stories from the city,stories from the sea

吃饭的时候，她就在想，这是什么样的生活。

她下班打车到五棵松，然后乘坐很久的地铁，去找她吃鼎泰丰的豌豆尖。

 

人生鼎沸，她穿黑色丝绸衬衣，套了毛衣，仍旧手脚冰凉；她穿白色老头衫和早市风格的红色牛仔裤，乱七八糟。

吃完一顿，断送了半个月来的减肥成果，她跟着到她家，等第三个她参加婚宴回来，她们决定按原计划，打电话招叫“莎莎”的盲女到户按摩，以便趴在床上看电视。

按摩之后，她们说了一会话，打车散去。

 

这个时候，回家，只要洗个澡外加一条特别吸水的毛巾，就觉得很完满。

如果再有一辆车，不坐地铁就更好了。

 

她今天发现自己真是胸无大志的人，这样的生活就已经够好，什么人无远虑，必有近忧？她应该已经应该晓得这是怎样一根命，以及怎样接受它。梦想和未来，小shit一下。

 

 

 

 

 

 

 

要点：
• 日本的组织意识到人才团队必须更灵活。
• 个人价值在吸引/挽留关键人员方面更重要。
• 人力资源员工在使用人力资源标准和分析技
术方面欠缺经验。

 

一直以来，日本公司因其独特的雇佣模型而闻名，其中人才团队稳定性和终身就业是两个重要特征。但是，新兴的可持续发展期以及不断变化的人才团队人口统计状况，迫使日本公司重新考虑他们的整体人才团队管理方法。
日本公司表示他们在根据新机遇重新部署/重新调整资源方面遇到难题。例如，一家汽车公司的人力资源领导指出：“由于法律约束，我们无法对人员进行重组......由于缺乏技能以及各个部门保持独立的文化趋势，我们无法根据业务需求调配人员。”
意识到这一问题后，这些公司努力提高员工模型的灵活性。正如一位工业品管理人员所说的：“对于业务环境中变化较大的公司而言，依赖中规中矩的人才团队风险很大。”与全球案例中的其他组织相比，日本公司在过去的两年中加强了对全球人员配备机构(57%，全球为35%)、离岸外包(54%，全球为39%)、临时工(78%，全为47%)和分层劳动力系统(57%，全球为34%)的利用率。中国大连等使用日语的离岸外包中心的崛起反映出这一新趋势。鉴于日本人口的老龄化问题以及近期的立法更改，日本公司还更有可能召回已退休员工(76%，全球为26%)。
日本的人力资源管理人员对吸引和挽留员工的见解也有所不同。与其他地区相比，个人价值在吸引和挽留员工方面更为重要。“为确定一个工作，我们经常与他们 [新员工] 面对面讨论公司文化，并要求他们确信自己的价值与公司价值吻合时再加入公司，”一家消费品公司的人力资源副总裁这样说。提出新的和具有挑战性的职责也被视为一个强大的吸引和挽留工具 – 正如一位汽车制造管理人员所说的：“我们将个人发展和成果视为一个最重要的诱因......我们希望他们 [候选人] 知道公司侧重于‘培养人才’。”特定技能发展的吸引力较弱，因为个人将在职业生涯中进行多项工作的学习。
与全球其他公司相比，日本公司对于人力资本分析和标准不是很重视。虽然他们相信组织支持使用人力资本数据，但日本公司不太可能相应的工具，简化数据分析(32%，全球为55%)、开发仪表板(19%，全球为39%)或将人力资源系统与其他组织系统集成在一起(16%，全球为31%)。因此，日本公司发现很难通过定量分析数据做出资源提供、人员配备和培训决策 – 正如一家制造公司的人力资源规划经理所说的：“我们的人才数据未充分更新 – 寻找人才时无法有效利用这些数据。”

十几年前，他还是韦小宝，她是方怡，最刁钻的那个，自己喜欢的男人还是会下狠招的。

她说带口音的话，连上个《号外》封面都难。

大部分时候，我会想，她真是个狠角色。

现在我想呢，男人真是奇怪的生物。其次是命运。

 

各自有各自的手纹，朝伟并非我类，只不过要证明这点，他实在不该花了10多年。

 

看了他们的结婚照片，好像仍是八九年前的格式，连那套尼泊尔礼服，都好像鹿鼎记的戏服，今天的人，只不过是为了实现当时的梦罢了。

是验明一个道理吧，即便最后有现实的善果，人最留恋的，还是开始时的幻想中的好。后来所有的努力，都不过是为了还一个愿罢了。

 

 

生存是从“向困境低头”开始的。

 

幸福无法追求；它只能产生 ……人不能追求幸福，只能寻找幸福的理由。

 

弗兰克回忆起集中营里送掉最后一片面包的狱友们：“也许这样做的人数量不多，但他们提供了充足的证据，证明人有一样东西是夺不走的，那就是人类最后的自由：在任何给定环境选择自己的态度，选择自己的路。”

 

“对于向有准备的敌人阵地实施直接正面的进攻来说，没见过子弹、地雷或周围的迫击炮弹怎样伤害人体的士兵，比见过战场上尸横遍野的士兵更好。”

好工作样文

HOW I GOT HERE

Glenn Kaino,
Co-founder, President
Uber.com

By DENNIS NISHI
Special to THE WALL STREET JOURNAL

Glenn Kaino has always juggled art and technology. While running a successful Web design company throughout the dot-com years, he also cultivated a fine art career showing at galleries—including the Whitney Museum of American Art in New York. In 2006 he combined his careers through Uber.com, a publishing Web site for visual artists, photographers, writers and musicians. It's grown to over 500,000 unique visits a month, according to Nielson Online, and it hosts notable musicians like Gnarls Barkley and the Jonas Brothers. Writer Dennis Nishi spoke with Mr. Kaino about his career and what it's like to compete in the social-networking space.

Full name: Glenn Kaino
Age: 35
Hometown: Cerritos, Calif.
Current position: Co-Founder and president of Uber.com
First job: Graphics for Image Comics
Favorite job: Always the current one
Education: Bachelor of Fine Arts, University of California at Irvine; Master of Fine Arts University of California at San Diego
Years in the industry: 15
How I got to here in 10 words or less: Making things that people enjoy, think about and interact with

Q: Where did the idea for Uber come from?

A: It started in 1993. The first Web site I made out of college was called Favela.com and it was a seven person group done out of my downtown studio. It was one of the first contemporary art Web sites and the formative germ of what, ultimately, via a circuitous route, would become Uber.

Q: What was premise of Favela?

A: We wanted to work with artists that didn't have any access to the Web. We didn't have the technology we have now with Uber. Instead, we did everything manually. We contacted thousands of artists like Masami Teraoka and Edgar Heap of Birds and put up Web sites for them, documenting their projects. Universities began linking to our site since it was an early reference point for original material and Yahoo asked us to create some artist categories for them. Back in the day there wasn't a lot of original material on the Web.

Q: It sounds ahead of its time. What happened?

HOW YOU CAN GET THERE, TOO

 

A piece of Mr. Kaino art on display in a gallery

Best advice: Be malleable, says Mr. Kaino. Adjust to the market as opposed to the other way around. Give users a reason to come back, he adds.

Skills you need: Emphasize your unique abilities so you can bring something different to projects. "I approach things as a visual artist, which allows me to do a lot of different things like making a television commercial or building a website," says Mr. Kaino.

Where you should start: Have a good idea and a willingness to execute it, says Mr. Kaino.

Professional organizations to contact: "For me it's always been about creating personal networks. What I've learned in the new media realm and the art world is to keep things ad hoc and on the fly," he says. "I also believe in the strength of long-term relationships. I've stayed in touch with people from college, and we all… can contribute in some way to the others' needs down the line."

Salary range: Funding for our size company can range from bare sustenance pay to $130,000-plus.

A: After three years, it just went away. The teams got broken up. Everybody moved on to other projects. Some people lost interest.

Q: That's when you started building corporate Web sites?

A: Yes, we worked for many companies like Fox.com, for the Fox Network, the Disney Channel and Uncle Ben's Rice. In many cases, we were the primary contractor. We launched a lot of Web sites.

Q: You even worked at Napster for a while—how did you end up there?

A: By 1999, my studio had grown to 35 people. That's when I met Jimmy Iovine, who runs Interscope Records. His wife was one of my clients. He was looking for somebody to build a new project called Farm Club, which was a Web site, television show and record label. He ended up just buying our company. That's when I went to work on an interactive project for a few years as a part of Universal Music Group. Subsequently Universal got bought out by Vivendi, and after some reorganization, I ended up helping to build the subscription music site called Pressplay, which eventually got bought out by Napster. I found myself as the chief creative officer.

Q: When did you decide to start Uber?

A: I left Napster in 2006 to head in a different direction. At the same time, my cousin had just stepped down as CEO at Friendster. We got together at a family Christmas party and were just talking about what we were doing. Uber was floating in my head so I mentioned that idea. The next thing you know, we were fundraising and putting together a team.

Q: What was the goal of Uber and how did it differ from Favela?

A: The idea is to be a publisher of world ideas online to use our knowledge of technology to facilitate an audience by allowing people to use our tools to express themselves. This technology didn't exist back when we did Favela. We also wanted to move from mass media being a validating tool into the idea of the audience validating themselves and creating a much more plural environment.

MORE HOW I GOT HERE

 

• How I Got Here: Charity Founder

• How I Got Here: Corporate Matchmaker

• How I Got Here: A Passion for All Things Iconic

• How I Got Here: From Salesman to Vice Chairman

• How I Got Here: The NFL's Licensing Playmaker

• How I Got Here: Diverse Path Leads to CIO Job

• How I Got Here: Through The Ranks to Division President

• How I Got Here: From Air Force Mechanic to Head Sommelier

• How I Got Here: Leading the Oldest Brokerage on Wall Street

• How I Got Here: Managing Vibe at Hard Rock Hotel

• How I Got Here: Child of the '60s Turned Corporate Lawyer

Q: Who's the typical user?

A: Photographers, bloggers, artistically and culturally curious people. There are several comedy blogs, a contingent of video gamers. We ideally want everyone from individuals, entrepreneurs, small businesses and perhaps even large businesses to utilize our platform for authorship.

Q: How does Uber differ from other social networking sites like Facebook?

A: We have different core missions. Uber was never meant to be just a social network. What we wanted to bring to the table that was different from Facebook and MySpace was the ability for people to author better-looking environments for themselves and provide context.

Q: How's the site doing?

A: We've had a very steady and very continuous growth over the past year. Discovery is one of our new strategic investors and with them, we're doing a bunch of different projects. We're doing stuff with the (television show) Miami Ink and the LA Ink tattoo community. We have a few more projects in the works that we'll be launching shortly.

Q: What are some ways the site generates income?

A: Right now we're advertiser and partnership based but we're implementing some premium services. Different value benefits for people. The ability to sell photos and other work.

Q: I hear you're a workaholic. How do you make time for your personal artwork?

A: I'm always multi-tasking. For me everything just flows naturally together and the difference between fine art and pop culture is timing, rhythm and expectation. And I've found that they inform each other very nicely. And when it comes to the physical manifestation, I work with a large team. So I'm always working on stuff simultaneously. People interpret the activity of what we're doing as one of my art projects. In turn, my investors and my partner know I take it very seriously as a business.

以前我喜欢过这样一首歌，all the way

讲的是一个人喜欢另一个，他用尽了所有办法的过程。

 

今天收到舒婧的文章，我脑海中就一直浮现这首歌。

我知道她试了all the way，为了这一篇文章，除了去网上寻找，她问过了朋友，和别人交流，她读了很多资料，她研究对方的内心，语气，她认真的听录音，她没有给自己理由和借口，她甚至把此前的全部人生经验动用起来，她相信她一定要试过all the way给我这样能够一篇文章，你就是能看到100%的努力。

不是说这篇文章就是无暇的，但是你很感动，你知道她一直想办法，做得更好，而且她也相信，总还是有办法能做得更好。

 

让我困惑的，是我经常觉得很多人不相信可以做得更好。他们的这种态度渗透到一点一滴的细节中，经常让我丧气。

也许是我严格吧，我曾经这么一位，但是看了舒婧的文章，我觉得不对，不存在对方已经all the way我却没有感觉出来的问题，我的感觉器官很灵敏的，一定是对方不够all the way。

的确，采访很艰难，如你们所说的，时间短，资料少，对方不了解电影，我理解你的苦，如果你希望我看到文章不要太失望，希望我了解你，希望我不要对你改观，那么你不用说了，我了解，我也经历过恶心的采访，或者说到现在听录音我都经常觉得很恶心，我也喜欢跟领导大讲苦水，为了让自己心里当时好过，怕别人给自己扣帽子。但是我觉得，无论我们嘴上怎么抱怨，心里是应该知道你到底能不能做得更好的。你可以抱怨的同时，实际行动应该是渗透着不屈不挠的精神的。

但是很遗憾，你没有。

实际都说态度问题，态度问题很简单，就是你觉得有客观原因了，你就肯定不努力了。当你说采访时间少，并说服你相信了30分钟真的少的时候，你以后就永远不可能拥有那种问了10个人，每个人只回答一个问题做出来的那种好采访，你就永远不可能睁开你的眼睛去看，当时看同样也能有采访，听也可以，国外都是这样的例子。当你说资料少，你就相信只能看资料，不会和朋友分享，也不会从生活中反复咀嚼，体会，你的文章和你的生活就将是完全脱节的，只是和那些资料联系起来。资料是多么的死板，你有那么多的同事、老板、朋友和你生动地讲起他们认识的这个人。当你暗示采访对象没有思考，没有观点的时候，你就更是永远的对于自己关上了大门，我不记得哪个记者是专门研究安迪沃霍尔所说过的“不知道”的，我只知道放在过去，你只是看这位记者写出这样文章的人。靠，我又开始免不了的救世主心态和自以为是的尖酸刻薄了。但是我只是希望确信，你本质不是这样的人。

 

当然，有的时候，的确是不知道，很多简单的道理，我们一开始都并不知道，知道了也意识不到，必须反复地说，这是一个漫长的过程，我们可以慢慢来。我们开始的时候，世界里就是只有GOOGLE的，但是首先，让我确定你是一个all the way的人，让我看到你这种不放弃的精神，永远希望更好一点的精神，这是最宝贵的，这是能确定你不会在职业生涯中只用GOOGLE的原因，比你一次两次给我两篇好看的文章重要多了。

all the way，当然会有想逃避的时候，当然会有想为什么的时候，当然会有想，为什么他不爱我，我要爱他的时候，

但是在怀疑的时候请同时相信吧，尝试了足够多足够久，底色总是会不同的。

付出是最简单的，人生就是这样，有时候付出在一件事情上，这件事情不会给你回报，但是人生会的。

 

 

 

 

1.我终于查出问题了，巧克力是会长虫子的！没有任何的渠道，他自己就会长。

2.妈的，涨P。

连着两期写了很评论性质的封面，

没有故事，只有你自以为看到的真实。

觉得绕了一大圈，我还是想从新写故事了。

 

某位大导演说，故事就是那些你去除对话之后还能贯穿一切的东西。

乌拉乌拉。