Gamble Rogers Quotes

Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant -you just don't know which. You can play it safe there, too, and proceed along the route you'd mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place. Trust your demon.

WHY DIVERSIFY? During the bull market of the 1990s, one of the most common criticisms of diversification was that it lowers your potential for high returns. After all, if you could identify the next Microsoft, wouldn’t it make sense for you to put all your eggs into that one basket? Well, sure. As the humorist Will Rogers once said, “Don’t gamble. Take all your savings and buy some good stock and hold it till it goes up, then sell it. If it don’t go up, don’t buy it.” However, as Rogers knew, 20/20 foresight is not a gift granted to most investors. No matter how confident we feel, there’s no way to find out whether a stock will go up until after we buy it. Therefore, the stock you think is “the next Microsoft” may well turn out to be the next MicroStrategy instead. (That former market star went from $3,130 per share in March 2000 to $15.10 at year-end 2002, an apocalyptic loss of 99.5%).1 Keeping your money spread across many stocks and industries is the only reliable insurance against the risk of being wrong. But diversification doesn’t just minimize your odds of being wrong. It also maximizes your chances of being right. Over long periods of time, a handful of stocks turn into “superstocks” that go up 10,000% or more. Money Magazine identified the 30 best-performing stocks over the 30 years ending in 2002—and, even with 20/20 hindsight, the list is startlingly unpredictable. Rather than lots of technology or health-care stocks, it includes Southwest Airlines, Worthington Steel, Dollar General discount stores, and snuff-tobacco maker UST Inc.2 If you think you would have been willing to bet big on any of those stocks back in 1972, you are kidding yourself. Think of it this way: In the huge market haystack, only a few needles ever go on to generate truly gigantic gains. The more of the haystack you own, the higher the odds go that you will end up finding at least one of those needles. By owning the entire haystack (ideally through an index fund that tracks the total U.S. stock market) you can be sure to find every needle, thus capturing the returns of all the superstocks. Especially if you are a defensive investor, why look for the needles when you can own the whole haystack?

Today’s Children, The Woman in White, and The Guiding Light crossed over and interchanged in respective storylines.) June 2, 1947–June 29, 1956, CBS. 15m weekdays at 1:45. Procter & Gamble’s Duz Detergent. CAST: 1937 to mid-1940s: Arthur Peterson as the Rev. John Ruthledge of Five Points, the serial’s first protagonist. Mercedes McCambridge as Mary Ruthledge, his daughter; Sarajane Wells later as Mary. Ed Prentiss as Ned Holden, who was abandoned by his mother as a child and taken in by the Ruthledges; Ned LeFevre and John Hodiak also as Ned. Ruth Bailey as Rose Kransky; Charlotte Manson also as Rose. Mignon Schrieber as Mrs. Kransky. Seymour Young as Jacob Kransky, Rose’s brother. Sam Wanamaker as Ellis Smith, the enigmatic “Nobody from Nowhere”; Phil Dakin and Raymond Edward Johnson also as Ellis. Henrietta Tedro as Ellen, the housekeeper. Margaret Fuller and Muriel Bremner as Fredrika Lang. Gladys Heen as Torchy Reynolds. Bill Bouchey as Charles Cunningham. Lesley Woods and Carolyn McKay as Celeste, his wife. Laurette Fillbrandt as Nancy Stewart. Frank Behrens as the Rev. Tom Bannion, Ruthledge’s assistant. The Greenman family, early characters: Eloise Kummer as Norma; Reese Taylor and Ken Griffin as Ed; Norma Jean Ross as Ronnie, their daughter. Transition from clergy to medical background, mid-1940s: John Barclay as Dr. Richard Gaylord. Jane Webb as Peggy Gaylord. Hugh Studebaker as Dr. Charles Matthews. Willard Waterman as Roger Barton (alias Ray Brandon). Betty Lou Gerson as Charlotte Wilson. Ned LeFevre as Ned Holden. Tom Holland as Eddie Bingham. Mary Lansing as Julie Collins. 1950s: Jone Allison as Meta Bauer. Lyle Sudrow as Bill Bauer. Charita Bauer as Bert, Bill’s wife, a role she would carry into television and play for three decades. Laurette Fillbrandt as Trudy Bauer. Glenn Walken as little Michael. Theo Goetz as Papa Bauer. James Lipton as Dr. Dick Grant. Lynn Rogers as Marie Wallace, the artist.

Roger Martin of the University of Toronto’s Rotman School of Management conducted a lengthy study of exceptional leaders stretching from Procter & Gamble’s then-CEO A. G. Lafley to choreographer Martha Graham and discovered that their ability to find solutions required holding conflicting perspectives and using that friction to synthesize a new idea. “The ability to face constructively the tension37 of opposing ideas,” Martin writes in his book The Opposable Mind, “. . . is the only way to address this kind of complexity.

Tatwine’s pet theory was that Heaven consisted of fun things like drinking and gambling and consorting with women, while Hell was an eternity of sitting on a cloud, singing hymns.

Don’t gamble! Take all your savings and buy some good stock and hold it till it goes up, then sell it. If it don’t go up, don’t buy it.

...I decided to seize what seemed to be the advantage I'd obtained in this game I didn't understand with players I didn't know for stakes I had no inkling of.

Sterling Memorial, the main library at Yale, had been built to resemble a Gothic cathedral, replete with stained glass, carved stonework, and a crenellated tower. Completed in 1930, the structure was "as near to modern Gothic as we dared" according to its architect, James Gamble Rogers. The use of the word "dare" always intrigued me. It suggested boundaries and infractions. There was, as I had come to expect at Yale, a scandalous story attached to the library's design. The benefactress, an old woman with failing eyesight, wanted a place of worship, and Yale wanted a library. Flouting its own motto, Lux et Veritas, Yale presented her with a structural trompe l'oeil. A cathedral in its outlines, but in its details a pantheon to books, where King Lear was a demigod and Huckleberry Finn a mischievous angel. The visual world had already become a greasy smudge to the benefactress, so the old biddy died never knowing the difference. Light and Truth, indeed.

The gambling known as business looks with austere disfavor upon the business known as gambling.” ​— ​Ambrose Bierce