Book Description
"Toyota is becoming a double threat: the world's finest manufacturer and a truly great innovator . . . that formula, a combination of production prowess and technical innovation, is an unbeatable recipe for success."
-- Fortune, February 2006
For the first time, an insider reveals the formula behind Toyota's unceasing quest to innovate and do more with less, a philosophy that has made it one of the ten most profitable companies in the world (and worth more than GM, Ford, DaimlerChrysler, and Honda combined). In a rare look into Toyota's ability to consistently achieve breakthroughs that outperform the competition, The Elegant Solution explains what Toyota associates have known all along: it's not about the cars. Rather, Toyota's astounding success is just the visible result of a hidden creative process that begins with a seven-digit number.
One million. That's how many new ideas the Toyota organization implements every year. These ideas come from every level of the organization -- from the factory floors to the corporate suites. And organizations all over the world want to learn how it's done. Now senior University of Toyota advisor Matthew May shows how any company can achieve an environment of everyday innovation and discover the kinds of elegant solutions that hold the power to change the game forever. World-class benchmarks like Lexus, Prius, Scion -- even Toyota's vaunted production system -- are simply shining examples of elegant solutions.
A tactical playbook for team-based innovation, The Elegant Solution delivers powerful lessons in breakthrough thinking in a provocative yet practical guide to the three core principles and ten key practices that shape successful business innovation. Innovation isn't just about technology -- it's about value, opportunity, and impact. When a company embeds a real discipline around tapping ingenuity in the pursuit of perfection, the sky is the limit. Dozens of case studies (from Toyota and other companies) illustrate the universal power and applicability of these concepts. A unique "clamshell strategy" prepares managers to successfully lead and sustain the innovation effort.
At once a thought-starter and a taskmaster, The Elegant Solution is a vital prescription for anyone wanting to truly master business innovation.
Customer Reviews:
Nice stories, little new content.......2007-08-27
I excepted a lot from the elegant solution. It has been recommended by a lot of persons as a must read. Honestly, I was dissapointed. It's still an good book, but didn't find it as "classic" as people had suggested to me.
"The elegant solution" is about tools for creating innovation on your job. These tools are based on Toyota's tools and practices. The book is devided in three parts. The first part sets three general principles. The second part, by far the largest, provides the tools for innovation, the practices. The last part talks about implementing these practices.
The three principles are "the art of ingenuity", "pursuit of perfection" and "rhythm of fit". They were interesting principles, but not really new or shocking. Sometimes I found them even a little too vague.
The practices range from "thinking in pictures" to "master the tension". Each chapter shortly states the practice and explains the key ideas. After that it uses stories to clarify the practice. Lot's of stories are from inside Toyota. Some stories related to Lance Armstrong, a little too many in my opinion and they were somewhat boring. Anyways, in general, the stories were what made the book interesting.
The third part didn't provide very much content.
In summary, I enjoyed the book, for the stories. I didn't find the practices new and the book didn't provided me with any new insight that other lean books did not provide. The book was written a little bit too much in a "popular style" which annoyed me.
Worth reading for the stories. When wanting to know more on lean or toyota I'd recommend other books like "Toyota way" or "Lean product and process development".
Good nuggets, lots of fluff, some really sloppy thinking.......2007-08-22
I came to this book via the Shampoo Problem that's been floating around the internet these past couple of weeks (which he published in his Change This manifesto). The puzzle is this - a high-end health club puts nice shampoo in their showers, but customers keep stealing it. How do you implement a solution that takes no time to implement, doesn't inconvenience customers at all, and doesn't require any money? That's a lot of constrictions, but the author claims it can be done! (you can search for the answer yourself, I don't want to spoil your fun.)
The question itself reminded me of so many bad professors who would ask totally subjective questions and disregard legitimate answers until they found someone who agreed with them. "Who can give me an example of an apple that's tasty? Macintosh? No too sweet. Granny smith? No too bitter. Golden delicious? Why yes Bobby, you get a star."
This is the tone in my head while I read the book - condescending. Maybe he didn't write it that way, but that's how I'm reading it, and honestly, it fits. On page 21 he chides psychologists for loving "to explain our uniquely hardwired capabilities in hugely complex terms. Sixteen types, thirty-four strengths, etc." and then goes on to give his "easier, more elegant" (but no less arbitrary "four basic buckets of natural ability." (Four because the ancient Greeks loved the number four.) Of course, what he fails to mention is that the psychologists he's referring to all write for pop magazines like Cosmopolitan and their articles appear alongside such classics as "10 ways to improve your sex life" and "5 ways to tell if your man is cheating on you." He also never mentions the "four basic buckets of natural ability" again and they have absolutely no bearing on the rest of the book. (The book is filled with useless random made up facts like those.)
He also throws out sentences that have huge presumptions built in to them, but have absolutely no evidence to back them up. Stuff that, in a seminar you wouldn't want to question him on because "there is no right answer" or the facts are obscure enough that he could bluster his way though most arguments that weren't from an expert on the subject. In book form, though, and knowing better myself, I read this stuff and think "well there's a very poor and inaccurate description." Luckily there's an only 50% chance that even the next sentence will depend on you agreeing with that statement, much less the next page.
In a later section he rehashes "the scientific method" (I put it in quotes because he botched his basic characterization of it) and compares it to other four step iterative processes, mostly those developed by the military - Plan-Do-Study-Act (PDSA), Plan-Do-Check-Act (PDCA), Observe-Orient-Decide-Act (OODA), Scan-Analyze-Respond-Assess (SARA), etc. and comes up with his own version, cleverly called IDEA - Investigate, Design, Execute, Adjust. It's not much different than the others, but it's his and he can teach it in seminars as his own. FWIW, "While Toyota officially recognizes only PDCA (not IDEA), they actually use all of these (methodologies) to some degree." (page 73-4)
Well of course they use all of the methodologies to some degree - they all describe the same basic thing, and very few organizations are so button-down that they actually only use a single methodology and follow it to the letter each time.
The very next sentence is "Let's look closer at the process." But that's pretty much the last time PDCA is mentioned in the book, the next section is about process in general and why it's good to "Insist on a common approach."
Another example of sloppy leaps in logic and condescending attitude is the Edsel. (page 93) Ford did their research and designed a car that people would want - except nobody wanted it. Why? "The problem was, all the research was based on a forty-year-old market belief... that buyers fell into one of four income segments: low, low-middle, upper-middle, and upper... Except markets don't think that way. When it comes to cars, consumers were thinking `lifestyle,' not income."
I like how he swaps an old marketing tool for a modern one as if that's the answer to all the world's problems. Lifestyle marketing was originated in the 70's and 80's as a result of - surprise surprise - new market research techniques developed by psychologists who were using statistical analysis more and more in their psychological research. (I wonder if he thinks those psychologists are too complex now.)
He also utterly fails to get into the concept of lifestyle marketing - he tells you why the Edsel failed, and what they should have done, (or his completely arbitrary and baseless versions of them) but what they should have done is literally one word. "lifestyle." Shame on Ford in the 1950's for not using an 80's marketing concept to understand how the market thinks. Why didn't they use the word "lifestyle" instead - then the Edsel would have been a huge success.
Hansei is another example of this sloppy, condescending thinking. "Hansei is the rigorous review conducted after action has been taken. It's a huge and absolutely vital part of learning. And with few exceptions, our Western culture is just plain miserable at it." Of course there's not one mention of the term "post-mortem" which is a western term and performs the exact same function. Sure most businesses don't do it (most businesses don't follow a lot of best practices), but don't pretend that Toyota or "Eastern culture" somehow invented the concept and that nobody in the west does it. If there's an existing best practice that we understand, then why not just tell us about it rather than pretending that it came from the fount of the Toyota godhead?
"Ford hadn't gone to the field to see what was actually happening. They remained in the office and believed the data. Big mistake. The Edsel was dead on arrival, a complete and utter failure."
Of course the next chapter is about how Toyota did the same basic thing, but managed to succeed. Their data told them that the youth of today would be the car buyers of tomorrow (startling, I know). The case study for the Scion reveals absolutely nothing about the techniques they used to study the market - it's the after report.
"Where are these kids going to buy the car? There's no time or money for new stores. That's a problem. That means they go to a Toyota store. Okay, so they'll know it's a Toyota. How do we get around that? Think? We don't. It's not the ugly stepchild. It's legit, but different. It's Scion, offspring of Toyota. Don't ignore the Toyota link, it's got cred...."
Note the use of the magical word "Think" in that paragraph. He totally neglects to address what "Think" means. Think is the Elegant part of the solution (he also likes the word "Intuitive" and uses it liberally), yet he doesn't describe it at all.
"Think" is where all the magic happens. Katie Lucas calls this the "Run really, really fast" step for "how to win a marathon" methodologies. It's the step where all the real difficult, nitty-gritty stuff magically happens. South Park summarizes it "Step 1: Steal underpants. Step 2...... Step 3: Profit."
Ostensibly the whole book is about that one word "Think" but the tools he provides - the IDEA loop, mind mapping, story boarding are nothing new, and the book is utterly lacking a cohesive whole. They're just scattered ideas, praised one second, and then dropped in the next chapter. He even mentions the Toyota "dashboard" which is a tool for getting a quick overview of a problem - except he (again) utterly fails in to a dashboard. "Dashboard" doesn't even appear in the index of the book, and if it did, the only occurrence would be on page 113.
Here's all the text on page 113. "Creative Visual Control - Visual control is an integral part of Toyota's methodology. The Project Management Office of Toyota's North American Parts Operation (NAPO) used creative visual `dashboards' to track performance in their Stretch Goals Initiative (see Chapter 9)."
Chapter 9 is on how to stretch goals, not about dashboards. He clearly states "Visual control is an integral part of Toyota's methodology" yet it's explained nowhere in the book in any depth.
In fairness, Toyota did do something Ford didn't do (or at least something he claims Ford didn't do) - they got to know their market. Really engage them and have a conversation with them. Learn about them, and let those learnings drive their product, and he does get into that in the book.
The main thrust of the book - if I can understand it all because it's couched in so many superlatives and it jumps from topic to topic so fast that it's really difficult to tease core themes out - seems to be something like: Move forward by getting hands-on experience with your product and your customers. Don't dictate strategy based on numbers alone, or build bureaucracies - get down and dirty and get to know the product you're selling and get to know the marketplace. Come up with grand "elegant" visions for the future, but innovate little by little - tiniest bit by tiniest bit. Listen to everyone and implement every good idea, then standardize it so that the whole company benefits. Don't let the numbers do all the talking; learn the context, the story behind the numbers. Which is a pretty good message, and he does give you some tools to do that, but the tools are often vague, and you feel that the real tools are mentioned only in passing.
The subtitle of the book is "Toyota's Formula for Mastering Innovation." If this book was about the "formula" for Coca-Cola, it would say something like "cola syrup and seltzer" and go on about the intuitive and elegant way they matched cola syrup to the bubbling process and created a dynamic new soft drink and how the other soft drink companies of the day - lemonade, sugar-water and apple-juice - failed to really understand the problem, which is why they didn't come up with the cola + seltzer combination first and why they lost so much market share. (If only apple juice had thought "lifestyle" instead of "income segment!")
Overall, it's an okay read and a decent introduction to the subject of business innovation, though for a book that's supposedly written by a guy who's on the ground floor with this stuff, I would expect a *lot* more meat and a lot less fluff. Get it if you think you'll like it, but don't expect as much as the other reviewers seem to be hinting at.
"Keep it lean. Scale it back, make it simple, and let it flow.".......2007-05-22
The subtitle of this book ("Toyota's Formula for Mastering Innovation") is not inaccurate but somewhat misleading. Although, yes, Matthew E. May has much of interest and value to say about the Toyota Production System, his attention is by no means limited to it and to the remarkable organization within which it was developed and within which it continues to flourish. Today, Toyota is one of the ten most profitable companies in the world and worth more than General Motors, Ford, DaimlerChrysler, and Honda...combined. Obviously there are reasons for such extraordinary success but it would be incorrect to assume that other organizations can achieve the same success once they know what Toyota's "formula for mastering innovation" is.
What about this book's title? According to May, "Elegance isn't about being hoity-toity. It's not about lofty concepts and grand designs. It's not about beauty or grace, or anything to do with aesthetics - ugly is okay. Elegance is about something much more profound. It's about finding the `aha' solution to a problem with the greatest parsimony of effort and expense. Creativity plays a part. Simplicity plays a part. Intelligence plays a part. Add in subtlety, economy, and quality, and you get elegance...Elegant solutions relieve creative tension by solving the problem in finito as it's been defined, in a way that avoids creating other problems that then need to be solved. Elegant solutions render only new possibilities to chase and exploit. Finally, elegant solutions aren't obvious, except, of course, in retrospect."
Elegant solutions include library, paper money, pencil, wallet, wristwatch, icebox, mortgage, Social Security, credit card, cell phone, and auto leasing. These and other elegant solutions, as May correctly points out, "universally change the world's attitudes, beliefs, behaviors, and habits." Efforts to formulate elegant solutions are guided and informed by three principles: ingenuity in craft, pursuit of perfection, and fit with society. "They're the raison d'etre at Toyota, and nonnegotiable."
Earlier, I suggested that this book takes a close look at the mindset and the process by which Toyota continues to formulate elegant solutions. In fact, the Toyota organization implements a million ideas a year. May also includes within his narrative dozens of non-Toyota cases that indicate that none of the individual concepts are new, or even unique to Toyota. All organizations that formulate elegant solutions have people at all levels and in all areas of operation who possess both an ability and a determination to collectively and completely master all of the concepts as "a way of life, not a program centered on select teams led by specialists with artificial agendas."
But what about much smaller organizations, especially those with severely limited resources? Decision-makers in those organizations will be delighted (and perhaps surprised) to find that May provides a wealth of material that they can immediately put to use, once they understand the "deeper principles" that he discusses in Part I and the "ten key practices supported by tools and techniques" that he discusses in Part II. Then in Part III, May explains "how to put the practices and tools together well to achieve a [desired] result." He helps his reader to track the course of an exemplary team through a day of searching for the elegant solution.
For me, some of the most interesting and valuable material is provided in Chapter 12, "Make Kaizen Mandatory," as May poses again (as he does in other chapters) a combination of Problem, Cause, and Solution:
Problem: Innovation is hit or miss.
Cause: Creativity is misdirected and mismanaged.
Solution: Embed the kaizen ethic.
After a brief review of the factors that came together to help embed the kaizen ethic in Japanese business ethic during the decade or so following World War Two, he goes on to explain that at companies such as Toyota, the key issue is that they view kaizen in terms of standards that are created by the individuals performing the work, and, that standards are dynamic, and not everything gets standardized. These companies establish a best practice, document the standard, and train accordingly. Then in the next chapter, May shares his thoughts about "the power of lean" thinking and execution that reduce (if not eliminate) inconsistency, overload, and (most important) waste. Here is another combination:
Problem: Too many, too much - of everything.
Cause: Assumption that more is better.
Solution: Start thinking lean.
Once again, when it comes to innovation and designing solutions, the emphasis remains the same: "whatever you do, keep it lean. Scale it back, make it simple, and let it flow."
And that is what elegance really is all about.
Easy Reading.......2007-03-25
A must read for learning how to implement and sustain continuous improvement enabking lean to become part of the compny's culture
Interesting but little new insights.......2007-03-14
If you're trying to learn how to develop great products, this is not the book that you need to read. However if you're looking for a relatively entertaining book that has a lot of anecdotes of how Toyota and other world-class product developers have approached product development, this will suit you fine.
Book Description
Now in its' ninth edition, Milady's Standard Textbook for Professional Estheticians has been thoroughly revised to include the most up-to-date information available today. Written by Joel Gerson, one of the industry's top authorities on skin care, and Alison O'Neil, a leading expert in the medical esthetics arena, this updated text contains all the essential information needed to ensure greater success for students taking the state board examinations. For the first time, this text is presented in full-color, incorporating a brand new, user-friendly four-color design that will help students learn the common links between the concepts and principles of skin care. Over 500 new full-color photographs and illustrations support the text content and include new step-by-step photographs for many of the procedures presented. All new photos have been incorporated in the chapter on skin disorders and diseases, special esthetic procedures, client consultation and skin analysis, and color theory and cosmetic techniques. A running glossary in each chapter helps the student become familiar with the language of skin care, and procedural notes and safety tips help to reinforce concepts. Expanded discussion on safety and sanitation topics reflects changes made in OSHA rulings and decontamination and infection control. Added discussion on advanced topics including AHAs, BHAs, glycolic, and microdermabrasion techniques give students exposure to those skills that will make them more marketable. Milady's Standard Textbook for Professional Estheticians, 9th ed., is the essential textbook for basic esthetics training.
Customer Reviews:
No Excuses For Milady.......2007-03-12
As this is the ninth edition of what is alledgedly the most widely used text for beginning estheticians, then the persistent use of mediocre-to-poor science is inexcusable. Doesn't the author consult *anyone* in the scientific/medical community before sending this thing off to the printers? It is *not*, for instance, an established fact that vitamin A protects human beings from cancer of any sort. There is certainly data that looks promising, but that's it. And since vitamin K is manufactured in the intestinal tract, why is paper wasted insisting that students, many of them fresh out of high school, should be memorizing the names of the food sources of this abundant nutrient? Many of these kids struggle with the science that *is* relevent to the profession they hope to enter. My husband is a doctor, I'm an RN, and neither of us has ever used the term "non-striated" muscle. It's "smooth" muscle, for crying out loud! And while I'm on the subject of muscles, absolutely none - not one - healthcare professional I'm acquainted with has ever learned anything about the "belly" of the muscle! No matter - 18 year-old kids have to learn what is not required of first-year medical students. Please. Yes, as a basic introductory text it has much to recommend it; all the more reason to get the science right. S.T., RN, Rochester, NY
Better textbook than prior years.......2005-09-29
This is for esthetician students. The information is basic and well organized. The photos sometimes do not follow the text but it reads easily.
This is a good all around Beauty School book.......2005-08-21
Most of the chapters are well written and understandable. I have found some discrepancies in the information, and feel that the book could have been edited a little better. The book explains sanitation but does not go into the correct method of sanitizing all items that one would use during a service. The material is quite dry, and could really use something to get the student excited about the occupation that they have chosen.
Book Description
In Bambi vs. Godzilla, David Mamet, the award-winning playwright and screenwriter, gives us an exhilaratingly subversive inside look at Hollywood from the perspective of a filmmaker who has always played the game his own way.
Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Whose opinion matters when revising a screenplay? Why are there so many producers listed in movie credits? And what the hell do those producers do, anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and bracingly forthright answers to these and other questions about virtually every aspect of filmmaking, from concept to script to screen.
He covers topics ranging from “How Scripts Got So Bad” to the oxymoron of “Manners in Hollywood.” He takes us step-by-step through some of his favorite movie stunts and directorial tricks, and demonstrates that it is craft and crew, not stars and producers, that make great films. He tells us who his favorite actors and what his favorite movies are, who he thinks is the most perfect actor to grace the screen, and who he thinks should never have appeared there.
Demigods and sacred cows of the movie business–beware! But for the rest of us, Mamet speaking truth to Hollywood makes for searingly enjoyable reading.
Customer Reviews:
Vintage Mamet with a twist.......2007-09-09
This is vintage Mamet; sharp, insightful, renegade, taking potshots at sacred cows. Unlike earlier collections like 'Writing in Restaurants' there is a new ingredient running through most pieces- a knifetip of something angry and bitter.
That's made more noticeable by a chapter that starts with a genial, witty quote from 'Richard Weisz'... Richard Weisz being one of Mamet's alter egos. The world -and specifically that world- needs all the Mamet it can get.
War Stories A Plenty.......2007-07-29
As the title suggests, this is not a book that glorifies the movie business. Through stories from the trenches Mamet paints a vivid and realistic picture of what it's like trying to negotiate the turbulent rapids of Hollywood. I was a little afraid of this book at first, because I really thought the author, whom I respect very much, was going to trash the business, that I love so very much. But I was pleasantly surprised that he was able to present a balanced picture. Yes, there are some people that he hates (actors be ware), but you can tell that he has a true love for the business. Mamet also uses his humor to offset some of the more acidic anecdotes. All in all, a good book. A quick read. And his insights are very unique.
Disappointed.......2007-07-24
I love David Mamet's plays. He's an excellent writer. So I was enthusiastic about getting the chance to read his personal views of Hollywood. And while I agree with him that the studio machinery is all about profits and very little about art or craft - when was it ever different? - I was ultimately disappointed by his book. There were times when I just didn't know what he was talking about. I think his writing here is often inaccessible. I may not be the most erudite reader, but Mamet left me cold. I just couldn't get into the style of his writing. I felt distanced rather than drawn in. When I read a book like this, I want to devour it, not pick at its little pieces. You may feel differently, that's fine. The book didn't pull me in the way I'd hoped it would.
David Mamet on the movie business? Please?!.......2007-06-01
This book was so wonderful, I took it out from the library, read it, and then had to buy it. I never do that. It's a book you'll want to read over and over, have other people read (at least certain essays) and refer to the filmography repeatedly. Mamet is so amazingly astute about everything, but particularly about things relating to theater and the movie business. If you are a movie buff at all, read this book.
Great Beach Book.......2007-05-28
A bit of Hollywood background, some insightful comments on current culture, essays of a sort and one can pick up and put down but comforted that it remains there to continue to read. I read it on spring break in the South of France as did two other family members. Three generations enjoyed it on the terrace overlooking the Mediterranean.
Book Description
This updated edition of John W. Cones’s now classic guide to independent film financing includes a discussion of new federal laws. Focusing on feature films, the comprehensive guide is also relevant to projects such as short films, documentaries, videos, multimedia presentations, and theatrical endeavors.
Customer Reviews:
A resource for producers new and old.......2000-06-09
How helpful this book is depends on how "green" you are about the film industry. Those with little to no knowledge about film production will find the book resourceful, informative and very "to-the-point" about the different types of financing available. The advantage/disadvantage sections are especially concise--it's always good to see both sides when it comes to deals potentially worth millions. The "further reading" sections at the end of chapter are also handy, if you want to do extra research on your own.
For those who are experienced film producers (or even those who have finished rigorous film producing and/or entertainment business academic programs, such as myself), the information may repeat many things you already know. Many of the strategies in this book I've learned about in producing classes and film financing seminars--and I'm just starting my career. So I'm sure that some seasoned producers may think this book is reinventing the wheel. However, I did think that the sections dealing with the different securities and corporation options were very informative as far as how they impact your tax status, the difference between active and passive investors, how your autonomy as a filmmaker/producer may be affected, etc. It breaks down a lot of tax legalese into layman's terms.
Overall, I recommend the book--as a primer for new producers and students, and as a great reference guide to those with experience.
Amazon.com
Fans of The New Yorker will be dazzled by The Complete New Yorker, a collection that includes
every page of every issue, from full-color covers to spot drawings, from poetry to Profiles, from cartoons to advertisements--all on
8 searchable DVDs. No need to save old issues, with this package, you'll have every article, cartoon, illustration, and advertisement, as it appeared in print, at your fingertips. The Complete New Yorker covers the magazine's entire history, from February 1925 to February 2005, providing a detailed yet panoramic history of the life of the city, the nation, and the world.
With The Complete New Yorker, you'll be able to:
Browse by Cover (click to zoom):
 |
Search by Keyword (click to zoom):
 |
View Entire Articles (click to zoom):
 |
Search the archives for your favorite articles, cartoons, covers, and
see them exactly as they appeared in print:
(October 13, 1934):
 |
(August 31, 1946)
 |
(September 23, 1961):
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(July 22, 1974):
 |
(September 10, 2001):
 |
Book Description
EVERY PAGE OF EVERY ISSUE
ON 8 DVD-ROMS, WITH A COMPANION BOOK OF HIGHLIGHTS.
A cultural monument, a journalistic gold mine, an essential research tool, an amazing time machine.
What has the New Yorker said about Prohibition, Duke Ellington, the Second World War, Bette Davis, boxing, Winston Churchill, Citizen Kane, the invention of television, the Cold War, baseball, the lunar landing, Willem de Kooning, Madonna, the internet, and 9/11?
Eighty years of The New Yorker offers a detailed, entertaining history of the life of the city, the nation, and the world since 1925.
Every article, every cartoon, every illustration, every advertisement, exactly as it appeared on the printed page, in full color. Flip through full spreads of the magazine to browse headlines, art work, ads, and cartoons, or zoom in on a single page, for closer viewing. Print any pages or covers you choose, or bookmark pages with your own notes.
Our powerful search environment allows you to home in on the pieces you want to see. Our entire history is catalogued by date, contributor, department, and subject.
4, 109 ISSUES. HALF A MILLION PAGES. YOURS TO SEARCH AND SAVOR.
Customer Reviews:
this version is outdated!.......2007-09-16
Buy the 9 DVD set directly from the New Yorker at half the price. I discovered this AFTER I bought from Amazon and when I pointed this out, they were of no help. Amazon basically told me it was my problem - caveat emptor!
6 stars for content; 1 star for presentation.......2007-08-12
To have finger-tip access to the complete contents of the New Yorker magazine throughout its entire publication history, even with the inconvenience of swapping discs, is a dream come true. One cannot have any criticism that the content of this product is an incredible value--the asking price is entirely fair.
The proprietary client that users are forced to access the contents through, however, is among the worst pieces of software design I have ever seen. The various panes, for example, cannot be resized, so that the abstract view, in most cases, is cut off. The `Article Abstract' pane is always 756 pixels wide and 88 pixels high, no matter how long the abstract is. Only by clicking in the abstract pane and using the up and down arrows can one view the full text of the abstract.
The client was designed by Bondi Digital Publications, whose slick website proudly claims credit for it. Bondi's developers should be forced to crawl on their knees from Manhattan to Murray Hill to beg forgiveness for their programming sins. I purchased and installed the 1.1 DVD, but the client remains the same DOS 5.1-era obscenity it was before.
The index is also less than trustworthy. Touted by its developer, Innodata Isogen, as "99.995% accurate," it has, in fact, some gaping flaws. From a fairly thorough browse through most of 1933's issues, for example, I found that no material beyond page 40 of most issues was actually captured by the indexing engine. So, despite the fact that virtually every issue included a "Books" section, according to the index, only four 1933 issues contained this section (and only one in 1932 and only nine in 1931). Clifton Fadiman wrote most of the main reviews in the "Books" section in 1934, yet there is a gap from the 17 Feb to the 9 June issue where no author is credited. Such omissions mean that serious researchers should think twice before relying on the search tool. I suspect the true accuracy figure is under 95%, which is pretty poor by today's standards.
It's a real shame that the management of the New Yorker didn't put this product into the hands of a technical team of the caliber of the one that implemented their website. The net result of their poor choice of subcontractors is akin to taking the Hope Diamond and wrapping it up in a used Big Mac wrapper.
Wow! A Great Gift for any New Yorker Fan!.......2007-05-24
First, I applaud the guys at the New Yorker for bringing this remarkable gift of the last 80 years on 8 CDs. You can reprint or print as often and as much as you want. I have to say that I didn't care for the book included. But this is truly a complete New Yorker with ads, indexes, authors, dates, subjects, etc. I have to say since I'm a big fan of Janet Flanner's who wrote Letters from Paris from 1925 to 1975. Fortunately, I don't have to spend a fortune seeking New Yorker magazines for a lot more money. It's easy to install and easier to use all the time. I love it. It's the perfect gift for anybody who loves to read, for any New Yorker fan, or anybody who has acquired the New Yorker Taste. It's not for everybody but it's for me.
I have to say that was the main purpose behind this purchase was the opportunity to have the magazine without collecting too much dust and space as magazines have been known to do. As a fan of Janet Flanner for the last couple of years, this complete New Yorker edition on dvd and book is fabulous and quite a bargain. I'm so glad that I got it and now I can print as much without having to go elsewhere to get the magazine editions. Janet Flanner was one of the most important voices of the last century and more so was that she was the voice of Paris from the American point of view from 1925 to 1975. Her name was synomous with New Yorker and the Letters from Paris edition. I am so happy to receive this wonderful item at a fraction of the price and be able to use it on my computer. I wonder what Janet would say about today's technology, the smoking ban everywhere but home, and the state of Paris, London, Rome, and New York City today. I won't say that Janet was a New Yorker because her heart was truly in Paris where she spent most of her life. We were very lucky to have her there reporting from 1925 until 1975. She was there between two World Wars. I think some of her finest writing came about during World War II and afterwards until she was no longer to write. I have to say that I think Paris changed after World War II. It wasn't so much about the lost generation of American expatriates like Flanner, her partner Solita Solano, Natalie Clifford Barney, Gertrude Stein, Alice B. Toklas, Ernest Hemingway, Sylvia Beach etc. who relocated. Sure the hardcore expatriates like Flanner stayed behind but the change in Paris was obvious after the war. Nothing after the war was ever the same. In a way, all of Europe lost it's innocence during World War II and even Janet probably fondly remembered days before the war that ripped everybody apart. Nothing is for sure, nothing can last forever, maybe that's what Genet would say today.
Anyway, the product is excellent. There are a couple of pages missing in old issues but the quality is adequate. You get 80 years of print on 8 compact discs which I found accessible and easy to use on my computer. The first disc is to install the information which includes by author, subject, title, year, etc. This index is invaluable tool. It would also be a great addition to the schools for students to research. They have a wide variety of literature like cartoons, poems, short stories, non-fiction, profiles, reporter at large series etc. It would be a terrible shame not take the opportunity to buy this treasure.
20th century in a box!.......2007-05-13
Name a subject and the Complete New Yorker addresses it ...and probably from many perspectives and in every decade! This collection is a goldmine of research and personal library of literature.
how about it mac users?.......2007-05-01
all of the problems listed in all of the, amazon, reviews dealing with computer problems seem to be software conflict with various hardware suppliers. all of the, mac, users seem happy with the product. is this true mac users?
Book Description
Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a cultural examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.
Customer Reviews:
Excellent as a Historical Text Book.......2007-03-24
So, I expected this book to be a bit more fun. Unfortunately, the fun element is missing. However, in fairness, the book serves as a thorough textbook for the history of American Cinema and its techniques and various genres. I did enjoy reading about the early studio system and the vast amount of control this oligopoly held. There were some very good critiques and studies of specific films, and a bit about specific actors and actresses. Even a bit about directors. Though packed with information, the book just lacks an entertainment value that it could and should have pulled off based on the subject matter.
The different genres studied include:
Westerns
War Movies
Silent Films
Film Noire
Screwball Comedies
As well as an overall dissertation on Classical Hollywood Style and its various techniques.
Not very good..........2005-03-05
I got this book for a class on the history of cinema. Unfortunately, as the title implies, it only deals with American Cinema. If this is a book for school, check out the class to see if foreign films and film history will be discussed. This book is, again, as the title implies--one-sided. Most of the movies it discusses, gives away crucial plot-points and endings. Some movies that I've been dying to see were ruined in just one or two sentences. This book is also very puffed-up and biased (I don't know any other way of explaining it). Many times throughout the book, Belton seems like James Lipton of "Inside the Actor's Studio", and goes on and on about the greatness of Hollywood, actors, director's, and films with nothing negative to say. It's not at all critical of anything and the author frequently inserts his own interpretation of films into the general text, which I found a little pompous. The book does offer up some interesting facts about the early history and the birth of cinema, but there's something about the way this book was written that makes it hard to stay interested. I think the chapters about film genres exaggerate the importance of some of them, and neglects other genres completely, ie. Horror, Thriller, Mystery, Sci-fi, Animation, Epics, etc. Again, question the instructor and/or look at the class syllabus before siging up if this is the only book for this class. I don't believe this is a comprehensive and unbiased view of cinema and it's history.
A very useful beginners guide to American film........2003-01-08
Years ago I took an intro-level film class at a community college. This was the text for the class. It was accompanied (at least in my class) by a PBS video series that combined film clips with interviews and historical information. Going into the class I had little more than a passing interest in film and film history. But after taking that class, my passion for film has grown exponentially with each year. But back to the book, I really liked this book and highlighted my way from the front cover to the back cover. There are of course limitations to this book. Firstly, it deals only with American films. Secondly, this book barely breaks the 300-page mark - hardly a comprehensive volume. You aren't going to get any information on John Cassavetes here or anything. Now if you have a chance to use this book in conjunction with the PBS films, I think you'll do much better (in fact I think the vids even give a nod to Cassavetes), but even then please note that this material is for an INTRO-level film class, and won't be much good for someone who already knows a fair amount about American film. But with that in mind, the book still has a lot to offer someone looking to introduce themselves to film history.
The first third of the book starts with the birth of film, moves quickly on to the Hollywood studio system, and walks us through the basics of film style (camerawork, lighting, editing, etc.). The second third covers the basics of film genre; there is a chapter about film noir, one on comedies, one on war films, and one on westerns. This second section was particularly useful to me. I could read each chapter, jot down a list of promising titles, hit my local video store, and I was good to go. The third section covers American film after World War II. In this section things seem a little compressed. 110 pages for 50 years of film? A lot is lost on the cutting room floor. But there's lots to dig into all the same. There's a chapter on Hollywood during the McCarthy years (yikes!), one on film's evolution during the emergence of television, a chapter on 1960s counterculture films, one on the film school directors of the 1970s and 1980s, and finally a pretty weak chapter on film in the 1990s. Oh yeah, and at the end of the book there's a handy glossary (in case you're ever stuck on what point-of-view editing is) and a pretty thorough index.
Again, not a book for someone who already has a good feel for film history. But definitely a great resource for someone new to film studies, or for someone who has trouble finding a movie at Blockbuster on Fridays. It did a great job getting me excited about movies, and I imagine its done the same for others.... A good companion to this text (or possibly an all-out replacement of it) is Scorsese's VHS/DVD, "A Personal Journey With Martin Scorsese Through American Movies."
Movie spoiler.......2002-10-08
This would be a great book to read if you have no intention of watching the films discussed within, or if you've already seen them. On quite a few films, it tells the whole plot, in detail, from opening to end credits.
I also don't like the prose of the author, as he excessively uses sentences "in quotations". The writing structure is very formulaic and boring. The "5 paragraph essay" format is good for high school students learning to write, but imagine an entire book written that way. I can only read it for 15 minutes before losing interest.
The book does, however, provide plenty of examples from a variety of films.
This book is a companion piece to the PBS series by the same name. The series is much more interesting. Don't bother with the book. A much better film text is "Film: An Introduction", by William Phillips, ISBN: 0312258968.
Book Description
How any business leader can create an atmosphere of competitiveness for exceptional growth
When Ray Davis took over the local 40-person South Umpqua Bank in 1994, many people in the industry poked fun at his insistence that employees answer the phone with a cheery "World's Greatest Bank." Eleven years, $7 billion in assets, and 128 branches (or " bank stores" in Umpqua lingo) later, the moniker seems quite apt. Other banks scratched their heads when Davis sent his tellers to Ritz-Carlton to learn customer service and were intrigued when he hired a cutting-edge design firm to completely re-think retail layout. Now, with a top design award under their belt, a name change (there never was a North Umpqua bank), and a completely new definition of the banking business, Umpqua has become the darling of the entrepreneurial press and a growth powerhouse. The New York Times calls Umpqua "
Starbucks with tellers."
Ray Davis (Portland, OR), named by U.S. Banker as one of the 25 most influential people in the financial industry in 2005, is President and CEO of Umpqua Holdings Corporation. Alan Shrader (Moraga, CA) is an experienced writer and editor of business books.
Customer Reviews:
It's all about the Experience.......2007-09-16
Leading for Growth offers a tremendous insite into paying attention to the detials of the associates, the customers and the investors. A wonderful guide to taking the "ordinary" and turning into the extra-ordinary. Step by step instructions on how to be different and staying focused on creating an experience for the customers.
Great Motivation.......2007-07-23
An outstanding, upbeat read! It was full of ideas for keeping things fresh, stimulating and customer focused emphasizing a teamwork environment but with individual employee responsibility and accountability. I thoroughly enjoyed it.
Anyone would benefit from this read.......2007-05-24
From the front lines to the corner office of virtually any kind of business, this practical and engaging read has something to offer!
It is written in an engaging style that pulls the reader through very quickly. The insight is unique and practical -- the bank's success speaks volumes for this "unreasonable" approach to managing and maintaining a thriving business.
A useful take on leadership.......2007-05-02
Leading for Growth is a quick read that reveals the leadership strategies that Ray Davis used to drive relentless growth at his company. Davis shows why many companies stagnate because they fail to realize what business they are really in! He details specific strategies all companies can use to create a thriving culture of growth in their organizations. And he offers leaders everywhere sage advice on building winning teams, leading change, and other critical requirements for growth. I found it very interesting and motivational. It shows that there are simple strategies every leader can use to propel growth. As Davis says, building a company "ain't rocket science."
Pick this one up.......2007-05-01
This is a highly recommended read to anyone who is the leader of an organization (not just bankers). Ray's positive enthusiasm really shines through and helps open the reader's eyes to new, innovative ways of growing a business.
Book Description
The most comprehensive book on the market, SIGHT SOUND MOTION/APPLIED MEDIA AESTHETICS describes the major aesthetic image elements--light and color, space, time-motion, and sound--and how they are used in television and film. Zettl's comprehensive coverage of aesthetic theory and how that theory can be successfully applied place this text in a class by itself. This edition is richly illustrated with visuals that often draw on traditional art forms, such as painting, sculpture, and dance.
Customer Reviews:
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
The Filmmaker's Bible of Aesthetics or What Works and Why.......2000-11-04
This is probably the most important textbook a film production student can have on his/her shelf. NOT for how to work with actors or how to light a scene, but for understanding the underlying reasons of why things work due to our learned aesthetics and Western sensibilities.
Professor Herbert Zettl has written the most concise manual on why we has film viewers percieve things the way we do. He explains in detail (and layman's terms) how our aesthetics have been formed to interpret the dynamic medium of film and television.
How editing of action from shot to shot creates the illusion of continuous motion. How stagelines work so not to give the effect that your actor is jumping around from one side of the scene to the other. How to crop your shot BETWEEN the bodies natural cut-off points (i.e. neck, elbow, waist) to prevent the actor from looking like a disembodied head or torso.
This book is cover-to-cover insights into what we as viewers take for granted when we watch a good filmmaker's work, but may not consider when faced with the daunting task of mounting a film production and the on-set "reality" problems that dominate the filmmaker's mind when shooting a film.
I first read this book when I was in film school twenty years ago. Since then I have directed many professional film productions and I still review it before starting a new one to refresh myself.
Just as Syd Field's book "Screenplay" is the bible for screenwriting, "Sight Sound Motion" is the bible on understanding what works in film/video and why.
Average customer rating:
- Behind the Scenes of Media Programming
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Programming for TV, Radio & The Internet, Second Edition: Strategy, Development & Evaluation
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ASIN: 0240806824 |
Book Description
Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!
* Completely updated to include: new programming forms, changes in programming style, and more!
* Updated Glossary!
* Study questions for each chapter
* Companion website for students and Instructor's Manual
Customer Reviews:
Behind the Scenes of Media Programming.......2006-01-28
This is a very solid job at describing a constantly moving target. The authors (the first and third are at California State University-Fullerton, while Brian Gross teaches out in Jakarta and has enjoyed extensive experience in all three media) help to bring ever more important Internet content into the media mainstream with their treatment. Chapters cover the history of programming in all three services (and related areas such as video games), sources of television programming, sources of radio and Internet content, development of content for each of the three, testing of audience reactions, elements of successful programming, factors influencing television programming, factors impacting radio and Internet content, scheduling strategies for each of these services, program evaluation, changing and canceling programs, and ethical issues. The book is more descriptive than critical in approach, and helps readers get behind the scenes to better understand the players and process.
Book Description
Is this a great country or what? You can bet on the turn of the card, a roll of the dice—but also the NFL, the NCAA, and which Olson twin marries first. We bet $80 million a year, the amount growing wildly as more and more people gain access to this huge American wheel of fortune. No longer quarantined in Las Vegas, gambling has become as local as our neighborhood cineplex. It's no wonder that we spend more money gambling than we do on movies, music, sports, video games, and theme parks combined! If there's not a casino around the corner, there's one on your laptop computer.
In Jackpot Nation, acclaimed Sports Illustrated writer Richard Hoffer takes us on a headlong tour, alternately horrifying and hilarious, across our landscape of luck, discovering just how ridiculously determined we are to gamble. Whether he's trying to win a side of bacon in a Minnesota bar, hustling a paper sack filled with $100,000 cash across Las Vegas parking lots, poring over expansion plans with a tribal chief in California, or visiting a retired bus salesman with a poor understanding of three-game parlays in his New York prison cell, Hoffer finds a national inclination—a cultural predisposition, even—to take a chance.
Hoffer shows us how Americans—adventurers at heart—have embraced this ability to take recreational risks with a surprising gusto. But as he pokes into this country's far corners, traveling coast to coast with odds as his copilot, he uncovers more than just the playful exercise of that age-old fantasy—something for nothing. He discovers that the very institutions that used to regulate this workout are now its biggest cheerleaders. Whereas government, religion, and business once restricted our ability to gamble, making it taboo even, they have now taken ownership of the pastime. Yesterday's numbers racket is today's state lottery; yesterday's mobbed-up casino is now part of a Fortune 500 company. It's one thing to recognize the house edge, but sometimes it's quite another to figure out who actually owns the house.
Still, Hoffer manages to find the fun in all this, as equally delighted with the delirium of a slot machine trade show as the religious risk of an underground poker game, almost right beneath the spires of the Mormon Tabernacle. He concludes that people are, mostly, having a good time. If he also uncovers a downside—the outlandish vigorish that comes with its growing acceptance—well, that's why they call it gambling.
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