Reviews Books

If you are a fan of this great television series, then this book is certainly for you. I highly recommend it.

There are articles from such leading authorities on change management as John Kotter (Leading Change), Paul Strebel, and more. Each article opens with an executive summary, helping you decide if you want to tackle that article then and there, or move on to another that fits your interests of the moment.

Sooner or later, change is about people altering the status quo, and those in charge often turn a blind eye to the fact that leadership is singularly the most important issue when an organization has to implement major changes. This is followed closely by teamwork, of which there won't be any without leadership.

Inside the covers you'll find the collected knowledge, opinions and counsel of those executives and consultants who have dealt with change at all levels. If your schedule doesn't permit you to leisurely meander through hundreds of pages to find a few workable ideas upon which to build some change solutions, then this collection should be highly recommended for you.

In the nicest possible sense, this book isn't exactly what the title claims. All to often discussions of change management tend to concentrate on the people side of things and ignore the less glamerous topics such as re-tooling, revised administrative and reporting procedures and so on.
So, just to keep the record straight, this book is primarily concerned with the personnel aspects of change, with all other aspects of the overall process taking a very secondary part in the proceedings.

And now, on with the review:

One of the ways I judge a book like this is by the number of highlights I've made (makes it so much easier to refer back to the key points).
Sometimes I'll go through an entire book and be lucky to have half a dozen highlighted passage.

NOT here, though.

Without a hint of exaggeration I found numerous points worth highlighting in every one of the eight reprinted articles.

Of course this is not entirely surprising given the list of contributors, which includes such "leaders of the pack" as John Cotter ("Leading Change"), Richard Pascale and Anthony Athos ("The Reinvention Roller Coaster"), and Jerry Porras (Building Your Company's Vision").

I'd also like to commend the article "Managing Change : The Art of Balancing", by Jeanie Daniel Duck, (which ended up with highlighting on nearly every page!).

So, whilst the material is not exactly new (the various items appeared in the Harvard Business Review between 1992 and 1998), I'd suggest this well-chosen set of articles is as important now as when the articles were first published.

Vieira has chronologically divided the genre into the Gothic, Psychic, Atomic, and Cosmic. Boris Karloff's career stretches over them all, starting from his Frankenstein role, for which his costume weighed all of 48 pounds. Dracula and Frankenstein made lots of money, with violence and the sexuality (both of which seem wonderfully understated in our times) before the Production Code came out drew the "grandstanding censure of women's clubs, clergymen, and politicians." The Psychic section of the book is largely given to the films of Val Lewton, who refused to go along with any previous horror formula. Cutting in mere suggestions of horror into a love story about normal people was just what budget-conscious RKO went for. The Atomic years were a reaction to the atmosphere of the Cold War, and routine horror films "began to portray science as a tool more evil than Dr. Frankenstein had ever anticipated." The first of many films to show how nuclear devices could bring forth monsters was 1953's _The Beast from 20,000 Fathoms_, with a custom-designed dinosaur awakened by an atomic test. Vieira ends with the Cosmic films, paying most attention to a movie monster that is among the most realistic ever, and which has caused more serious analysis than even Frankenstein's monster: HAL the computer from _2001_. The years tick by and we have yet to make a machine nearly as smart (or fortunately, as diabolical) as HAL.

The final portion of the book also includes films that are quite dissimilar from the monster movies covered in other pages. In a book like this, one will always think of films that ought to have been included or excluded, but Vieira is calling the shots. He has included _Psycho_, which is not really a monster film but has plenty of terror. For real scares, read about how Alfred Hitchcock treated Tippi Hedren during the shooting of the filming of the climactic sequence of _The Birds_, or how Frank Sinatra treated Mia Farrow while she was making _Rosemary's Baby_. Also here are _Whatever Happened to Baby Jane?_ and _Hush... Hush, Sweet Charlotte_, in which the real monsters are the actresses Bette Davis and Joan Crawford, aging grandes dames of cinema, who were at each other's throats onstage and off. There are some eccentric choices here, but Vieira's book is a fine-looking survey of a genre of films that, like so many of their monsters depicted, just does not die, and if it does, it comes back with surprising transformations.

This book would be useful for all grades but can be read independently in the middle school grades. The book contains a glossary, index, web site suggestions, bibliography, listings of museums and parks and other handy references.

Mayberry has its roots firmly and deeply planted in Mt. Airy, North Carolina, a small town nestled in the mountains between Winston-Salem and the Virginia state line. Andy Griffith is celebrated there, along with all the traditions of hometown America, during community festivals and other events.

Jewell Kutzer grew up in Mayberry, just a couple of years behind Andy Griffith. She shares many of the memories that inspired Griffith to create Mayberry and the character of the popular television show. In Memories of Mayberry, she shares her experiences growing up in this now-famous small town. It's a pleasant, comfortable book to read, like having a conversation with a friend. Mt. Airy was a microcosm of life in a changing country, in a changing world. Lives were interwoven with the lives of others in the community. People were real, they were caring neighbors, they led simpler lives in the 1940s and 1950s. This book takes the reader back to those uncomplicated times.

Did I say uncomplicated? Well, compared to today's complex lifestyles. But for Jewell, growing up in a small town, life brought one adventure after another. Her tales of yesteryear are referenced to episodes in The Andy Griffith Show that relate to the memories. Readers will gain a deeper appreciation of how Griffith made the show so real in the earlier days of television.

Want a trip back to our roots? To the values on which our country was built? Pick up a copy of Memories of Mayberry to open your mind and heart to our wonderful past, not just in Mt. Airy, but in hundreds of other small towns across the land. Definitely designed for readers over 40 (we were there), but offers valuable insights for younger readers, too.

Of all such publications - and they can provide endless hours of absorbing reading even if the aim is not necessarily to get a well-informed recommendation - an outstanding example is The Metropolitan Opera Guide to Recorded Opera. Developed from an idea by Roland Gellat, and edited by Paul Gruber, it surveys and assesses virtually all opera sets on record up to 1993, the year of its publication. The roster of reviewers is impressive, comprising a team of twenty highly qualified contributors working in the USA and England.

Something I always look for in books of this type is a detailed index. The one here meets all my requirements. It enables me to find all references in the book to, for example, Dietrich Fischer-Dieskau, a singer you might think is represented in recorded opera sets more than anybody else. It is Placido Domingo, however, whose index entries occupy more space here than those of any other singer.

An alphabetical order of composers dictates where the recorded opera reviews are found. Once you have found "M" near the center of the book, for example, you can locate Mozart, and find his operas discussed in chronological order. There is also an index of opera titles, if you prefer that means of finding what you want. There are no illustrations, and pages are laid out in two-column format, so the book is reasonably compact and not too weighty.

Each reviewer is set the task of assessing all available recorded sets of a particular opera (a luxury few of us can enjoy) and providing a recommendation. Perhaps it is in the nature of opera, an art form with so many inter-relating components, that few single versions of a particular opera are found to excel on all counts. One of the few is the de Sabata "Tosca". Nevertheless the reviewers always attempt to "narrow the field" and indicate strengths and weaknesses along the way.