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This book not only explains which are the key success drivers for an organization to become great, but also lets us know what to do in order to achieve results on each of these drivers. I work in the Planning division of a major insurance company...I have read lots of stuff about strategic planning, and I find the content of this book to be the one that captures the essence of successful planning.
According to the authors, any person involved in leading or transforming a business, should focus on 5 dimensions. In order to become truly successful, you should achieve a great performance on each dimension.These dimensions are:
1. Leadership Style 2. Vision, values and corporate culture 3. Strategy 4. Innovation 5. Tactical Excellence
There is a chapter for each point which are full of practical examples and stories about successes and failures.
I also recommend "Built to Last", from the same author.
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Starting my career in government late in life, I have noticed a reluctancy of federal executives to get the rank and file involved in major change initiatives. I suggest that any government manager or executive contemplating change read BUSINESS CLIMATE SHIFTS. The lessons learned from those who have been there, both government and industry, are invaluable and provide a framework for developing issues and questions that need to be addressed before any major shifts or changes in organizational culture.
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This is just the BEST baby book I've seen!
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My favorite questions include:
Why do leaves commit suicide
When they feel yellow?
and
When the convict ponders the light
is it the same light that shines on you?
--ross saciuk
This was among Pablo Neruda's last works. He left us with a great gift.
Here are some favorites:
Is it true that in an anthill, dreams are duty?
Am I allowed to ask my book whether it's true I wrote it?
Why did the grove undress itself only to wait for the snow?
You have room for some thorns? they asked the rose bush.
Where can you find a bell that will ring in your dreams?
Does the earth sing like a cricket in the music of the heavens?
And at whom does rice smile with infinitely many white teeth?
Will Czechoslovakians or turtles be born from your ashes?
In dreams, do plants blossom and their solemn fruit ripen?
And why does my skeleton pursue me if my soul has fallen away?
Isn't the city the great ocean of quaking mattresses?
What did the tree learn from the earth to be able to talk with the sky?
What was awaiting me in Isla Negra? The green truth or decorum?
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So says Dromio of Ephesus, one of the members of two sets of estranged twins whose lives become comically intertwined in this delightful, ingenious, & aptly named Comedy of Errors. Being an avid Shakespeare fan and reader, I unequivocally consider The Comdey of Errors to be Shakespeare's finest and funniest comedy. Antipholus of Syracuse and his long lost twin Antipholus of Ephesus along with the two twin servants Dromio of Ephesus and Syracuse become unceasingly mistaken for each other making for a hilarious and entertaining farce of a play.
The Comedy of Errors has been copied many times since in literature, movies, & sitcoms, although it has never been duplicated.
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Unfortunately, unless a person is willing to spend countless shopping hours and a couple of thousand dollars building up collection of Brazilian records, he or she will gain almost no insight from this book into what the music feels like. The authors describe individual works and artists in only vague terms - terms often identical to those previously used to describe others. They beat the term "syncopation" into irrelevance - it's clear only that all Brazilian music is syncopated. The authors habitually refer to folk music genres and song forms ala "Composer X's work is all based on the Y song form..." But they provide no practical examples or definitions of those genres or forms.
The authors stridently dumb-down their text, accepting as axiom that one has to "hear it to believe it" and that it is meaningless to describe Brazilian music in technical terms. They generally refrain from even using common musical terms - bar, measure, pulse, key, etc. - to give the reader a clearer understanding of Brazilian rhythmic and harmonic structures. They use few effective musical comparisons or verbal metaphors. It is understandably difficult to describe music in writing. But it is possible. Judicious use of metaphor, comparisions, and technical descriptions would have greatly fleshed out what in the end comes off as a skeletal text.
This 1998 edition serves as the update to the first, apparently published in 1990 or 1991. However, the amendments appear to have been quite minor - embodied by an isolated paragraph here and there, and four meager pages in the final "More Brazilian Sounds" chapter. It's as if nothing has really happened in the evolution of Brazilian music since 1990 - an impression that must be wrong.
The Brazilian Sound catalogs decent research, but is neither good writing nor effective music history.