Quotes of All Topics . Occasions . Authors
I could try to incorporate or reflect in my models what it is that an employee, manager, or entrepreneur does: to recognize that most are engaged in their work, form expectations and evolve beliefs, solve problems, and have ideas. Trying to put these people into economic models became my project.
You must remember that anyone under 30 - especially a ballplayer - is an adolescent. I never got close to being an adult until I was 32. Even though I was married and had a son at 20, I was a kid at 32, living at home with my parents. Sure, I was a manager then. That doesn't mean you're grown up.
I haven't wanted to portray a manager since Paul E. Dangerously was with the Samoan Swat Team in 1989. I've always wanted to do some different presentation in that role. I don't consider myself a manager - I'm an advocate, and I truly believe that that is the description for the role that I play.
I know that nothing can be taken for granted, and there is still a lot of hard work ahead of me. However, I am looking forward to the challenge of trying to prove to the England manager that I am worthy of a place in his team, and hopefully continuing to progress my career in the right direction.
My first manager chose the name Engelbert Humperdinck for me. My real name is Arnold George Dorsey. It didn't really quite hit the entertainment industry the way it should have. But when my manager chose the name Engelbert Humperdinck, I had a hit record immediately, which was called 'Release Me.'
Something I realized when I moved to America: people get these general American accents, but when they get angry or upset or excited, their original accents come out. It's something I noticed with my manager, because he's from New York, and the first time he got angry, he suddenly had this accent.
When I was traded from the Oakland A's to the Atlanta Braves before the 2005 season, a childhood dream was realized. I grew up a Braves fan just a few hours south of Atlanta, and it was hard for me to believe that I was going to actually play for the Atlanta Braves and legendary manager Bobby Cox.
There is no doubt that my former manager Sir Alex exerted an influence over some referees. He was the master of dropping a comment into his Friday press conference - for instance, how long it had been since we had been given a penalty, or the treatment meted out to a player like Cristiano Ronaldo.
Growing up, my dad drank a lot of wine, so I got a taste for, and learned how to enjoy it. He spoke a lot about flavors and differences in tastes of wine. Also, our manager, Rick Sales, is a big wine drinker; he goes to a lot of wine-tasting classes, and he's taught me about the qualities of wine.
A great manager is someone who says, 'You come to work with me, and I'll help you be as successful as possible; I'll help you grow. I'll help you make sure you're in the right role; I'll provide the relationship for you to understand and know yourself. And I want you to be more successful than me.'
There's no one else I would rather have as my manager than my mom because I know that she has our best interests at heart. Sometimes, it's hard to separate manager mode from mom mode. I think as our manager, my mom will get more emotional about situations than she would if she was just our manager.
'One Minute Mentoring' is written in the parable style Spencer Johnson and I popularized in 'The One Minute Manager.' It's an entertaining story about the mentorship between a young salesperson, Josh, and a seasoned executive named Diane. As the characters learn about mentoring, so does the reader.
I worked with many great assistants to Sir Alex Ferguson over the years. Yet sometimes a manager's second-in-command is more suited to that role than any other. You confide in them - you tell them things that you would not tell the manager - and they are that bridge between the boss and the players.
I was at a point where I couldn't find an agent or a manager, and I said, 'Okay, Lord. If this is what you have for me, I need you to work that. I need you to open doors.' I was at that point of truly surrendering whatever my will was, and, 'Lord, if this is what You want, You do it.' And, He did it.
No manager in the world gets good results all the time and you know there's people always ready to have a snipe. In fact I'm my own biggest critic, I really am. Because my own standards are so high, I criticise myself behind the scenes more than perhaps I should, according to people who know me well.
I was gonna throw the first pitch at a Mets game, but there was a rain delay. So I'm waiting for it to stop, and the team's manager, Willie Randolph, comes by. Now he's already intimidating to begin with. But he comes over to me and says, 'If you screw this up, they will boo you.' And I said 'Thanks.'
I was at Caesar's Palace in Las Vegas, and I was performing at a show there. Jimmy Carter was going to be coming through with his Secret Service detail. The manager pulled me aside, and they didn't want me to shake Jimmy Carter's hand because they were afraid it would make the news if I stole from him.
Some of you may know my story: How for nineteen years, I worked as a manager for a tire plant in Alabama. And some of you may have lived a similar story: After nearly two decades of hard, proud work, I found out that I was making significantly less money than the men who were doing the same work as me.
I will never begin to know what the accountants do or what the camera guys do, as much as I try to learn just out of respect for what they do and to try to make my job as manager more efficient. The most important thing is to let those people do their jobs while making it clear what the parameters are.
Anger clearly has its proper place at work, which is neither wholly absent nor ever present. The manager who is an emotional blank is just as hard to work for as the volcanic boss, and both can do great harm by setting an unhelpful example for what kind of emotional expression is expected and accepted.
I'd happily just stay on the road. Getting home from America, sitting in my kitchen with a cup of tea, staring out of the window is pretty depressing. I didn't have a tour manager to tell me what to do so I had to start reaching out to people and making plans. That was hard. You become very vegetable-y.
I think the first three Rickenbacker basses were imported around 1964. Pete Quaife, the bassist for The Kinks, bought one. Then John Entwistle from The Who bought one. As for the third one, I asked the manager of the store if I could get an employee discount. He said I could, and so I picked up that one.
Pushing for excellence is a fight. You have to fight to hire the right employees, fight to get the supplies you need, to move line items around. Being a great manager means pushing to get those few extra inches every day. It's almost like a football game - the team that wins sometimes wins by just inches.
When I was covering games, and this is back in the '60s, you'd go into the manager's office. I can still visualize Earl Weaver from the Baltimore Orioles. I can just see Earl now in his underwear... with a beer in one hand and a cigarette in the other, holding court. And that was the way it was done then.
I still start to get panicky each morning before I go on television. I'll say, 'I'm in awful shape, something is wrong,' and if I start to look like I'm going off the deep end, Jimmy Straka, the stage manager, will say, 'You're all right. Calm down.' Then Bryant Gumbel will grab me by the leg or something.
Mauricio Pochettino - he was my captain at PSG and I always knew he would become a manager. He has taken a lot of influence from Marcelo Bielsa, who was his coach with Argentina; they used to talk about things a lot, and now you can see that his teams are really aggressive, both when attacking and defending.
I see it every week - parents shouting and screaming at kids. My dad was the same. He was always there, but he never interfered. Ron Greenwood, who was the manager of West Ham when I was a kid, wouldn't allow any parent to shout from the touchline. He thought players should be allowed to think for themselves.
You could summarize everything I did at Apple was making tools to empower creative people. 'QuickDraw' empowered all these other programmers to now be able to sling stuff on the screen. The 'Window Manager,' 'Event Manager,' and 'Menu Manager.' Those are things that I worked on that were empowering other people.
If you have good songs and a real desire to make music, the next thing to do, instead of approach record companies, is to get yourself a really good manager because then it allows you to focus on your profession of being a musician. Then they can focus on the darker art of the record label and the music industry.
I did tons of theater in school, and then when I was 16 and got my driver's license, I started driving to Los Angeles, along with my friend Eric Stoltz, who was a year ahead of me and was doing the same thing. So we had the same manager, and we started auditioning for things and doing commercials when we were 16.
I could not see myself going back into the studio without Tommy Dowd, our beloved producer who passed away in 2002. Then in 2009, Michael Lehman, my manager, really pushed me to meet with T Bone Burnett. I ended up meeting with T Bone in Memphis, and we hit it off right away; I knew he was a guy I could work with.
Granted, it's not easy to be a super-tall woman in Hollywood. But there are times when it works in my favour. In 'The Night Manager,' for example, both of my co-stars, Hugh Laurie and Tom Hiddleston, are also well over 6 ft. and it was lovely to look a co-star in the eye and not have them standing on an apple box!
I was being rejected all the time. Agents would say, 'I don't think you're the type they're looking for.' I was always like, 'You think? I don't want you to think. I want them to think that.' This business is all about someone's opinion, but not the agent or the manager's. How do they know? They're not that person.
I have worked with some of the most important players, like Ronaldo, Ibrahimovic, Kaka, Zidane, but the best are easy to work with because they are so professional. Their winning mentality, professionalism, helps the manager. Of course, sometimes I become angry, but usually my relationship with the players is calm.
When I was younger, I'd be in the studio three days straight to get something right, and my manager would be like, 'Go home!' Even now, I still sleep in the studio sometimes, but I can't do it quite as often. I've got gigs; I can't have my hobo beard! But if you love what you're doing, you can't stop. It's obsessive.
You feel like a stud out there when people swing and miss. As I've gotten older, I've preached to our young guys that strikeouts are sexy, but outs are outs, man, no matter how you get them. It's a lot cooler for me pitching in the seventh or eighth inning than it is going 5 1/3. Your manager likes it a lot more, too.
I think the line is where you're in the studio, you're creating. That belongs to you as an artist. Nothing should taint that. I shouldn't be thinking about what the fans want, I shouldn't be thinking about what the radio wants, what the label wants, what your manager wants, a song for the chicks, a song for the street.
Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.
I got a manager, and I thought, since I was going out on auditions, I should do this for a living. Then there was this moment on set when I realized I was having a lot of fun, and I really wanted to do this forever. I want to do different stuff, but I want it all to be just as good as this film. I want to be consistent.
There are a lot of parallels between being a mutual fund manager and being a general manager. Both in the financial markets and in baseball, we're dealing with a world where uncertainty reigns. We're trying to predict the future performance of human beings. It's a fundamental difficulty for which we both have to account.
Even as an 18-year-old, I had to grow comfortable with my leadership style, which is that I was really impatient with under-motivated people - extremely impatient, to the point where I was counterproductive as a manager of underproductive people. And that hasn't really changed. If people need to be motivated, I'm no good.
I wish that there was a program in college that taught you what to do about getting head shots, how to get an agent, how to get a manager, how to - none of that was taught. It was all your craft, and I'm very appreciative that they taught the craft in theater, but film and television are completely different than theater.
I didn't even know I was the first female Republican campaign manager until someone pointed it out to me on Twitter, and I said that can't be true. And then I realized this must be such a small group of women. And right away, I know them all - Susan Estrich and Donna Brazile and Beth Myers - and I respect them enormously.
I would've never tried acting. I was at this point in my life where I was like, 'I have this following; what am I gonna do?' I could've done reality TV, but I didn't see any longevity in that. And my manager was like, 'Have you ever acted before?' And I was like, 'No... but I'll try it.' And so I tried it, and I liked it.
I started in the lowest league in baseball, and I worked my way all the way up to Triple A and then to the big leagues. I never reached the level that I thought I would reach as a player. But that's the way it goes. So then I started from the bottom as a manager, and I worked my way up to managing the Dodgers for 20 years.
The great irony of management is that the higher up you go, the less actual control you have. When you are but a humble coder, you make the computer do exactly what you want; when you're a manager, you only hope that people understand what you want, and then trust/pray that they do it both correctly and in a timely manner.
Kellyanne is the first female campaign manager of any major party to win a presidential general election. In her position, Kellyanne will continue her role as a close adviser to the president-elect and will work with senior leadership to effectively message and execute the administration's legislative priorities and actions.
The general manager is kind of like the step into darkness when you reach the top of the league. As GM, you're responsible for everything, including the maitre d's and the sommeliers - all these people who have their own agendas. But you probably make less than the maitre d' and have a lot more work and a lot more headaches.
The owner or president is the person who controls the club. The coach's job is to keep him happy. But the key to success, as a manager, is your relationship with the players. Important clubs and important players succeed when the environment is correct. The players must enjoy their work and feel free to express their talents.
I was young so when I had that job at Burger King, I was still in high school and I just needed to help out my mom. And help myself because I needed to buy some of my clothes. I did that for about three years and I had became a shift manager working at Burger King, doing my thing. I was young and excited to make my own money.