Creative Destruction – Page 13

A&P, Once Dominant Grocery Chain, Files for Bankruptcy Again

(p. B1) A&P, a former titan of the grocery industry, has filed for bankruptcy protection for the second time in five years and is trying to sell more than 100 of its stores.
The company, which owns Pathmark, Food Emporium and other food retailers clustered primarily in New York, New Jersey and Pennsylvania, said on Sunday that a restructuring in 2010 had failed to put it on secure enough financial footing to keep up with a shifting grocery landscape.
A&P, less commonly referred to as the Great Atlantic & Pacific Tea Company, has lost market share to competing stores like ShopRite and Stop & Shop Supermarket Company, as well Walmart and Target, retail giants that have spent the last few years expanding their offerings in the grocery aisles. A&P has debts of about $2.3 billion, court filings show, and assets of $1.6 billion.
. . .
Founded in 1859 as a mail-order tea business, A&P evolved into a discount food retailer that operated 16,000 stores by the mid-1930s and remained a dominant player in America’s grocery landscape into the second half of the century.
“It was truly a powerhouse,” said Marc Levinson, an independent historian and the author of “The Great A&P and the Struggle for Small Business in America.” “In those days, independent grocers were every bit as afraid of A&P as mom-and-pop retailers are today of Walmart.”
In 1912, A&P opened its first discount store in Jersey City. The idea of a retailer focused on low-cost groceries was novel at the time, and a reputation for rock-bottom prices helped the company flourish.
“They were opening stores literally more than one a day during World War I,” Mr. Levinson said.

For the full story, see:
RACHEL ABRAMS. “A&P Files for Bankruptcy and Aims to Sell 120 Stores.” The New York Times (Tues., JULY 21, 2015): B3.
(Note: ellipsis added.)
(Note: the online version of the story has the date JULY 20, 2015.)

Levinson’s excellent book on the economic history of A&P, mentioned above, is:
Levinson, Marc. The Great A&P and the Struggle for Small Business in America. New York: Hill and Wang, 2011.

“Minds Feel More Crimped, Fear More Pervasive, Possibility More Limited”

Maybe to lead happy or satisfying lives, we need more adventure, or more projects (hard and important ones) to commit ourselves to?

(p. 19) Freedom is still out there. We all have our idea of it, the deferred dream. Your psyche builds layers of protection around your most vulnerable traits, which may be closely linked to that precious essence in which freedom resides. Freedom is inseparable from risk.

. . .
I don’t know if the world is freer than a half-century ago. On paper, it is. The totalitarian Soviet Imperium is gone. The generals who bossed Latin America are gone, generally. Asia has unshackled itself and claims this century as its own. Media has opened out, gone social.
Yet minds feel more crimped, fear more pervasive, possibility more limited, adventure more choreographed, politics more stale, economics more skewed, pressure more crushing, escape more elusive.
. . .
Which brings me to Finnegan’s wonderful book, a kind of hymn to freedom and passion. Freedom is inside you. It’s the thing that cannot be denied. For Finnegan, that’s surfing and writing. “How could you know your limits unless you tested them?” he asks — a question as true before the ferocious energy of the wave as before the infinite possibilities of the written form.

For the full commentary, see:
Cohen, Roger. “Ways to Be Free.” The New York Times (Sat., JAN. 23, 2016): A19.
(Note: ellipses added.)
(Note: the online version of the commentary has the date JAN. 21, 2016.)

The Finnegan book praised in the passage quoted above, is:
Finnegan, William. Barbarian Days: A Surfing Life. New York: Penguin Press, 2015.

Innovators Need Time for Tedious Tasks

(p. 3) Innovation isn’t all about eureka moments. In fact, the road to creative breakthroughs is paved with mundane, workaday tasks. That’s the message of a recent study that might as well be titled “In Praise of Tedium.”
In the study, researchers sought to examine how extended periods of free time affect innovation. To do this, they analyzed activity on Kickstarter, the crowdfunding website, in nearly 6,000 American cities.
. . .
Over a period of about nine months, the researchers found a sharp increase in the number of new projects posted during the first few days of school break periods. The spike, they suggest, is tied to people having more time to perform the administrative aspects of Kickstarter projects — working on a manufacturing plan, say, or setting up a rewards schedule. While people may be using some stretches of free time to nurture those much lauded light bulb moments, the process of innovation also appears to require time to carry out execution-oriented tasks that are not particularly creative but still necessary to transform an idea into a product, the study indicates.

For the full story, see:
PHYLLIS KORKKI. “Applied Science; Good Ideas Need Time for Tedious Legwork.” The New York Times, SundayBusiness Section (Sun., AUG. 16, 2015): 3.
(Note: ellipsis added.)
(Note: the online version of the story has the date AUG. 15, 2015, and has the title “Applied Science; Looking for a Breakthrough? Study Says to Make Time for Tedium.”)

The academic paper summarized in the passages quoted above, is:
Agrawal, Ajay, Christian Catalini, and Avi Goldfarb. “Slack Time and Innovation.” Rotman School of Management Working Paper #2599004, April 25, 2015.

Only a Founder Has the Moral Authority to Shake Up a Company

(p. B1) SAN FRANCISCO — Shortly after Twitter’s board of directors began its search for a new chief executive in June [2015], it said it would only accept someone willing to commit to the job full time. It was a not-so-subtle message to Twitter’s co-founder and interim boss, Jack Dorsey, that he would have to give up his job running Square, a mobile payments start-up, if he wanted to run Twitter on a permanent basis.
On Monday [Oct. 5, 2015], the eight-member board reversed itself, announcing that it had decided to allow Mr. Dorsey, its chairman, to head both companies after all.
. . .
(p. B8) This is Mr. Dorsey’s second go-round as Twitter’s chief executive.
Evan Williams, a board member and co-founder of Twitter who was instrumental in firing him in 2008, noted that the board considered many candidates before settling on Mr. Dorsey.
“I honestly didn’t think we’d land on Jack when we started unless he could step away from Square,” Mr. Williams wrote in a post on Medium, the social media site he now runs. “But ultimately, we decided it was worth it.”
In the end, Mr. Dorsey made a compelling case that he had matured and grown as a leader and that only a founder would have the moral authority to truly shake up a company that has been struggling to attract new users and compete for advertising dollars.

For the full story, see:
VINDU GOEL and MIKE ISAAC. “Delegating, Dorsey Will Lead Twitter and Square.” The New York Times (Tues., OCT. 6, 2015): B1 & B8.
(Note: ellipsis, and bracketed dates, added.)
(Note: the online version of the story has the date OCT. 5, 2015, and has the title “Delegating, Jack Dorsey Will Lead Twitter and Square.”)

Founder Title Gives Dorsey “the Leeway to Make Significant Changes”

(p. B1) Twitter Inc. is handing the chief executive reins back to Jack Dorsey, entrusting its founding architect to reassure investors and revive the social-media service’s sagging user growth.
. . .
(p. B10) Company insiders say there was nothing interim about the way Mr. Dorsey carried himself since July 1, when Dick Costolo stepped down as CEO. He initiated debates about fundamental product features, including Twitter’s trademark 140-character limit per tweet. He frequently sends companywide emails late at night, which include news stories that highlight Twitter’s value in the world. These messages and his close involvement have shifted the tone and boosted morale, according to these people.
. . .
His reputation as a product visionary will be tested as he tackles his priority: to figure out how to make Twitter easy enough to use by anyone. More than his product ideas, however, Mr. Currie endorsed Mr. Dorsey’s leadership skills as the reason the board decided to bring him back on a permanent basis.
In the eyes of employees and users, the founder title gives him the leeway to make significant changes that weren’t afforded by Mr. Costolo.

For the full story, see:

YOREE KOH. “Dorsey Is CEO of Twitter Once Again.” The Wall Street Journal (Tues., Oct. 6, 2015): B1 & B10.
(Note: ellipses added.)
(Note: the online version of the article has the date Oct. 5, 2015, and has the title “Twitter Names Co-Founder Jack Dorsey CEO.”)

How to Monopolize a Dead Technology

(p. C3) LOS ANGELES — When Quentin Tarantino’s “The Hateful Eight” is released in a special roadshow version (with overture, intermission and additional footage) on Dec. 25, it will represent a feat worthy of the heist in the director’s “Jackie Brown.”
The film is scheduled to open on 96 screens in the United States and four in Canada, all in 70-millimeter projection, a premium format associated with extravaganzas of the 1950s and 1960s.
Yet from a theatrical standpoint, the technology is nearly obsolete. Last year, “Interstellar” opened in 70 millimeter at only 11 comparable locations. There were only 16 in 2012 for “The Master,” which renewed interested in the format. No film has opened with 100 70-millimeter prints since 1992. According to the National Association of Theater Owners, 97 percent of the 40,000 screens in the United States now use digital projection.

. . .
“We looked around for anybody who was selling them,” said Erik Lomis, Weinstein’s president of theatrical distribution and home entertainment. “We tried to keep it as quiet as possible as to why. Eventually word leaked out why we were looking for them, and then the price went up.”
. . .
“We’ve been accused of actually cornering the market on 70-millimeter projectors,” Mr. Cutler said. “It’s probably pretty true. There probably aren’t too many out there that we didn’t find.” Most of them were destroyed, he added, during the conversion to digital projection.
. . .
Ultra Panavision also produces subtle aesthetic effects, unusual even to viewers familiar with 70 millimeter. The lens “for lack of a better word is a softer lens,” Mr. Sasaki said. During a screening of test footage for the film, he pointed out the impressionistic qualities of the focus and explained how the image catered to our eyes’ natural depth cues.
With projectors found and lenses made, the next hurdle is labor: Most theaters no longer have projectionists with a working knowledge of these machines. Mr. Cutler’s company will provide training for each site. “One way or the other, we will fulfill this need,” he said. “It will be a combination of house staff that we can train, professional projectionists that we can bring in, projectionists that we can find locally, and potentially some technical staff that we’ll bring in.” Every theater showing the film will get a spare set of belts, fuses and light bulbs, and instructions. Mr. Cutler’s staff will also be standing by for calls.

For the full story, see:
BEN KENIGSBERG. “In a World Gone Digital, Room for a Lost Format.” The New York Times (Thurs., NOV. 12, 2015): C3.
(Note: ellipses added.)
(Note: the online version of the story has the date NOV. 11, 2015, and has the title “Tarantino’s ‘The Hateful Eight’ Resurrects Nearly Obsolete Technology.”)

Process Innovations from “an Uber of Trucking” Can Increase Transport Efficiency

(p. B1) Investors are pouring millions of dollars into startups hoping to disrupt the $700 billion trucking industry, the latest example of Silicon Valley’s efforts to upend the traditional economy.
A series of startups are vying to become an “Uber of trucking,” leveraging truck drivers’ smartphones to quickly connect them with nearby companies looking to ship goods. The upstarts aim to reinvent a fragmented U.S. trucking industry that has long relied on third-party brokers, essentially travel agents for trucking who connect truckers with customers.
Silicon Valley’s interest in trucking has accelerated in recent months. San Francisco-based Trucker Path Inc. says it is aiming to reach a $1 billion valuation next year. The latest entrant, Seattle-based Convoy, said Tuesday it had raised $2.5 million in seed funding from investors including Amazon.com Inc. founder Jeff Bezos, Salesforce.com Inc. founder Marc Benioff, eBay Inc. founder Pierre Omidyar and Uber Technologies Inc. co-founder Garrett Camp.

For the full story, see:
JACK NICAS and LAURA STEVENS. “Startups Accelerate Efforts to Reinvent Trucking Industry.” The Wall Street Journal (Tues., Oct. 27, 2015): B1 & B6.

Bezos Built Amazon with Methodical Patience

(p. B1) There is a simple explanation for Amazon’s rise, and also a second, more complicated one. The simple story involves Amazon Web Services, the company’s cloud-computing business, which rents out vast amounts of server space to other companies. Amazon began disclosing A.W.S.’s financial performance in April, and the numbers showed that selling server space was a much bigger business than anyone had realized. Deutsche Bank estimates that A.W.S., which is less than a decade old, could soon be worth $160 billion as a stand-alone company. That’s more valuable than Intel.
Yet the disclosure of A.W.S.’s size has obscured a deeper change at Amazon. For years, observers have wondered if Amazon’s shopping business — you know, its main business — could ever really work. Investors gave (p. B11) Mr. Bezos enormous leeway to spend billions building out a distribution-center infrastructure, but it remained a semi-open question if the scale and pace of investments would ever pay off. Could this company ever make a whole lot of money selling so much for so little?
As we embark upon another holiday shopping season, the answer is becoming clear: Yes, Amazon can make money selling stuff. In the flood of rapturous reviews from stock analysts over the company’s earnings report last month, several noted that Amazon’s retail operations had reached a “critical scale” or an “inflection point.” They meant that Amazon’s enormous investments in infrastructure and logistics have begun to pay off. The company keeps capturing a larger slice of American and even international purchases. It keeps attracting more users to its Prime fast-shipping subscription program, and, albeit slowly, it is beginning to scratch out higher profits from shoppers.
. . .
Why is Amazon so far ahead? It is difficult to resist marveling at the way Mr. Bezos has built his indomitable shopping machine, and the very real advantages in price and convenience that he has brought to America’s national pastime of buying stuff. What has been key to this rise, and missing from many of his competitors’ efforts, is patience. In a very old-fashioned manner, one that is far out of step with a corporate world in which milestones are measured every three months, Amazon has been willing to build its empire methodically and at great cost over almost two decades, despite skepticism from many sectors of the business world.

For the full commentary, see:
Manjoo, Farhad. “STATE OF THE ART; Long Game at Amazon Produces Juggernaut.” The New York Times (Thurs., NOV. 19, 2015): B1 & B11.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date NOV. 18, 2015, and has the title “STATE OF THE ART; How Amazon’s Long Game Yielded a Retail Juggernaut.”)

Those Who Try Japanese Toilets, Praise Them with “Cultish Devotion”

(p. D12) Last year, Bennett Friedman, who owns a plumbing showroom in Manhattan called AF New York, took a business trip to Milan. On the morning of his return he faced a choice: stop in the bathroom there or wait until he got home. The flight was nine hours. He waited.
The move seems almost masochistic. But in his home and office bathrooms, Mr. Friedman had installed a Toto washlet. To sit upon a standard commode, he said, would be like “going back to the Stone Age.”
“It feels very uncivilized,” he said.
For those who own Japanese toilets, there is a cultish devotion. They boast heated seats, a bidet function for a rear cleanse and an air-purifying system that deodorizes during use. The need for toilet paper is virtually eliminated (there is an air dryer) and “you left the lid up” squabbles need never take place (the seat lifts and closes automatically in many models).
. . .
Most washlet owners, then, are converted after trying one out in the world. At a boutique hotel, say, or on a trip to Asia.
Such was the case with Robert Aboulache. Before he and his family went on a vacation to Japan, he said, friends who had visited the country told him he would love the toilets. “I thought, ‘How great can the toilets be?'” Mr. Aboulache said. “They were amazing. Some have noisemakers to cover up the sound. You can pivot that little sprayer. The water can be heated or not. We got home, and I thought, ‘This is not the same.'”
Three days later, Mr. Aboulache went online and bought a Toto washlet, which he installed in the shared upstairs bathroom of his home in Los Angeles as a surprise for his wife and son.
“We’ve been delighted,” he said. “It’s our favorite toilet.”
. . .
Mr. Friedman, too, is an enthusiastic proselytizer for washlets, in his showroom and out in social situations, something you gather he would do even if he didn’t sell them.
Whenever he talks about their virtues, he said, “I feel like one of the Apostles passing the word of God.”

For the full story, see:
STEVEN KURUTZ. “For Its Devotees, the Seat of Luxury.” The New York Times (Thurs., NOV. 19, 2015): D12.
(Note: ellipses added.)
(Note: the online version of the story has the date NOV. 18, 2015, and has the title “The Cult of the Toto Toilet.”)

Transistors Did Not Completely Destroy the Vacuum Tube

(p. D11) . . . , just as nothing quite matches the ambience created by an incandescent bulb dimmed low, nothing quite sounds like a good tube amp. Audiophiles will argue about whether a solid-state or tube amp is superior. However, it’s best to think of tubes as an aesthetic choice–akin to applying a vintage filter to a pristine snapshot.
Tubes are well suited for musical passages that can sound grating over modern equipment–for example, a classical violinist digging into her instrument during a dramatic passage. Although its overall sound may not be as crisp, a good tube amp will take that shrill edge off.
More and more music lovers are downsizing their sound systems these days, and some tube-amp makers are following suit. Miniature models, like the ones shown here, use a combination of tubes and solid-state technology to minimize bulk. A few are also surprisingly affordable and versatile. You can hook them up to pretty much any audio source, like a smartphone, computer or CD player. Then just add a pair of headphones or speakers.

For the full story, see:
MICHAEL HSU. “Groove Tube.” The Wall Street Journal (Sat., Oct. 24, 2015): D11.
(Note: ellipsis added.)
(Note: the online version of the article was dated Oct. 21, 2015, and has the title “The Miracle of a $150 (or Less) Tube Amplifier.”)

For Movies, Film Option Survives Digital Advance

(p. B1) Faced with the possible extinction of the material that made Hollywood famous, a coalition of studios is close to a deal to keep Eastman Kodak Co. in the business of producing movie film.
The negotiations–secret until now–are expected to result in an arrangement where studios promise to buy a set quantity of film for the next several years, even though most movies and television shows these days are shot on digital video.
Kodak’s new chief executive, Jeff Clarke, said the pact will allow his company to forestall the closure of its Rochester, N.Y., film manufacturing plant, a move that had been under serious consideration. Kodak’s motion-picture film sales have plummeted 96% since 2006, from 12.4 billion linear feet to an estimated 449 million this year. With the exit of competitor Fujifilm Corp. last year, Kodak is the only major company left producing motion-picture film.
. . .
Film and digital video both “are valid choices, but it would be a tragedy if suddenly directors didn’t have the opportunity to shoot on film,” said Mr. Apatow. director of comedies including “Knocked Up” and “The 40 Year-Old Virgin,” speaking from the New York set of his coming movie “Trainwreck,” which he is shooting on film. “There’s a magic to the grain and the color quality that you get with film.”

For the full story, see:
BEN FRITZ. “Movie Film, at Death’s Door, Gets a Reprieve.” The Wall Street Journal (Weds., July 30, 2014): B1 & B8.
(Note: ellipsis added.)
(Note: the online version of the article was dated July 29, 2014.)