Tuesday, May 3, 2011

Quote - Jeff Smisek @ Stanford

-"I've had a real checkered career. I've done a lot of different things in my life. I didn't think I'd be in the airline business, and I certainly didn't think I'd be running the world's largest airline. What I tell people, is follow your passion. Don't go into investment banking or consulting because everybody's doing it. Go for your passion, because money is important, but beyond a certain amount is really enjoying coming to work, enjoying what you do, and believing in the future of the company. I've been in jobs where I was unhappy, and it's a lot more fun to be a company where you enjoy what you're doing, you like the people you work with."
-- Jeff Smisek

Sunday, March 7, 2010

Corner Office: An Office? She’ll Pass on That - NYTimes

An Office? She’ll Pass on That

This interview with Meridee A. Moore, founder of Watershed Asset Management, was conducted and condensed by Adam Bryant. Watershed is a $2 billion hedge fund based in San Francisco.

Q. Talk about some of the most important leadership lessons you’ve learned.

A. I’ve always had a job. I always liked to work. My most interesting job — where I learned a lot about how I think about the world now — was on a tomato harvester when I was about 15 in Woodland, Calif. There were two of us, friends of the girl whose dad owned the farm, and we worked with migrant farm workers. It was 110 degrees, and we worked 10 hours a day for $3.10 an hour. It gave me an appreciation for different kinds of people, where they come from and how they work.

Q. How has that affected your leadership style?

A. That experience made me realize how important it is to connect with people who are not like me. Especially in our business, we’re always trying to find nuanced ways of predicting outcomes. So, if you can include someone who comes with a different perspective — as long as they embody the same values — it’s a great way to get to the right answer. It helped me to understand that hard work, intelligence and willingness to go the extra mile can come in all shapes, sizes and colors.

Q. What’s it like to work at your hedge fund?

A. We sit in one big open room. It’s the ultimate flat organization. We all have the same size desks. I can hear how the analysts are communicating and asking questions. There are no interoffice memos or office hierarchies. There’s not much that is distilled or screened. When we’re working on something, there’s a lot of back and forth.

Q. Have you always worked in an open-floor setting?

A. I was trained as a lawyer and I lasted for only 18 months in my first job out of law school. I was 25. I had a beautiful office. And I hated it. One day, I just put my head down on my desk and wept.

Q. Why?

A. It was so lonely. All day I read documents. I didn’t understand the importance of the work, and it seemed so repetitive. Luckily, right around that time, I got a call from a guy who had left the same firm to work as an investment banker in a new products area for bonds at Lehman Brothers. It was 1985, right when the merger boom was starting, and Lehman was just looking for bodies. I took the job immediately and I loved it. Everybody worked together in a sort of mosh pit of ideas. It was more fun, more energizing, and I realized that you do better work if you get input from people around you.

Q. How do you hire?

A. We look at grades and scores, of course. We want the person to be competitive. Also, if the person has had a rough patch in his or her past, that’s usually good.

Q. Why?

A. Well, if you’ve ever had a setback and come back from it, I think it helps you make better decisions. There’s nothing better for sharpening your ability to predict outcomes than living through some period when things went wrong. You learn that events aren’t in your control and no matter how smart you are and how hard you work, you have to anticipate things that can go against you.

It’s also important to be a good communicator. Our strategy involves negotiation, and you have to understand management’s perspective, the judge’s idiosyncrasies, the different professionals and principals involved, and what they might do in a bankruptcy. When I screen for people, if they have a good sense of humor and are engaging communicators, they tend to be good negotiators and seem to be better at reading the qualitative side of human decision-making.

Q. What are some other screens?

A. We give people a two-hour test. We try to simulate a real office experience by giving them an investment idea and the raw material, the annual report, some documents, and then we tell them where the securities prices are. We say: “Here’s a calculator, a pencil and a sandwich. We’ll be back in two hours.” If an analyst comes in there and just attacks the project with relish, that’s a good sign.

Q. Is this one of those impossible tests, where you’re asking them to do seven hours of work in two hours?

A. Yes. But you’d be amazed at how well people do. After two hours, two of us go in and just let the person talk about what he’s done. The nice thing about my being trained as a lawyer, and never going to business school, is that I’m able to ask the basic, financially naïve questions, like: “What does the company do? How do they make money? Who are their customers? What do they make? How do they produce it?” That throws some people off.

Q. Really?

A. Often, analysts go right to the financials and forget to think about the company’s business model. If the person avoids answering the basic questions and instead changes the subject to talk about the work they did, that tells me the person is a bit rigid. Instead of trying to respond to what’s being asked, they’re trying to get an A on the test.

Also, if they’re a little too worried about pleasing me, that’s not good, either, because it’s not a please-the-boss competition. The point of the exercise is to make sure that we’ve thought about the issues critically, so we are in a position to make a good investment decision.

The other quality we look for is whether the person can distill a lot of very complicated information down to its essence. Can you figure out the three or four issues that are most important for understanding this investment? Or do you get distracted by aspects of the company that really have nothing to do with making an investment or determining value?

Q. What else do you ask job candidates?

A. I try to ask something that inspires the person to talk a little bit about their family, whether it’s their brother and sister, their parents, where they lived. And usually it’s, “Why do you want to be in San Francisco?” And they’ll say, “Oh, well I have an uncle in the East Bay.” And I’ll say, “Oh really? What does your uncle do?”

I find that guys who have had strong relationships with women — whether it was their mother, their sisters, a teacher — tend to be secure in who they are, and tend to do well in our business.

Q. Why is that?

A. Well, they have to work with me, for one thing. And they have to be able to challenge others and have me challenge them without taking it too personally.

The other question I ask is if they’ve ever been in anyone’s wedding party. If someone has asked them to stand next to him on the most important day of his life, at least one person thinks they are responsible. It means they’ve been able to establish and continue a relationship. It’s not always true, but if you build strong relationships with people, you tend to go into a management meeting or a negotiation and come out of it with some respect. You go into it thinking: “I’m going to leave this situation better than I found it. I don’t have to kill everybody to get to the right result for myself.” These are good qualities in a person and a partner.

Q. Talk about the transition from player to coach.

A. When I started managing people, when something would go wrong I would tend to go in and try to fix it myself without really bringing the analyst along. This came up with some management coaching I did, and I wish someone had told me sooner. Now I realize that, just like coaching a basketball game, if your player misses the free throw, you’re not allowed to go out there and take the second one yourself. You have to sit on the bench and yell: “Bend your knees! You’ve got this one!”

I feel like I’m much better now at trusting people who have inspired me to trust them. If they know that I’m really going to count on what they do, the person grows and feels much more responsible for the work product.

I’ve gotten better at taking a step back, but it’s very, very difficult to be compassionate when things go wrong, because we have responsibility to our investors to make sure that we prevent mistakes, and if we do make them, we need to fix them even if it hurts someone’s feelings. Hopefully, our people behave like owners and feel responsible, so we’ll make fewer mistakes up front.

One thing that is very important to me is that if there is a mistake, you bring it to my attention right away. There’s no fixing it first and telling me later. Investing is all about learning from what you did right and what you did wrong. If you are too afraid to admit what you did wrong, you are setting yourself up to make an even bigger mistake in the future. Even if I am upset, I try to say: “O.K., thanks for telling me. Now let’s figure out what to do from here.”

Q. How do you get feedback on how you manage?

A. I ask people all the time, but at least once a year I ask everyone in the firm to write 360s on everyone they work with, including me. I do it confidentially so people can be honest. Then an outsider, a management coach, synthesizes the comments and doesn’t tell me who said what, but he says, “These are the directional comments that people have about you.”

Q. What’s the feedback you’ve gotten?

A. Sometimes people are afraid to approach me because they’re afraid I’m too involved in what I’m doing. So I try to be aware of that. I’ve also gotten good feedback on our all-hands meetings. Every six weeks or so, we ask everyone in the firm to come into a room and I tell people what’s going on in the different areas of the firm — how the portfolio is doing, what’s happening with our investors, with accounting, legal and compliance, and whether we’re going to be hiring people in different areas. It’s amazing how this simple communication defuses a lot of stress because everybody feels like they’re rowing in the same direction.

Q. What’s your best career advice to somebody just graduating from undergrad or B-school?

A. Find a mentor. And it doesn’t have to be a mentor who looks like you. They can be older, a different gender, younger, in a different business, but someone you admire and respect, and just attach yourself to that person and learn everything you can. I’ve done this my whole career. It is so valuable, especially if you choose a good one and they end up teaching you everything and then rejoicing in your success.


Saturday, January 16, 2010

Vampire Weekend - Dapper, Privileged and Unapologetic - NYTimes

Dapper, Privileged and Unapologetic

In retrospect, it should have always been clear that the polarizing New York indie-rock band Vampire Weekend had a little bit of ska in its DNA. Later iterations of that genre, revived every decade or so, gave secondhand consumption a bad name, its manhandling of reggae signifiers the laziest and most regrettable sort of musical borrowing.

It can be a gateway genre, though, to something more ambitious, which is what Vampire Weekend achieved on its 2008 self-titled debut album, a blissful, enthusiastic, careful — and to some, offensive — blend of African, British and American styles. Plenty got there before Vampire Weekend, but few got there with more panache or better clothes.

Daring to dress well turned out to be as much of a liability for the band members — Ezra Koenig, who sings and plays guitar; the multi-instrumentalist Rostam Batmanglij; the bassist Chris Baio; and the drummer Christopher Tomson — as fiddling around with Afropop, which smacked of cultural tourism. In an indie-rock environment that eschews the clean-cut, natty nonchalance can look a lot like entitlement, especially when emanating from a band of mostly white Ivy League-educated young men with good posture.

But there was no denying the ease of that album. Vampire Weekend’s music — appealingly leisurely, technically accomplished and pinprick precise — was difficult to impugn. Privilege sounded thrilling.

That remains true on “Contra” (XL), the group’s second album, which was released last week. Slicker and riskier and sometimes deeper than its predecessor, it’s full of modern, open-minded indie rock that’s not scared of pop — or much else, for that matter. There’s residue of African influence, and also of hip-hop, new wave, Latin, Indian and Jamaican sounds, in refreshing combinations that are almost never belabored.

Mr. Koenig has a beautiful, lithe voice, and he’s pushing it in new directions, tossing in Bollywood phrasings on “I Think Ur a Contra,” which sounds like Vampire Weekend’s attempt at writing a Maxwell song, and spitting out cackling darts on “Cousins.” On “California English” he runs it through Auto-Tune.

As timely as the band’s debut was, little about it, apart from some lyrics, coded the present. “Contra” is of the moment, thanks to its expanded palette — Mr. Tomson tries out a trademark reggaeton stutter beat on “Run” — and also to Mr. Batmanglij, on keyboards and synthesizers mainly, and his new-wave revival flourishes. (There are mild echoes of his electro-soul side project, Discovery, which released its debut album, “LP,” on XL last year.)

Even as it surprises, though, “Contra” is chilly. It’s less jolting, less vital than the band’s debut — some of the group’s focused intensity has been lost.

That’s echoed in Mr. Koenig’s lyrics, which are far richer here, but also more skeptical: his patrician faith has been shaken. On Vampire Weekend’s debut, he was often the judge, imperiousness delivered politely with dulcet singing and casual cultural dismissal. It was the project of someone who, through book learning and attitude and no small amount of practice, had set himself above his peers.

“Contra” tracks the death of an arriviste dream — nothing that was strived for on the last album turned out to be worth the desire. “Giving Up the Gun” is cynical about fame’s impermanence, a look into the future through the lens of a washed-up former hero.

Mostly, though, Mr. Koenig is interested in the nexus of love struggles and class struggles, as heard on a dispiriting but entrancing run in the middle of the album.

It begins with “California English,” a blindingly quick, African-inflected punk song. “Your father moved cross the country just to sunburn his scalp,” Mr. Koenig sings, touching on multiple sorrows: aging, loneliness, balding. Then the money disappears, too, with reference to “a condo that they’ll never finish.” Here and there, Auto-Tune adds sweetness to his bite.

That’s followed by the album’s tragic center, “Taxi Cab,” a dreamy, slow breather. It’s about a mismatched relationship, but it reads like a mea culpa for the band’s aesthetic decisions, acknowledging that the price of ambition was the moral high ground:

When the taxi door was open wide

I pretended I was horrified

By the uniform and gloves outside

Of the courtyard gate

You’re not a victim

But neither am I

After that comes “Run,” which begins as reggaeton homage and slowly morphs into a bleeping shuffle that could be a La Roux club hit. “She said, ‘You know/there’s nowhere left to go,’ ” Mr. Koenig sings, then turns hopeful. “But with her fund/It struck me that the two of us could/Run!”

Run where, though? Not away from the stains of privilege. Vampire Weekend will be saddled with that attachment until it splits up, even if it reconfigures as a Kraftwerk cover band, or the Roots. (Though that won’t be for a while: beginning on Sunday the band will play three sold-out dates in New York.) Rolling Stone, in its review of “Contra,” compared Vampire Weekend’s albums to Wes Anderson movies. When band members wore sweaters during a “Saturday Night Live” performance, they were pilloried.

So be it. At a rowdy show in 2008 Mr. Koenig sang a couple of songs with a well-regarded, profanely named Canadian punk band. He wore a plaid shirt and khakis, and kept them crisp even as damp moshers enveloped him.

It was a performance as nervy as Sacha Baron Cohen’s middle-America immersion stunts as Brüno, but without the disdain. Why can’t a bourgeois-inclined kid embrace sweaty Canadian punk rock? It’s no less likely than his being a Lil Wayne fan, and probably more likely than his opting for Michael Bublé or Lang Lang.

In the two-and-a-half years since Vampire Weekend’s debut EP first appeared, a wave of world-scavenging aristo-indie has emerged, most of it pale by comparison. And while there’s been no shortage of well-educated indie-rock bands over the last 20-plus years, rarely do they peacock. In a world that prizes modesty, Vampire Weekend dared to not be humble.

Mr. Koenig thrills to the dissonance, and is careful to keep cultivating it. “Horchata,” which opens the new record, has characteristically upturned-middle-finger rhymes: horchata, balaclava, Aranciata, Masada. A stunt, as careful as any Cam’ron lyric, it’s in no way blithe. Rather it’s virtually a taunt to lazy detractors: we are exactly the band you think we are, and yet so much wiser.

Indifference to critique isn’t for everyone. This is a band that’s comfortable — comfortable lifting from a variety of sources and comfortable with people complaining about said lifting. Comfort is a byproduct of privilege, and privilege is a byproduct of money, sometimes, but as often of education and acculturation.

Privilege also means never having to say you don’t belong, which is why Vampire Weekend will never apologize for its palette, even if it were a good idea to do so, which it isn’t. (Well, maybe one is in order for the soca-like “Giant,” the iTunes bonus track, which opens with a Notorious B.I.G. quotation.) The band even samples the knee-jerk cultural-politics instigator M.I.A. on “Diplomat’s Son,” making her complicit — she must have signed off on it — with a band that, on paper, she should hate. Resistance must be futile.

It feels like the final frontier of appropriation: maybe there’s nowhere left to go but back to the beginning. In a recent interview with The Village Voice, Mr. Tomson unearthed the band’s affection for late-period ska revival bands like Operation Ivy, and also Sublime, about as close as you can get to a four-letter word when discussing influences, short of mentioning 311. On “Cousins” and “Holiday,” he and his band mates prove to be faithful to that source material, unfussy and almost tolerable. Perhaps it could be the beginning of their reformatting as a far less complicated, and less troublesome band: Skampire Weekend.

Thursday, December 24, 2009

Trips

Here are some trips I am starting to contemplate for the next couple of years that I would like to do:

1/ Climb Kilimanjaro
2/ Drive Trans-Alaska Highway through British Columbia and the Yukon
3/ Rugby World Cup 2011 (New Zealand)
4/ Ski in South America and Europe
5/ Scandinavia
6/ Go fishing in the Canadian Maritime Provinces
7/ Nepal
8/ Go fish on the Kamchatka Peninsula in Russia
9/ Australia - Perth and Broome
10/ Namibia & Botswana
11/ Tierra del Fuego (Argentina & Chile)

How about you?


Wednesday, November 18, 2009

Things on my mind for the upcoming Holiday Season....

As the Holiday Season and the Winter draws near, I thought I would hit some key categories of things to think about..............

Skiing
-Make sure to get those skis sharpened.
-If you are looking for discounted lift tickets, go to www.liftopia.com
-If you are looking for some new clothing, the Crew at Patagonia has some new retro vests and jackets that are very nice. Check out the Fitz Roy Jacket or Vest and the Sling Shot Down Vest....both very retro.
-if you want to see the Anselmi Brothers, I recommend finding your way to Jackson or Salt Lake City this winter.....

Movies
-Invictus - Movie on South Africa Rugby with Morgan Freeman and Matt Damon....Directed by Clint Eastwood

Travels
-Hope to see everyone as my travels for work and play will be in New York, Punta Mita, Jackson Hole, San Francisco, Cora and places in between in the month to come.........maybe a little trip to Denver as well.


Thursday, October 8, 2009

Great 80s flicks and YouTube Posts....

After a string of emails today, I have to clear the air and add some 80s favorites of mine (and my brother Donald's). Let me know your thoughts.....

Goonies
http://www.youtube.com/watch?v=pWgc8Ute2tU

Willow
http://www.youtube.com/watch?v=D-P03NGSP6Y

Top Gun
http://www.youtube.com/watch?v=ekXxi9IKZSA

Ferris Bueller's Day off
http://www.youtube.com/watch?v=VNPp6x7j9I8

St. Elmo's Fire
http://www.youtube.com/watch?v=fIqUC0M8c4M

Fast Times at Ridgemont High
http://www.youtube.com/watch?v=uf5rIuJPTt0

Adventures in Babysitting
http://www.youtube.com/watch?v=Nly-bfguf4k

Tuesday, September 8, 2009

Some great new Patagonia Products


Men's Slingshot Down Vest
http://www.patagonia.com/web/us/product/mens-slingshot-down-vest?p=27570-0-176
Men's Nano Puff Pullover
http://www.patagonia.com/web/us/product/mens-nano-puff-pullover?p=84020-0-465
DAS Parka
http://www.patagonia.com/web/us/product/das-parka?p=84101-0-756

You are free to add your own favorites........