A veteran of big tech extols the virtues of the gig economy.
Estes, who held a senior position at Microsoft, uses this lively debut as a soapbox for a kind of career–personal life equilibrium he says can be achieved through adopting a “Gig Mindset.” If the gig economy is “fundamentally changing the world of work,” then the Gig Mindset “changes the way we work forever,” writes the author, who advocates employing “on-demand experts to reclaim our time.” Estes discovered the value of relying on talented freelance professionals to get things done, and it revolutionized his life. He cleverly developed a process to take full advantage of the gig economy that he calls “The T.I.D.E. Model: Taskify, Identify, Delegate, and Evolve.” Using engaging, motivational text supplemented by examples primarily from his own experience, the author walks readers through these four elements in detail. Of great interest are the excerpts of interviews he conducted with a panel of five senior executives, each of whom provides commentary that enriches and shapes the Gig Mindset conversation. T.I.D.E. itself is an intriguing concept; still, each of the four elements has intrinsic value that applies to business management in general. For example, Estes discusses a concept he calls “radical delegation,” which involves setting expectations, developing timelines, and trusting others to execute tasks. He offers seven specific steps he recommends for practicing effective delegation. Regarding the need to think differently, GE executive Dyan Finkhousen tells Estes: “The truth is that engaging with gig resources required an evolution of our own mindsets and behaviors.” The author wraps up the book with some key observations by his panelists and himself about negative perceptions surrounding the gig economy. Tucker Max, bestselling author and co-founder of a publishing service called Scribe Media, says about the myth implying freelancers are subpar: “That people are freelance because they can’t get a full-time job. It’s nonsense….In fact, we find overall the freelance pool to be far higher talent than the people applying” for full-time jobs. Two appendices—gig-related tasks for business and home—are useful additions.
Illuminating and forward-thinking; demonstrates how to leverage gig workers for time-saving life tasks.
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)