Minggu, 29 Mei 2011

[Q107.Ebook] PDF Download Final Cut Express 4: Visual QuickStart Guide, by Lisa Brenneis

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Final Cut Express 4: Visual QuickStart Guide, by Lisa Brenneis

Here to ensure that users start taking advantage of Final Cut Express 4's powerful editing capabilities immediately is a thoroughly updated task-based guide to the program from best-selling author and digital video expert Lisa Brenneis. Users who are eager to make effective, compelling videos but don't want to invest heavily in training or equipment will welcome Lisa's simple step-by-step instructions, strong visual approach, and sound professional advice. In short order, they'll find themselves editing video; applying special effects and transitions; mastering the program's compositing, titling, and audio tools; and outputting their finished work. Readers will also learn about all that's new in this major upgrade: importing iMovie 08 projects, open format Timeline, built-in AVCHD and more.

  • Sales Rank: #1647376 in Books
  • Published on: 2008-03-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.20" w x 7.00" l, 2.08 pounds
  • Binding: Paperback
  • 624 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
NOT USER FRIENDLY AND NOT A QUICK GO TO GUIDE BOOK
By loves to sew
The seller shipped this book quick, so great seller. And book came in the condition as described.
My complaint is the book content itself. When I purchased this book, I did not see any other reviews that stated the user friendliness of this book. So I am hoping that by sharing my own experience, I can save some of you money, time, and frustration.

I am a new user to Final Cut Express 4. I am taking a class in school that shows me how to use the program.
This book is very thick. It is like a collage text book. If you do not have a lot of time like me, it will be a nightmare navigating through this book to find the one specific thing that you need and hoping that the tips will help you with the program.
It does have a table of content and index. But most of the pages are just texts and no picture diagram and no color photos either.
So although the information is there, but the time that it takes to weed through the superfluous stuff and the stuff that you actually need, it just takes way too much time. And time is what I do not have.
There are better books out there that provides a much quicker go to guide.
I am still going to keep this book because I bought it used and it would cost way too much to ship it back.
I guess it is a good reference book to have if you have a lot of time on your hands to actually navigate through the pages.
It is not a book that you can just jump to what you need. It looks very intimidating and I feel like I would have to go from page 1 to 300+ to really know the ins and outs of this program.

0 of 0 people found the following review helpful.
Complements the online manual nicely.
By Sage of Orinda
This book has been my indispensable companion to the online manual that comes with the program. The 1152 page online manual is well written and edifying, but one can emerge from a foray into it with no clear idea of what to do in a particular situation. Here is where Brenneis' book comes to the rescue. It is chock-full of how-to information (I don't understand the reviewers who say it isn't). Task after task is explained with numbered step-by-step instructions telling exactly how to proceed. Between this book and the online manual one has a good chance of taming the Final Cut beast.

With few exceptions each list of instructions is accompanied by a screen shot, often two or three. Thanks to the abundance of screen shots the book can profitably be read away from the computer. You can study it over lunch to figure out what to do next. But you'd better have a strong light, because none of the screen shots is colored. They are not even black and white. They are black on grey, sometimes dark grey. A cost-saving measure no doubt. But if you are willing to put up with the eye-strain the book will see you through.

I would have given the book five stars were it not for the dark screen shots. But it is still a strong four.

1 of 1 people found the following review helpful.
Huh?
By jpenkethman
So, I read the first four chapters and then went to chapter 5 to import my video. How exciting! The problem is what I saw on the screen did not match anything in the book. What capture screen? All I saw was the actual video itself being imported, no Capture tab, no buttons, nothing that was discussed in the text. No "Anatomy of the Capture Window." Is this really a book about Final Cut Express 4? So now I'm sitting here with imported digital video and without the foggiest notion of what to do next. Please advise. Why isn't this book working for me? It seems as opaque as a Microsoft help window. QuickStart my foot! More like QuickLost.

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Kamis, 12 Mei 2011

[E220.Ebook] Free Ebook A Transdiagnostic Approach to CBT using Method of Levels Therapy: Distinctive Features (CBT Distinctive Features), by Warren Mansell, Timo

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A Transdiagnostic Approach to CBT using Method of Levels Therapy: Distinctive Features (CBT Distinctive Features), by Warren Mansell, Timo

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A Transdiagnostic Approach to CBT using Method of Levels Therapy: Distinctive Features (CBT Distinctive Features), by Warren Mansell, Timo

Cognitive Behavioural Therapy (CBT) is the treatment of choice for most mental health problems. Each different problem is usually treated by a different model of CBT. Yet evidence tells us that the same processes are responsible for long term distress in us all. This handy manual draws on evidence and theory to provide the key principles to aid change and recovery.

The transdiagnostic approach is supported by a wealth of evidence that processes such as worry, emotion suppression, self-criticism and avoidance maintain distress across psychological disorders. Perceptual Control Theory (PCT) explains all of these processes as forms of ‘inflexible control’, and Method of Levels Therapy (MOL) helps people to let go of these habits. The principles and techniques of MOL are clearly and practically described for clinicians to offer a transdiagnostic CBT that is tailor-made to the goals of each client.

This novel volume will be essential reading for novice and experienced CBT therapists, as well as counsellors and psychotherapists. Its accessible explanation of Perceptual Control Theory and its application to real world problems also makes a useful resource for undergraduates, graduates and researchers in psychology.

  • Sales Rank: #2523287 in Books
  • Brand: Brand: Routledge
  • Published on: 2012-12-16
  • Released on: 2012-11-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.80" h x .44" w x 5.08" l, .65 pounds
  • Binding: Paperback
  • 192 pages
Features
  • Used Book in Good Condition

Review

"It is wonderful to see the clarity and orderliness of thinking in this book, and to recognize my old ideas rejuvenated, expanded, connected to what really goes on in a real psychotherapist's world, and filled with new meanings I never could have anticipated. In the hands of Mansell, Carey, and Tai, Perceptual Control Theory takes on a new life of its own, becomes more mature, better organized, more practical, more inspiring." - Bill Powers, Developer of Perceptual Control Theory, Lafayette, Colorado, USA

"This short book gives an accessible account of the theory and practice of the Method of Levels (MOL), a distinctive and pragmatic approach to psychological therapy. It is simple enough to make you wonder why you didn't think of it first, but novel and profound enough to change what you notice and what you do in therapy." - William B. Stiles, Professor Emeritus, Miami University, Oxford, Ohio, USA

"The hallmark of all living things is that they are self-organising to achieve goals – survival and reproduction in the first instance. Goals of course can also be in conflict, creating disorganisation. In this landmark book, Mansell, Carey and Tai describe Perceptual Control Theory to explore these issues and as a way of taking a transdiagnostic and goal-oriented approach to mental health problems and therapy. Highly accessible, and innovative, the book brings many fresh insights to old problems. A book of high quality, scholarship and usefulness, this volume is a delight to read and learn from." - Paul Gilbert, OBE, University of Derby, Fellow of the British Psychological Society, UK

"This book provides an innovative and effective new approach to understanding psychopathology and treatment. Based on Perceptual and Control Theory, Methods of Levels helps the clinician implement questions and interventions that allow more flexible and effective control for clients, tune in to what is going on in the present moment, relate one level of behavior to higher levels of goals, while helping clients pursue purpose beyond the current "symptom". The verbatim dialogues give the reader wonderful examples of precisely what can be done and how clients respond. Written in a clear and practical style, this book will help clinicians from all CBT models. I highly recommend this valuable book." - Robert L. Leahy, Weill-Cornell University Medical College, New York, USA

"This is a wonderful book; intelligent, accessible, innovative and useful. It should be invaluable reading for anyone who wishes to improve their understanding of the human mind or to improve their effectiveness as a therapist." - Peter Kinderman, University of Liverpool, UK 

"This book describes a revolution in psychotherapy. It describes how Powers' rigorous model of mental life is applied to psychopathology through the visionary casework of Tim Carey. The Method of Levels can be used in a pure form or as a technique within CBT and other therapies when there seems little prospect of further progress. The contents are challenging and will require further empirical support but the clinical applications are compelling. My personal experience is that there is something here of great value and that this volume should be widely read and debated. Researchers and clinicians alike should buy this book." - Doug Turkington, Newcastle University, UK

"This book is a refreshing addition to the literature on psychological treatments for mental disorders, in that it goes beyond disease entities, adopting rather what is termed a ‘transdiagnostic’ approach to human maladies; and that it goes beyond the ubiquitous cognitive behaviour therapy, building on the core thereof but offering new flexibility and understandings within the Method of Levels paradigm. It covers theoretical and practical aspects of the model, making it an ideal reference source as well as a clinical guide." - David Castle, St Vincent's Hospital and The University of Melbourne, Australia

"A truly insightful, important book. A ‘must read’ for all who seek to understand themselves and other people better, particularly those whose lives have been touched by depression, anxiety and stress." - Allison Harvey, University of California, Berkeley, USA

"Perceptual control theory and the associated ‘Method of Levels’ therapy is a new form of cognitive behaviour therapy designed to help ‘people to reflect on their thinking and behaviour in a way that helps them become more flexible and adept at reducing their own distress.’ (p.2). New forms of talking therapy are much needed to help those that do not find current treatments acceptable or effective. Method of Levels treatment is designed for all forms of mental health problems, and such a ‘transdiagnostic’ approach will help to ensure that it is implemented in clinical practice. The authors are to be commended on advancing the field with such an authoritative book on both perceptual control theory and its therapeutic implications." - Roz Shafran, University of Reading, UK

"A refreshing manual that presents a thought-provoking look behind the scenes of therapeutic change. This very readable, informed text is both theoretically coherent and unashamedly practical. It dares to suggest that the truth - about the shared process of psychological change of all psychological therapies - might actually be out there!" - Terry Hanley, PhD, British Psychological Society, UK

"A great achievement! Every therapist should read this book. The Method of Levels is a very clever method to alleviate distress and offers a very interesting promise to boost the development of cognitive behavioural therapy, both in practice and in research." - Miguel M. Gonçalves, University of Minho, Portugal

"This is a an excellent book that introduces a break-through advancement of Cogntiive Behavioral Therapy (CBT), the most effective psychological treatment. Using a control theory approach to CBT, the authors clearly outline a transdiagnostic form of psychotherapy that targets the distress that arises when people cannot reach their goals in life. This is a must-read text for every practicing clinician and an important book for every therapist in training." - Stefan G. Hofmann, Ph.D, Author of An Introduction to Modern CBT (Wiley-Blackwell), Boston University, USA

About the Author

Warren Mansell is a Reader in Psychology, Accredited Cognitive Behavioural Therapist, and Chartered Clinical Psychologist. He has authored over 100 publications on CBT and in 2011 received the May Davidson Award from the British Psychological Society for an outstanding contribution to the field of clinical psychology in the first ten years since qualifying.

Timothy A. Carey is the Associate Professor in Mental Health at the Centre for Remote Health in Alice Springs, Australia. He has been using the Method of Levels in a variety of settings for over ten years and has researched and published extensively on its use.

Sara J. Tai is a Senior Lecturer in Clinical Psychology at the University of Manchester, Chartered Clinical Psychologist and Accredited Cognitive Behavioural Therapist. She is an experienced researcher, practitioner, trainer and supervisor of Cognitive Behaviour Therapies, including the Method of Levels.

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Senin, 09 Mei 2011

[H868.Ebook] Get Free Ebook Touching from a Distance: Ian Curtis and Joy Division, by Deborah Curtis

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Touching from a Distance: Ian Curtis and Joy Division, by Deborah Curtis

The only in-depth biographical account of the lead singer of Joy Division, written by his widow.

Revered by his peers--Bono described his voice as "holy"--and idolized by his fans, musician Ian Curtis left behind a legacy rich in artistic genius. He was a mesmerizing performer on stage, yet also introverted and prone to mood swings. Enigmatic to the last, Ian Curtis died by his own hand on May 18, 1980.

Touching from a Distance describes Curtis's life from his early teenage years to his premature death on the eve of Joy Division's first American music tour. It tells how, with a wife, a child, and impending international fame, he was seduced by the glory of an early grave. What were the reasons for his fascination with death? Were his dark, brooding lyrics an artistic exorcism? In Touching from a Distance, Curtis's widow, Deborah, explains the drama of his life and the tragedy of his death.

Includes discography, gig list, and a full set of Curtis's lyrics, some of which appear in print for the first time.

  • Sales Rank: #119043 in Books
  • Published on: 2014-03-24
  • Released on: 2014-03-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.73" h x .73" w x 5.00" l, .0 pounds
  • Binding: Paperback
  • 240 pages

Review
"Fans of both bands will find this memoir revelatory."―Kirkus Reviews

About the Author
Deborah Curtis is the author of Touching from a Distance, her memoir of her late husband, Ian Curtis, lead singer of Joy Division.

Most helpful customer reviews

71 of 73 people found the following review helpful.
Very Well Written, Honest Account
By book worm
In this book, Deborah Curtis gives an honest account of the story of her life as she became involved with Ian Curtis, as teenage friend, wife, and mother of his child. She does an excellent job of expressing her thoughts and feelings as she describes how their life was together, from when they first met, the time she was first introduced to punk music by Ian, their marriage at a very young age, the evolution of Joy Division and Ian's "stardom," the struggles she faced with balancing the care of their child while trying to make ends meet while her husband was out and about with the band and/or his mistress, as well as coping with the violent mood swings and epileptic fits that Ian underwent. In addition, the reader gains an insightful and behind-the-scenes look at Joy Division and the workings of the music world. The lifestyles of musicians may look all glamorous on the outside, but the road getting there is far from being anything glamorous, as well as pitted with weasels and parasites preying to latch onto the next rising star.

I think that Deborah Curtis' story clearly illustrates that if one is not wanting help, no matter how many people there are willing and able to help, there is no helping to be had by that person. Ian Curtis clearly did not want help. Deborah Curtis honestly portrays the helplessness she felt as well as, understandably, the exhaustion one cannot help feeling when dealing with a difficult person. As Deborah Curtis points out in her book, despite all the turns of circumstances and dire outcomes that could make someone want to commit suicide, dying at a young age is something Ian had always wanted to achieve. Ian Curtis chose his lifestyle accordingly for the inevitable to occur, to reach his desire to become a legendary "James Dean" figure. Deborah claims that she felt like she was being played upon as a character in her husband's "drama' of a life. There is only so much relating one can do with such a controlling person, only so much one can learn about him, thus creating the enigma that he still is today and still has people wondering.

56 of 60 people found the following review helpful.
Heart of Darkness
By M Keenaghan
Ian Curtis, a mesmeric frontman and renowned lyricist, is every bit deserved of his mythical-iconic status. So, do you want to hear 'the story' recounted from the perspective of his cheated wife? Well, I did. And admittedly, it WAS an intriguing read, revealing a man full of faults but ultimately a dedicated, hard-working person who painstakingly forged a promising musical career. Sadly, however, it was his escalating personal problems that ironically became his group's 'selling point'.

Before the suicide that boosted record sales and confirmed Curtis' status among legends, the music press were already drawing attention to his burgeoning problem with epilepsy. Spurred on by his frantic, spasmodic dancing, live audiences must have seemed like eager spectators in a freak-show, baying for the crescendo of an on-stage fit. While this focal-point may have generated the hype the band needed in a highly-competitive industry, to Ian - whose depression was compounding his illness - the press reviews struck some disturbing parallels close to the bone ("In his opinion they were like psychiatric reports, even using the appropriate terminology and references"). Deborah reveals a man deeply embarrassed of his illness, yet obviously aware of its play in his desperate will for success. She portrays a man of contradictions, a Jekyll-and-Hyde figure: 'one-of-the-lads' to his bandmates and friends, while concealing a darker personality that sought refuge in thoughtful literature (Hesse, Dostoyevsky, Conrad, Ballard), held an interest in Nazism, and was fascinated by "extreme concepts and philosophies". Not to mention a death wish.

The book briefly dips into Ian's trouble-free childhood and drug-experimenting adolescence, but concentrates mainly on the period of their courtship/marraige that coincided with the rise of Joy Division and hit the rocks when Ian began his affair with the Belgian woman Annik Honore. Deborah interestingly sheds light on Ian's strongly-held (and very serious) romantic notions of rock'n'roll suicide and death, and expresses her shocking opinion that "he engineered his own hell and planned his own downfall". He is described as a habitual depressive whose problem took a marked dive for the worse as his epileptic condition became debilitating, exacerbated by the barbiturates he was issued. Little was known about effective ways to treat epilepsy. Doctors showed Ian little sympathy or care. Remember, this was back in the 'pull-yourself-together' age of 1970's Britain which, particularly in this book, appears like the Dark Ages. Mental illness and 'mysterious' conditions such as epilepsy were airbrushed from public-consciousness, and dubiously treated.

Nowadays, in hindsight, Curtis' lyrics may read as obvious cries-for-help or predictions of tragedy - even suicide notes -but at the time, nobody close to Ian was paying enough attention to realize the danger in their increasingly extreme content. Deborah was shocked upon hearing the darkly-confessional lyrics of the 'Closer' LP (released just after his death). She says that had she heard it beforehand she "could have gained an insight into what was happening in his mind". And got some help. Couple this with the fact they had a one-year-old daughter, and it simply adds to the tragedy. However, she does suggest Ian's suicide as something probably inevitable.

Deborah's dicovery of Ian's body in the kitchen of their Macclesfield terraced house - he'd polished off a bottle of whisky and hung himself, Iggy Pop's 'The Idiot' still spinning on the turntable - is sequenced in chilling dreamlike flashback. And, an example of the shameful heartlessness of the music industry is given as bassist Peter Hook (gererally good guy throughout) is shown as offering Deborah "one of the few expressions of sympathy shown to me by Ian's music business friends". Ian died at just 23 years old.

The book is an emotional trawl through a dark, difficult past that raises many unanswered questions and much speculation. Being the only biography of Ian's life by somebody close to him, it cannot help but present a one-sided view that - for Ian's sake - could do with some counterbalance from elsewhere. While Deborah DOES glance over the kinder aspects of Ian's nature (he loved animals / took an "exremely personal interest" in his job helping the disabled etc.) she seems a little too-eager to emphasize his negative traits, frequently listing his selfish, cruel and sometimes bizarre behaviour towards her. In places, her writing makes you wonder what she actually saw in him in the first place. There are also some petty moments, such as when she complains about Ian's "racism" while forgetting that she earlier mentioned his love for reggae and going to clubs "where white people didn't normally go".

Ultimately, the book is a riveting - if one-sided - read. However, with Deborah's recent solo-insistence upon pushing ahead for 'the movie' (always a bad idea), it quite naturally throws suspicion upon what the project was actually accomplished for. Nevertheless, to any Joy Division fan, or indeed anybody interested in Ian Curtis' writing, the inclusion of the full lyrics alone makes this book not only well-worth the cover price but an essential possession.

32 of 33 people found the following review helpful.
A personal view which we as fans never knew
By A Customer
I read Deborah Curtis' book a couple of months ago and have been surprised that I have not felt the same about the memory of Ian Curtis that I had since I heard he had died so many years ago. I saw Joy Division in concert when I was 15 years old in London and a couple of times on TV, I was hooked. I grew up wondering what kind of life this man had, what he was experiencing, what made him so bizarre on stage (see the video "Here are the Young Men"). I have grown up and for the most part still wondered about these unanswered questions. I hoped that reading Deborah's book would help me understand a bit more and I was not disappointed. The book was not about the music, but about the man, his dreams and his failures. This is what we as fans did not see, we only saw this pail white man with thrashing arms singing about stuff that we did not necessarily understand, but knew he saw singing for us. Thank you Deborah for a wonderful insight into your life with Ian Curtis. Hopefully he can now rest in peace.

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  • Published on: 2008-10-15
  • Binding: Hardcover

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Rabu, 04 Mei 2011

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American Icon: Alan Mulally and the Fight to Save Ford Motor Company, by Bryce G. Hoffman

THE INSIDE STORY OF THE EPIC TURNAROUND OF FORD MOTOR COMPANY UNDER THE LEADERSHIP OF CEO ALAN MULALLY.
 
At the end of 2008, Ford Motor Company was just months away from running out of cash. With the auto industry careening toward ruin, Congress offered all three Detroit automakers a bailout. General Motors and Chrysler grabbed the taxpayer lifeline, but Ford decided to save itself. Under the leadership of charismatic CEO Alan Mulally, Ford had already put together a bold plan to unify its divided global operations, transform its lackluster product lineup, and overcome a dys­functional culture of infighting, backstabbing, and excuses. It was an extraordinary risk, but it was the only way the Ford family—America’s last great industrial dynasty—could hold on to their company.
 
Mulally and his team pulled off one of the great­est comebacks in business history. As the rest of Detroit collapsed, Ford went from the brink of bankruptcy to being the most profitable automaker in the world.
 
American Icon is the compelling, behind-the-scenes account of that epic turnaround. On the verge of collapse, Ford went outside the auto industry and recruited Mulally—the man who had already saved Boeing from the deathblow of 9/11—to lead a sweeping restructuring of a company that had been unable to overcome decades of mismanage­ment and denial. Mulally applied the principles he developed at Boeing to streamline Ford’s inefficient operations, force its fractious executives to work together as a team, and spark a product renaissance in Dearborn. He also convinced the United Auto Workers to join his fight for the soul of American manufacturing.
 
Bryce Hoffman reveals the untold story of the covert meetings with UAW leaders that led to a game-changing contract, Bill Ford’s battle to hold the Ford family together when many were ready to cash in their stock and write off the company, and the secret alliance with Toyota and Honda that helped prop up the Amer­ican automotive supply base.
 
In one of the great management narratives of our time, Hoffman puts the reader inside the boardroom as Mulally uses his celebrated Business Plan Review meet­ings to drive change and force Ford to deal with the painful realities of the American auto industry.
 
Hoffman was granted unprecedented access to Ford’s top executives and top-secret company documents. He spent countless hours with Alan Mulally, Bill Ford, the Ford family, former executives, labor leaders, and company directors. In the bestselling tradition of Too Big to Fail and The Big Short, American Icon is narrative nonfiction at its vivid and colorful best.

  • Sales Rank: #11614 in Books
  • Published on: 2013-02-05
  • Released on: 2013-02-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .90" w x 5.20" l, 1.34 pounds
  • Binding: Paperback
  • 432 pages

Review
“A standout…brimming with smart observations and fresh insights into Ford’s success.” –Alex Taylor, Fortune
 
“Fly-on-the-wall accounts of Mulally negotiating deals and Ford overcoming challenges from the inside and outside…A paean to the ingenuity, grit and optimism that once defined American industry and to capitalism played with government on the sidelines.” –Reuters
 
“A compelling narrative that reads more like a thriller than a business book.” –New York Times
 
“A must-read.” –Huffington Post
 
“A fascinating read for anyone who follows the car industry.” –Financial Times

“A Detroit News journalist’s in-the-room account of the resurrection of America’s most storied car company…With colorful anecdotes, sharp character sketches, telling details and a firm understanding of the industry, Hoffman fleshes out every aspect of this tale, reminding us of the hard work, tension, and high-stakes drama that preceded the successful result.” —Kirkus

“Bryce Hoffman has done a stellar job of capturing the Ford story—and more to the point showing us how Mulally did it.  American Icon is a story of leadership that offers valuable lessons for organizations of all sizes.” —Lee Iacocca

“Bryce G. Hoffman’s American Icon brilliantly recounts the Lazarus-like resurgence of the Ford Motor Company under the bold and inspiring leadership of CEO Alan Mulally. Hoffman, one of America’s best auto industry reporters, has written a timely book about the relevance of Ford that serves as a larger metaphor for America at large. Highly recommend!” —Douglas Brinkley, professor of history, Rice University, and author of Wheels for the World: Henry Ford, His Company, and a Century of Progress
 
“Bryce Hoffman has written a riveting tome based on deep insider information about the resurrection of the Ford Motor Company from a near death experience and the establishment of a business model that promises to be a prototype for large organizations of all types. It features the transformation from a top-down style of leadership to that of a coach led by CEO Alan Mulally whose focus is the team, the team, the team.” —David E. Cole, chairman emeritus, Center for Automotive Research
 
“From the precipitous demise of an American icon through decades of infighting and self-destructive management to a turnaround not only financial but also in terms of forging the foundation of a new, healthy culture, this book reads like an un-put-downable novel. Bryce Hoffman’s amazing inside access tells the story of how Alan Mullally built on Henry Ford’s own management principles—which quickly got lost in the company—and created one company, with one purpose and a passion for product and customers. A great story.” —Jeffrey Liker, professor, University of Michigan, and author of The Toyota Way

“Amazing. I would give Alan Mulally twelve D’s for his work at Ford, for Discipline, Data, Daring, Determination, Design, Direction, Decisiveness, Delivery, Doubt-Free, Debt Free, Downsizing, and of course, Dearborn.  I thought I was disciplined until I read how Mulally worked. Bryce is a gifted writer, and American Icon is both educational and entertaining.  Most telling of all—I learned from reading this book.” —Lee Cockerell, former Executive Vice President, Walt Disney World Resort, and author of Creating Magic
 
“After decades of stories about the failure of America’s traditional industries to meet world competition, it is heartening to encounter a signal success. But Bryce Hoffman’s rendering of how Alan Mulally reversed the fortunes of Ford Motor is more than heartening; it is riveting. Almost certainly one of the best business books of the year.” —H. W. Brands, professor of history at the University of Texas at Austin, and author of Traitor to His Class and The First American

“This superbly reported book is not just about cars. It is an authoritative and inspiring account of leadership, management, corporate culture, and the prospects for American manufacturing.” —John Taylor, author of Storming the Magic Kingdom


From the Hardcover edition.

About the Author
BRYCE G. HOFFMAN is an award-winning journalist who has covered the auto industry, both in the United States and around the world, since 1998. He began cov­ering Ford Motor Company for the Detroit News in 2005. That beat gave him a front-row seat for many of the events chronicled in American Icon. Hoffman has been honored by the Society of American Business Edi­tors and Writers, the Society of Professional Journalists, the Associated Press, and others for his coverage of Ford and is one of the world’s foremost authorities on the automaker. He lives in Grand Blanc, Michigan.

Excerpt. © Reprinted by permission. All rights reserved.
CHAPTER 1

The House That Henry Built

Business men go down with their businesses because they like the old way so well they cannot bring themselves to change. One sees them all about-men who do not know that yesterday is past, and who woke up this morning with their last year's ideas.

-HENRY FORD

While many of Ford Motor Company's problems were shared by the rest of Detroit, the Dearborn automaker also faced some challenges all its own. Ford's woes had not begun with the arrival of the Japanese in the 1960s or the oil crises of the 1970s. The company had been struggling with itself since Henry Ford started it on June 16, 1903. It invested massively in game-changing products, and then did nothing to keep them competitive. It allowed cults of personality to form around large-than-life leaders, but drove away the talent needed to support them. And it allowed a caustic corporate culture to eat away at the company from the inside. These were birth defects that could be traced back to the automaker's earliest days. Henry Ford liked to boast that he had created the modern world. In many ways, he had. But he also created a company that was its own worst enemy.

Henry Ford began that company with a simple vision: "I will build a car for the great multitude. It will be large enough for the family, but small enough for the individual to run and care for. It will be constructed of the best materials, by the best men to be hired, after the simplest designs that modern engineering can devise. But it will be so low in price that no man making a good salary will be unable to own one-and enjoy with his family the blessing of hours of pleasure in God's great open spaces."

Ford made good on that promise with his Model T, a simple, reliable, no-nonsense car that transformed the automobile from a rich man's toy into a means of transportation for the masses. When the Model T went on sale on October 1, 1908, most cars cost a small fortune. It started at $850-less than $20,000 in today's money. "Even You Can Afford a Ford," the company's billboards proclaimed. But Ford did not stop there.

As demand for these Tin Lizzies grew, the pioneering manufacturer began building them on the world's first moving assembly lines. This cut the average time it took to produce a Ford from thirteen hours to just ninety minutes. But workers got bored on Ford's assembly lines, and turnover was high. So, in January 1914, the company stunned the world by announcing that it would pay workers $5 a day. It was America's first minimum wage, and it was more than twice what most other laborers made at the time. As news spread, tens of thousands of men-particularly in the underdeveloped South-threw down their picks and hoes and headed for Detroit. Ford's $5-a-day wage sparked one of the largest economic migrations since the California Gold Rush and created the industrial middle class. As Henry Ford would later boast, it also made his workers as reliable as his machines. Mass production allowed Ford to cut costs and boost efficiency. He passed the savings on to consumers and made his money on the added volume. Henry Ford claimed that every dollar he shaved off the price of his car bought him a thousand new customers. By 1925, the price of a Model T had dropped to $260-just over $3,000 today-and Ford was making more than 1.6 million of them a year.

It was an impressive figure for the time, but it was nearly 200,000 less than the company was making just two years before. Despite the massive price cuts, sales of the Model T were slumping. So was Ford's share of the market, which peaked in 1921 at 61.5 percent. Other automakers, like General Motors, were regularly introducing new models-each one an improvement over its predecessor. The Model T had seen few updates. It was old technology, yet Henry Ford stubbornly refused to begin work on a replacement. He thought it was all the automobile the average person needed. When his engineers began work on a new prototype anyway, Ford destroyed it with a sledgehammer. But Ford's dealers were clamoring for something new. So was his son, Edsel. By the time Ford finally began work on his new Model A in 1927, demand had fallen so dramatically that he was forced to close his factories and lay off 60,000 workers.

As Ford retooled, General Motors passed it to become the largest automaker in the world. Many thought Ford was finished. But on November 28, 1927, people all over America waited in line for hours outside dealerships for a glimpse of the first new Ford in twenty years. It did not seem to matter that the only thing inside most of the stores was a cardboard cutout. By the end of the day, more than 10 million people-10 percent of the U.S. population-had seen the Model A. It combined the Model T's practicality with something entirely new to Ford customers: style. Thousands placed orders on the spot. Ford's factories surged back to life, unable to keep up with the unprecedented demand for its new car.

Within two years, the company had sold more than 2 million Model A's and its share of the domestic market doubled. Yet once again, Henry Ford rested on the laurels of his phenomenal success as his competitors continued to improve their offerings. The next new Ford would not arrive in showrooms until 1932. By then, other manufacturers were introducing new models every year, and Ford was losing money. Fortunately for the Dearborn automaker, its new flathead V-8 motor was another innovative hit. But Ford would not really begin to diversify its product lineup until after World War II, and even then it would continue to make the same mistake with products like the Thunderbird and the Mustang.

By the 1980s, Ford was fighting for its life once again-this time against new competitors from Japan. Ford and the other Detroit automakers had been ceding sales to the import brands for a decade, and many doubted whether the Big Three would be able to mount a counterattack. Then Ford stunned the automotive world with the most radical new design in years. In 1985, it unveiled the Ford Taurus, a streamlined sedan with rounded corners that featured the tighter suspension and precise steering more typical of European automobiles. Critics said it looked like a jellybean, but it was a hit with consumers and pushed Ford's profits past GM's. The Taurus was so successful that General Motors and Chrysler were soon copying Ford's aerodynamic design, as were the Japanese.

For a while, it seemed like Ford might finally have learned its lesson. It introduced an upgraded version of the Taurus in 1992 that was even better than the original. The Taurus became the bestselling car in America, seizing that title from the Honda Accord. But Ford's investment in the popular sedan soon petered out. In 1997, Toyota's Camry claimed its crown, and the Taurus was soon relegated to rental car fleets. When production finally stopped in 2006, few even noticed.



Ford's overreliance on a single product was surpassed only by its overreliance on a single man. In the beginning, that man was Henry Ford. Instead of leading a team of managers, Ford preferred to rule his industrial empire like a potentate. He had a good eye for talent and initially tried to fill his court with able executives, but he often drove them away once they began to exert significant influence over his organization. Ford was even unwilling to share power with his own son. Edsel Ford replaced his father as the company's president after the family bought out the other investors in 1919, and he held that position until his death in 1943. But Henry Ford still made all the decisions, large and small, often countermanding any orders his son tried to give. He even rehired men Edsel had fired.

Though Henry Ford did not create Ford Motor Company by himself, he often acted as though he had. James Couzens, the company's first general manager, played the prudent businessman to his mad inventor-at least until he resigned in 1915.

"Mr. Couzens said that, while he was willing to work with Mr. Ford, he could no longer work for him," wrote another early Ford executive, Charles Sorensen. "The paradox is that but for Couzens and his organization and domination of sales and finance Ford Motor Company would not have lasted long."

William Knudsen, a manufacturing prodigy who helped orchestrate the company's shift to mass production, was also driven away-right into the arms of General Motors. There he became head of Chevrolet, leading it past Ford in factory output by 1931.

"Mr. Knudsen was too strong for me to handle," Henry Ford later conceded. "You see, this is my business. I built it, and as long as I live, I propose to run it the way I want it run."

Instead of capable executives with their own ideas, Ford preferred to surround himself with yes-men and hired guns like Harry Bennett, the éminence grise with reputed underworld connections whom he hired to keep order at the River Rouge factory complex. Bennett was quickly promoted to chief of the Ford Service Department, which under his leadership grew into the largest private police force in the world. Men like Bennett fostered an enduring culture of intrigue and backstabbing among Ford's senior leadership. Employees lived in fear of being fired by capricious managers and thought carefully before answering questions to make sure they gave the expected response, even if it was wrong.

By the 1930s, Ford had become "a dark, almost gothic place, with a shadowy administration, activities shrouded in mystery, and a roster of dubious characters running rampant on the premises," in the words of historian Douglas Brinkley, who also noted the absence of any real corporate structure at the company. "Henry Ford had preferred to receive reports on his company anecdotally, even through espionage, rather than in the numeric rationale of accounting."

The Flivver King, as Ford became known, ran his dominion by instinct and intuition. The only way anyone in Dearborn knew how much cash the company had was by looking at its bank statements. Ford actually figured out how much money to set aside for accounts payable each month by weighing its bills on a scale. That might have worked for an automotive start-up, but it had long since become a liability-one the U.S. government was not willing to tolerate in a company that, in the 1940s, became a vital contributor to its "Arsenal of Democracy."

As Ford's factories retooled to produce the bombers and jeeps that would help win World War II, the War Department worried about leaving these essential industries in the hands of such a mismanaged corporation. Washington seriously considered taking over the company after Edsel, whom most outsiders viewed as the lone voice of reason inside Ford, died in 1943. Instead, the navy ordered Edsel's son, Lieutenant Henry Ford II, to resign his commission and report for duty in Dearborn. The elder Ford initially tried to prevent his grandson from exercising any real authority, just as he had done with Edsel. But in September 1945, the increasingly enfeebled patriarch was finally persuaded to cede control of the company to his namesake.

Though young and inexperienced, Henry Ford II understood that fundamental changes were needed at the automaker-and needed fast. He personally fired Bennett and the rest of his grandfather's henchmen, replacing them with real businessmen like Ernie Breech, whom he lured away from the far more sophisticated General Motors, and a group of management savants from the Army Air Forces, the legendary Whiz Kids. Together they created a modern corporate structure and instituted disciplined business practices that soon became a model for other companies. At the same time, Ford's new boss ordered his managers to begin treating their employees and one another with respect. He promised that the truth would no longer be punished and encouraged a new openness with the outside world as well. But it did not last. As Henry Ford II grew more confident in his own abilities, he also became more jealous of his position as head of the company. Hank the Deuce, as he was soon nicknamed, began to pit one executive against another. Ford's managers began to worry more about their own careers than the success of the company.

"Henry Ford II's imperial style led to impulsive decisions from which there was no appeal and to a continual shuffling of the executive deck chairs," wrote journalist Alex Taylor III, who began covering Ford in the 1970s. "The sharp-elbowed company politics were embedded in Ford culture. Old Henry Ford and his thuggish subordinate Harry Bennett had instilled a rule of fear in the 1920s and 1930s that never entirely vanished. . . . Even into the 1980s, executives worried about wiretaps and electronic listening devices that would allow their conversations to be overheard. Unlike at GM, it was rare for Ford executives to hang on to their jobs until retirement; almost everyone was vulnerable to being toppled. The Dearborn company became known as a place where tough guys win."

No one was tougher than Lee Iacocca, the marketing genius who was promoted to president in 1970 after his Mustang revived America's love affair with Ford. But Iacocca created his own cult of personality that threatened to divide the company into warring camps. Henry Ford II began to see Iacocca as a threat to his own authority and fired him in 1978 after learning that he had contacted board members behind Ford's back in an effort to protect his position. Iacocca went on to save Chrysler-at least for a while.

Just when it seemed like the corporate intrigue at Ford was reaching new heights, Hank the Deuce announced that he was retiring. In 1980, he turned the company over to Philip Caldwell, a far more reserved Ford executive who would become the first non-Ford to serve as the company's chairman and CEO. For a time, it seemed as if Ford might become just another boring bureaucracy, like General Motors. But Caldwell's successor, Donald Petersen, quickly ran afoul of a new generation of Fords. Petersen resented the easy ascension of Edsel Ford II and William Clay Ford Jr. to the company's board of directors in 1988 and refused to appoint either of them to a board committee.

"I'm not a caretaker for anybody," he told Fortune magazine at the time. "I admire the fact that [Edsel and Bill] are trying very hard to go as far as they can. But being a Ford does not give them a leg up. The principle we must operate on is that selection to top management is based solely on merit."

Petersen spent the next two years trying to hold his ground, but it was a battle he could not win as long the Ford family maintained controlling interest in the company. He resigned in 1990, just as the automaker was entering its most profitable decade ever.



I once asked a Toyota executive if there was anything he admired about Ford Motor Company.

"Yes," he said after reflecting for a moment. "Their ability to overcome adversity."

The company may have been unable to learn from its mistakes, but Ford was a survivor. It was the Rocky Balboa of the automobile industry-at its best when it was against the ropes. It could take punches and come back swinging. Every time someone wrote Ford off, there it was back in the center of the ring with its gloved hand thrust into the air. But it could not handle success. Like the fictional fighter, Ford kept falling back into its old habits, growing soft and complacent once the danger had passed.

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66 of 68 people found the following review helpful.
If you liked the Walter Isaacson book "Steve Jobs", you are going to love this one on Alan Mulally. Both are of similiar quality
By S. Power
I highly recommend that you read this book and fully agree with what the other positive reviewers are saying about it. This book itself was not just a good read about a stalwart man, and an incredible company, it is an epic tail of a Great American Manufacturing Dynasty brought back from the brink of extinction. Reading it really inspired me to learn even more about Mulally, The Ford Motor Company, and their products. After reading the book, or while you wait for it to arrive, check out some of the videos and movies about Alan Mulally on the internet. His appearances at local universities, on late night talk shows, and in a documentary done about his work at Boeing all make for really interesting supplements to this book.

This book is different from, but every bit as well done as Walter Isaacson's book on Steve Jobs. Both of the biographies are appealing in many of the same ways. You get a history lesson, a solid business book, a solid overview of the automotive industry, a human interest story, and a biography not just of Mulally but also of other key people in the industry. You also get a really fully developed business case study that demonstrates the lessons of teamwork, core competency, strategic management, benchmarking, business ethics, the importance of liquidity among many other concepts. Although Steve Jobs and Alan Mulally are as different as two men can be, I see similarities in their importance, vision, and impact on the World. Their biographers and their biographies are also very different, but again similar in quality and importance.

The factual accuracy of this book seems to be very good. Bryce Hoffman has a lot of credibility in this part of the country and it doesn't seem that he has any agenda except to tell the story and write a good book. At times, he seems to be exaggerating the dichotomy of how bad Ford was and how great Alan Mulally and Bill Ford were, but a lot of people I know deep inside ford have the same opinions. I don't think that the author has any nefarious agenda in writing this book, and he is so hard on the automotive insiders in this country that I don't think anyone will accuse him of being self-serving. In the last chapter he does a nice job of pointing out how no one man saved Ford and reaffirming the strengths that some of the 'characters' brought to the situation.

The entire book is suspenseful and captivating from start to finish and in the events or perspective of each chapter. There are really funny anecdotes throughout the book and more than enough drama to keep even fiction readers interested. There is also a lot in this book that will make for worthy quoting. The chapter starters are all relevant quotes from Henry Ford himself, but there are also a lot of very useful and powerful quotations from more recent people, events, and situations.

The biography is written in a non-sequential style that can be a little unwieldy because it requires that you really keep on your toes about how the events relate as they are addressed in the various chapters. Despite this small flaw, or choice of style, the book is well organized, and I think the author made the right decision, overall in the presentation of the information. Just be prepared to have to go back sometimes to refresh your memory about where in time the topics that are being discussed occurred.

These two biographies, this one and Isaacson's, are the most thorough and well done books in a very long time. I highly recommend that you read this one and consider tabbing it as you go. I wish I had tabbed mine as I went. There is certainly a lot of information that I'll be referring back to as I try to emulate some of Mulally's successes and avoid the pitfalls that are highlighted.

If there was anything that you wanted me to cover in this review that I failed to, please let me know in the comments and I'll go back and cover them. I want this to be useful for you.

29 of 31 people found the following review helpful.
Fascinating, page-turning, idea-inspiring!
By James Korsmo
Simply put, this book is a page-turner. And that's not what you'd normally expect from a business book. But there's a great story here, well told, that excites the mind.

There hasn't really been a bigger story in the last half-decade than the economy, and along with the banking and housing sectors, America's "big three" automotive manufacturers have been key players in that story. But amid an economy in decline and two cross-town rivals falling toward default, Ford managed to plot a different course. This book is the story of that startling rebirth. It briefly chronicles the history of Ford, appraising its ups and downs and the resulting corporate culture its history had created. And it looks at the trouble it was facing (along with the rest of the auto industry) in the mid 2000s. But things took a decisive change for Ford when Bill Ford Jr. volunteered to step aside as CEO and bring in outside help. And the person he tapped for that responsibility was Alan Mullaly, a top executive who had just led a resurgence at Boeing.

American Icon is really three books in one: It is an interesting piece of modern American history, chronicling the inside workings of a key economic player in the midst of historic economic troubles throughout the country and the world. It is also a business book, with thoughtful and inspiring ideas for rethinking corporate culture, business workflows, and entrenched mindsets with cross-functional teams, openness, responsibility, and a carefully focused but always updating plan. And third, it is an interesting biography of both Bill Ford Jr. and Alan Mullaly, giving insight into their personalities and approaches to business.

Mulally's ideas of emphasizing simplicity, comporting vision with reality, and demanding open collaboration and communication among team members worked wonders at Ford. He paints a compelling picture of how a corporate structure (at whatever level) could work constructively and agilely to effect productive change and breed success. I often had to put the book down so I could jot down ideas for making some of his principles work in my own workplace. This business book almost pulls new ideas out of you by stimulating your thinking; at least, it did for me.

I loved this book, and am happy to enthusiastically recommend it. It's a fascinating case study in successful business coupled with compelling modern history told as a fast-moving story. You will not be bored; in fact, you'll be pulled in to Mulally's vision as you see it unfold before you.

23 of 26 people found the following review helpful.
Visionary
By sneaky-sneaky
Simply put, Ford is now exciting. Bryce Hoffman explains why and how. Alan Mullally was brought in to save a legend from itself, and he did just that. The Mulally model will probably be studied and taught for decades. Ford's culture was poisonous at so many levels. Bad products, bad policies, and a toxic culture of backstabbing and oneupmanship had culminated in what would be an inevitable end. Executives bugged each other's offices, phones were tapped, vehicles were overproduced and later sold at discounts; and that culture was decades old. Henry Ford started it all when a bunch of guys went behind his back, made some improvements to the Model T, and delivered a prototype. Ford destroyed it with a sledgehammer.
Bryce Hoffman was given unprecedented access and provides direct quotes from many of the defining moments and situations that occurred over the last decade, including talks with the Chrysler and GM CEOs, Ben Bernanke, Hank Paulson, candidate Obama, the Ford heirs, and so on. There have been complaints that the book is overly optimistic bordering on worshipful. Well, all you need to do is look at the product. I walked around a dealership. Ford's new vehicles look great, and the company now has the highest quality rating for a non-luxury brand. In the book you read about the current advertising campaign that was conceived several years ago. Ford started off with 'One Ford' or something, and as quality improved, Mulally wanted to move to interviews with customers impressed with the new product; in other words using actual customers to sell great vehicles. And that is exactly what is happening today.
Mr. Hoffman has been an auto industry reporter for a number of years and knows what stories are relevant, where the bodies are buried, and where the shovels are at.

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[Z620.Ebook] Free PDF To Kill a Mockingbird (Hodder Graphics), by Harper Lee

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To Kill a Mockingbird (Hodder Graphics), by Harper Lee

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Hodder Graphics: To Kill A Mockingbird is a graphic text designed to support teaching of To Kill A Mockingbird for the GCSE English Literature exam. Its visual representation combined with its simple approach make it accessible to students across a range of abilities. The Graphic Book will provide an overview of the set text with plot and characters clearly delineated, but will also focus on aspects of the text that examiners find students struggle with most in the exam. - Support students in their understanding of the cultural and historial background to the text - Uses text extracts to develop language analysis work - Focuses on plot, characterisation, theme, language and structure as specified in the Assessment Objectives

  • Sales Rank: #1289159 in Books
  • Published on: 2007-11-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x 7.25" w x .25" l, .40 pounds
  • Binding: Paperback
  • 72 pages

Review
"Shoot all the bluejays you want, if you can hit 'em, but remember it's a sin to kill a mockingbird."-- Atticus Finch in "To Kill a Mockingbird

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3 of 6 people found the following review helpful.
This mockingbird still sings
By George C. King
I've just re-read this work to see how it stands the test of time. The most impressive feature of the novel is the narrative style. The narrator is an adult remembering or reflecting on the story in a child's voice, a neat juggling act that mixes satire and naivete. The satire is reminiscent of Jane Austen, especially when Lee, through Scout's voice, tackles education, class, bigotry, and the missionary society. The indictment of race in the novel is well documented, especially the casual use of the "N" word, even by the children. While some may find the portrait of Atticus as hero to be overblown, it is a loving and touching characterization on the author's part. The scene where the children join Atticus to confront the potential lynch mob at the jail still makes me cry. It seems to me that Lee has been pitch-perfect in capturing time and place. My conclusion: TO KILL A MOCKINGBIRD remains a classic of 20th century literature.

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