Well-reasoned road map for a less mechanized and more people-focused management model.



In this business guide, a strategy consultant discusses why and how to manage today’s knowledge-based work to achieve faster and better results.

“Scientific management,” developed in the industrial era to oversee the output of factory workers, is an outdated approach for today’s knowledge-worker culture. In this guide, Bergstrand draws on research and case studies to showcase why the social sciences-based EDBA (Envision-Design-Build-Activate) approach is a better way to manage today’s knowledge-based workers, producing better and faster results and therefore a critical “velocity advantage” in business. EDBA helps individuals and teams collaboratively organize “the opposing forces of knowledge, work, subjectivity, and objectivity” by first becoming clear on the destination/time frame of a project (Envision), then establishing the priorities to implement the envisioned project (Design), and only after that building or executing the project by activating the right people assigned to the right work at the right time. “Through these four steps,” Bergstrand asserts, “human knowledge is converted into organizational outcomes.” He discusses how certain job roles tend to fall into certain quadrant areas and how EDBA creates a shared language, framework, and process that incorporates critical stakeholder insights, facilitates collaboration, and ensures integrated project management. Bergstrand also details the Strategic Profiling-Action Planning (SP-AP) process used to introduce EDBA into an organization, including issuing a Strategic Profiling (SP) survey to help people understand their individual/group preferences and abilities within the framework. Bergstrand (Reinvent Your Enterprise, 2009), a former Coca-Cola exec and currently a Drucker Institute board member and business strategy consultant, offers an authoritative and compelling case for implementing this business model. He goes deep into its concepts, providing dedicated chapters and charts on the many nuances by which people may fit in and play out the EDBA process, and also discusses how to make velocity a company’s “brand.” While such detail makes for a somewhat intimidating textbooklike experience, Bergstrand also thankfully provides helpful end-of-chapter summaries as well as enlivening “color” commentary, including a snapshot of how Star Trek’s main characters exemplify EDBA qualities.

Well-reasoned road map for a less mechanized and more people-focused management model.

Pub Date: Nov. 15, 2016

ISBN: 978-0-692-75386-6

Page Count: 208

Publisher: Brand Velocity

Review Posted Online: Jan. 12, 2017

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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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