Succession Best Tom Quotes

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Looking back at those early days in the band house, we can all see how important they were in helping us bond as a band. It could have gone so wrong. Danny and I had picked Harry and Dougie after, literally, two days of knowing them. We could have all hated each other. We could have found that we had nothing in common, or that we resented the time we spent with each other. In fact, we had such a lot of fun. We weren’t yet famous or successful, but already we were having the time of our lives. Even when we hit the big time, we didn’t want to go out to clubs or celebrity haunts. Not our scene. For us, the best thing about being in a band was being in a band, doing band stuff - not all the trappings that went with it. We liked working on our music, and we liked hanging out together. All this meant we gelled more than most bands ever have the opportunity or inclination to do. Within a couple of months of moving into the band house, I had three new best friends. Their names were Danny, Harry and Dougie. No matter what the future held for us, our friendship was something we now know we could always rely on.
Tom Fletcher (McFly: Unsaid Things... Our Story)
The purpose of clothing, as best he could tell, was to keep one unembarrassed and at the right temperature. If an outfit served that purpose for a respectable period—twenty years, say—and at the lowest price available, then it was successful.
Tom Rachman (The Rise & Fall of Great Powers)
The best time management tool is a clearly defined and definite purpose for your life.
Tom Cunningham
Eventually each of us comes to the point where we realize that how we were taught to live is not the way we were born to live. Mega-successful British playwright Tom Stoppard wrote, “It’s the best possible time to be alive, when almost everything you thought you knew is wrong!” At a crucial instant each of us starts trusting our inner guidance more than others’ opinions or directives. Facing this crossroad can be frightening, as it may call us to make changes in our life that others might not approve of. You may even have to reinvent yourself. Yet it is liberating to recognize that you have more choices and freedom than you realized. Such a moment marks the beginning of your true spiritual path.
Alan Cohen (The Tao Made Easy: Timeless Wisdom to Navigate a Changing World)
This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs. I'm not sure if there is any pattern to these selections. I did not spend a lot of time with those that seemed afraid to tell stories, that handled plot as if it were a hair in the soup, unwelcome and embarrassing. I also tended not to revisit stories that seemed bleak without having earned it, where the emotional notes were false, or where the writing was tricked out or primped up with fashionable devices stressing form over content. I do know that the easiest and the first choices were the stories to which I had a physical response. I read Jennifer Egan's "Out of Body" clenched from head to toe by tension as her suicidal, drug-addled protagonist moves through the Manhattan night toward an unforgivable betrayal. I shed tears over two stories of childhood shadowed by unbearable memory: "The Hare's Mask," by Mark Slouka, with its piercing ending, and Claire Keegan's Irishinflected tale of neglect and rescue, "Foster." Elizabeth McCracken's "Property" also moved me, with its sudden perception shift along the wavering sightlines of loss and grief. Nathan Englander's "Free Fruit for Young Widows" opened with a gasp-inducing act of unexpected violence and evolved into an ethical Rubik's cube. A couple of stories made me laugh: Tom Bissell's "A Bridge Under Water," even as it foreshadows the dissolution of a marriage and probes what religion does for us, and to us; and Richard Powers's "To the Measures Fall," a deftly comic meditation on the uses of literature in the course of a life, and a lifetime. Some stories didn't call forth such a strong immediate response but had instead a lingering resonance. Of these, many dealt with love and its costs, leaving behind indelible images. In Megan Mayhew Bergman's "Housewifely Arts," a bereaved daughter drives miles to visit her dead mother's parrot because she yearns to hear the bird mimic her mother's voice. In Allegra Goodman's "La Vita Nuova," a jilted fiancée lets her art class paint all over her wedding dress. In Ehud Havazelet's spare and tender story, "Gurov in Manhattan," an ailing man and his aging dog must confront life's necessary losses. A complicated, only partly welcome romance blossoms between a Korean woman and her demented
Geraldine Brooks (The Best American Short Stories 2011)
The various ways of creating a culture of innovation that we’ve talked about so far are greatly influenced by the leaders at the top. Leaders can’t dictate culture, but they can nurture it. They can generate the right conditions for creativity and innovation. Metaphorically, they can provide the heat and light and moisture and nutrients for a creative culture to blossom and grow. They can focus the best efforts of talented individuals to build innovative, successful groups. In our work at IDEO, we have been lucky enough to meet frequently with CEOs and visionary leaders from both the private and public sectors. Each has his or her own unique style, of course, but the best all have an ability to identify and activate the capabilities of people on their teams. This trait goes far beyond mere charisma or even intelligence. Certain leaders have a knack for nurturing people around them in a way that enables them to be at their best. One way to describe those leaders is to say they are “multipliers,” a term we picked up from talking to author and executive advisor Liz Wiseman. Drawing on a background in organizational behavior and years of experience as a global human resources executive at Oracle Corporation, Liz interviewed more than 150 leaders on four continents to research her book Multipliers: How the Best Leaders Make Everyone Smarter. Liz observes that all leaders lie somewhere on a continuum between diminishers, who exercise tight control in a way that underutilizes their team’s creative talents, and multipliers, who set challenging goals and then help employees achieve the kind of extraordinary results that they themselves may not have known they were capable of.
Tom Kelley (Creative Confidence: Unleashing the Creative Potential Within Us All)
But success is not being better than someone else, success is the peace of mind that is a direct result of self-satisfaction in knowing that you gave your best effort to become the best of which you are capable.
Tom Venuto (Burn the Fat, Feed the Muscle: Transform Your Body Forever Using the Secrets of the Leanest People in the World)
Here’s a good question: Given my need to get away from convenience stores, why did I stick with small stores? If in 1967 it was justified because I had eighteen of them already, surely it was no longer justified in the 1980s when Trader Joe’s had become a powerful, successful operation. The answer was verbalized for us in In Search of Excellence, Tom Peter’s best-selling book on management that appeared in 1983. He called it “The Power of Chunking”: The essential building block of a company is the section [which] within its sphere does not await executive orders but takes initiatives. The key factor for success is getting one’s arms around almost any practical problem and knocking it off. . . . The small group is the most visible of the chunking devices.
Joe Coulombe (Becoming Trader Joe: How I Did Business My Way and Still Beat the Big Guys)
they attribute their success to. It is usually the same: persistence, hard work, and hiring good people. —Kiana Tom Success is stumbling from failure to failure with no loss of enthusiasm. —Winston Churchill The best way out is always through. —Robert Frost Knowing trees, I understand the meaning of patience. Knowing grass, I can appreciate persistence. —Hal Borland
Dave Kerpen (The Art of People: 11 Simple People Skills That Will Get You Everything You Want)
General Sherman praised the shows as "wonderfully realistic and historically reminiscent." Reviews and the show's own publicity always stressed its "realism." There is no doubt it was more realistic, visually and in essence, than any of the competing Wild Wests. There were four other Wild West shows that year: Adam Forepaugh had one, Dr. A. W. Carver another; there was a third called Fargo's Wild West and one known as Hennessey's Wild West. Cody criticized all their claims and their use of the words "Wild West." He had copyrighted the term according to an act of Congress on December 22, 1883, and registered a typescript at the Library of Congress on June 1, 1885. The copyright title read: The Wild West or Life among the Red Man and the Road Agents of the Plains and Prairies-An Equine Dramatic Exposition on Grass or Under Canvas, of the Adventures of Frontiersmen and Cowboys. Additional copy was headed BUFFALO BILL'S "WILD WEST" PRAIRIE EXHIBITION AND ROCKY MOUNTAIN SHOW, A DRAMATIC-EQUESTRIAN EXPOSITION OF LIFE ON THE PLAINS, WITH ACCOMPANYING MONOLOGUE AND INCIDENTAL MUSIC THE WHOLE INVENTED AND ARRANGED BY W.F. CODY W.F. CODY AND N. SALSBURY, PROPRIETORS AND MANAGERS WHO HEREBY CLAIM AS THEIR SPECIAL PROPERTY THE VARIOUS EFFECTS INTRODUCED IN THE PUBLIC PERFORMANCES OF BUFFALO BILL'S "WILD WEST" Although the show's first year under enlarged and reorganized management had not been a financial success, at least one good thing had come from it. Also showing in New Orleans that winter had been the Sells Brothers Circus. One of its performers who had wandered over to visit the Wild West lot was Annie Oakley. The story of Annie Oakley's life was so much in the American grain that it might have come from the pen of Horatio Alger Jr., the minister turned best-selling author, who chronicled the fictional lives of poor boys who made good. Ragged Dick: or, Street Life in New York, Ragged Tom, and Luck Moses then married Dan Brumbaugh, who died in an accident shortly afterward, leaving another daughter. When she was seven, Annie frequently fed the family with quail she had caught in homemade traps, much as young Will Cody had trapped small game. In an interview she once said: "I was eight years old when I made my first shot, and I still consider it one of the best shots I ever
Robert A. Carter (Buffalo Bill Cody: The Man Behind the Legend)
Golfers, even the best golfers, tend to think simple thoughts. It is a misconception many of us have about successful people, in all fields, from the best writers to surgeons to physicists, that they are lost in complications, pondering thoughts that would stagger our minds. At times, that’s probably true, but much of what successful people think about is relentlessly simple, building blocks that lead to the complex things.
Joe Posnanski (The Secret of Golf: The Story of Tom Watson and Jack Nicklaus)
Look for Middle Ground The best way to resolve a disagreement is to find middle ground to meet the person halfway. Finding middle ground is the key to creating a win-win in a disagreement. And you want to always strive for the win-win. That way you and the other person both walk away feeling as though you’ve gotten something you wanted. The best way to find middle ground is to ask questions of the person—to be askassertive. A simple question to kick off the conversation could be: “Tom, what would you see as success on this project?” From Tom’s answer, you gain insight into where you can meet him halfway—where you can establish middle ground. And there is always an opportunity for you to give enough to help the other person give a little, too. In fact, most people will back off of a hardline position when they see the other person is willing to be flexible.
Robert Dittmer (151 Quick Ideas to Improve Your People Skills)