A glove salesman offers advice for improving worker safety.
In this debut business book, Geng draws on his experience selling work gloves in a variety of industries to advocate for making employee safety a top priority. The volume reviews the reasons companies should take hand safety seriously. Geng then explains that safety is a matter of both having the right equipment and cultivating a strong corporate culture. The author guides readers through how to develop such a culture and evaluate progress toward keeping workers free from injuries on the job. He makes it clear that establishing a culture of safety requires a clear understanding of how employees do their jobs and the obstacles that make it difficult to practice safe habits, offering numerous suggestions for making concrete and actionable changes in the workplace. Geng is clearly knowledgeable about the intricacies of protective gloves, and readers without experience in the field will learn plenty about the subject. But the book’s real strength lies not in its narrow applicability to high-risk industries but in its approach to employer and worker psychology that has broad applicability in organizations of all kinds. Managers who will never encounter a conveyor belt or a vat of molten metal will find just as much useful information in the volume as those who work in those industries. The author explains how to understand the underlying causes of major problems—for instance, workers may fail to wear necessary protective equipment not because of laziness or ignorance but because they have been given gloves that provide padding while hampering movement. He shows how readers can effectively evaluate and respond to both the immediate and more fundamental causes of workplace problems. The book discusses the roles of empathy and effective communication in the workplace, particularly at the management level, and helps readers to understand and solve the problems caused when departments fail to communicate and have differing financial goals. While the volume does a good job of addressing hand safety specifically, its real value is much broader, as it is a comprehensive guide to developing safe and functional workplaces of all kinds.
A thorough and effective guide to establishing safe work environments.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
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)