Byline: By danny hakim section: Section B; Column 0; Metropolitan Desk; Pg. 1 Length

URL: http://www.nytimes.com
SUBJECT: WOMEN (90%); WOMAN OWNED BUSINESSES (90%); ENTREPRENEURSHIP (90%); CHILDREN (89%); TOYS & GAMES (89%); SMALL BUSINESS (78%); FLEXTIME (76%); PART TIME EMPLOYMENT (71%); HOME BASED EMPLOYMENT (71%); ECONOMIC DECLINE (70%); RESEARCH INSTITUTES (64%); COMPANY PROFITS (64%); ECONOMIC NEWS (50%)
GEOGRAPHIC: NEW YORK, NY, USA (75%) NEW YORK, USA (79%); CONNECTICUT, USA (68%) UNITED STATES (79%)
LOAD-DATE: June 22, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTOS: BUSINESS LEADERS: Top to bottom: Stacey Smith, the president of Hybrid Mom Consulting and Media Group, works at home in St. James, N.Y., with her daughter, Carly, nearby. Maureen Borzacchiello, the chief executive of Creative Display Solutions, in Garden City, N.Y., with her husband, Frank (at work on a display). Lisa Krizner-George designs custom bridal dresses and evening wear in her garage studio in Bloomfield, N.J. Elizabeth Perelstein is president of a business called School Choice International, based in White Plains. (PHOTOGRAPHS BY PHIL MARINO FOR THE NEW YORK TIMES

CHESTER HIGGINS JR./THE NEW YORK TIMES

LIBRADO ROMERO/THE NEW YORK TIMES) (pg. C10)

INNOVATOR: Carla Schneider, above, of Orange, created the WubbaNub pacifier and has expanded on her idea, and her business, with Wubbie baby blankets, left. (PHOTOGRAPHS BY THOMAS McDONALD FOR THE NEW YORK TIMES) (pg. CT1)

PUBLICATION-TYPE: Newspaper

Copyright 2008 The New York Times Company

655 of 1231 DOCUMENTS

The New York Times
June 22, 2008 Sunday

Late Edition - Final

Editor's Choice: Recent books of particular interest
SECTION: Section BR; Column 0; Book Review Desk; BROWSING BOOKS; Pg. 18
LENGTH: 303 words
BOTTLEMANIA: How Water Went on Sale and Why We Bought It, by Elizabeth Royte. (Bloomsbury, $24.99.) Royte streams cultural, economic, political and hydrological trends into an engaging investigation of an unexpectedly murky substance.

A CASE OF EXPLODING MANGOES, by Mohammed Hanif. (Knopf, $24.) Hanif's first novel, which explores the mysterious fate of Gen. Muhammad Zia ul-Haq, recalls the military lunacy of ''Catch-22.''

ONE MAN'S AMERICA: The Pleasures and Provocations of Our Singular Nation, by George F. Will. (Crown Forum, $26.95.) A collection of recent columns offers a stringent assessment of the Bush presidency.

MINDERS OF MAKE-BELIEVE: Idealists, Entrepreneurs, and the Shaping of American Children's Literature, by Leonard S. Marcus. (Houghton Mifflin, $28.) The books themselves take a back seat to editors, reviewers and librarians in this publishing history.

WE ARE THE SHIP: The Story of Negro League Baseball. Written and illustrated by Kadir Nelson. (Jump at the Sun/Hyperion, $18.99; ages 8 and up.) A riveting picture-book introduction to the subject.

SATCHEL PAIGE: Striking Out Jim Crow, by James Sturm. Illustrated by Rich Tommaso. (Center for Cartoon Studies/Jump at the Sun/Hyperion. Cloth, $16.99; paper, $9.99; ages 10 and up.) Engrossing social fiction.

A ROMANCE ON THREE LEGS: Glenn Gould's Obsessive Quest for the Perfect Piano, by Katie Hafner. (Bloomsbury, $24.99.) The real hero here isn't Gould or his Steinway, but Verne Edquist, a nearly blind tuner.

THE OTHER, by David Guterson. (Knopf, $24.95.) A schoolteacher nourishes a friendship with a privileged recluse; from the author of ''Snow Falling on Cedars.''

SUBMARINE, by Joe Dunthorne. (Random House, $22.) Dunthorne's first novel showcases the author's cheerful empathy with his fallible teenage hero.
URL: http://www.nytimes.com
SUBJECT: BOOK REVIEWS (94%); NOVELS & SHORT STORIES (89%); WRITERS & WRITING (76%); AFRICAN AMERICANS (75%); CHILDREN'S LITERATURE (71%); CHILDREN (69%); BASEBALL (53%)
LOAD-DATE: June 22, 2008
LANGUAGE: ENGLISH
PUBLICATION-TYPE: Newspaper

Copyright 2008 The New York Times Company

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The New York Times
June 22, 2008 Sunday

Late Edition - Final

Success Story 2
BYLINE: By MICHAEL HIRSCHORN.

Michael Hirschorn, the former head of programming for VH1, is a co-founder of Ish Entertainment and a contributing editor for Atlantic Monthly.

SECTION: Section BR; Column 0; Book Review Desk; Pg. 13
LENGTH: 1329 words
THE PIXAR TOUCH

The Making of a Company.

By David A. Price.

Illustrated. 308 pp. Alfred A. Knopf. $27.95.

Great paradigm-shifting narratives -- entrepreneurs seeing clarity where others saw only fog -- often have a feeling of manifest destiny about them. What's striking about David A. Price's history of Pixar, the computer animation studio behind ''Toy Story,'' ''The Incredibles'' and other movies, is how provisional it all seemed in the moment, how key players at important junctures didn't really understand what they were doing even as they were doing it. But they kept working because of a sixth sense that something would eventually happen.

Pixar began to take shape in the late 1970s, when George Lucas, after the success of ''Star Wars,'' hired many of these men (virtually without exception, they are men) into Lucasfilm's computer division. But he didn't have a clue what to do with them. Even with the best computer animators on his payroll at Skywalker Ranch, he used no computer animation in ''The Empire Strikes Back'' (1980), resorting to scale models for special effects. Indeed, in a desperate bid for attention, Lucas's computer division -- named, unimaginatively, Computer Division -- persuaded another studio, Paramount, to include a 60-second computer animated sequence in ''Star Trek II: The Wrath of Khan'' (1982) to show Lucas what they could do. It didn't work then or later. ''He couldn't make the leap from the crudeness of it then to what it could be,'' said one of the short's creators, Alvy Ray Smith.

Frustrated with Lucas, the Computer Division renamed itself Pixar in 1986 and sought an outside investor. Through a friendship with Alan Kay, a crucial figure in the earlier creation of the personal computer at Xerox PARC, Pixar's central figures were introduced to Steve Jobs, already worth $185 million and beginning his Apple exile. After Jobs's $5 million offer was rejected, the team attempted to do a deal with Disney, then a bastion of hand-painted cel animation. Pixar's cause was championed by Disney's chief technologist, Stan Kinsey, who was convinced that Pixar's technologies would ''not only lower costs, but also allow freer camera moves and a richer use of colors.'' Kinsey wanted Disney to buy Pixar outright for $15 million, but he was overruled by Jeffrey Katzenberg, then head of Walt Disney Studios. ''I can't waste my time on this stuff,'' Kinsey says Katzenberg told him.

Jobs then swooped in and bought Pixar for the same $5 million he had originally offered. A bountiful future, as Jobs saw it, lay ahead in three-dimensional rendering, the process by which a computer could conceive and print 3-D images. ''This whole thing has the same flavor as the personal computer industry in 1978,'' he told BusinessWeek in 1986. As late as 1994, with Pixar's ''Toy Story'' already in early production, Jobs was still focused on software, and he even contemplated an alliance with Microsoft to leverage Pixar software on the Windows platform.

For all his misplaced interest in 3-D rendering, Jobs was ruthless in pressing his advantage. He forced Pixar employees to give up equity in return for his continued patronage at a particularly dire moment in 1991; he pushed for a public offering at another moment -- the mid-'90s, in the first flush of Internet mania -- when Pixar had scant revenues and no profits; and he craftily outmaneuvered Michael Eisner of Disney over ''Toy Story 2,'' which was originally conceived as a straight-to-video offering. (It later outgrossed ''Toy Story'' itself.) Eisner, a punching-bag dummy in Price's as in many other narratives involving the entertainment conglomerate, let his personal animus for Jobs blind him to Pixar's significance. Initially pleased with the lowball deal he forced Pixar to take to make ''Toy Story,'' he failed to realize Jobs was using Disney money to launch the Pixar brand -- and the first truly potent competitor to Disney in animation. Eisner's penny-smart, pound-foolish negotiations with Jobs, and the fact that their personal relationship devolved to the point that Jobs refused to talk to him, ultimately left it to his successor, the more conciliatory Robert Iger, to offer Jobs $7.4 billion to buy Pixar outright. Since Pixar had effectively become the new Disney, it was the only move he could make, no matter the cost.

In Price's telling, as elsewhere, Jobs appears socially awkward and unsentimental to a fault. He looms over the proceedings like an ominous haze. (No shock: he appears not to have cooperated with the author.) The longtime Pixar romantics are heartbroken to realize they're actually working at a business. ''What am I doing?'' one employee asks in a moment of clarity. ''I'm sitting around here trying to make Steve Jobs richer in ways he doesn't even appreciate.'' Price is more equanimous. Jobs may have been no softy, but he was also hard-wired for success. At that grim moment in 1991, when Jobs pulled shares away from his employees, he could also have simply shut Pixar down and walked away. Ed Catmull and (especially) John Lasseter, the gregarious and fecund creative geniuses behind Pixar's greatest movies, are heroes in Price's story, but it's clear they lacked Jobs's brio. Without Jobs's relentless drive, Pixar would have been an inferior and probably bankrupt competitor to Sun Microsystems, not the most important movie studio of our era (and certainly the only one interesting enough to write a book about).

Price is a smart reporter and a solid writer. He deftly makes computer arcana palatable, even interesting. And he is excellent when explaining how much work went into creating the complex images we take for granted today. But Price's book lacks the high-end access and dish of, say, James B. Stewart's ''Disney War'' (2005), or the deep gearhead satisfactions of Michael Lewis's Silicon Valley tales, and ''The Pixar Touch'' sometimes seems to miss the significance of what it's covering. (Price's lack of familiarity with the entertainment business is revealed in a too-lengthy digression about intellectual-property suits brought against the company; such suits follow successful entertainment businesses the way seagulls trail fishing boats.)

Placed in historical context, Pixar is yet another story in the digitization of everything, Exhibit 473 in an onrushing shift that will be seen as the most significant transformation in information technology since the birth of TV and maybe since Gutenberg. Everything that can be delivered digitally will be, at a cost approaching zero, through a bandwidth nearing infinity. Thus the dying-out of Disney's august cel-animation houses, in which thousands of artisans hand-painted individual cels -- like monks lovingly crushing grapes in the higher Dordogne -- now seems predestined. So, too, the demise of the compact disc, the DVD, the home phone, the long-distance toll call and, possibly, the newspaper, the magazine, the book.

In the grinding gears of this story, there is always an older, established entity that acts too timidly for fear of undermining its core business. And there is a younger upstart, with less to lose, who disrupts the older entity, generating outsize profits, reaping the glory.

From this perspective, the individual actors are merely bees in a hive; if not them, someone else. But this misses the most satisfying part of Price's tale: that as early as the '60s, when computers filled entire rooms and the rendering of even simple images took days, men like Catmull and Lasseter saw ... something.

For decades, they followed promising animation research like surfers stalking tasty waves, took repeated wrong turns, risked their savings for the most abstract of dreams, stuck with it and ultimately brought us a brilliant run of animated movies: ''Toy Story,'' ''Monsters, Inc.,'' ''Finding Nemo,'' ''The Incredibles'' and ''Ratatouille'' among them.

For that alone, this is an inspiring tale.

URL: http://www.nytimes.com
SUBJECT: ANIMATION (92%); BOOK REVIEWS (90%); ANIMATED FILMS (90%); ENTREPRENEURSHIP (78%); MOVIE INDUSTRY (76%); MOVIE & VIDEO PRODUCTION (76%); PERSONAL COMPUTERS (72%)
COMPANY: PIXAR ANIMATION STUDIOS INC (91%); WALT DISNEY PICTURES & TELEVISION (84%); WALT DISNEY CO (52%)
TICKER: DIS (NYSE) (52%)
INDUSTRY: NAICS713110 AMUSEMENT & THEME PARKS (52%); NAICS515112 RADIO STATIONS (52%); NAICS512110 MOTION PICTURE & VIDEO PRODUCTION (52%); NAICS453220 GIFT, NOVELTY & SOUVENIR STORES (52%)
PERSON: GEORGE LUCAS (84%); STEVEN JOBS (52%); JEFFREY KATZENBERG (50%)
TITLE: Pixar Touch, The (Book)>
LOAD-DATE: June 22, 2008
LANGUAGE: ENGLISH
GRAPHIC: Drawing (DRAWING OF STEVE JOBS BY WES BEDROSIAN)
DOCUMENT-TYPE: Review
PUBLICATION-TYPE: Newspaper

Copyright 2008 The New York Times Company

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The New York Times
June 22, 2008 Sunday

Late Edition - Final

Mumbai
BYLINE: By ANAND GIRIDHARADAS
SECTION: Section TR; Column 0; Travel Desk; Pg. 13
LENGTH: 1534 words
IT'S the Jazz Age again in Mumbai. The populous metropolis is bursting with stock-market money, a shimmering art scene has a growing global presence, and young people are exploiting their newfound freedoms in dim bars until the wee hours. Indeed, in the city's more rarefied circles, Champagne is sipped every night and everyone knows everyone, darling. But large swaths of Mumbai, the former Bombay, remain immune to the homogeneity of global glamour. Behind the bustling boulevards are nameless alleys where coconuts are sold, haircuts are given and the city's frenetic traffic occasionally comes to a honking halt because of a scampering goat.

Friday

5 p.m. 1)BEACH FLAVORS

When migrants from Mumbai's outlying areas arrive, they descend onto Chowpatty Beach, a surprisingly pristine beach in the middle of this throbbing city of 17 million or so. Children swirl around rusted merry-go-rounds; families bond over cobs of corn; vendors sell hot-pink cotton candy. An array of services is on offer, including head massages and palm reading. Buy a savory plate of bhel puri -- a kind of trail mix of puffed rice, garlic chutney, coriander and tamarind -- and stroll among the classless ocean of Mumbaikars taking an urban breather.

7 p.m. 2) TOAST THE VIEW

For a bird's-eye view of the city's high rollers, head to the top of the InterContinental Mumbai Marine Drive Hotel (135 Marine Drive; 91-22-6639-9999; www.mumbai.intercontinental.com). The hipper-than-hip rooftop bar, Dome, draws the city's wealthy young, who flirt over hot toddies by the pool. It also affords romantic views of the Arabian Sea and the graceful arc of Marine Drive, the seaside promenade also known as the Queen's Necklace.

9 p.m. 3)CRAB EXPEDITION

The Koli, a hereditary caste of anglers, were among Mumbai's original dwellers. They still fish, and you can sample their catch at Trishna (4 Sai Baba Marg; 91-22-2261-4991), a venerable seafood restaurant in the Kala Ghoda district. Specialties include fresh-off-the-boat squid in a chilly garlic, batter-fried prawns and pomfret grilled with black pepper. For the main course, try the signature crab drizzled in butter, pepper and garlic, accompanied by dal Hyderabadi, a spicy lentil soup. Dinner for two with chilled beers is about 3,000 rupees, about $70 at 43 rupees to the dollar.

Saturday

7 a.m. 4)FISH SPOTTING

Wake up early and drive to the Ferry Wharf seafood market at Mazgaon Dock (Malet Bunder Road), where fishermen come in after a night or a month at sea, collect their pay and buy jewelry and CDs for their wives. A recent visit found a dozen lobsters for 900 rupees, baby sharks for 20 rupees each, and a stingray with leopard spots for 1,500 rupees. Be warned: the scene is chaotic. Workers balancing baskets of seafood on their heads will push to get past, and the floor is coated by a sludge of innards, blood and ice. Photography is absolutely forbidden, but the image of the anarchic frenzy will surely stay.

11 a.m. 5)SPRUCE YOURSELF

India is known for exporting luscious fabrics, but homegrown designers are making a name for Indian fashion. Across the street from the Taj Mahal Palace hotel is Bombay Electric (1 Reay Marg, Best Marg; 91-22-2287-6276; www.bombayelectric.in), a concept boutique on three terraced levels that embodies the new Indian cool. If you order Jodhpur riding pants (7,500 rupees), they will be stitched by the Maharajah of Jaipur's tailor, according to the store.

Noon 6)INDO-IRANIAN BOUNTY

Few countries have exported their cuisines as successfully as India. And yet what you find in New York or London tends to be a fraction of the culinary diversity that you find back home. Take, for example, the country's old Iranian community, whose cooking is rarely found outside of the subcontinent. Follow the city's foodies to Britannia (11 Sprott Road, Ballard Estate; 91-22-2261-5264), a breezy restaurant with high ceilings that blends Persian and Indian cuisine. Classic dishes include sali boti, stewed mutton with tomato gravy and fried potato straws; and chicken berry pulao, a sweet-and-sour mixture of rice, nuts, cranberries and spices. Pair them with a raspberry soda and, for dessert, a caramel custard. Lunch is about 600 rupees for two.

2 p.m. 7)THIEVES' MARKET

For the intrepid treasure hunter, few shopping jaunts rival the grimy Chor Bazaar, a sprawling maze of lanes in the heart of downtown Mumbai. The market is cramped and chaotic, coursing with wooden carts that will, if you are careless, flatten you. Expect to find antiques at throwaway prices, including colonial-era lamps, Art Deco clocks and trinkets of every kind and, at a store called Mini Market (33/31 Mutton Street; 91-22-2347-2427), a large stash of original Bollywood posters sought by leading Indian collectors. And haggling is mandatory.

4 p.m. 8) ARTY STROLL

Mumbai's art scene is exploding, and a good place to discover it is the Kala Ghoda district, within the larger neighborhood called Fort. Behind a frosted-glass wall is Bodhi Art (28 K. Dubash Marg; 91-22-6610-0124; www.bodhiart.in), a chic gallery that features cutting-edge Indian painters like Atul Dodiya, and which has outposts in Berlin, Singapore and New York. Directly across the street is the gallery of Max Mueller Bhavan (K. Dubash Marg; 91-22-2202-7542), as well as the well-known Jehangir Art Gallery (161-B Mahatma Gandhi Road; 91-22-2204-8212), with rotating shows and a cafe that feeds Mumbai's artists and intellectuals.

8 p.m. 9)GRILLS AND TRUNKS

Before you head out for a glamorous night, feast on an everyman dinner. Bademiya (Tulloch Road; 91-99-6711-4183) is a legendary stall behind the Taj Mahal hotel in Colaba that serves the traditional Muslim cuisine of kebabs and paper-thin roomali flatbreads. Spread a newspaper and eat like the locals on the trunk of your taxi, or duck into the empty gallery across the street. The seekh kebab (spiced lamb patty) and boti kebab (yogurt-marinated lamb) are swift sellers, as are the rolls crammed with meat and onions. It is difficult to spend more than a few hundred rupees.

10 p.m. 10)AIR KISSES AND BELLINIS

The sceney Blue Frog (D/2 Mathuradas Mills Compound, Lower Parel; 91-22-4033-2300; www.bluefrog.co.in) may be the boldest experiment to date in Mumbai's young but decadent night life: an attempt to showcase fresh, global music in a city reared on Bollywood show tunes. A dapper crowd packs the bar three deep, waving Gandhi-adorned currency and screaming out for Bellinis. Everyone seems to know one another, with fashionable new arrivals barely able to squeeze into their reserved booths without bumping into 12 people they went to school with, or worked with or slept with.

1 a.m. 11)BOLLYWOOD BLING

Despite the city's over-the-top, nouveau night life, the police try to shut everything down at 1 a.m. One splashy exception is Bling in the Leela Kempinski Hotel in Sahar, near the international airport (91-22-6691-1338), a posh nightclub that stays open until breakfast. Waiters are dressed like rap moguls, the sofas are studded with fake crystals, and the V.I.P. lounge looks like an aquarium. Unlike the mega clubs in South Mumbai, which tend to play Western pop tunes, the D.J. here mixes Bollywood beats with hip-hop and house. The door charge is 1,000 rupees a couple, and ''couple'' is narrowly defined as a man and a woman, which can sometimes leave gay tourists stranded.

Sunday

1 a.m. 12)REALITY CHECK

A majority of Mumbaikars, of course, cannot afford nightclubs or cool boutiques. For an enlightening tour of the city's incomprehensible Dharavi slum, reserve a spot with Reality Tours and Travel (91-98-2082-2253; www.realitytoursandtravel.com). The tours, which start at 400 rupees and two and half hours, are safe and eye-opening, and showcase the hives of entrepreneurship that dot this giant shanty town. Brisk industries for recycling and leather, for example, have sprouted among the ward's oil-slicked streets and jury-rigged homes -- offering yet another example of how this megalopolis innovates at all levels.

THE BASICS

Air India, Delta and Continental offer direct flights between New York City airports and Mumbai. A recent online search found July round trips starting at $1,479 on Air India from Kennedy.

Taxis are everywhere and short trips cost under 100 rupees, which is about $2.30 at 43 rupees to the dollar.

Mumbai is starved for hotels, which explains why rates are so high in a city where the dollar still goes a long way.

Rising in steel and glass from the bustling Worli neighborhood is the new Four Seasons Hotel(114 Dr. E. Moses Road; 91-22-2481-8000; www.fourseasons.com/mumbai), conveniently situated between north and south Mumbai. The rooms, offering breathtaking views of the city, start at 18,450 rupees, with breakfast.

For an efficient business hotel with views of the Arabian Sea, the Trident Nariman Point (Marine Drive; 91-22-6632-4343; www.tridenthotels.com) does the job; standard rooms from 16,000 rupees; multinight specials.

One of the few bargains is the Ascot Hotel in Colaba (38 Garden Road; 91-22-6638-5566; www.ascothotel.com), where the spacious and clean rooms start at 5,500 rupees a night with breakfast.
URL: http://www.nytimes.com
SUBJECT: RESTAURANT REVIEWS (89%); CITY LIFE (78%); RESTAURANTS (77%); BEACHES (74%); FISH & SEAFOOD STORES (67%); SPORT FISHING (61%); FERRIES (60%)
GEOGRAPHIC: MUMBAI, INDIA (95%) INDIAN OCEAN (79%) INDIA (95%)
LOAD-DATE: June 22, 2008
LANGUAGE: ENGLISH
GRAPHIC: PHOTOS: Left to right A girl takes a break from selling balloons on Chowpatty Beach

the Blue Frog nightclub has pods for its hip crowd

fashions at Bombay Electric

Mumbai's streets are ever crowded. (PHOTOGRAPHS BY RUTH FREMSON/THE NEW YORK TIMES) MAP Mumbai, India.

PUBLICATION-TYPE: Newspaper

Copyright 2008 The New York Times Company

658 of 1231 DOCUMENTS

The New York Times
June 22, 2008 Sunday

Late Edition - Final

Becoming the Boss
BYLINE: By TINA KELLEY
SECTION: Section NJ; Column 0; New Jersey Weekly Desk; Pg. 1