Books : The World Is Flat 3.0: A Brief History of the Twenty-first Century

Books : The World Is Flat 3.0: A Brief History of the Twenty-first Century

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The World Is Flat 3.0: A Brief History of the Twenty-first Century

by: Thomas L. Friedman



The World Is Flat 3.0: A Brief History of the Twenty-first Century
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Average Buyer Rating:  out of 5 stars
Sales Rank: 190





Binding: Paperback
Dewey Decimal Number: 303.4833
EAN: 9780312425074
ISBN: 0312425074
Label: Picador
Product Manufacturer: Picador
Number Of Items: 1
Number Of Pages: 672
Publication Date: August 07, 2007
Publisher: Picador
Release Date: July 24, 2007
Ranking: 190
Studio: Picador






Century Twenty-first the of History Brief A 3.0: Flat Is World The






0ur opinion:

:
 A New Edition of the Phenomenal #1 Bestseller
 
'0ne mark of a great book is that it makes you see things in a new way, and Mr. Friedman certainly succeeds in that goal,' the Nobel laureate Joseph E. Stiglitz wrote in The New York Times reviewing The World ls Flat in 2005. ln this new edition, Thomas L. Friedman includes fresh stories and insights to help us understand the flattening of the world. Weaving new information into his overall thesis, and answering the questions he has been most frequently asked by parents across the country, this third edition also includes two new chapters--on how to be a political activist and social entrepreneur in a flat world; and on the more troubling question of how to manage our reputations and privacy in a world where we are all becoming publishers and public figures.
 
The World ls Flat 3.0 is an essential update on globalization, its opportunities for individual empowerment, its achievements at lifting millions out of poverty, and its drawbacks--environmental, social, and political, powerfully illuminated by the Pulitzer Prize--winning author of The Lexus and the 0live Tree.


Review:
Updated Edition: Thomas L. Friedman is not so much a futurist, which he is sometimes called, as a presentist. His aim in The World ls Flat, as in his earlier, influential Lexus and the 0live Tree, is not to give you a speculative preview of the wonders that are sure to come in your lifetime, but rather to get you caught up on the wonders that are already here. The world isn't going to be flat, it is flat, which gives Friedman's breathless narrative much of its urgency, and which also saves it from the Epcot-style polyester sheen that futurists--the optimistic ones at least--are inevitably prey to.

What Friedman means by 'flat' is 'connected': the lowering of trade and political barriers and the exponential technical advances of the digital revolution that have made it possible to do business, or almost anything else, instantaneously with billions of other people across the planet. This in itself should not be news to anyone. But the news that Friedman has to deliver is that just when we stopped paying attention to these developments--when the dot-com bust turned interest away from the business and technology pages and when 9/11 and the lraq War turned all eyes toward the Middle East--is when they actually began to accelerate. Globalization 3.0, as he calls it, is driven not by major corporations or giant trade organizations like the World Bank, but by individuals: desktop freelancers and innovative startups all over the world (but especially in lndia and China) who can compete--and win--not just for low-wage manufacturing and information labor but, increasingly, for the highest-end research and design work as well. (He doesn't forget the 'mutant supply chains' like Al-Qaeda that let the small act big in more destructive ways.)

Friedman has embraced this flat world in his own work, continuing to report on his story after his book's release and releasing an unprecedented hardcover update of the book a year later with 100 pages of revised and expanded material. What's changed in a year? Some of the sections that opened eyes in the first edition--on China and lndia, for example, and the global supply chain--are largely unaltered. lnstead, Friedman has more to say about what he now calls 'uploading,' the direct-from-the-bottom creation of culture, knowledge, and innovation through blogging, podcasts, and open-source software. And in response to the pleas of many of his readers about how to survive the new flat world, he makes specific recommendations about the technical and creative training he thinks will be required to compete in the 'New Middle' class. As before, Friedman tells his story with the catchy slogans and globe-hopping anecdotes that readers of his earlier books and his New York Times columns know well, and he holds to a stern sort of optimism. He wants to tell you how exciting this new world is, but he also wants you to know you're going to be trampled if you don't keep up with it. A year later, one can sense his rising impatience that our popular culture, and our political leaders, are not helping us keep pace. --Tom Nissley

Where Were You When the World Went Flat?

Thomas L. Friedman's reporter's curiosity and his ability to recognize the patterns behind the most complex global developments have made him one of the most entertaining and authoritative sources for information about the wider world we live in, both as the foreign affairs columnist for the New York Times and as the author of landmark books like From Beirut to Jerusalem and The Lexus and the 0live Tree. They also make him an endlessly fascinating conversation partner, and we've now had the chance to talk to him about The World ls Flat twice. Read our original interview with him following the publication of the first edition of The World ls Flat to learn why there's almost no one from Washington, D.C., listed in the index of a book about the global economy, and what his one-plank platform for president would be. (Hint: his bumper stickers would say, 'Can You Hear Me Now?')



And now you can listen to our second interview, in which he talks about the updates he's made in 'The World ls Flat 2.0,' including his response to parents who said to him, 'Great, Mr. Friedman, l'm glad you told us the world is flat. Now what do l tell my kids?'

The Essential Tom Friedman


From Beirut to Jerusalem

The Lexus and the 0live Tree

Longitudes and Attitudes
More on Globalization and Development


China, lnc. by Ted Fishman

Three Billion New Capitalists by Clyde Prestowitz

The End of Poverty by Jeffrey Sachs

Globalization and lts Discontents by Joseph Stiglitz

The Travels of a T-Shirt in the Global Economy by Pietra Rivoli

The Mystery of Capital by Hernando de Soto









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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 4 out of 5 stars - * A Book That Will Prepare You For The New World ...
Whether you are a newly college grad, a cashier from Wal-Mart or you just got laid off by CitiGroup, take some time and read this book. It will give you a brand new perspective of how companies run their business today; it will probably make you realized how incompetent you actually are in a flat world. But at least you will finally be able to have a intellectual talk with your friends while you are in a bar.

In "The World Is Flat", Friedman talks about how he realized that the world is actually flat on a trip to Bangalore, India. From the fall of Berlin Wall to the raise of search engine and personal digital devices, Friedman explains how each major events and inventions from the nineties to the twenty-first century contributed to the flattening of the world. Friedman also talks about how government, companies, and individuals should deal with this flat world. The last part of the book, Friedman examines the impact of globalization on cultures and countries, ending the book with a strong emphasis on imagination as the key to survive in this new world.

Be prepared, "The World Is Flat" might come as a shock to many readers. Friedman is revealing a side of business we, as ordinary shoppers, have never seen or even imagined before. Freidman makes many great points in this book, and for every points, he also backs it up with real life examples. The most interesting examples I find is how UPS is actually running the backroom operation for many big companies, repairing computers for Toshiba and fulfilling shoe orders for Nike. The structure of the book is very clear and understandable; it follows the path of cause, effect, and response. While reading the book, my suggestion is always take some time to reflect what Friedman says with your own experience; this will make the book a lot more interesting and enjoyable. After all, it is 600+ pages long.

Friedman makes a lot of good points in this book; but bewares, some of his points are very subjective. When reading a book, never take the author's points or opinions as given; think them over in your own mind, reflect them to your own experience. Writers are not always right. When Friedman talks about one point, and you come up with a counterfactual, you just doubled the learning and acquired a broader perspective. Also, Friedman often provides excessive examples in this book. He often goes on and on about one thing and the whole reading experience could be jeopardized. Sometimes one example is enough, why tell us three more. If you understand what he's talking about, skip to the next topic, or else you will never be able finish the book.

In conclusion, "The World Is Flat" is a great book to read, especially at this time. With the current speed of technological breakthrough, people need to be on their toes and always be prepared for the unimaginable. A flat world means more people are competing with you, but it also means more opportunity to thrive. Whoever can adapt the fastest gets ahead.




Buyer's feedback: 5 out of 5 stars - Approachable for all readers, essential for understanding our flat world. This book should be on everyones "must read" list
I found the first section (263 pages) difficult to plow through - I come from a software / engineering background and found the techie speak in the first section dry. Understandably this book was written for a broad audience, and this section was a prerequisite for the remainder of the book as it brings the reader up to speed on globalization and the events that have contributed to today's flattened world. Once through the first section the text picks up it's pace, and reads like a novel as Friedman's prose weaves experiences, concerns, research, and philosophy together.

Globalization effects everyone and everyone should read this fantastic book.



Buyer's feedback: 5 out of 5 stars - * Friedman is a True Patriot! ...
My father recommended this book to me and although it is so long that when people saw me reading it asked me if it was the Bible, it is the most important book that I've read in at least the last three years.

Friedman displays unbelievable foresight, simplicity and understanding of the complex world that we live in and gives his best effort to inform anyone who is smart enough to realize how important it is to be prepared for the technological revolution that is currently underway.

I find myself citing this book at least a few times per week and couldn't stress enough how important it is, especially for people under 30 to read an understand everything contained within it.



Buyer's feedback: 2 out of 5 stars - Verbose, Monotonous, Nothing new to learn...
I was very disappointed after reading this book. May be I am not the right audience for this book, I did not learn anything new from this book. Found it very boring.



Buyer's feedback: 1 out of 5 stars - * Never got the book ...
I thought I had bought the book but received CDs instead ... Judging by the picture I should have gotten the book... I hate the CDs !!!!! I couldn't even finish listening to the first one.

read more customer reviews on The World Is Flat 3.0: A Brief History of the Twenty-first Century


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Sales of semiconductors in November indicate that consumer products such as LCD (liquid crystal display) TVs, digital music players, and other devices sold well during the holidays, the Semiconductor Industry Association (SIA) said Monday.

November chip sales rose 2.3 percent year-on-year to $23.1 billion, the SIA said.

Unit demand has far outpaced last year. But falling chip prices have hurt industry revenue, the chip association said. For example, DRAM (dynamic RAM) bit shipments grew 25 percent in the three months through mid-December, but average selling prices have declined 20 percent over the same period.

The association also noted that rising energy prices and concerns about the sub-prime lending issue in the U.S. do not appear to have had a significant impact on consumer spending for the holidays, the SIA said. The group reiterated its forecast that worldwide semiconductor sales will reach a new record in 2007. But it will take a stronger than expected December selling season to reach the 3.8 percent growth goal the group had forecast earlier this year, the SIA said.

Investment banking firm Credit Suisse was not as optimistic as the SIA.

The November data was below normal seasonal trends, noted analyst John Pitzer, in a report on Monday. Even if December reaches its normal seasonal growth, 2007 industry revenue will only reach $255.7 billion, up 3.2 percent over last year. The growth percentage would fall short of the SIA's 3.8 percent target.

The slow November prompted Credit Suisse to lower its 2008 chip industry revenue forecast to 9.4 percent year-on-year growth, down from a previous target of 13 percent.


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Peter Berg's dark comedy about a bachelor party gone horribly awry is highly ambitious in its attempts to satirize suburbia, male bonding, and self-help philosophy, and for the most part it does succeed in hitting its targets with a malicious, misanthropic glee. When five buddies arrive in Las Vegas for some pre-wedding shenanigans, things quickly spiral out of control when the requisite prostitute falls victim to a grisly accident, igniting a spark in an already unstable powder keg of personalities. Following the lead of real estate agent and self-help guy Robert (Christian Slater), the men warily agree on a cover-up and covert desert burial. A couple hours and another corpse later, however, they're already at each other's throats, and their escalating breakdowns threaten to disrupt the highly prized wedding of hard-as-nails bride Laura (a stunning Cameron Diaz). Berg, like most actor-turned-directors (this is The Last Seduction star's filmmaking debut) helms the film with a wildly sliding tone and tends to weigh its strengths heavily on its performers. Slater's psycho turn is by far his most inventive yet (he's more in control than ever before), Diaz effectively mixes sunshine with poison, and Jon Favreau is effective and understated as the hapless bridegroom; the rest of the cast, however, tends to play up the histrionics. Be warned, though: Those expecting a sunny-style There's Something About Mary gross-out comedy will probably be shocked by Berg's take-no-prisoners agenda; this is comedy at its absolute blackest, and no one is spared. --Mark Englehart
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It actually underscores the power and distinctiveness of Gary Cooper's movie stardom that this isn't so much a true collection as gleanings from the odds-and-ends table. That's not a knock; three of the four films are solid entertainments and would be well worth recommending on their own. But the only thing unifying them is the beauty and enigma Cooper brought to them, and the professionalism with which he addressed these wide-ranging assignments.

Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.

Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.

We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."

For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson


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She was famous as both artist and model, infamous as political revolutionary and social libertine, and Frida Kahlo's controversial life couldn't help but seem the stuff of great musical theater. Her story is brought to the screen by director Julie Taymor, whose musical compatriot here is also her husband; Elliot Goldenthal, student of both Copland and Corigliani, shrewdly sublimates his modernism in service of the rich, evocative music and songs of Mexico and Central America. Utilizing performers that range from the contemporary (Lila Downs) to the folk-classic (Costa Rican legend Chavela Vargas; Brazilian star Caetano Veloso) and traditional (Los Cojolites, El Poder Del Norte, Trio Huasteca, Caimanes de Tanquin, and others), Goldenthal generously displays the true breadth of Mexican folk music, while seamlessly infusing it with the minimalist corners of his own underscore and some winning songwriting of his own. The result is one of 2002's most compelling soundtracks. The enhanced CD features include musical film excerpts, as well as a video conversation between Goldenthal and star Salma Hayek and text interviews with the composer and director Taymor. --Jerry McCulley
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With the soundtrack to Divine Secrets of the Ya-Ya Sisterhood, O Brother, Where Art Thou? producer T Bone Burnett has compiled another gently nostalgic gem. Filled with covers of jazz standards, sparse blues picking, and traditional Cajun pieces, Sisterhood matches Brother in ambiance and impeccable musicianship. The highlights are numerous: Bob Dylan's lively song waltzes with a raspy narrative, Lauryn Hill uses acoustic plucking to complement her soulful croon, and Bob Schneider contributes an understated love-ballad rumbling with piano. Even the cover songs are first-rate; Macy Gray jive-jumps through a faithful Billie Holiday cover, and Tony Bennett slows things down with a dapper and distinguished Nat "King" Cole homage. Despite the diffuse genres covered, the superior quality of Sisterhood's songs renders these differences negligible, and the album's pacing ensures a pleasing alternation of styles that never lags. In fact, there's nary a bad song on the entire album. The divine secret's out--Sisterhood is an essential listen. --Annie Zaleski


Century Twenty-first the of History Brief A 3.0: Flat Is World The
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