Celebrate Ocean Conservation with SEKKISEI's SAVE THE BLUE 2025 Limited Edition Launch Supporting Coral Reefs Around the World, One Bottle at a Time
For the seventh consecutive year, SEKKISEI is proudly partnering with the Coral Reef Alliance (CORAL)–a global nonprofit organization dedicated to safeguarding coral reefs and the ocean life that depends on them. CORAL's science-based, holistic approach addresses water quality issues, unsustainable fisheries, and the impacts of climate change to help coral reefs not just survive–but thrive.
In honor of this year's campaign, from July 1 - July 31, SEKKISEI will donate $1 for every Limited Edition SAVE THE BLUE Lotion ($88, 16.9 fl oz / 500 mL) sold through its U.S. e-commerce site, supporting CORAL's work across the United States and the Caribbean. This ultra-hydrating liquid lotion is a cult-favorite J-Beauty essential. Lightweight and nutrient-rich, it preps skin to better absorb treatments and enhances radiance with every use. Perfect for morning and night, this lotion can be used as a traditional liquid moisturizer or a hydrating mask for an instant refresh.
Since launching SAVE THE BLUE, SEKKISEI has planted more than 20,000 coral polyps globally and expanded its conservation efforts to eight countries. The initiative has restored over 122 million cm² of reef habitat, helping build a more resilient ocean for future generations.
For more information on SAVE THE BLUE and the products, go to https://sekkisei-usa.com/pages/save-the-blue.
About SEKKISEI:
SEKKISEI, a Japanese skincare brand trusted since 1985, has been setting new standards in hydration, clarity, and even skin tone. SEKKISEI blends ancient Asian herbal remedies with cutting-edge Japanese scientific research to deliver highly effective skincare solutions that are accessible to all, without gender boundaries or age limits. Infused with carefully selected botanicals from hundreds of herbs, their formulas deeply hydrate, brighten, and refine skin tone, unlocking radiant, healthy skin.
Media Contact:
PURPLE PR
Email: [email protected]
Learn more at sekkisei-usa.com
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Yahoo
15 minutes ago
- Yahoo
REMAX NATIONAL HOUSING REPORT FOR JULY 2025
July's Home Sales Match 2024 Levels But Take Longer to Sell DENVER, Aug. 20, 2025 /PRNewswire/ -- After five consecutive months of gains, U.S. home sales dipped slightly in July, falling 0.7% below June's total. Compared to July 2024, sales were up 0.6%, but homes took longer to sell—averaging 44 days on the market, up from 37 days a year ago and three days longer than June, according to data from the 52 metro areas surveyed. The Median Sales Price in July was $450,000, down 1.1% from June – a typical seasonal trend. Year-over-year, prices were 2.3% higher. Inventory also saw a slight month-over-month decline of 0.8% but was 27.7% higher than July 2024. A 2.5% drop in new listings contributed to the monthly decrease, though new listings were still 4.4% above last year's levels. Shop Top Mortgage Rates A quicker path to financial freedom Personalized rates in minutes Your Path to Homeownership "July's housing data reflects a market that's adjusting seasonally," said REMAX CEO Erik Carlson. "Homes are taking a bit longer to sell, but inventory has remained consistent and prices have held steady. That's a sign of resilience—and continued opportunity for both buyers and sellers." In San Antonio, Texas, one of the top five markets in the report for housing supply, the 5.6-months' supply of inventory signals a more balanced environment. As the market continues to normalize, local expertise can be even more critical in helping clients navigate pricing and strategy. "While the number of sales was down and the days on market increased, the average sales price also continued to increase," said Sara Briseño Gerrish, Broker/Owner of RE/MAX Unlimited in San Antonio. "Now more than ever, it's crucial to work with an experienced real estate agent who understands the local market dynamics. This will ensure sellers have a comprehensive pricing strategy and buyers are able to leverage that expertise into a strong offer." Other metrics of note: Months' Supply of Inventory rose to 2.8 months, up slightly from 2.7 in June and higher than the 2.2 months recorded last July. Buyers paid an average of 99% of the asking price in July – the same as in June 2025 but below the 100% seen in July 2024. New listings grew year over year for a 17th consecutive month. Highlights and local market results for July include: New Listings In the 52 metro areas surveyed in July 2025, the number of newly listed homes was up 4.4% compared to July 2024, and down 2.5% compared to June 2025. The markets with the biggest increase in year-over-year new listings percentage were Houston, TX at +43.0%, Burlington, VT at +22.6%, and Raleigh, NC at +20.9%. The markets with the biggest year-over-year decrease in new listings percentage were Dover, DE at -34.6%, Baltimore, MD at -28.5%, and Philadelphia, PA at -28.0%. New Listings:5 Markets with the Biggest YoY Increase Market Jul 2025 Jul 2024 Year-over-Year % Change Houston, TX 17,556 12,276 +43.0 % Burlington, VT 326 266 +22.6 % Raleigh, NC 2,930 2,424 +20.9 % Wichita, KS 1,109 950 +16.7 % Omaha, NE 1,990 1,715 +16.0 % Closed Transactions Of the 52 metro areas surveyed in July 2025, the overall number of home sales was up 0.6% compared to July 2024, and down 0.7% compared to June 2025. The markets with the biggest increase in year-over-year sales percentages were Raleigh, NC at +19.5%, Bozeman, MT at +17.7%, and Manchester, NH at +12.4%. The markets with the biggest decrease in year-over-year sales percentage were Dover, DE at -10.9%, San Antonio, TX at -10.3%, and Miami, FL at -6.8%. Closed Transactions:5 Markets with the Biggest YoY Increase Market Jul 2025 Jul 2024 Year-over-Year % Change Raleigh, NC 2,263 1,893 +19.5 % Bozeman, MT 166 141 +17.7 % Manchester, NH 507 451 +12.4 % Houston, TX 8,157 7,488 +8.9 % Hartford, CT 1,261 1,183 +6.6 % Median Sales Price – Median of 52 metro area pricesIn July 2025, the median of all 52 metro area sales prices was $450,000, up 2.3% from July 2024, and down 1.1% compared to June 2025. The markets with the biggest year-over-year increase in median sales price were Bozeman, MT at +19.1%, Cleveland, OH at +13.0%, and Anchorage, AK at +10.3%. The markets with the biggest year-over-year decrease in median sales price were Burlington, VA at -5.0%, San Francisco, CA at -4.2%, and Houston, TX at -3.1%. Median Sales Price:5 Markets with the Biggest YoY Increase Market Jul 2025 Jul 2024 Year-over-Year% Change Bozeman, MT $789,500 $663,000 +19.1 % Cleveland, OH $274,700 $243,000 +13.0 % Anchorage, AK $445,000 $403,500 +10.3 % Trenton, NJ $531,500 $485,000 +9.6 % Indianapolis, IN $325,000 $304,000 +6.9 % Close-to-List Price Ratio – Average of 52 metro area pricesIn July 2025, the average close-to-list price ratio of all 52 metro areas in the report was 99%, down from 100% in July 2024 and the same as in June 2025. The close-to-list price ratio is calculated by the average value of the sales price divided by the list price for each transaction. When the number is above 100%, the home closed for more than the list price. If it's less than 100%, the home sold for less than the list price. The metro areas with the highest close-to-list price ratios were Hartford, CT at 104.4%, Trenton, NJ at 102.1%, and New York, NY at 102.0%. The metro areas with the lowest close-to-list price ratio were Miami, FL at 94.3%, New Orleans, LA at 96.3%, followed by a tie between Houston, TX and Tampa, FL at 96.7%. Close-to-List Price Ratio:5 Markets with the Highest Close-to-List Price Ratio Market Jul 2025 Jul 2024 Year-over-Year Difference* Hartford, CT 104.4 % 105.9 % -1.5 pp Trenton, NJ 102.1 % 103.1 % -1.0 pp New York, NY 102.0 % 101.5 % +0.5 pp San Francisco, CA 101.8 % 103.6 % -1.8 pp Milwaukee, WI 101.2 % 101.2 % +0.0 pp *Difference displayed as change in percentage points Days on Market – Average of 52 metro areasThe average days on market for homes sold in July 2025 was 44, up seven days compared to the average in July 2024 and up three days compared to June 2025. The metro areas with the highest days on market averages were San Antonio, TX at 83, Miami, FL at 78, and Phoenix, AZ at 75. The lowest days on market were Hartford, CT and Manchester, NH tied at 20, followed by Milwaukee, WI at 23. Days on market is the number of days between when a home is first listed in an MLS and a sales contract is signed. Days on Market:5 Markets with the Highest Days on Market Market Jul 2025 Jul 2024 Year-over-Year % Change San Antonio, TX 83 70 +18.2 % Miami, FL 78 59 +31.5 % Phoenix, AZ 75 59 +27.4 % Coeur d'Alene, ID 72 66 +9.0 % Tampa, FL 67 51 +31.0 % Months' Supply of Inventory – Average of 52 metro areasThe number of homes for sale in July 2025 was up 27.7% from July 2024, and down 0.8% from June 2025. Based on the rate of home sales in July 2025, the months' supply of inventory was 2.8, up from 2.2 from July 2024, and up from 2.7 from June 2025. In July 2025, the markets with the highest months' supply of inventory were Miami, FL at 7.1, Bozeman, MT at 5.8, and San Antonio, TX at 5.6. The markets with the lowest months' supply of inventory were Hartford CT at 1.0, followed by Manchester, NH and Milwaukee, WI tied at 1.1. Months' Supply of Inventory:5 Markets with the Highest Months' Supply of Inventory Market Jul 2025 Jul 2024 Year-over-Year % Change Miami, FL 7.1 5.0 +40.1 % Bozeman, MT 5.8 4.7 +21.8 % San Antonio, TX 5.6 5.1 +10.8 % Urban Honolulu, HI 5.1 2.3 +121.8 % Houston, TX 4.7 4.2 +12.5 % About the REMAX NetworkAs one of the leading global real estate franchisors, RE/MAX, LLC is a subsidiary of RE/MAX Holdings (NYSE: RMAX) with more than 145,000 agents in nearly 9,000 offices and a presence in more than 110 countries and territories. Nobody in the world sells more real estate than REMAX, as measured by residential transaction sides. REMAX was founded in 1973 by Dave and Gail Liniger, with an innovative, entrepreneurial culture affording its agents and franchisees the flexibility to operate their businesses with great independence. REMAX agents have lived, worked and served in their local communities for decades, raising millions of dollars every year for Children's Miracle Network Hospitals® and other charities. To learn more about REMAX, to search home listings or find an agent in your community, please visit For the latest news about REMAX, please visit Report DetailsThe REMAX National Housing Report is distributed monthly on or about the 15th. The Report is based on MLS data for the stated month in 52 metropolitan areas, includes single-family residential property types, and is not annualized. For maximum representation, most of the largest metro areas in the country are represented, and an attempt is made to include at least one metro area in almost every state. Metro areas are defined by the Core Based Statistical Areas (CBSAs) established by the U.S. Office of Management and Budget. DefinitionsClosed Transactions are the total number of closed residential transactions during the given month. Months Supply of Inventory is the total number of residential properties listed for sale at the end of the month (current inventory) divided by the number of sales contracts signed (pending listings) during the month. Where "pending" data is unavailable, an inferred pending status is calculated using closed transactions. Days on Market is the average number of days that pass from the time a property is listed until the property goes under contract. Median Sales Price for a metro area is the median sales price for closed transactions in that metro area. The nationwide Median Sales Price is calculated at the nationwide aggregate level using all sale prices from the included metro areas. The Close-to-List Price Ratio is the average value of the sales price divided by the list price for each closed transaction. MLS data is provided by Seventy3, LLC, a RE/MAX Holdings company. While MLS data is believed to be reliable, it cannot be guaranteed. MLS data is constantly being updated, making any analysis a snapshot at a particular time. Every month, the previous period's data is updated to ensure accuracy over time. Raw data remains the intellectual property of each local MLS organization. View original content to download multimedia: SOURCE RE/MAX, LLC
Yahoo
25 minutes ago
- Yahoo
I went behind the scenes at Fender Japan to find out why its guitars are so radically different – and what's stopping them reaching the US
When you buy through links on our articles, Future and its syndication partners may earn a commission. Fender is a historic American brand and many of its most prized instruments are still built in California. Yet some of its most hotly discussed releases originate from the other side of the world. Fender Japan is unafraid to toy with US outlines old and new, while drawing from traditional Japanese culture, videogames and Fender's own rich catalog to produce electric guitars that are reliably much more than 'just another Strat or Tele'. Sometimes it's purely a visual tweak, as per the cherry blossom-themed Sakura Telecaster. It could be reviving under-appreciated Fender models from the past and making them desirable again, as it did with the Cyclone. And sometimes it's completely reworking classic outlines in a contemporary image, with the Modern and Elemental Series. These concessions to modernity appeal to my own playing preferences, and led me to snap up the limited-edition Elemental Jazzmaster – a contemporarily spec'd snow-white beauty that's emblematic of the company's devotion to modernization of Leo Fender's traditional designs. Yet Fender Japan remains something of a mystery to guitarists in the west. New releases are typically Japan-exclusive – something for Reddit to debate without much hope of holding one in their hands. So when I fulfilled a lifelong dream of traveling to Japan on vacation, I marched straight to Fender Flagship Tokyo – the only Fender store in the world, and stockist of these beautiful MIJ creations – to understand how Fender's most mysterious division operates. I wrote about my experiences at the store – and how it could change the future of guitar retail – in a previous article, but while I was there, I also quizzed Edward 'Bud' Cole, Fender's Asia-Pacific President on Fender Japan's inner workings and plans for the future. Later, I followed up with Product Management Director Masato Fujikawa to get the lowdown on what sets Fender Japan instruments apart from their USA counterparts – and why they have such a fanatical fanbase. Made in Japan Fender has over four decades of history in Japan. After companies including Tokai, Greco and Fernandes began making more affordable domestic copies of US-built Fender guitars (often referred to as 'lawsuit guitars'), Fender Japan was established in 1982 to offer guitar players the real deal at competitive prices. The FujiGen Gakki factory was chosen to produce the guitars, including the very first budget Squier models. When CBS sold the company in 1984, Japan was the only country in the world producing Fender guitars. It kept the name alive, and in 1990, select FujiGen workers were flown out to Mexico to train staff at Fender's new facility in Ensenada. Japanese production continued in the years that followed, switching over to the Dyna Gakki factory in 1995 (aka the 'Crafted in Japan' era, owing to the text on the rear of the headstock). But Fender's focus was elsewhere, with Mexican, Indonesian and Chinese factories taking over more of its offshore production – the company's Japanese output was no longer a priority. That was until 2014, when the decision was made to begin Fender Japan anew – and Edward 'Bud' Cole, who was then president of Ralph Lauren's Japanese division – was headhunted as the man for the job. 'Asia at that time was – with all due respect because our American business and our European business was so big – a bit of an afterthought for Fender,' Cole tells me during our conversation at Fender Flagship Tokyo. 'We had a couple of distributors here in Japan and we did a little bit of business at that time. But they came to me and they said, 'We really, really want to get serious about our business in Asia Pacific. We want to bring rhyme and reason behind it.'' With that heritage in mind, Cole set about plotting Fender Japan's return, scrawling out his plans – including a high-profile retail space – on a whiteboard in his basement. 'The natural evolution over time to what you're seeing here today was the dream that we had back in 2014,' he tells me. One man revolution Part of that dream was original guitar designs, built in Japan – and since 2020, all of Fender Japan's designs have been conceptualized and driven by one man: Product Management Director Masato Fujikawa. Fujikawa takes a different approach to Fender US, which tends to have one foot in recreating what Leo Fender did in the past. Fender Japan looks to the here and now. 'We always ask ourselves, 'What would Leo Fender do if he were designing a new guitar today?'' Fujikawa explains. 'This guiding question inspires us to push boundaries and create fresh designs.' With three core values in mind – that FJ's guitars are 'cool, simple to use, and highly functional' – Fujikawa's creative vision is allowed to run free, taking around 18 months from concept to final production, where the end product is crafted by a dedicated team of employees from diverse guitar-building backgrounds. With fewer head chefs stirring the pot, Fujikawa's vision is allowed to breathe wholesale. Case in point: the MIJ Starmaster. A wild combination of Starcaster and Jazzmaster specs, it is perhaps the ultimate offset curio – and one of the guitar designer's favorite recent projects. 'The idea actually started from a casual conversation with a fellow Fender enthusiast at work,' he recalls. 'We were talking about how cool it might look to pair a Starcaster neck with a Jazzmaster body. But I felt that just combining those two elements wasn't enough – it needed something more. 'While looking at my Jazzmaster hanging on the wall at home, I had a thought: what if we incorporated the flowing, grooved design of the Starcaster's headstock into the body shape as well? That could make the design even cooler and more cohesive.' Fujikawa's encyclopedic guitar knowledge informs many of these designs – pulling from the Gretsch archives for the Sparkle Telecaster (pictured at the top of this article), for example – but so too does his awareness of the needs of Asian players. To that end, the Made in Japan Junior Collection was 'carefully designed based on extensive research into the physique and playing styles of Japanese musicians,' he says, achieved 'by scaling the body size down to 94 percent of traditional models and incorporating a newly designed body cavity for weight reduction.' Yet even as some of its designs push classic Fender outlines to the limit – the Elemental and Modern series, or Miyavi and Scandal's signature models come to mind – there is no hesitation from Fender Japan, or Fender as a whole, about playing with these conventions. In fact, as Fujikawa tells it, it's the US team's dedication to core Fender values that enables the Japanese team to offer a different take on its designs. 'The US team consistently weaves Fender's timeless DNA into its core product lineup, and because of that solid foundation, the Japan team is free to approach things from a different angle and create products with a fresh perspective,' he says. 'This is something I could never achieve alone. Collaboration and teamwork are essential values that I hold dear.' Collaboration with outside firms is a big part of FJ's ethos, too. Its videogame-inspired guitars – Final Fantasy and Monster Hunter among them – attract headlines outside of the guitar world. Multiple fashion designers have had their way with the Telecaster. And, of course, there are the now-iconic Hello Kitty models. Nothing is off limits. A uniquely Japanese mindset But Fender Japan's designs are known for more than breaking the mold. They're praised for their craftsmanship, too. At this stage, it's important to note that MIJ guitars are produced in two factories: as of 2020, products planned for the US and global market are manufactured at Fujigen. But guitars made primarily for the Japanese market are built 'in a trusted factory in Nagano' (Fender does not publicly disclose the factory name). It's these models, produced in this secret factory, that are whispered about in guitar circles, perhaps now more than ever. But what exactly sets a Fender Japan guitar apart? Cole says the differences between MIJ and MIA Fenders are small – but as guitarists know, these add up. 'The Japanese seem to love the way we finish the necks here,' he says. 'I would say that there's more finishing, which gives them a glassier finish and coating.' 'One of the hallmarks of Japan-made instruments is the precise fit of the neck pocket, Fujikawa adds, 'leaving no gaps and providing a seamless connection. This level of attention to detail reflects a uniquely Japanese mindset and craftsmanship.' Unless they're specifically aimed at replicating vintage specs, the pickups, too, receive a distinct treatment that sets them apart from the US models. By thoroughly understanding the unique qualities of US-made pickups, we can create something slightly different Masato Fujikawa 'We also make deliberate adjustments to ensure the pickups used in Japan-made models have distinct characteristics from those made in the US,' Fujikawa confirms. 'By thoroughly understanding the unique qualities of US-made pickups, we can create something slightly different, giving our instruments their own identity.' Cole describes the sound as slightly brighter than western Fenders, but from my own experience with a range of current MIJ Fenders, I'd describe it as more transparent, too. Like the aesthetics of the guitars themselves, the sound of the instruments are less dogmatically rooted in Fender's past. They're more neutral and contemporary, with less of the distinctive treble spike or quackiness that you might find in certain pickup positions on a conventional Strat or Tele. That won't win over traditionalists, but many players will appreciate that they're usable without any tweaking – and that goes back to Fujikawa's criteria for the guitars he works on: functionality and ease of use. The build quality, too, contributes towards these aims. The attention to detail on MIJ Fenders is meticulous, from the finishing down to the playability. It's the reason why series such as the Made in Japan Traditional Collection and Hybrid II exist; while they are more conventional in appearance, their construction and specification is inspired by that lauded original era of Fender Japan – and given that legacy, Fujikawa is aware he has a reputation to uphold. 'Each [guitar] is crafted by skilled Japanese artisans in local factories,' he says. 'The precision, delicate finishes, and exceptional quality have earned high praise from musicians both in Japan and around the world. 'I am fully aware of the responsibility that comes with carrying the Fender name, and while there is always pressure to build a product lineup worthy of that legacy, I also find it incredibly rewarding.' Going global Outside of Japan, even within Fender, there's a feeling that Fender Japan is very much a separate entity, operating outside of the US firm's orbit. But Cole says the international divisions speak more often than you would think. 'There's not a guitar that we've ever made here in Japan that our product team, our marketing team, and I'd like to think our sales team, wasn't aware of,' he says. 'But by the nature of the fact it was made specifically for this market, it was never going to get outside of Japan, unless people travelled over here – and I urge people to do it, because it's such a wonderful place.' There's a limited amount of products that we can make for made-in-Japan right now. And we hope that will increase over the years Edward 'Bud' Cole Any MIJ guitars that do make it outside of their country of origin are planned from the outset. 95 percent of the models manufactured in Japan are sold there, so anything that gets shipped over to the US, Europe or Australia will have been planned out years in advance. Fender US is very much in the loop. Given the surge of interest in MIJ guitars, and Fender's own expansion in Asia, we wonder what's holding the company back from bringing more over to the rest of the world. Cole is candid on the current limitations of the company's shared Nagano factory – but hints towards a 'watch this space' development. 'We're just constrained by how much we can actually make in this market for Japan and for the rest of the world,' he explains. 'There's a limited amount of products that we can make for made-in-Japan right now. And we hope that will increase over the years, because we know that there are people all around the world [who want these guitars].' Fender Japan's Monster Hunter Series – a tie-in with the popular videogame – is a rare example of a Japan-designed project that was made available globally on March 20, and could mark the beginning of a new unified release schedule for the firm. But for now, it's the passion and vision from Fujikawa and his team that keep guitarists in the west hooked to Fender Japan's social accounts, eager to see what's on the horizon from this parallel Fender universe where you never quite know what's coming next. 'Made in Japan models are designed with a strong focus on balancing respect for Fender's tradition with modern interpretations that resonate with today's players,' he says. 'Leo Fender himself was always pushing the boundaries of design and innovation. We are committed to carrying that spirit forward.' Solve the daily Crossword
Travel Weekly
an hour ago
- Travel Weekly
The art of hospitality (fiction and nonfiction)
Arnie Weissmann The Japanese have a word for all the books on your shelves that you haven't read yet: tsundoku. It translates as a combination of the Japanese words for "letting things amass" and "reading." I read a lot but am also a practitioner of tsundoku. The titles you see in my bookcases are only the surface layer; there are books lurking behind those. My wife worries the bookcases themselves will collapse under the weight. In an essay by a writer for the company Big Think, which produces videos, essays, interviews and newsletters promoting the ideas of thought leaders in numerous fields, the argument is made that there is value in those unread books. The essay suggests that the presence of unread books serves two purposes: They prompt you to ponder how much you don't know -- something that's always good to keep in mind -- and motivates you to learn more. Looking at my own shelves, I'm reminded of my ignorance about everything from meteorology to the I Ching to Soviet space dogs. But sometimes new books come along that jump the queue, and I open them right away. I received two such books recently, one fiction and one nonfiction, that impart complementary lessons about the art of hospitality. Both are written by experienced hoteliers, and both have value for anyone in travel. Hospitality underpins all sectors of the industry, from retailing to cruise to aviation. Or rather, it should. That's the overlapping message between the two. The nonfiction "Honing the Human Edge" (Greenleaf Book Group, 2025) is written by Edward Mady, whose career in luxury hospitality has included stints at the Beverly Hills Hotel, Hotel Bel-Air and several Ritz-Carlton and Four Seasons properties. He was named Hotelier of the World by Hotels Magazine in 2017. Mady delivers on the cover blurb that promises to tell "How Leaders Can Unlock Success Through Caring, Coaching and Accountability." He argues that humanity is instrumental in navigating crises and creating alignment across complex organizational structures. He sees the human connection as a strategic advantage "not only to stand out in a competitive world but redefine what success looks like" for individuals and organizations. His real-world experience anchors what might come off as lofty sentiment. He outlines broad approaches to management during good times and bad but also addresses very specific situations on topics as complex as combining cultures after a merger, as distressing as being sued and as personal as firing a friend. The other volume that jumped to the front of the line is "Give Hospitality" (Matt Holt Books, 2025) by Taylor Scott. It's an unusual business book because it's written entirely as a fable. Its imaginary protagonist, Summer Grace, gets a job at an imaginary Hawaii hotel, Kauwela Resorts, and the 180-page book details her journey through a five-day orientation for new employees, workshopping the company's core values while she gets to know managers and fellow initiates. While it's doubtful this will be up for a National Book Award, the unusual construct delivers lessons on compassion, encouragement, kindness and leadership in an accessible format. By setting the property in Hawaii, Scott also introduces many concepts of the aloha spirit that underlie the Islands' culture and are natural guidelines to hospitality. In the book's acknowledgements, Scott says that the fictional property's general manager, Arthur, is based on the real-life Arthur Keith, who had been a mentor when Scott attended Cornell University's school of hotel administration. Keith is the current GM of the university's on-campus Statler Hotel. Scott had previously written a more straightforward business book, "Lead With Hospitality" (Matt Holt Books, 2021). Summer Grace, the fictional heroine of "Give Hospitality," makes a brief appearance there, too, in a parable in that book's introduction. Previously, Scott had worked for Disney, Gaylord, Wynn and, in Las Vegas, the Cosmopolitan. He's currently a travel advisor -- he owns Lead with Hospitality Travel Group by Dream Vacations -- and is an industry consultant/speaker. In the book's epilogue, Scott asserts he would like to actually create a Kauwela Resort in Hawaii and asks readers who might be interested in partnering, collaborating or investing to contact him. As a practitioner of tsundoku, I'm still a novice. The author Umberto Eco, whose best-known fictional work "The Name of the Rose" (Harcourt, 1980) is a medieval murder mystery set in a monastery's library, had a personal library of 30,000 books. Even he admitted that if he read a book a day for 70 years, he could only get through 25,200 of them. You'll have an easier choice than Eco to decide what to read next. If you're in the travel industry, you might consider letting these two hospitality-focused newcomers take precedence. Although I still look forward to learning more about meteorology, the I Ching and Soviet space dogs, I have no regrets that I let these two new books cut the line.
