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Circle of Treason details the authors' personal involvement in the hunt for and eventual identification of a Soviet mole in the CIA during the 1980s and 1990s. The search for the presumed traitor was necessitated by the loss of almost all of the CIA's large stable of Soviet intelligence officers working for the United States against their homeland. Aldrich Ames, a long-time acquaintance and co-wor...

• Sales Rank: #2552871 in Books
• Published on: 2012
• Binding: Hardcover
• 240 pages

Most helpful customer reviews

46 of 47 people found the following review helpful.
Authoritative and richly detailed study
By F. Carol Sabin
One of the most revealing, authentic and long-waited books yet published about Ames case written by two CIA veterans with direct knowledge of many dramatic episodes of the Cold War.
The authors - Vertefeuille&Grimes - two tenacious and experienced CIA officers made a superb team (supported by many other colleagues) and wrote, with authority and convinction, a book with many priceless stories.
What makes this book so compelling is that almost every word is true, but, by no means, a complete picture of many Cold War episodes, as you can see below.

The book starts in the first two chapters with a personal description of authors' careers, a fine team as I said, after a short, but explanatory, preface.
In chapter three we were provided with an insightful look and general overview of SE (Soviet and East European) division operations.
Starting with chapter 4 and continuing with the next two, we're providing with the best account about Polyakov case, the GRU general receiving a special attention from the authors and a special dedication at the beginning of the book.

The facts are as detailed as possible, but omitted one important factor - the death of one of Polyakov sons in US, because he was not allowed, by his superiors, to carry out a life-saving surgical operation in a US hospital (Cherkashin&Feifer/Spy Handler) a fact emerging in revenge on the Soviet system, a key element in supporting his double life.
I liked the story of Walt Lomac, an example of personal integrity, in the clash with his CIA superiors about Polyakov bona fide (page 33-34).
Major spy cases are presented in a genuine manner in the next two chapters (40 pages) summarizing the activities of Kulak, Chernov, Poleshuk Piguzov, Yuzhin among others, actually the most valuable CIA network in history. Speaking about B. Yuzhin I noticed, for the first time in the public domain, "the contribution" of FBI's Pitts in this case.
Vertefeuille&Grimes related with accuracy and in fascinating detail each case and I believe that no one knows as much background on these cases as they.
Chapters 9-16 are dedicated to the first reactions to the losses of 1985, gradually focusing on Ames investigation specifically.

The last chapters are more analytical describing Ames (as person and as spy), a comparison between Ames and Hanssen- a fascinating look into the minds of these two characters and concluding with "Final thoughts", a chapter filled with substantial evidence of a somehow troubled US intel community. The book did not spare criticizing some key figures of SE division- for example, M. Bearden activity receiving a particular "scrutiny" (page 19, 100, 133, 211 etc).
The interval between pages 194-207 is filled with an extremely valuable Chronology, a true intelligence history of events and main characters.
The book is well supported by 18 B&W photos showing the main characters of the book (5 are with Polyakov).
There is a useful and short notes section and bibliography to indicate the sources of various statements, so the readers can verify their accuracy, consider the context, or follow them further. There is also a comprehensive index.

In searching for a title to my review I was about to write "a complete study", but few "anomalies" convinced me to change my mind. Ocassionaly, I also did not like the switching between first and third person, often in a very confusing manner. (sometimes a third "person" is speaking about the authors!)
Firstly, there are no accounts about the help of a Russian defector in capturing Ames, a deliberately omission, in my opinion. The authors gave no details about the defector's support - providing no name, but dates, places and times that meshed with the background of Ames - a fact mentioned in two books (Bearden&Risen/The Main Enemy and Cherkashin&Feifer/Spy Handler) and named by R.Kessler (The secrets of the FBI) as being Alexander Zaporozhsky, one of the four Western spies involved in the July 2010 spy swap. This man truly deserves a book for the story of his life.
Another intriguing account referred to the fate of V. Vetrov, the famous "Farewell". It is hard to believe-after reading several books and professional opinions- that Vetrov, as KGB veteran, made the stupid mistake to confess his spying to an unknown person (in prison!), the story so frequently stated in earlier books about this case. Much close to the truth, I believe, is that he was betrayed by someone in the CIA (Bearden) or DST/DGSE (Kalugin).
Thirdly, the fact that both traitors were discovered with the help of ex-KGB/SVR agents was not included in chapter 18 - A comparision between Ames and Hanssen, obviously also a deliberate omission.

Eventually, throughout the book, the authors are not addressing rumors of an undiscovered KGB spy- another Ames or Hanssen- still at large in the US intel community, the so-called "the fourth mole", an interesting episode confirmed by both Bearden (as one involved in the investigations) and Cherkashin (who, as KR line chief, should have direct knowledge or could be the handler of this spy). However, inside the book (page 72) there are a few tidbits about some anomalies represented by O. Gordievsky and S. Bokhan cases. In later case, it is not clear when he was recruited (1975/page 97 or 1976/page 72 and 196); also, in some studies, Gordievsky is suspected that he was recruited as back as 1966, SIS taking over in 1974.

Written by two fine and skilled storytellers as a lesson in the murky world of intelligence during Cold War, this book is a remarkable and major contribution to the literature of espionage that treats spy wars between KGB/SVR and CIA.
For every serious student who likes dead-serious nonfiction books it should be a required and indispensable reading.
Five stars and recommended!

19 of 19 people found the following review helpful.
Rick Ames: The Insiders' Account
By Barbara
CI investigation is an art form carried out by experts. It is not a science and throwing money and unqualified personnel or helpers at such a problem does not guarantee or even improve the chances of success. ..Luck is involved--While there are several `must haves' for a successful CI investigation, knowledge of the target organization, in this case the LGB, is paramount. We had to be experts on the personnel, organization, tradecraft, and operational philosophy of the KGB to have a chance of success.

Sandra Grimes/ Jeanne Vertefeuille "Circle of Treason: A CIA Account of Traitor Aldrich Ames"

First things first: Sandra Grimes and Jeanne Vertefeuille, the two CIA professionals most central to the uncovering of the CIA's most calamitous traitor, Aldrich "Rick" Ames, have produced an insider's description of the case which clearly outclasses five earlier treatments by outside authors, whose access was limited. Their analysis is certain to become the classic description of this treason which resulted in catastrophic damage to CIA's Moscow operations and the deaths of at least eight CIA agents. They tell not just the Ames case but embed it in a compendium of all the major Soviet KGB and diplomatic agents who worked for the CIA and FBI in this period. They are candidly critical of the FBI, especially the bungled surveillance of Edward Lee Howard, but equally censorious of many CIA misadventures--of which there were many including constant breakdown of compartmentalization. They forthrightly (remember the book was subject to the Agency's standard pre-publication "review") offer their pantheon of heroes--Soviet Division Chief Burton Gerber; Gus Hathaway; Paul Raymond; Ray Reardon; Dan Payne. And in their view the hapless--DCI Bill Casey; SE Chief Milt Bearden; and, worst of all, CIA's Counterintelligence chief, James Jesus Angleton. All of these are familiar figures to everybody in the CIA.

The book might equally have been entitled "Handbook on CIA," for it provides details on internal structure and the true names of many operatives long considered classified. Jeanne and Sandy (as they call themselves in the book) offer delightful accounts of their recruitment to the Agency, and how in the 50's women were deemed fit only for the typing pool, not professional intelligence operatives. What eventually brought them together was their Russian language and they ended up in the SR (Soviet Russia) division.
Of particular interest is their insider's view of the "maze of double and triple-think" which developed in the wake of the defection of the KGB's Anatoliy Golitsyn and subsequently Yuriy Nosenko. The unpardonable treatment of Nosenko is not only a huge debacle for the Agency but led to a vast witch hunt--led by Angleton--for a `mole' in the Soviet section. This was dubbed the "Monster Plot" by skeptics who baptized the subscribers to this plot theory the "Black Hats." "According to the Monster theory, every CIA or FBI success against the Soviet target was really KGB success, with the KGB controlling the operation from beginning to end--misleading, confusing, and deceiving the naïve Americans." The "Black Hats" virtually paralyzed operations against Soviet targets for a decade and shattered the careers of CIA officers.

Operations against the Soviets appeared to be going splendidly until suddenly in late May 1985 the Soviets began rolling up, one after another, all the Agency's Moscow assets, arrested and executed. DCI Casey designated John Stein to do a report. Parallel to this, Burton Gerber, recognizing by November the CIA faced a huge problem, instituted his own personal crusade to explain the arrests. A series of clever ploys made clear the problem was not with communications. In November 1989 a seemingly innocuous tidbit emerged which was to play a major role in catching Ames. A colleague of the authors who had known Ames in Mexico remarked how he suddenly seemed to have acquired a lot of money. Operating on the basis of "follow the money" the investigative team discovered unusually large bank deposits by Ames. A variety of indicators suggested a polygraph, which Ames took--and due in part to his ability to talk his way out of conflicts--and passed.

The final phase began in early 1991 when Jeanne was authorized to revisit the 1985 losses in Moscow. The Agency set up a Special Investigation Unit--which diplomatically reached out to the sometimes cantankerous FBI for cooperation, eventually establishing excellent working relations with some agents. The first list of possible suspects they put together included 160 names. Despite this enormous number, members of the team were generally agreed that Ames was likely their man. Still, the investigation involved scanning thousands of documents and a whole litany of other time consuming and labor intensive efforts. One major problem was that Ames, in his normal assignment of recruiting KGB officers, was allowed to meet and fraternize with them. Thus his job provided cover for his espionage operations. Financial records remained critical. At one point reviewing the latest deposits, Redmond exclaimed, "Rick is a goddamn Russian spy." The CIA's extensive investigation paid off in May 1993 when the FBI took over for a criminal investigation. A combination of personal surveillance, cameras and other data prompted the bureau to act: On 21 February 1994, Ames was enticed on a ruse to the office and arrested. His wife, Rosario, was also later taken into custody.

The authors' last chapter, "Final Thoughts" is of particular interest given their decades of experience and insight. They cautioned future investigators to write more memoranda to cover themselves when, as happened, Congress asks questions such as why the CIA inquiry didn't proceed more quickly. They admonished themselves for not catching on to "follow the money" earlier. They advised successors to be more forthright with Congress with periodic updates.

Especially arresting, however, is the authors recognition that the challenges of counterintelligence have changed dramatically since the Cold War. They realize they worked in a simpler world than we have now. The Soviet Union was the enemy; there were no moral ambiguities. Now targets are scattered, amorphous, discrete, non-governmental."We could concentrate our efforts on one country and one government. Alas, the colleagues who have come after us do not have that luxury."
(Jeanne Vertefeuille died in December, 2012.)

13 of 13 people found the following review helpful.
This book needed to be written
By Janice Boyette
I loved it but I spent 32 years working intel. I think it is a very compelling picture of the difficulty and complexity of intell research. I was especially relieved that the authors included the obstacles and distractions often thrown in the analysts way and finally someone wrote about the big happy trip Congress and leadership of the intell agencies took once the wall came down in Berlin. The authors described the frustration analysts felt when we were directed away from important areas and the years wasted while leadership engaged in busy work. It's one thing to reduce the focus but another thing to pretend that focus is not needed. Bravo to the dedicated analysts at CIA.

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“This book�picks up where The Tipping Point left off."�--�Adam Grant, Wharton professor and New York Times bestselling author of ORIGINALS and GIVE AND TAKE

Nothing “goes viral.”�If you think a popular movie, song, or app came out of nowhere to become a word-of-mouth success in today’s crowded media environment, you’re missing the real story. Each blockbuster has a secret history—of power, influence, dark broadcasters, and passionate cults that turn some new products into cultural phenomena. Even the most brilliant ideas wither in obscurity if they�fail to connect with the right network, and�the consumers that matter most aren't the early adopters, but rather their friends, followers, and imitators -- the audience of your audience.

In his groundbreaking investigation,�Atlantic�senior editor Derek Thompson uncovers the hidden psychology of why we like what we like and reveals the economics of cultural markets that invisibly shape our lives. Shattering the sentimental myths of hit-making that dominate pop culture and business, Thompson shows quality is insufficient for success, nobody has "good taste,"�and some of the most popular products in history were one bad break away from utter failure. It may be a new world, but there are some enduring truths to what audiences and consumers want. People love a familiar surprise: a product that is bold, yet sneakily recognizable.

Every business, every artist, every person looking to promote themselves and�their work�wants to know what makes�some works so successful while others disappear.�Hit Makers�is a magical mystery tour through the last century of pop culture blockbusters and the most valuable currency of the twenty-first century—people’s attention.

From the dawn of impressionist art to the future of Facebook, from small Etsy designers to the origin of Star Wars, Derek Thompson leaves no pet rock unturned to tell the fascinating story of how culture happens and why things become popular.
�
In Hit Makers, Derek Thompson investigates:
������� The secret link between ESPN's sticky programming and the The Weeknd's catchy choruses
������� Why�Facebook�is the world’s most important modern newspaper
������� How advertising critics predicted�Donald Trump
������� The 5th grader who accidentally launched�"Rock Around the Clock,"�the biggest hit in rock and roll history
������� How Barack Obama and his speechwriters think of themselves as songwriters
������� How Disney conquered the world—but the future of hits belongs to savvy amateurs and individuals
������� The French collector who accidentally created the Impressionist canon
������� Quantitative evidence that the�biggest music hits aren’t always the best
������� Why almost all Hollywood blockbusters are sequels, reboots, and adaptations
������� Why one year--1991--is responsible for the way pop music sounds today
������� Why another year --1932--created the business model of film
������� How data scientists proved that “going viral” is a myth
������� How 19th century immigration patterns explain the most heard song in the Western Hemisphere

• Sales Rank: #1135 in Books
• Published on: 2017-02-07
• Released on: 2017-02-07
• Original language: English
• Dimensions: 9.50" h x 1.06" w x 6.38" l, 1.25 pounds
• Binding: Hardcover
• 352 pages

Review
"Enthralling-- full of 'aha' moments about why some ideas soar and others never get off the ground. This book�picks up where�The Tipping Point left off."�
-�Adam Grant, Wharton professor and New York Times bestselling author of ORIGINALS and GIVE AND TAKE

“While giving Lady Luck her due, Thompson studiously examines the myriad factors that make the things we buy, like�and follow so irresistible: whether Facebook, TV shows such as�Seinfeld,�Bumble (the app, not the insect), even favorite lullabies. In�Hit Makers, his first book, Thompson tackles this mystery with solid research, ready wit and catchy aphorisms…a wonderful book.”
—USA Today

“Hit Makers�is thoughtful and thorough, a compelling book ….�a terrific look at what makes a hit, from the Mona Lisa to Donald Trump.”�—�Vox

"Derek Thompson has long been one of the brightest new voices in American journalism. With HIT MAKERS, he becomes one of the brightest new voices in the world of non-fiction books. Ranging from Impressionist art to German lullabies to Game of Thrones, HIT MAKERS offers a fresh and compelling take on how the media function and how ideas spread. �As deftly written as it is keenly argued, this book — true to its title — is a hit.”
—Daniel H. Pink, New York Times bestselling author of DRIVE and TO SELL IS HUMAN

“Derek Thompson’s HIT MAKERS is a sharply observed history of the megahit, from�the 13th-centuy tunic craze to the iPhone, tracing �the strange ever-changing mixture of genius, dumb luck, business savvy, and network math that turns an obscurity into a worldwide smash.”
-Jordan Ellenberg, New York Times bestselling author of HOW NOT TO BE WRONG

"What makes one song hit, and another, flop, one book a success and the other, fodder for the discount bins? That's the mystery Derek Thompson probes with his characteristic verve, wit, and insight in "Hit Makers." It's an engrossing read that doesn't settle for easy answers, and one that seems destined to become one of the hits that Thompson so deftly analyzes."
-Maria Konnikova, New York Times bestselling author of THE CONFIDENCE GAME

“Hit Makers�blends historical lessons with technological & social insights to explain what makes culture tick, and hits happen.” ��
—Steve Case, Chairman and CEO of Revolution and Co-Founder of America Online

“Derek Thompson’s Hit Makers is a terrific read—a sparkling combination of fascinating stories, cutting-edge science, and superb business advice. Just as he does when he writes for The Atlantic, Thompson shares more interesting ideas per paragraph than practically any other writer today. Hit Makers is a bible for anyone who’s ever tried to promote practically anything, from products, people, and ideas, to books, songs, films, and TV shows.”
—Adam Alter, New York Times Bestselling author of Drunk Tank Pink and Irresistible
��
"I always read everything by Derek Thompson I see, and this book was no exception.�Why things become popular is one of the most important questions in an ever-more networked world, and Derek Thompson's *Hit Makers* is the best and most�serious attempt to take a look at it."
—Tyler Cowen, author of The Great Stagnation and Marginal Revolution

“This book is brilliant, a fascinating exploration of the relationship between artistry and industry, the ways that everything from immigration to distribution helps create the popular imagination. You may never look at your favorite film or song the same way again. It should be required reading for anyone working in the popular arts.”
—Simon Kinberg, producer of�The Martian, screenwriter and producer for the�X-Men�film franchises

“Thompson tackles the daunting subject of how products come to dominate the culture in this interdisciplinary romp that delves into many facets of the entertainment industry as well as industrial design, art history, publishing, and politics…presenting �his case with verve and a lightning chain of compact anecdotes ….This book will appeal to readers of Malcolm Gladwell as well as pop-culture enthusiasts and anyone interested in the changing media landscape.”
—�Booklist

“How does a nice idea become an earworm, or a fashion trend, or—shudder—a meme? Atlantic senior editor Thompson ventures a few well-considered answers….Good reading for anyone who aspires to understand the machinery of pop culture—and perhaps even craft a hit of his or her own.”�
–�Kirkus Reviews

About the Author
Derek Thompson is a senior editor at The Atlantic magazine, where he writes about economics and the media. He is a regular contributor to NPR's "Here and Now" and appears frequently on television, including CBS and MSNBC. He lives in New York City.

Excerpt. � Reprinted by permission. All rights reserved.
1

The Power of Exposure

Fame and Familiarity—in Art, Music, Politics

On a rainy morning one fall, I was walking alone through the impressionist exhibit of the National Gallery of Art in Washington, D.C. Standing before a wall of renowned paintings, I was struck by a question that I imagine many people wonder quietly in a museum, even if it’s rude to say out loud in a company of strangers: Why is this thing so famous?

It was The Japanese Footbridge by Claude Monet, with the blue bridge arching over an emerald green pond that is gilded with patches of yellow, pink, and green—the iconic water lilies. It was impossible not to recognize. One of my favorite picture books as a kid included several of Monet’s water lily paintings. It was also impossible to ignore, on account of several kids scrambling through the geriatric crowd to get a closer look. “Yes!” a teenage girl said, holding up her phone in front of her face to take a picture. “Oh!” exclaimed the taller, curly-haired boy behind her. “It’s that famous one!” Several more high school students heard their shouts, and within seconds a group had clustered around the Monet.

Several rooms away, the gallery held a special exhibit for another impressionist painter, Gustave Caillebotte. This was a quieter, slower affair. There were no students and no ecstatic exclamations of recognition, just a lot of mmm-hmms and solemn nods. Caillebotte is not world famous like Monet, Manet, or C�zanne. The sign outside his exhibition�at the National Gallery called him “perhaps the least known of the French impressionists.”�

But Caillebotte’s paintings are exquisite. His style is impressionist yet exacting, as if captured with a slightly more focused camera lens. Often from a window’s view, he rendered the colorful urban geometry of nineteenth-century Paris—the yellow rhomboid blocks, the pale white sidewalks, and the iridescent grays of rain-slicked boulevards. His contemporaries considered him a phenomenon on par with Monet and Renoir. �mile Zola, the great French writer who drew attention to impressionism’s “delicate patches of color,” pronounced Caillebotte “one of the boldest of the group.” Still, 140 years later, Monet is one of the most famous painters in history, while Caillebotte is relatively anonymous.

A mystery: Two rebellious painters hang their art in the same impressionist exhibit in 1876. They are considered of similar talent and promise. But one painter’s water lilies become a global cultural hit—enshrined in picture books, studied by art historians, gawked at by high school students, and highlighted in every tour of the National �Gallery of Art—and the other painter is little known among casual art fans. Why?

For many centuries, philosophers, artists, and psychologists have studied modern art to learn the truth about beauty and popularity. For understandable reasons, many focused on the paintings themselves. But studying the patches of Monet and the brushstrokes of Caillebotte won’t tell you why one is famous and the other is not. You have to see the deeper story. Famous paintings, hit songs, and blockbusters that seem to float effortlessly on the cultural consciousness have a hidden genesis; even water lilies have roots.

When a team of researchers at Cornell University studied the story of the impressionist canon, they found that something surprising set the most famous painters apart. It wasn’t their social connections or their nineteenth-century renown. It was a subtler story. And it all started with Caillebotte.

Gustave Caillebotte was born to a wealthy Parisian family in 1848. As a young man, he veered from law to engineering to the French army in the Franco-Prussian War. But in his twenties, he discovered a passion and immense talent for painting.

In 1875, he submitted The Floor Scrapers to the Academy of Fine Arts in Paris. In the painting, white light coming through a window illuminates the bare white backs of several men working on their knees, scraping the dark brown floor of an empty room, as the skinned wood curls into spirals beside their legs. But the painting was rejected. One critic later summed up the scornful response when he said, “Do nudes, but do beautiful nudes or don’t do them at all.”

The impressionists—or, as Caillebotte also called them, les Intransigents—disagreed. Several of them, including Auguste Renoir, liked his quotidian take on the floor scrapers and asked Caillebotte to exhibit with their fellow rebels. He became friends with some of the era’s most controversial young artists, like Monet and Degas, buying dozens of their works at a time when few rich European men cared for them.

Caillebotte’s self-portraits show him in middle age with short hair and a face like an arrowhead, angular and sharpened to a point, with an austere gray beard. A grave countenance colored his inner life as well. Convinced that he would die young, Caillebotte wrote a will instructing the French state to accept his art collection and hang nearly seventy of his impressionist paintings in a national museum.�

His fears were prescient. Caillebotte died of a stroke in 1894 at the age of forty-five. His bequest included at least sixteen canvases by Monet, eight by Renoir, eight by Degas, five by C�zanne, and four by Manet, along with eighteen by Pissarro and nine by Sisley. It is not inconceivable that his walls would be valued at several billion dollars in a twenty-first-century Christie’s sale.

But at the time, his collection was far less coveted. In the will, Caillebotte had stipulated that all paintings hang at the Mus�e du Luxembourg in Paris. But even with Renoir serving as executor, the French government initially refused to accept the artworks.�

The French elite, including conservative critics and even prominent politicians, considered the bequest presumptuous, if not downright ludicrous. Who was this scoundrel to think he could posthumously force the French government to hang dozens of blotchy atrocities on its own walls? Several art professors threatened to resign from the �cole des Beaux-Arts if the state accepted the impressionist paintings. �Jean-L�on G�r�me, one of the most famous academic artists of his time, blasted the donation, saying, “For the government to accept such filth, there would have to be a great moral slackening.”

But what is the history of art if not one great slackening after another? After years of fighting both the French state and Caillebotte’s own family to honor the bequest, Renoir persuaded the government to accept about half the collection. By one count, the accepted paintings included eight works by Monet, seven by Degas, seven by Pissarro, six by Renoir, six by Sisley, two by Manet, and two by Cezanne.�

When the artworks were finally hung in 1897, at a new wing in the Mus�e du Luxembourg, it represented the first ever national exhibition of impressionist art in France, or any European country. The public flooded the museum to see art they’d previously savaged or simply ignored. The long battle over Caillebotte’s estate (the press called it l’affaire Caillebotte) had the very effect he must have hoped: It brought unprecedented attention, and even a bit of respect, to his intransigents friends.

One century after the exhibition of the caillebotte collection, James Cutting, a psychologist at Cornell University, counted more than fifteen thousand instances of impressionist paintings to appear in hundreds of books in the university library. He concluded “unequivocally” that there were seven (“and only seven”) core impressionist painters, whose names and works appeared far more often than their peers. This core consisted of Monet, Renoir, Degas, Cezanne, Manet, Pissarro, and Sisley. Without a doubt, this was the impressionist canon.

What set these seven painters apart? They didn’t share a common style. They did not receive unique praise from contemporary critics, nor did they suffer equal censure. There is no record that this group socialized exclusively, collected each other’s works exclusively, or exhibited exclusively. In fact, there would seem to be only one exclusive quality the most famous impressionists shared.

The core seven impressionist painters were the only seven impressionists in Gustave Caillebotte’s bequest.

Exactly one hundred years after Caillebotte’s death, in 1994, James Cutting stood before one of the most famous paintings at the Mus�e d’Orsay in Paris and had a familiar thought: Why is this thing so �famous?

The painting in question was Renoir’s Bal du Moulin de la Galette. Standing about four feet high and six feet wide, the artwork shows scores of well-dressed Parisians clustered in an outdoor dance hall, waltzing, drinking, and huddling around tables in the dappled light of a Sunday afternoon in the Montmartre district of Paris.�

Cutting instantly recognized the work. But he wondered what was so inherently special about the painting, apart from the fact that he recognized it. Yes, the Bal du Moulin is absorbing, he granted, but the artwork was not obviously better than its less celebrated peers in adjacent rooms.�

“I really had an aha moment,” Cutting told me. “I realized that Caillebotte had owned not only the Bal du Moulin, but also many other paintings at the museum that had become extremely famous.”

He returned to Ithaca to flesh out his eureka. Cutting and a research assistant went through about one thousand books of impres�sionist art in the Cornell University library to make a list of the most commonly reproduced artists. He concluded that the impressionist canon focuses on a tight cluster of seven core painters: Manet, Monet, C�zanne, Degas, Renoir, Pissarro, and Sisley—the Caillebotte Seven.

Cutting had a theory: Gustave Caillebotte’s death helped to create the impressionist canon. His bequest to the French state created the frame through which contemporary and future art fans viewed impressionism. Art historians focused on the Caillebotte Seven, which bestowed prestige on their works, to the exclusion of others. The paintings of the Caillebotte Seven hung more prominently in galleries, sold for greater sums of money to private collectors, were valued more by art connoisseurs, were printed in more art anthologies, and were dissected by more art history students, who grew into the next generation’s art mavens, eager to pass on the Caillebotte Seven’s inherited fame.

Cutting had another theory: The fact that Caillebotte’s bequest shaped the impressionist canon spoke to something deep and universal about media, entertainment, and popularity. People prefer paintings that they’ve seen before. Audiences like art that gives them the jolt of meaning that often comes from an inkling of recognition.�

Back at Cornell, Cutting tested this theory. He gathered 166 people from his psychology class and presented them with paired works of impressionist art. In each pair, one of the paintings was significantly more “famous”—that is, more likely to appear in one of Cornell University’s textbooks. Six times out of ten, students said they preferred the more famous picture.

This could have meant that famous paintings are better. Or it might have meant that Cornell students preferred canonical artworks because they were familiar with those paintings. To prove the latter, Cutting had to engineer an environment where students were unwittingly but repeatedly exposed to less famous paintings the same way that art audiences are unwittingly but repeatedly exposed to the impressionist canon from a young age.

What came next was quite clever: In a separate psychology class, Cutting bombarded students with obscure artworks from the late nineteenth century. The students in this second class saw a nonfamous impressionist painting four times for every one time they glimpsed a famous artwork. This was Cutting’s attempt to reconstruct a parallel universe of art history, where Caillebotte never died prematurely, where his legendary bequest never created an impressionist wing, and where the Caillebotte Seven never benefited from a random historical accident that elevated their exposure and popularity.

At the end of the second course, Cutting asked the 151 students to choose their favorite paintings among fifty-one pairs. The results of the popularity contest turned the canon upside down. In forty-one of fifty-�one pairs, the students’ preference for the most famous impressionist works disappeared. The emerald magnetism of Monet’s gardens, the electric polychrome of Renoir, and the genius of Manet were nearly nullified by something else—the power of repeated exposure.

It’s extraordinary that Caillebotte’s bequest helped to shape the�canon of impressionism because he purposefully bought his friends’ least popular paintings. Caillebotte made it a principle to buy “�es�pecially those works of his friends which seemed particularly �un�saleable,” the art historian John Rewald wrote. For example, Caillebotte served as a buyer of last resort when he purchased Renoir’s�Bal du Moulin de la Galette. Today,�the painting that Caillebotte rescued from obscurity and that inspired Cutting’s famous study of art psychology is considered a masterpiece. When it sold at auction for�$78 million in 1990, it was the second most expensive artwork ever purchased. You may find Renoir’s painting to be inherently �beautiful—I do—but its canonical fame is inseparable from its absurd good fortune to be among the Caillebotte collection.

Mary Morton, the curator of French paintings at the National Gallery of Art, organized the museum’s 2015 Caillebotte exhibit. She told me that a lack of exposure might account for Caillebotte’s anonymity for another reason: Impressionism’s most important collector didn’t try to sell his art.

One of the most important behind-the-scenes figures in impressionist history is Paul Durand-Ruel, a French collector and dealer who served as a one-man clearinghouse for impressionist paintings before they became world famous. His exhaustive efforts to sell work by Monet and others created and sustained the movement while the French salons and European aristocracy considered their patched style a heinous affront to French romanticism. Durand-Ruel found more success among American collectors. “As the industrial revolution and income growth cranked up, newly wealthy people inhabited big new apartments in Paris and New York City,” Morton told me. “They needed decoration that was affordable, beautiful, and widely available, and impressionist paintings were all three.” New wealth created the space for new tastes. Impressionism filled the void.

But Caillebotte does not fit into this story of impressionism’s popularity among the nouveau riche. He was a millionaire, as the heir to a large fortune in textiles, and he had no need to make money from a painting hobby. There are more than 2,500 paintings, drawings, and pastels attributed to Monet. Despite his severe arthritis, Renoir produced an astonishing 4,000 works. Caillebotte produced about 400 paintings and made little effort to distribute them to collectors or museums. He faded into obscurity in the early twentieth century while his peers hung in crowded galleries and private collections, as the echoing power of Caillebotte’s gift rolled through history.

When today’s high school students recognize Monet’s water lilies, they’re seeing more than a century’s worth of exposure and fame.�Caille�botte is the least known of the French impressionists. But it’s not because he’s the worst. It’s because he offered his friends a gift that he was willing to withhold from himself: the gift of exposure.

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8 of 8 people found the following review helpful.
Well-written book full of stories and insights into how hits are made
By Lori Durbin
I loved Hit Makers -- the book is packed with fascinating stories and great takes on why things become popular. The insights into the importance of distribution are often overlooked and particularly applicable to the making of any pop culture success.

1 of 1 people found the following review helpful.
An Extraordinary and Interesting Analysis of Popularity
By Lance B Hackett
I read for enjoyment and to learn. Hit Makers satisfied both of these. It is a fascinating examination and analysis of why some works of art, songs, movies or other elements of culture catch on and others do not. Is the Mona Lisa the most famous painting in the world because it is the best? How does one even determine “the best” when subjective judgment is the root of determination?

Mr. Thompson’s book is well-written and engaging from beginning to end. His versatility with his subject in both breadth and depth is astonishing, as he discusses topics from lullabies of Brahms to the songs of Adele and Taylor Swift and from the art of Monet to the movies of George Lucas. There is even a section on the rise and fall of the “laugh track” in television comedy. He also considers the economics of art and how it is undergoing massive disintermediation and restructuring. Former gatekeepers such as TV networks, newspapers, bookstores, museums, and record publishers have been circumvented as new means of reaching audiences evolve. He examines how Fifty Shades of Grey and Pok�mon became cultural phenomenon. It is clear that luck plays a role, but there is also far more to finding an audience than to getting a lucky break. There are patterns to some forms of art that attract an audience. One is abbreviated MAYA – Most Advanced Yet Acceptable. He also dispels the myth of “going viral”, as few successes can attribute their popularity strictly to word of mouth contagion.

The book has scores of interesting stories about popular culture. I particularly enjoyed the story of how Rock Around the Clock became a hit song after failing in its initial release, and the rhetorical flourishes that speechwriters use to catch an audiences interest.

This is truly an important book for our times. Each day we attempt to sip from a firehose of information and entertainment arriving on our TVs, computers and smart phones. Trying to discern what is worth our time and what to ignore is a challenge we all face. I felt more enlightened after reading Hit Makers. I do suggest you read the book on a Kindle, as I was frequently checking the definition of words.

My one minor quibble is I would have liked a final chapter to summarize the various ideas covered in the earlier chapters. The book is so rich in content, it would have benefited from an encapsulation of the different reasons for popularity.

14 of 16 people found the following review helpful.
Fascinating read for anyone trying to get a smarter on consumer culture or making a hit!
By Amazon Customer
This book is one of the most interesting books I've read this year. There are important lessons to be learned from this book such as MAYA and distribution models that can relate to any industry and teach anyone how to rethink their marketing or sales strategies. However, while it is useful, it goes further than just being a book on how to make a hit - it gives you valuable examples and historical and psychological lessons that are not only fascinating but fun to re-tell and share with friends. I would recommend this book to anybody who enjoys the Atlantic and Derek's writing, but also to anyone who is working in a hit-making industry today!

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[J993.Ebook] Download PDF An Introduction to English Language: Word, Sound and Sentence, by Koenraad Kuiper, W. Scott Allan

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How does the English language work? If you are interested in discovering the answer to this question, then An Introduction to English Language is the ideal place to start. Written in a clear, lively, and easy-to-follow style, this introductory textbook is based around three core topics of linguistic study:

WORD: English words, how they fit into sentences, their internal structure, their meaning and how they make up vocabularies for various purposes.
SOUND: the sound systems of English, its phonetics and phonology, and English intonation and stress patterns.
SENTENCE: English sentence structure and introductory English grammar.

Packed with classroom tested examples and graded exercises, the third edition of this popular book features:

• a multimedia companion website , containing Powerpoint slides, mini-lectures, quizzes and downloadable audio files to aid study
• new material on language variation and change, including more examples of regional dialects, and extra material on New Englishes
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Carefully designed as a course-book for either group or individual study, An Introduction to English Language remains an essential text for students and teachers of English language and introductory linguistics.

• Sales Rank: #983252 in Books
• Published on: 2010-08-15
• Released on: 2010-08-31
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .84" w x 7.47" l, 1.70 pounds
• Binding: Paperback
• 400 pages

Review

Praise for previous editions:

"A book I would recommend to Departments of English world-wide. Kuiper and Allan's book...deals with the bare bones of English structure - its sound system, its lexicon and its syntactic structure. The book...focuses practically and squarely on the language at hand, and it eschews the obfuscation of current linguistic squabbles and the arcanity of some of those representations. That said, however, it does no disservice whatsoever to the sophistication and findings of modern linguistic science." - Professor Dennis Preston, Michigan State University, USA

"Students will appreciate the detailed but clear discussion of introductory material on the structure of English and will also find the extensive, carefully graded exercises exceptionally helpful." - David Deterding, University of Brunei, Darrussalam

About the Author

KOENRAAD KUIPER is Professor of Linguistics at the University of Canterbury, Christchurch, New Zealand.

The late W. SCOTT ALLAN�was Senior Lecturer in the Department of Applied Language Studies and Linguistics at the University of Auckland, New Zealand.

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1 of 1 people found the following review helpful.
The Study of Language
By Iyanie
I'm a sophomore, English education major. I'm currently taking The study of Language course. This book is extremely helpful if you're learning to read the phonetic alphabet. It comes complete with a chart and examples.

0 of 1 people found the following review helpful.
never used
By zac
teacher never used the book - SHOCKER - but the material wasn't terrible and seemed like it could help but never used

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• Original language: French
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In today's volatile business landscape, adaptability and creativity are more crucial than ever. It is no longer possible-or even desirable-to learn one set of job skills and to work your way up the ladder. At the same time, entrepreneurs with great ideas for new products or technologies that could change the world often struggle to capture the attention of venture capital firms and incubators; finding the funding necessary to launch a start-up can feel impossible. The business leaders of our future must anticipate change to create their own opportunities for personal satisfaction and professional success. In Disrupt You!, Jay Samit, a digital media expert who has launched, grown, and sold start-ups and Fortune 500 companies alike, describes the unique method he has used to invent new markets and expand established businesses.

Samit has been at the helm of businesses in the ecommerce, digital video, social media, mobile communications, and software industries, helping to navigate them through turbulent economic times and guide them through necessary transformation so that they stay ahead of the curve. In Disrupt You!, he reveals how specific strategies that help companies flourish can be applied at an individual level to help anyone can achieve success and lasting prosperity-without needing to raise funds from outside investors.

Incorporating stories from his own experience and anecdotes from other innovators and disruptive businesses-including Richard Branson, Steve Jobs, Elon Musk, YouTube, Circ du Soleil, Odor Eaters, Iams, Silly Putty, and many more-Samit shows how personal transformation can reap entrepreneurial and professional rewards. Disrupt You! offers clear and empowering advice for anyone looking to break through; for anyone with a big idea but with no idea how to apply it; and for anyone worried about being made irrelevant in an era of technological transformation. This engaging, perspective-shifting book demystifies the mechanics of disruption for individuals and businesses alike.

• Sales Rank: #642619 in Books
• Brand: imusti
• Published on: 2015
• Original language: English
• Dimensions: 9.21" h x .87" w x 6.02" l, .37 pounds
• Binding: Paperback

Features

• Macmillan DMACDIS Orphans

Review

“Despite the constantly changing tides of the media industry, Jay Samit has been at the forefront of global trends for over three decades. He has been an intrapreneur and entrepreneur and excelled at both.” ―Wall Street Journal

“Samit, who has been at the helm of many digital watersheds, from negotiating with Steve Jobs over iTunes, to having the original leader in college social networks is optimistic that user attention will be a valuable enough currency to pay for more than just entertainment.” ―Fast Company

“Jay Samit is one of the world's most successful digital media innovators.” ―Founders Institute

“Embracing innovation has been a hallmark of Jay Samit's career...and that's the mindset all professionals should aspire to now. To successfully navigate today's professional landscape, you must understand the dynamics of disruption. As Jay teaches in this book, you can swim with the currents of change instead of against them. And when you do that, disruption can propel you toward new opportunities, new creative challenges, and prosperity.” ―Reid Hoffman, founder of LinkedIn and author of THE START-UP OF YOU

“Before, disruption was something we sat and admired. Now, thanks to this book, it's something we can stand up and do. With an array of examples so energizing they seem to leap off the page, technology innovator Jay Samit offers sage advice for launching products, building businesses, and transforming careers.” ―Adam Grant, Wharton professor and New York Times bestselling author of GIVE AND TAKE

“This book provides invaluable advice for anyone who wants to disrupt themselves, solve big problems, and thrive in today's rapidly changing, constantly innovating world. A must read.” ―Peter H. Diamandis, CEO, XPRIZE; Executive Chairman, Singularity University; and New York Times bestselling author of ABUNDANCE

“DISRUPT YOU! solves the innovator's dilemma by teaching entrepreneurs how to think and how to achieve game-changing results. Samit combines powerful business insights with a practical step-by-step roadmap for success.” ―Nolan Bushnell, founder Atari, Chuck E. Cheese, and Brainrush

“Jay Samit has been at the center of the most disruptive trends of the last thirty years and he has crystallized how innovation shakes the world-from tech, to education, to mankind. DISRUPT YOU! is your guide to becoming the smartest person you know!” ―Ken Rutkowski, host of Business Rock Stars

“DISRUPT YOU! is revolutionary. To survive in today's economy, everyone needs to think like an entrepreneur. Samit shows how we have the power to succeed in business by disrupting our internal limitations, turning obstacles into opportunities, and killing our best ideas. This is a must read for every entrepreneur and intrapreneur wanting greater satisfaction out of their careers.” ―Kelly Perdew, entrepreneur and winner of NBC’s The Apprentice

“In the 20 years I've known him, Jay has reinvented one business after another. Part magician, part engineer, and part analyst, he's predicted, prepared for, and prospered from the disruption of several multi-billion- dollar businesses. In DISRUPT YOU! he reverse-engineers the disruptive mindset that will affect every business from automotive to the corner restaurant. A must read.” ―Seth Shapiro, two-time Emmy� Award-winner and member of the Board of Governors, the Television Academy

“If you are looking to ignite your journey in life, look no further than DISRUPT YOU! Jay Samit provides the keys to unlock what has been holding us back from achieving the levels of greatness we are capable of and disrupting the tired status quo. Not a should read, a must read.” ―John Lee, host of EntrepreneurOnFire, awarded Best Podcast of iTunes

“I used to live in fear that Jay Samit would compete with me. Now that I have his book I have at least a chance.” ―Robert Scoble, founder of SCOBLEIZER

“DISRUPT YOU! is an inspiring Cliffs Notes (if you know what that is) for all serious entrepreneurs and innovative managers looking to launch a new company or new product. A must-read for all start-up founders, this is the best book I know for increasing a start-up's likelihood of financial success.” ―Brian Solis, author of WTF!

“From the moment I met Jay, I knew he was a different kind of entrepreneur. Bold, blunt and refreshing. Start-ups everywhere should be singing hallelujah that Jay has decided to put all his unique insights into his new book, DISRUPT YOU! I've been waiting for it! No doubt any entrepreneur who picks this book up will increase their likelihood for success. This is a definite must read!” ―Betty Liu, author of WORK SMARTS

“What Jay Samit empowers you to do is nothing short of mercurial: to predict the market, disrupt yourself, and position your business for exponential growth. This is your chance to leverage his years of leadership at start-ups to global media companies, such as Universal Studios and Sony. If you want to collapse time, minimize risk, and accelerate success, buy DISRUPT YOU!
” ―Simon Mainwaring, founder of We First and New York Times Bestselling author of WE FIRST

“If you need an acting coach, hire Russell Crowe. Throwing a football? That's easy: get help from Joe Montana. But when it comes to your next big business idea, get into the mind of Jay Samit. The "why" is obvious: he knows how to disrupt the industry you work in, right now. That's important because "disruption" is a fine art and it's easy to get wrong: ideas that are too safe get no attention; but ideas that are too big can flame out quickly. Ideas that are disruptive? They get the most funding, the best partners and the most highly qualified employees. Disrupt correctly and you'll take over the world.” ―Oren Klaff, New York Times Best-Selling Author of Pitch Anything

About the Author

JAY SAMIT has been described by Wired magazine as "having the coolest job in the industry." He is a leading technology innovator who has raised hundreds of millions of dollars for startups; sold companies to Fortune 500 firms; taken companies public; and partnered with some of the world's biggest brands, including Coca Cola, McDonald's, General Motors, United Airlines, Microsoft, Apple, Verizon, and Facebook. Samit is CEO of SeaChange International, a leading global multi-screen video software company. A technology innovator and entrepreneur, he was a senior advisor to LinkedIn and was appointed to the White House initiative for education and technology by President Bill Clinton. An adjunct professor of entrepreneurship at USC's Viterbi School of Engineering, Samit is the host of the Wall Street Journal Startup of the Year series.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Literally an 'Entrepreneur's Bible' and 'thoughtmap' on the path to impacting the Marketplace. Thx Jay!
By Nathalie Armand
Disrupt You is a book that can be literally studied back and forth, over and over again. The more I go back over it and look into these pages, the more gems of revelation, ideas and insight about my self! Jay Samit not only speaks with conviction via his experience (of the past decades) but has a clear and concise outlook on the future of business, trends ,etc. Disruption is not a dirty word. Its an inevitable evolutionary process of the marketplace.“To be successful, innovation is not just about value creation, but value capture.” As I work towards the launch of my own startup, As refer to Jay Samit's Disrupt You as a clear channel and guide. With a clear writing style and wisdom, this book is a 'bible' for the Entrepreneur .
“Starting each day with a positive mindset is the most important step of your journey to discovering opportunity.” -Jay Samit
On a side bar-my vision is tone day meet Jay, while I'm speaking about how I built my company.
-Rashim

1 of 1 people found the following review helpful.
A weapon to survive in this 4th industrial revolution!
By Schneider Alistair
Jay's book is really good as it provides a great landscape of the various methods one can use to identify new ideas and strategies to put them to execution. The book is full of great stories, examples and inspirational quotes (often from Jay directly). Jay definitely had an amazing and impactful life and he saw, front seat, the disruption of a major industry (Entertainment) which allows him to share his experiences and guidance for those executives that may think it cannot happen to them. The book is a great read for aspiring entrepreneurs, intrapreneurs and any marketing, manager who wants to stay abreast of recent big trends. As the world economic forum predicts that we are entering the 4th industrial revolution which will be made of more, bigger disruptions: This is the book to read to help you survive, disrupt instead of being disrupted! Don't hesitate get it, very much worth it.

2 of 2 people found the following review helpful.
One of my favorites
By R. A. F.
I just don't get the opportunity to read for pleasure any longer. I will read this again. It was that good.

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A proven system for improving your own work and for working better in a team

Used by such organizations as the Walt Disney Company, Silicon Graphics, the Federal Reserve Bank, and the CIA, the Enneagram is a proven psychological system based on nine number types that helps people achieve self-awareness and develop strategic approaches to interpersonal interactions. In Bringing Out the Best in Yourself at Work, Enneagram teacher and business consultant Ginger Lapid-Bodga shows professionals how to apply this popular tool to their work as a way to improve their productivity and help them build positive relationships among coworkers. This practical guide explains how to use the Enneagram to:

• Communicate more effectively
• Provide constructive feedback
• Prevent and resolve conflict
• Bring out their strongest leadership skills
• Discover methods for professional development
• Work better in teams

• Sales Rank: #116014 in Books
• Published on: 2004-07-01
• Released on: 2004-07-30
• Original language: English
• Number of items: 1
• Dimensions: 8.80" h x .70" w x 5.90" l, .95 pounds
• Binding: Paperback
• 276 pages

From the Back Cover

Acclaim for Bringing Out the Best in Yourself at Work

"This is the first Enneagram book that I have endorsed. The Enneagram is a powerful tool for self-understanding--the gist of emotional healing and a major factor in personal evolution. Here is a good book undertaking to bring the Enneagram to the business world at a time when it has become apparent that the business world controls the world and that our fate depends on the psychospiritual condition of those in it."
--Claudio Naranjo, M.D., Enneagram pioneer and author of Character and Neurosis: An Integrative View

"This solid, well-written book can be used by those new to the Enneagram and those who already know the system and want ways to apply it in the business world."
--Don Riso and Russ Hudson, founders of the Enneagram Institute and authors of the bestselling The Wisdom of the Enneagram

"User-friendly. . . . Ginger Lapid-Bogda's explanation and interpretation of the Enneagram way of learning more about one's self is unsurpassed."
--W. Warner Burke, Ph.D., author of Organization Change: Theory and Practice

"A must-have for your 'go-to' bookshelf."
--Beverly Kaye, Ph.D., co-author of the internationally bestselling Love 'Em or Lose 'Em: Getting Good People to Stay

The Enneagram is a popular, proven psychological system for determining personality types as a path for self-improvement. Now, Enneagram teacher and organizational consultant Ginger Lapid-Bogda gives clear, easy-to-follow instruction for using this powerful tool in the workplace, including techniques for bringing out your strongest leadership skills, improving your weaker areas, and preventing and resolving conflict. You'll work better, increase the effectiveness of your teams, and build relationships with your coworkers.

About the Author

Ginger Lapid-Bodga, Ph.D. (Santa Monica, CA), is the president-elect of the International Enneagram Association for 2004. As a business consultant, she frequently speaks to companies such as CBS, Disney, GE, P&G, McDonald's, and Time Warner as well as at professional conferences. She is also an internationally recognized Enneagram teacher.

Most helpful customer reviews

4 of 5 people found the following review helpful.
An Exceptional Book by an Authentic Expert
By Joel
My experience as an organizational and personal development professional working with groups and individuals has convinced me that the primary source of failures in leadership, management, and teamwork is the pervasive lack of self understanding, hence understanding of others, exhibited by leaders, managers, and staff in our organizations. To the best of my knowledge, this is the first book presenting a truly useful system to enhance and build such critical understanding--the Enneagram in a business context.

13 of 13 people found the following review helpful.
The most practical enneagram book out there for business applications
By C Martin
I love this book. I am an executive coach and I find this very useful for helping my Enneagram-aware clients apply the model directly and quickly to work situations -- to help debug relationships, communications, conflilct, etc.

I especially like Lapid-Bogda's distinctions and examples around "Pinch" and "Crunch" for each of the types.

I don't know of any other books except Michael Goldberg's "The Nine Ways of Working" that fill this business-application niche quite so well.

Highly recommended for those who need a practical, hands-on way of using the Ennegram in day to day work interactions.

7 of 7 people found the following review helpful.
A must-read
By URANIO PAES
Objective, yet comprehensive. Practical, yet very solid in its concepts.

Lapid-Bogda has a solid background both in Organizational Development (OD) and the Enneagram, an outstanding tool for self-understanding/developing and relating better with others (the author is today the President of the International Enneagram Association). The result is a creative and useful bridge between these two areas, with stories, checklists and insights that will help practitioners on both sides. OD consultants with enrich their approaches with the use of the Enneagram; and Enneagram practitioners will find added-value to the current literature, through innovative chapters, which are divided per organizational problems, rather than per personality types.

In a brief: this book brings invaluable information for everyone who wants to achieve superior results for oneself and for others, creating a high functioning and conscious team at work.

Being an organizational consultant from Brazil, I can also add that the book's guidelines are universal.

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