MUST BE RELEVANT TO MAKE SOME MONEY

Name: MUST BE RELEVANT TO MAKE SOME MONEY
Author: Phil Copeland
ISBN: 978-0-9982704-0-1

by Phil Copeland ‧ RELEASE DATE: Nov. 24, 2016

Extremely well organized and written with a keen observational eye; makes a strong case for business leaders to increase...

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A debut book addresses specific fundamentals of achieving business relevancy.

“You must be relevant to make some money,” writes Copeland, who repeatedly makes the point by starting the Introduction, as well as every chapter, with this very same sentence. It’s a technique that is, well, relevant to the tenor of the book, which identifies fundamentals that business leaders must concentrate on to succeed. Dividing the book into such stimulating topics as mega trends, competitive advantage, ethical considerations, risk management, and interdependent leadership, the author describes each area thoroughly yet succinctly. The text is augmented by several pertinent case studies that illustrate the topics, though some of the subject companies, such as Apple, FedEx, Ikea, and Salesforce, have been frequently written about before. Every section is thought-provoking, but one of the more compelling areas (covered in two chapters) is innovation. Here, Copeland delves into the process, distinguishing between “incremental” and “radical” innovation. He discusses rapid execution innovation, clusters of innovation, and open innovation; he describes innovative organizations; he identifies both “innovator attributes” and “organizational attributes.” All of this is fascinating stuff. Another key subject area included in the well-crafted book is mobile technology, which Copeland calls “one of the most pervasive information technology trends in the past 20 years.” While some of this portion of the text borders on the too technical, the material, in particular the “mobile commerce landscape,” is generally of vital importance to any modern-day business. The detailed case analysis of how former cellular phone leader Nokia lost its prominence in the mobile market makes for intriguing, if sobering, reading. At times, Copeland’s writing style is a bit academic and dry, but this minor deficiency does not diminish the essential nature of the content. Conspicuously absent, however, are notes, reference sources, suggested reading, and an author’s biography.

Extremely well organized and written with a keen observational eye; makes a strong case for business leaders to increase their awareness of key strategic areas and hone skills that can make their companies significant and profitable.

Pub Date: Nov. 24, 2016

ISBN: 978-0-9982704-0-1

Page Count: 182

Publisher: CreateSpace

Review Posted Online: Jan. 10, 2017

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

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THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

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THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.