An erudite anthem for large companies reshaping themselves to innovate and compete with agile startups.

The New Killer Apps

HOW LARGE COMPANIES CAN OUT-INNOVATE START-UPS

Couched as an us-vs.-them guide for corporations in the realm of technology innovation, this perceptive book shows how big companies can defeat the nimble upstarts through the strategic use of resources, the implementation of three principles and the following of eight rules.

Mui (co-author Unleashing the Killer App, 2000) and former Wall Street Journal reporter and editor Carroll’s (co-author Billion Dollar Lessons, 2008) latest joint work builds on the idea that, to beat startups, large companies must leverage their greater assets (e.g., people, resources, branding, supply chains, distribution networks, customer relations, and market and customer data) in the context of six key technological innovations: mobile devices, cameras, sensors, social media, the cloud and “emergent knowledge.” Three principles guide the approach: first, “Think Big,” the initial phase in redesigning a business, which calls for starting fresh, embracing the context of the business environment and considering potential worst-case scenarios; second, “Start Small,” as in make sure everyone in the company is on the same page, and don’t rush to let financial projections limit or run the company, since those numbers can be inaccurate; and third, “Learn Fast” regarding rules about the value of showing versus telling and welcoming a devil’s advocate into strategy planning. The clear, engaging prose is highlighted by plenty of anecdotes and four case studies. Additionally, many readers will find the afterword—“Moving from Innovation to Invention”—well worth their time, especially if they wish to create their own technological earthquakes instead of merely using disruptive technologies to their advantage. The partisan pro–big-business stance shouldn’t prevent the other side—e.g., startups, entrepreneurs, small-business owners—from taking advantage of these insights to see what their savvy, outsize competitors will soon be up to. The sagacious, well-rounded guide will also appeal to investors, teachers, students, journalists and historians, all of whom might have a vested interest in the future of the tech industry and the next big thing.

An erudite anthem for large companies reshaping themselves to innovate and compete with agile startups.

Pub Date: Oct. 15, 2013

ISBN: 978-0-9892420-1-1

Page Count: 189

Publisher: Cornerloft Press

Review Posted Online: Dec. 17, 2013

Kirkus Reviews Issue: Jan. 15, 2014

Did you like this book?

No Comments Yet

WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

Did you like this book?

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

Did you like this book?

more