A Quote by Parker Harris
After the dotcom boom blew up, it increased the focus on questions like, 'Why should I trust you to help run my business? How do I know you're not going to go away like every other company?' That was hard. We had to keep proving ourselves.
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I like being part of a big company's executive team. It's fun to stretch other parts of my brain, considering questions like, 'How should we think of acquisitions?' I get to be privy to things that would never come up at a small company.
If you treat an animal right, they don't run away. They're not like us. They run away from people they don't trust; most times we run away from ourselves.
There was a part, you know, obviously there was a part of the whole I military experience that you know like hooks right into the whole boyhood experience that that you know most American boys have growing up, you know, which is proving your manhood by proving how hard you are, by proving that you can take it.
Frances Stevens: Mother, this is why I've had to spend half my life running around the world after youto keep men like this away from you.
Mrs. Stevens: Well after this, let me run my own interference. It looks like the blockers are having all the fun.
If I had more recreation time I would be able to step back and reflect on how life has changed. But it has been like a constant... boom, boom, boom, boom, boom!
If you see really bright lights, or hear really loud noises, go towards them, don't run away from anything. It's like giving someone instructions on how to handle a bear, don't run away from it. Stand up and try to make yourself look as big as possible. Don't give it the signal that it should chase you. And that's the case with the after death visions. Don't go for dark seductive lights, go only for bright lights.
For me, I felt bad for people asking the questions, cause you know their boss sent them out saying, 'Get me something on Mission Impossible.' And you ask the question, and it's just a polite, 'I'm not going to tell you.' Then, every so often, they'd go, 'Well, can't you just tell us a little bit?' I have to say, 'You know what guys, I'm under contract and I'm not going to tell you anything.' So you keep asking the questions and I'm just going to keep smiling. And it's hard, cause I don't want to seem rude, but it's part of my job just like it's part of their job to keep a secret.
The titles aren't merely props in New Japan. They're actually the focus of the company, and that's how it should be if you're going to be in this world, this business. After all, it is professional wrestling. It is presented as an athletic competition, and the titles should mean something.
I don't go to a psychiatrist. I don't go to a gym. I run away from my accountant, I run away from my dentist. They are all supposed to help you, but I like to stay in bed, where I have a chance to reflect, like Rossellini.
I remember back in Detroit, I used to go to the Apex Bar every night after I got off work. The bartender there used to call me Boom Boom. I don't know why, but he did.
You have that moment just before you go on - I've had it in every play - where you just kind of want to run away. There's a whole audience, and they are waiting outside, and you're like, 'Why am I doing this again? Why? Why?'
I took a dozen of our top managers to Argentina, to the windswept mountains of the real Patagonia, for a walkabout. In the course of roaming around those wild lands, we asked ourselves why we were in business and what kind of business we wanted Patagonia to be. A billion-dollar company? Okay, but not if it meant we had to make products we couldn't be proud of. And we discussed what we could do to help stem the environmental harm we caused as a company. We talked about the values we had in common, and the shared culture that had brought everyone to Patagonia, Inc., and not another company.
Since we did 'Angel of Death,' I've had three occasions where someone will go 'Psst, hey. I'm part of this Aryan World Nation group and we're thinking of having you speak.' I'm like, 'Why?' And they'll go, 'You know.' I'll be like, 'No, why?' And they'll go, 'Aren't you... ?' I'm like, 'What? No. Go away. You don't get me at all.'
We'll have a national dispute - debate about it, and the goal should be to bring in - to help respectfully appeal to those voters that can make the difference, the ones who are not going to be entrepreneurs, are never going to be - run a - be a CEO in some big business, and they know it, but they would like to have their Social Security, they would like to have Medicare as they paid for all their years, and they'd like rising wages rather than falling wages.
Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you're instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do.
Edge goes out every night, and not just on pay per views; every night, Edge goes out there with the intention of stealing the show. I know that he felt like his title run had not been given the respect from the company that it deserved, and he was really hell-bent on proving that he belonged as a main event guy.
