A well-written, cogent, and concise argument that demonstrates ways to cope with the changing marketing landscape.


Marketing For Tomorrow, Not Yesterday


A longtime marketing practitioner challenges his colleagues to adjust to a new economy in this nonfiction book.

In this manifesto directed at chief marketing officers, Raj (Brand Rituals, 2012) suggests that marketing has evolved from the “Attention Economy” to the “Information Economy” to what he calls the “Insight Economy.” This, he writes, “requires us to translate and transform the huge amount of information…in order to find new avenues for growth by leveraging powerful and compelling insights that help us serve our customers’ real needs.” According to Raj, the CMO can no longer be a specialist in one area; rather, he or she must embrace the notion of becoming a “Marketing Decathlete” who’s proficient in 10 specific marketing fields, such as “strategic ability,” “innovative mindset,” “engagement focus,” and “deliver[ing] on equity.” As Raj explains these, he compellingly debunks some common modern marketing perceptions; for example, despite the current excitement about big data and microsegmentation, Raj cautions that “you can’t let yourself get so caught up in rhetoric that you forget what problem you’re really trying to solve.” Similarly, he says that chief executive officers and boards enamored with new technologies are just “becoming enablers of fragmentation”; as a result, he says, CMOs often chase “numerous experiments going nowhere.” Social media isn’t safe from the author’s detailed critique, either; he offers several examples of how consumer reactions on social media have contributed to negative perceptions of brands that “lower the bottom line.” Interestingly, Raj writes that he believes in returning to an age-old concept: focusing on the needs of one’s best customers. The optimum model for successful marketing, he writes, is “the TRL model…Trust, Respect and Loyalty.” Although the book poses no detailed solutions, CMOs who heed the book’s advice will, at the very least, take solace that the upheaval they’re witnessing is widespread.  

A well-written, cogent, and concise argument that demonstrates ways to cope with the changing marketing landscape. 

Pub Date: Oct. 16, 2015

ISBN: 978-0-9967268-0-1

Page Count: 174

Publisher: Spyglass Publishing Group

Review Posted Online: Dec. 15, 2015

Kirkus Reviews Issue: Feb. 1, 2016

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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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