Niche Office Quotes

Will this job allow me to spend time on in-character activities like, for example, reading, strategizing, writing, and researching? Will I have a private workspace or be subject to the constant demands of an open office plan? If the job doesn’t give me enough restorative niches, will I have enough free time on evenings and weekends to grant them to myself?

Introverts should ask themselves: Will this job allow me to spend time on in-character activities like, for example, reading, strategizing, writing, and researching? Will I have a private workspace or be subject to the constant demands of an open office plan? If the job doesn’t give me enough restorative niches, will I have enough free time on evenings and weekends to grant them to myself?

The Ankh-Morpork Central Post Office had a gaunt frontage. It was a building designed for a purpose. It was, therefore, more or less, a big box to employ people in, with two wings at the rear, which enclosed the big stable yard. Some cheap pillars had been sliced in half and stuck on the outside, some niches had been carved for some miscellaneous stone nymphs, some stone urns had been ranged along the parapet, and thus Architecture had been created.

Formally, a new election for an office many be held every year or two. But, in practice, the moere fact that an invidual has held the office in the past is thought by him and by the members to give him a moral claim on it for the future; or, if not on the same office, then on some other leadership post in the organization. It becomes almost unthinkable that those who have served the organization so well, or even not so well, in the past should be thrown aside. If the vagaries of elections by chance turn out wrong, then a niche is found in an embassy or bureau or post-office, or, at the end, in the pension list.

While amassing one of the most lucrative fortunes in the world, the Kochs had also created an ideological assembly line justifying it. Now they had added a powerful political machine to protect it. They had hired top-level operatives, financed their own voter data bank, commissioned state-of-the-art polling, and created a fund-raising operation that enlisted hundreds of other wealthy Americans to help pay for it. They had also forged a coalition of some seventeen allied conservative groups with niche constituencies who would mask their centralized source of funding and carry their message. To mobilize Latino voters, they formed a group called the Libre Initiative. To reach conservative women, they funded Concerned Women for America. For millennials, they formed Generation Opportunity. To cover up fingerprints on television attack ads, they hid behind the American Future Fund and other front groups. Their network’s money also flowed to gun groups, retirees, veterans, antilabor groups, antitax groups, evangelical Christian groups, and even $4.5 million for something called the Center for Shared Services, which coordinated administrative tasks such as office space rentals and paperwork for the others. Americans for Prosperity, meanwhile, organized chapters all across the country. The Kochs had established what was in effect their own private political party.

In 1997, executives at Disney came to us with a request: Could we make Toy Story 2 as a direct-to-video release—that is, not release it in theaters? At the time, Disney’s suggestion made a lot of sense. In its history, the studio had only released one animated sequel in theaters, 1990’s The Rescuers Down Under, and it had been a flop. In the years since, the direct-to-video market had become extremely lucrative, so when Disney proposed Toy Story 2 for video release only—a niche product with a lower artistic bar—we said yes. While we questioned the quality of most sequels made for the video market, we thought that we could do better. Right away, we realized that we’d made a terrible mistake. Everything about the project ran counter to what we believed in. We didn’t know how to aim low. We had nothing against the direct-to-video model, in theory; Disney was doing it and making heaps of money. We just couldn’t figure out how to go about it without sacrificing quality. What’s more, it soon became clear that scaling back our expectations to make a direct-to-video product was having a negative impact on our internal culture, in that it created an A-team (A Bug’s Life) and a B-team (Toy Story 2). The crew assigned to work on Toy Story 2 was not interested in producing B-level work, and more than a few came into my office to say so.

Willie Sutton was one of America’s best-known bank robbers. When asked by a journalist why he robbed banks, Sutton replied simply: ‘Because that’s where the money is.’ A good answer, but wrong. Yes, banks are where the money is, but you need to be an idiot to rob them. If you want to get rich, you need to work in one, ideally on Wall Street or in the City of London. If you head for one of the right banks and get the right sort of job (whatever you do, avoid the back office), you’ll make plenty of dough, no matter what niche you end up in.

If we focus on substance over size, sustainability over consumption, we can create a solo business that is efficient and profitable. This may seem entirely conceptual (and it is), but changing your philosophy from “Bigger is Better” to “Business Edited” will allow you more freedom, flexibility, and profit. Living Business Edited You may want to grow your business into a thriving company. And that’s a great goal. But the philosophy can be the same. Create a business based on substance over size. Bigger is not better. Become an expert in efficiency and embrace the less stuff, less overhead philosophy. Here are a few examples of how to live Business Edited: Focus on a niche instead of trying to do everything for everyone (think small target market over large target market) Get rid of paper – no one reads brochures! Embrace technology that helps you integrate and organize (think iPad over PC) Choose sustainable and local whenever you can Create a leaner office space Choose dual purpose items Don’t purchase “stuff”  – purchase only what you truly need Minimalism

Uber had to get creative to unlock the hard side of their network, the drivers. Initially, Uber’s focus was on black car and limo services, which were licensed and relatively uncontroversial. However, a seismic shift occurred when rival app Sidecar innovated in recruiting unlicensed, normal people as drivers on their platform. This was the “peer-to-peer” model that created millions of new rideshare drivers, and was quickly copied and popularized by Lyft and then Uber. Jahan Khanna, cofounder/chief technology officer of Sidecar, spoke of its origin: It was obvious that letting anyone sign up to be a driver would be a big deal. With more drivers, rides would get cheaper and the wait times would get shorter. This came up in many brainstorms at Sidecar, but the question was always, what was the regulatory framework that allows this to operate? What were the prior examples that weren’t immediately shut down? After doing a ton of research, we came onto a model that had been active for years in San Francisco run by someone named Lynn Breedlove called Homobiles that answered our question.22 It’s a surprising fact, but the earliest version of the rideshare idea came not from an investor-backed startup, but rather from a nonprofit called Homobiles, run by a prominent member of the LGBTQ community in the Bay Area named Lynn Breedlove. The service was aimed at protecting and serving the LGBTQ community while providing them transportation—to conferences, bars and entertainment, and also to get health care—while emphasizing safety and community. Homobiles had built its own niche, and had figured out the basics: Breedlove had recruited, over time, 100 volunteer drivers, who would respond to text messages. Money would be exchanged, but in the form of donations, so that drivers could be compensated for their time. The company had operated for several years, starting in 2010—several years before Uber X—and provided the template for what would become a $100 billion+ gross revenue industry. Sidecar learned from Homobiles, implementing their offering nearly verbatim, albeit in digital form: donations based, where the rider and driver would sit together in the front, like a friend giving you a ride. With that, the rideshare market was kicked off.

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.