An informative operational due-diligence primer.

READ REVIEW

How to Configure and Equip your Warehouse

FROM DOCK TO STOCK AND BACK TO DOCK

In this manual, two materials-handling equipment salesmen detail how to determine the best equipment and layout for new and existing warehouse buildings.

In an introduction, experienced sales reps MacDonald and Binns (Exercises, Instructive and Entertaining, in False English, 2008) warn that with warehouses, “layout is very much a game of inches….An unexpected extra half inch per bay, when multiplied a number of times in a row of racks, can cause an expensive headache.” In the pages that follow, they spec out the choices and issues that managers should consider regarding floor and space layout, including such variables as storage depths, heights, and aisle widths, as well as when and where to use forklifts, reach-trucks, and order-pickers so as to arrive at a configuration “most advantageous for your mix of products and orders.” Other topics include the building-block method of storage planning; dock equipment and pallets; automated guided vehicles; and how to combine different pieces of equipment into a unified system. The authors sprinkle commentary throughout on safety issues, such as how to guide order-pickers into narrow aisles to allow easy, safe picking from shelving, but they also note their concern that some of these tips “seem to be little known or used.” They also include layout and equipment illustrations, as well as a terminology section. Throughout, MacDonald and Binns demonstrate laudable awareness that even their intended audience may be intimidated by their manual’s dry topic and high level of detail. That said, the authors provide a helpful overview here for anyone involved in setting up warehousing operations, including the important tip to “go ‘round the circle’ a few times to review the best solutions for your specific needs.” In a tee-up section, “Why Bother,” they make a compelling case not to simply adopt what others in the industry are doing, as they may be working with outdated equipment, inefficiencies, and avoidable problems. However, more detail on how specific equipment and layout configurations might play out for specific products and industries would have been welcome.

An informative operational due-diligence primer.

Pub Date: March 18, 2016

ISBN: 978-1-4602-7834-5

Page Count: 336

Publisher: FriesenPress

Review Posted Online: Oct. 6, 2016

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