of dollars while reforming and right-sizing much of the entire financial industry. Today, nearly every dollar invested in America goes to either Vanguard funds or Vanguard-influenced funds. But Bogle's impact and this "great cost migration" reaches well beyond index funds into many other areas, such as active management, ETFs, the advisory world, quantitative investing, ESG, behavioral finance and even trading platforms. The Bogle Effect takes readers through each of these worlds to show how they-and the investors they serve-are being reshaped and reformed. While hundreds of fund providers have copied the index fund that Vanguard made popular no one is yet to copy its "mutual" ownership structure. Why? This book explores that question as well as what made Bogle such an anomaly-seemingly immune to the overwhelming magnet of ambition that dictates Wall Street, made famous by movies like Wall Street, The Big Short, and The Wolf of Wall Street. On the flip side, Bogle wasn't perfect by any stretch-he could be moralizing, cantankerous, and tended to make virtue out of necessity. The Bogle Effect is animated by the author's hours of one-on-one, exclusive interviews with Bogle in the years before he passed, which reveal his philosophy, vision, intellect, and humor. Dozens of additional interviews with people who worked with him, lived with him, were influenced by him, and disagreed with him round out a portrait of this revolutionary figure. You will never look at the financial industry or your portfolio the same way again.

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  Glad You're Gone: A Book About Divorce: Learning Thyself, Book 7 , Hörbuch, Digital, ungekürzt, 27min

  If you’ve been through divorce, you know all too well about the emotional ups and downs that come with the territory. Part of you wishes your marriage would have worked out, and another part of you may be wary of your newly found freedom. Part of you is afraid to date again because you don’t want someone else to take advantage of you. This is particularly true if the person you were with had unreasonable expectations.Some of us lived with flat-out bullies. They told us where to go. They told us how to live. They told us who to talk to. They told us how to dress. They told us where to work. They shared their opinions and negative feedback with us, whether we asked for it or not.They told us who not to associate with, at all. They made us behave in a certain way when we visited their parents and family members. They acted rude toward us when they were around their parents, siblings, friends, or coworkers. They had to act "cool". They couldn’t behave in prosocial ways.Maybe, your ex-partner was a nihilist or a hedonist. Maybe, your ex-partner was an atheist, and you were a Christian. Maybe, you disagreed on sleeping in on Sundays, or maybe, you had blow-out fights over money. Maybe, there were lies, confabulated stories, and shenanigans. Maybe, there was immaturity. Or, maybe, one of you acted as the parent, while the other one behaved like a child. Many of us walk into a relationship thinking that we are in love with the other person. We imagine that we will, somehow, figure out a way to have a perfect life together. We will get married with the perfect dress and the perfect ceremony. We’ll plan a great honeymoon to somewhere we both like. We’ll all look beautiful and classy getting married in front of our family members. Or, we’ll have a private affair that is intimate; it’s just the two of us against the world. We’ll build a life. We’ll buy our dream house. We’ll start a family together. We’ll grow old together. We’ll be a po ungekürzt. Language: English. Narrator: Lou Borek. Audio sample: https://samples.audible.de/bk/acx0/194724/bk_acx0_194724_sample.mp3. Digital audiobook in aax.

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  The Impeachment of Andrew Johnson: The History and Legacy of the First Attempt to Impeach an American President , Hörbuch, Digital, ungekürzt, 93min

  As the Civil War was finally coming to an end in early 1865, reconstructing the divided nation was now top priority for President Abraham Lincoln and Republicans in Congress, and they were already well underway in their work. The 13th, 14th, and 15th Amendments to the Constitution were being discussed, and the 13th had already been passed by the House and sent on its way for ratification from the states. In Lincoln's mind, since the South had never legally seceded, forgiveness was to be his top priority. He wanted to allow states to be readmitted to the Union after only 10 percent of its citizens swore an oath of loyalty to the United States, an idea known as the 10 Percent Plan. However, Congress, now run by the so-called “Radical Republicans”, disagreed, and as early as the summer of 1864, Congress passed the Wade-Davis Bill, which required 50 percent of rebel states to swear an oath, not 10 percent. Lincoln vetoed the bill. Lincoln envisioned a relatively short-lived Reconstruction process in which the former Confederate states would draft constitutions and rejoin the Union, and he thought the country could effectively continue operating much as it had before the war. Lincoln's vision, however, would remain just a dream, because his life, and thus his role in Reconstruction, was cut short just days after Lee’s surrender at Appomattox in April 1865. During the presidential campaign in 1864, the outcome of the Civil War was still very much in doubt, and while the Republicans renominated Lincoln for the presidency, they made an unprecedented move by nominating a Democrat, Andrew Johnson, for vice president. Senator Johnson was notable for being the only senator to remain loyal to the Union even when his state, Tennessee, had seceded. At the time, nominating Johnson seemed to be a mere token of goodwill - little did Republicans know what would happen the following April. Today, Lincoln is almost universally regarded as one of the countr ungekürzt. Language: English. Narrator: Daniel Houle. Audio sample: https://samples.audible.de/bk/acx0/234129/bk_acx0_234129_sample.mp3. Digital audiobook in aax.

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  Soaring Above the Ashes on the Wings of Forgiveness , Hörbuch, Digital, ungekürzt, 487min

  I finally realized that no matter how much I wanted to, I could not protect my family. Though I daydreamed of ways for us to escape, I knew it was impossible. Dad had warned us too many times to not go mouthing off to anyone about things that are none of their business, or I'll put you all out of your misery. The oldest of three, Kitty Chappell did her best to shield her brother and sister from their father's abuse, but little could stand in the way of his beatings and vicious remarks. None of them escaped his brutality - not her mother, her siblings, or even their pets. As a well-respected family man in their Texas community in the 1950s, her father enjoyed a sure confidence in his control over his family. His assurance proved correct when he attacked her mother and turned friends against her, aiming shocking accusations at his wife and daughter. Everyone thought her father was wonderful, including the jury that gave him the minimum sentence for trying to kill Kitty's mother as she lay sleeping. Only three and a half years for premeditated attempted murder! It just wasn't fair. Kitty loved God but disagreed with him on the subject of forgiveness. Many people were in her corner, for who hasn't debated this issue with God? She didn't want to forgive - she wanted revenge! But as Kitty developed her relationship with Christ, she realized she needed to forgive the man who had caused her so much pain. Soaring Above the Ashes on the Wings of Forgiveness will keep you riveted to your seat with its twists and turns. You will be enraged and terrified with the author through her difficult journey. Ultimately, you will rejoice with her as she walks through the door of forgiveness and breathes in the fresh air of freedom. Soaring Above the Ashes on Wings of Forgiveness reveals Kitty's remarkable story of courage and faith and how she developed the attitude that enabled her to overcome rather than merely survive. This touching story w ungekürzt. Language: English. Narrator: Cassandra Sinclair. Audio sample: https://samples.audible.de/bk/acx0/124259/bk_acx0_124259_sample.mp3. Digital audiobook in aax.

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  Eleanor in the Village: Eleanor Roosevelt's Search for Freedom and Identity in New York's Greenwich Village

  A "riveting and enlightening account" (Bookreporter) of a mostly unknown chapter in the life of Eleanor Roosevelt—when she moved to New York's Greenwich Village, shed her high-born conformity, and became the progressive leader who pushed for change as America's First Lady. Hundreds of books have been written about FDR and Eleanor, both together and separately, but yet she remains a compelling and elusive figure. And, not much is known about why in 1920, Eleanor suddenly abandoned her duties as a mother of five and moved to Greenwich Village, then the symbol of all forms of transgressive freedom—communism, homosexuality, interracial relationships, and subversive political activity. Now, in this "immersive…original look at an iconic figure of American politics" (Publishers Weekly), Jan Russell pulls back the curtain on Eleanor's life to reveal the motivations and desires that drew her to the Village and how her time there changed her political outlook. A captivating blend of personal history detailing Eleanor's struggle with issues of marriage, motherhood, financial independence, and femininity, and a vibrant portrait of one of the most famous neighborhoods in the world, this unique work examines the ways that the sensibility, mood, and various inhabitants of the neighborhood influenced the First Lady's perception of herself and shaped her political views over four decades, up to her death in 1962. When Eleanor moved there, the Village was a zone of Bohemians, misfits, and artists, but there was also freedom there, a miniature society where personal idiosyncrasy could flourish. Eleanor joined the cohort of what then was called "The New Women" in Greenwich Village. Unlike the flappers in the 1920s, the New Women had a much more serious agenda, organizing for social change—unions for workers, equal pay, protection for child workers—and they insisted on their own sexual freedom. These women often disagreed about politics—some, like Eleanor, were Democrats, others Republicans, Socialists, and Communists. Even after moving into the White House, Eleanor retained connections to the Village, ultimately purchasing an apartment in Washington Square where she lived during World War II and in the aftermath of Roosevelt's death in 1945. Including the major historical moments that served as a backdrop for Eleanor's time in the Village, this remarkable work offers new insights into Eleanor's transformation—emotionally, politically, and sexually—and provides us with the missing chapter in an extraordinary life.

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  • Price: 17.99 EUR excl. shipping
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  Late Beethoven

  Late Beethoven It is well recognized that during his last years, especially from 1817 on, Beethoven's music underwent a transformation that redefined his legacy. Moreover, in a series of powerful masterstrokes the composer forever enlarged the sphere of human experience. There is disagreement as to when precisely the late style first appeared. There are differences over the extent to which it emerged from internal or external sources, and critics have struggled to describe it's characteristics in a coherent and meaningful way, but few have disagreed about the existence of the phase itself, let alone it's seismic character or it's chief examples: the late sonatas and string quartets, the 'Diabelli' Variations and the bagatelles, the Ninth Symphony and Missa solemmis Sonata Op.101, in A major. The Sonata in A major, op.101, published in Vienna by Steiner,in 1817, is the first of the 'final five' piano sonatas with which Beethoven brought his work on this genre to a close. The crux of this Sonata is contained not in the opening Allegretto ma non troppo, despite it's quiet, lyrical beginning in medias res on the dominant. The suspended quality of the music is enhanced by Beethoven's seamless lyricism, his placement of the exposition in the dominant key, and his avoidance throughout of strong tonic cadences. Following this short movement of yearning quality and the brusque, angular, contrapuntal march in F major which forms the second movement, a more fundamental level of feeling or state of being is uncovered in the slow introduction to the finale, marked Langsam und sehnsuchtsvoll. Here the music is drawn progressively lower in pitch, collapsing onto a soft sustained chord that will serve as a turning-point and a new beginning. This soft chord, which represents the end of the descending progression and the termination of the Adagio, also embodies the a priori condition for the first movement, since it represents the exact sonority in the precise register out of which the opening of that movement has sprung. In view of this, the opening of the Sonata in medias res assumes a new and deeper significance. The importance of this original sound is confirmed by it's transformation, after a short cadenza-like passage, into the actual beginning of the opening movement. This reminiscence lasts a few bars before it dissolves into the emphatic beginning of the finale. The finale is in sonata form, with it's development assigned to a fugato. The fugal textures in the finale unfold with uncompromising determination and virtuosity. Op. 101 is among the most difficult of the sonatas. Beethoven himself once described it as 'hard to play' The A major Sonata marks a major transition in Beethoven's style, pointing unmistakably to the unique synthesis achieved in works of his last decade. Sonata Op. 111,in C minor Beethoven's last Sonata. Op. 111, in C minor, completed in 1822, defines with absolute assurance the two polarities within which his creative consciousness evolved. The two movements completely symbolize the two primary functions of the mind: analysis and synthesis of conflicting elements on the one hand, and transcendence of all oppositions on the other. It is literally and figuratively a lifetime away from the Op.2 group. The first movement of Op. 111 represents the last example of Beethoven's celebrated ' C minor mood', evidenced in a long line of works from the string Trio op.9 and 'Pathetique' Sonata to the Coriolan Overture and Fifth Symphony. The sonata begins with a Maestoso exposing left-hand plunges of the diminished seventh in a dramatic and tightly spaced rhythmic relationship. An effect of parenthetical enclosure is created not only through the sudden thematic and tonal contrast and slowing of tempo but also through the sudden return of the original tempo and agitated musical character. Consequently, the intervening lyrical utterance is isolated, like 'a soft glimpse of sunlight illuminating the dark, stormy heavens', to use imagery of Mann's Kretzschmar in DoktorFaustus. The lyrical passage reaches C major in the recapitulation and it seems to foreshadow the atmosphere of the Arietta finale. The transition to the ensuing Arietta is built into the coda. The rhythm and register of the last bars allude unmistakably to the diminished-seventh chords of the exposition. With the Arietta we enter a new world. In this case it seems offensive to reduce to conceptual analysis a musical experience which so transcends conceptual activity. The movement establishes a sense of immediacy in which the perception of sound creates a state of contemplation. As Claude Palisca said so simply, 'the Adagio molto - a long set of variations in an arietta is so eloquent and so complete that nothing further seems to be required'. 33 Variations on a Waltz by Anton Diabelli Op.120 The 33 Variations on a Waltz by Diabelli. Op. 120 represent Beethoven's most extraordinary single achievement in the art of variation writing. In their originality and power of invention they stand with other late masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. When Anton Diabelli invited selected composers to write a variation on one of his waltzes, to be published as a collection, Beethoven at first declined to participate but later offered to provide a set of variations on the Diabelli theme. The scope of the work grew and the 33 variations (started in 1819, completed in1823 and dedicated by Beethoven to Antonie Brentano ) were published in June 1823 under the title '33 Veränderungen über einer Walzer von A. Diabelli'. Beethoven used the term Veränderungen, following Bach's title for his 'Aria mit 30 Veränderungen ' ( Goldberg Variations). Together with the Bagatelles Op. 120 Published in 1825, the Variations Op. 120 represents Beethoven's final contribution to the piano literature. Parody lies at the heart of this composition. Beethoven expanded his draft of the work in 1822-3. He left his older variation order intact for the most part, but opened with two new variations (the present Vars. 1 and 2), added many more variations towards the end, and inserted one at the middle of the set. These added variations contribute substantially to the form of the work, imposing not a symmetrical but an asymmetrical plan, an overall progression culminating in the last five variations. The work as we know it is thus to a great extent the product of two conceptions: an original conception and a superimposed conception. The inserted variations added by Beethoven in 1823 contribute a subtle dimension to the set whose implications transcend the purely musical sphere. Most of them are, in one sense or another, parodistic variations, and while this is clear enough on close inspection, it is sufficiently subtle to be overlooked. This issue of parody in Op. 120 is complex. It is interesting that in Op. 120 the overall formal progression of the variations relies heavily on parody of the melody of Diabelli's theme, an idea that, though prominent in the finished piece, is not in evidence in the 1819 draft. Although it is possible to speak of the unity of the whole work, such as we find in other works of the composer, the variations are based on a trivial theme not of the composer's making,thus the complete work spans a tension from ironic caricature to sublime transformation of the waltz of DiabelIi. This extra-musical dimension of parody is essential to a full understanding of the piece, although by it's very nature it is not immediately obvious in the work itself. About the artist Concert pianist, musicologist and educator, Luisa Guembes-Buchanan was born in Lima, Peru, where she received her early musical education at the Conservatorio Nacional de Música. She holds degrees in Performance and Musicology from the Manhattan School of Music, C.W.Post College, New York University and Boston University. Ms. Guembes-Buchanan has given performances throughout the United States, Latin America a

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  In the Sun

  This album is autobiographical, and a long time dream of doing my own album. Using several musicians it was a love approach of rock and jazz. If this album was done with a band each song would have sounded not the same as if I have done it myself. I knew what each song was supposed to sound like, even if my partner disagreed.

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