Jeff Prince – författare

Designed for courses that provide a conceptual and broad-based introduction to econometrics and business analytics, Predictive Analytics for Business Strategy, 1st edition provides future managers with a basic understanding of what data can do in forming business strategy without getting into a taxonomy of models and their statistical properties. Through engaging questions, explanations, and applications, students develop a deeper understanding of the fundamental reasoning behind how and why analysis can generate actionable knowledge and learn to think critically about whether a given analysis has merit or not.

Baye/Prince's Managerial Economics and Business Strategy provides students with tools from intermediate microeconomics such as game theory and industrial organization and teaches practical utility of other basic economic tools that they need to make sound managerial decisions. The 2025 Release retains its emphasis on real-world examples and modern topics with unique coverage found nowhere else. This balanced coverage of traditional and modern microeconomic tools makes it appropriate for a wide variety of managerial economics classrooms. 

Many books and essays have addressed the broad sweep of Texas music—its multicultural aspects, its wide array and blending of musical genres, its historical transformations, and its love/hate relationship with Nashville and other established music business centers. This book, however, focuses on an essential thread in this tapestry: the Texas singer-songwriters to whom the contributors refer as “ruthlessly poetic.” All songs require good lyrics, but for these songwriters, the poetic quality and substance of the lyrics are front and center.Obvious candidates for this category would include Townes Van Zandt, Michael Martin Murphey, Guy Clark, Steve Fromholz, Terry Allen, Kris Kristofferson, Vince Bell, and David Rodriguez. In a sense, what these songwriters were doing in small, intimate live-music venues like the Jester Lounge in Houston, the Chequered Flag in Austin, and the Rubaiyat in Dallas was similar to what Bob Dylan was doing in Greenwich Village. In the language of the times, these were “folksingers.” Unlike Dylan, however, these were folksingers writing songs about their own people and their own origins and singing in their own vernacular. This music, like most great poetry, is profoundly rooted.That rootedness, in fact, is reflected in the book’s emphasis on place and the powerful ways it shaped and continues to shape the poetry and music of Texas singer-songwriters. From the coffeehouses and folk clubs where many of the “founders” got their start to the Texas-flavored festivals and concerts that nurtured both their fame and the rise of a new generation, the indelible stamp of origins is inseparable from the work of these troubadour-poets.