A thorough assessment of an important business trend coupled with sound, actionable advice.




Debut author Barseghian offers an analysis of how the globalization of commerce has increased the importance of localized customer satisfaction.

Thanks to advancements in technology, people around the world are more connected than ever, but, according to the author, this hasn’t resulted in a placeless cosmopolitanism but rather a newfound attachment to local life. Consumers want more than just good products, delivered affordably and conveniently, he says—they want a customized experience that reflects their values and those of their particular communities. As a consequence, he asserts, companies now must adopt a “deep local” approach that markets directly to individuals—an “individual smart” strategy that moves beyond traditional marketing models that focus on large demographic groups. In short, corporations need to combine sensitivity to locality with retail scale, which Barseghian paradoxically calls “mass customization.” In this book, he discusses how artificial intelligence technology now allows marketing experts to predict, with increasing accuracy, the behavior of consumers as well as collect and precisely analyze their shopping habits. This “sentiment analysis” makes it possible to know how consumers feel about a particular product or brand, he says, making establishing brand loyalty an intentional strategy rather than a fortuity: “Traditional marketing research uses field studies, focus groups, and surveys, but it’s passive. In the new world of marketing, sentiment analysis takes place in real time.” Barseghian’s analysis of these issues is astute, as he draws from experience; he founded a company, SambaConnects, whose stated mission is to “connect local businesses with larger retail venues.” He divides his analysis among three main targets—the consumer, the corporation, and the technology that connects the two—and this organizational approach gives readers a panoramic view of the issues at hand. His impressive professional expertise is matched by the clarity with which he expresses his theories. Also, the book offers helpfully illustrative case studies and pragmatic counsel. Overall, Barseghian’s principal strength isn’t originality—there’s plenty of literature on this subject matter that’s already available—but his book is the most accessible and synoptic analysis of its kind. 

A thorough assessment of an important business trend coupled with sound, actionable advice. 

Pub Date: Dec. 4, 2018

ISBN: 978-1-5445-1211-2

Page Count: 200

Publisher: Lioncrest Publishing

Review Posted Online: Feb. 1, 2019

Kirkus Reviews Issue: March 15, 2019

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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

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


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

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