Clayton Tune Quotes

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Oh, look at that—tomatoes. Harvested by hand, from plants nurtured in perfectly tilled soil by perfectly bearded hipsters, in the land of organic milk and asshole honey, where everyone was happy and in tune with the earth, and the entire world narrowed down to slow, sustainable, and the concept du jour—local. Fuck local. I’d fucked local, and look where it got me. Angry/not angry, listening/not listening for a phone call or text, feeling/not feeling overwhelmed, confused, betrayed, and slightly . . . used?
Alice Clayton (Nuts (Hudson Valley, #1))
Because Aristotle’s was the accepted lens on the universe, centuries of medieval scientists and thinkers went to great lengths to make epicycles work. It wasn’t until the sixteenth century, with one simple but profound observation, that Renaissance astronomer Nicolaus Copernicus reframed our view of the universe. The planets revolved not around the earth, but around the sun. Finally, understanding that provided a foundation for some of the most important advances in history and the foundation for modern astronomy and calculus. Of course, it took eighteen centuries for someone like Copernicus to see and articulate the flaws in Aristotle’s logic. And even he died without knowing that the world would accept he was right. Changing a well-established view of the world rarely happens overnight—and even when it happens, it still takes time to refine and perfect the right new perspective. In the world of innovation, many companies are stuck in a world of creating “epicycles”: elaborate approximations, estimations, and extrapolations. Because we gather, fine-tune, and cross-reference all manner of data, it seems like we should be getting better and better at predicting success. But if we fail to understand why customers make the choices they make, we’re just getting better and better at a fundamentally flawed process. Without the right understanding of the causal mechanism at the center of the innovation universe, companies are trying to make sense of the universe revolving around the earth. They’re forced to rely on an array of borrowed best practices, probabilistic tools, and tips and tricks that have worked for other companies, but which can’t guarantee success. As you look at innovation through the lenses of the Jobs Theory, what you see is not the customer at the center of the innovation universe, but the customer’s Job to Be Done. It may seem like a small distinction—just a few minutes of arc—but it matters a great deal. In fact, it changes everything.
Clayton M. Christensen (Competing Against Luck: The Story of Innovation and Customer Choice)
He grabbed the saw that was hanging on the top shelf and put his foot on the chain, pulling it tight. Ryder closed his eyes and tried to control his breathing as she started singing in the tune of N’Sync’s Tearing Up My Heart. “You’re not tearing up the chain, you know it’s true, We’re stuck together for-ever, me and you And no matter what you do, I’ll be right her-rr-e To a-no-hoy you.” Ryder had a crazed look on his face as he gritted his teeth and tried to saw the unsawable chain.
Kim Fox (Bounty Hunter: Ryder (The Clayton Rock Bounty Hunters of Redemption Creek, #1))
When disruptive change appears on the horizon, managers need to assemble the capabilities to confront the change before it has affected the mainstream business. In other words, they need an organization that is geared toward the new challenge before the old one, whose processes are tuned to the existing business model, has reached a crisis that demands fundamental change.
Clayton M. Christensen (The Innovator's Dilemma: When New Technologies Cause Great Firms to Fail (Management of Innovation and Change))
He was born Feb. 10, 1893, in New York’s Lower East Side. At 17 he learned to play the piano, beginning his musical career in the beer gardens of old Coney Island, picking out tunes for $25 a week. In Terry Walsh’s club he played while a waiter named Eddie Cantor sang. By 1916 he had assembled a small Dixieland combo for the Club Alamo in Harlem. There he met Eddie Jackson, who was to become his partner. In 1923 he and Jackson opened the Club Durant and acquired a third partner, Lou Clayton. The club thrived, but the partners ran afoul of the law, and the business was closed by Prohibition agents. But Clayton, Jackson, and Durante arrived on Broadway in 1928.
John Dunning (On the Air: The Encyclopedia of Old-Time Radio)