Richart Ruddie Official Site

Rich Ruddie in Florida’s personal site

Richart Ruddie Art Collection

Sample of Richart Ruddie’s fine art collection:

ArtistTitleDescriptionMediumYear of WorkSizeEditionProvenanceLink to Online Photo
Yayoi KusamaRain in the evening glowAbstractScreenprint in Colors199224 x 21”64/75NYC Guy Hepnerhttp://www.artnet.com/artists/yayoi-kusama/rain-in-the-evening-glow-Y5V_V6RWw6UUuAQpo5Qelg2
Yayoi KusamaWoman (Kusama 353)Womans FacesScreenprint in Colors200676 x 56 cm83/120SBI Auction 2020https://www.artsy.net/artwork/yayoi-kusama-women
Yayoi KusamaMushrooms TZXTMushroomsEtching201217.7 x 20.7′30SBI Auction 2022http://www.artnet.com/artists/yayoi-kusama/mushrooms-tzxt-Hg_HpXbmUnjTuF5bFdCt4Q2
David YarrowThe Wild WestLion leaping out of barArchival pigment print2015180 x 257 cm11/12Holden Luntz Galleryhttps://maddoxgallery.com/artists/28-david-yarrow/categories/15/2014787-david-yarrow-the-wild-west-2015/
David YarrowIt’s Closing TimeLion outside nowArchival pigment printExecuted in 2017, Printed 201852 x 72″5/12Holden Luntz Galleryhttps://www.artsy.net/artwork/david-yarrow-its-closing-time-4
Tony KellySmoking LipsMatch in LipsPigment Print on Hahnemühle’s baryt Paper201539 2/5 × 29 9/10 × 1/10″limited editionCarnevalle Galleryhttps://www.artsy.net/artwork/tony-kelly-smoking-lips-2
Wu Chi TsungWCT-25Cyano CollageXuan paper Wrinkled Texture 086202060 x 120 cm1/1Sean Kelly
MR1WatercolorWatercolor on Paper2018405 x 317 mm1/1Lehmann Maupin
MRIt’s still a young teamKids in the ArmyOffset Print200850 × 100 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRStarting overArmy KidsOffset Print200850 × 100 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRYou girls2 Girls in WinterOffset lithograph200664 × 88 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRMaking Things RightCelebration of Girls in front of templeOffset lithograph200860 × 90 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRDon’t Go AnywhereWheelchair pieceOffset lithograph200867.9 × 67.9 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRThe boy Who Came to IkebukuroJapanese BoyPaper200859.6 × 60 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
MRVJapanese GirlOffset Print200650.2 × 51.4 cmEdition of 300SBI Japanhttps://www.sbiartauction.co.jp/cr/20180127/363/detail/
Vija CelminsSpider WebSpider WebScreenprint on wove paper200944.45 x 48.26 cm15/117Artnethttps://www.artnet.com/auctions/artists/vija-celmins/spider-web-77
Yves KleinBlue TableKlein Blue Tableplexiglas, glass, chrome-plated aluminium and IKB pigment (37,5 x 100 x 125 cm94AI32Dorotheum Auction 12/2021https://www.dorotheum.com/en/l/7427950/
Alec MonopolyMonopoly ManStreet Art Monopoly Man DJCanvas20151/1Graffik Gallery Londonhttps://artdaily.cc/imagenes/2020/04/09/richart-1.jpg
Rashid JohnsonI Love MusicSculpture PlateCast bronze multiple.201224.8 × 19.7 cmPhillips Auctionhttps://www.artsy.net/artwork/rashid-johnson-i-love-music
Rashid JohnsonBroken Men27 color silkscreen with mylar collageCeramic tile, mirror tile, spray enamel, oil stick, black soap, and wax2019127 × 97.2 cm38/51Artsy Auctionhttps://www.artsy.net/artwork/rashid-johnson-untitled-broken-men
Shawn KolodnyKate MossEquation of Kate MossPrint201755.9 × 38.1 cm1/1Direct from Artisthttp://artdaily.cc/imagenes/2020/04/09/richart-3.jpg
Michael DweckTropicana 6 (Club Tropicana), Habanasigned, titled, numbered & datedSilver Gelatin Print201048.3 x 60.9 cmModernism Inc.https://richartruddie.typepad.com/.a/6a01b8d147bb55970c025d9b489e61200c-pi
Andy WarholMick Jagger FSII 142Screenprint Mick JaggerScreenprint on Arches Aquarelle (rough) Paper197543 1/2″ x 29″250/250Cartel Galleryhttps://revolverwarholgallery.com/portfolio/mick-jagger-142/
Domingo ZapataKiss Me Now PandaCanvas PandaAcrylic and Oil on Canvas201630×40″1/1ChaCha Art Gallery Aspenhttps://chachagallery.com/producto/turquoise-babe/
Domingo ZapataPassion PandaGiclee Print Mounted on AcrylicAcrylic201637×30″n/aChaCha Art Gallery Aspenhttps://chachagallery.com/producto/passion-panda/
Javier CallejaHeadsStacked HeadsPVC & Glass202030h x 14.5 w x 14.5d cmhttps://d7hftxdivxxvm.cloudfront.net/?resize_to=fit&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2FF1TErVK6EsjLUtfNF0_RHw%2Fsmall.jpg&width=801&height=801&quality=1
Javier CallejaNo Art HereNo Art Here SignPVC & Glass202028h x 30.6 w x 15d cmhttps://image-cdn.hypb.st/https%3A%2F%2Fhypebeast.com%2Fimage%2F2020%2F12%2Fjavier-calleja-no-art-here-exhibition-nanzuka-2g-11.jpg?w=1600&cbr=1&q=90&fit=max
Javier CallejaDo Not TouchGrey Do Not Touch2020
Cleon PetersonDestroy AmericaDestroy AmericaCoventry Rag Paper202045 x 61 cm/ 18×24″125Gifthttps://www.artandtoys.com/en/cleon-peterson/2733-print-destroy-white-peterson.html
Daniel ArshamCracked BearBlue BearPigment Plaster and Plastic201818.6 × 22.6 × 24.4 cm500SBI Auctionhttps://www.artsy.net/artwork/daniel-arsham-cracked-bear-blue-2
KawsUntitled (MBFQ5)Black on White PieceAcrylic on canvas201589.2 × 58.4 cm1/1Artsy Auctionhttps://www.artsy.net/artwork/kaws-untitled-mbfq5-2
ATSUURA HiroyukiPinkyCanvas Painting with Pink EyesAcrylic on Canvas200491 x 91 cm1/1SBI Auction 2020http://www.artnet.com/artists/hiroyuki-matsuura/pinky-XAPShKfeJXEG-XuDqMt0jQ2
RetnaEsoteric ExistenceSilkscreen on papeerSilkscreen on papeer201139 2/5 x 27 3/5″Signed and Numbered 1/1Dane Fine Arthttps://www.artsy.net/artwork/retna-esoteric-existence
Aoshimo ChihoBuildinghead: ChameleonOffset LithographPrintscreen200661.5 x 74.0 cm300Gallery Art Miamihttps://www.riseart.com/art/19511/building-head-chameleon-by-chiho-aoshima
Pablo PicassoL’ÉcuyèreLithograph with JesterLithograph in colors on Arches paper196021 1/2 × 27 1/8″n/aGallery Art Miamihttps://www.artsy.net/artwork/pablo-picasso-lecuyere-1
Takashi MurakamiStanding on a Bridge Linking Space & TimeSelf PortratiColored Lithograph on Paper201421 7/10 × 21 4/5″76/100eBayhttps://www.artnet.com/auctions/artists/takashi-murakami/standing-on-the-bridge-linking-space-and-time
Atsuhiko MISAWADrawing 2005 – 09Lemurgouache on paper200534.8 x 32.1″SBI Auction 2022http://www.artnet.com/artists/atsuhiko-misawa/drawing-2005-09-9U-R-qWtGYaMTOyUm_J8Cg2
Alejandro VigilanteKate MossFigurative Contemporary Pop ArtDigital Print Mounted on Plexi2017165.1 × 126.4 cmn/aCartel Galleryhttps://www.1stdibs.com/art/paintings/figurative-paintings/alejandro-vigilante-figurative-contemporary-pop-art-kate-moss-alejandro-vigilante/id-a_8890562/
UnknownEskimo GirlFigurative Contemporary Pop ArtDigital Print Mounted on Plexi2017165.1 × 126.4 cmn/aCartel Galleryhttps://www.richartruddie.org/media/2022/09/Screen-Shot-2022-09-15-at-4.53.08-PM.png
David DrebbenBlonde Girl on PlaneFigurative Contemporary Pop ArtDigital Print Mounted on Plexi2015n/aCartel Galleryhttps://www.richartruddie.org/media/2022/09/Screen-Shot-2022-09-15-at-4.52.53-PM.png
Wang ZiweiThree Jacks3 Jacks mirroredAcrylic on Canvas1992104.5 by 183.6 cm1/1Sothebyshttps://www.sothebys.com/en/buy/auction/2020/contemporary-art-day-sale-2/wang-ziwei-wang-zi-wei-three-jacks-san-zhangj-pai
Robert LongoGretchen (Men in the City)Woman laying down from 1990 seriescharcoal, graphite and ink on paper199053.75 x 1.00 x 42.00 IN1/1Sothebyshttps://www.sothebys.com/en/buy/auction/2023/contemporary-curated-4/gretchen-men-in-the-city
Mr.YES! INSTANT RAMENBlonde Hair PaintingWATERCOLOR, PEN AND PENCIL ON PAPER20218.27 X 5.83 INCHES (PAPER)1/1Lehmann Maupin
Yayoi KusamaFishScreenprint and lamé on card. 53.5 x 63.3 cm. Framed under glass. Signed, dated, numbered and titled in Japanese. Proof 4/50. According to the catalogue raissoné, only 10 of the planned edition of 50 were ever produced. – With minor traces of age.Screenprint198853.5 x 63.3 cm4/10Lempertz Auctionhttps://www.lempertz.com/en/catalogues/lot/1223-1/59-yayoi-kusama.html

How To Execute Ideas at Scale

Beri Meric of The Ivy sends over actionable insights from interviews with top leaders and business people in the world. Below is an excerpt of advice with minor notes, edits, and comments based on one of the most recent March interviews:

These notes are courtesy of John A. List a renowned behavioral economist at The University of Chicago. One thing that stands out is the ability to adapt to your environment and situation at hand otherwise you’ll be come a radio shack.

  1. How can you make the critical inputs of your business even more scalable?
    When you try to scale a business, there may be inputs that made you initially successful but you can’t get at scale. It might be a unique element, like people. A unique individual, such as a super talented chef or teacher, is very difficult to scale. The key here is to figure out what the non-negotiables are that make your business successful and if you can replicate those at scale. 

    Be sure to consider which of your non-negotiable inputs will scale horizontally and vertically. Horizontal scaling forces us to ask “To what extent can we scale our inputs scale across different geographic markets?” Vertical scaling forces us to ask “To what extent can we scale our inputs within the same geographic market?” From there, we need to ask “What can we do to make our inputs more scalable, both horizontally and vertically?”

    For example, as I look to scale our Chicago Heights pre-K program, if I have a curriculum that only works with really good teachers, I can’t vertically scale with that curriculum, because there are only so many really good teachers in Chicago. What I can do is try to develop a curriculum that will work with the types of teachers I can hire at scale, both in Chicago, and across the country. 
  2. How can you better scale across time?
    When you look at the data on the Fortune 500 companies in 1955, only 52 of them are still standing as the same entity – 448 of them are gone. It’s difficult to stay on top because of a few reasons. 

    One, because people turn over. That causes a new line of thinking and a new approach in most cases. Secondly, the world changes. When you look at organizations that have failed–old sugar companies, old steel companies, RadioShack–they failed because they weren’t willing to adapt. They had ideas that had the signature of scalability, and then the market changed or the people changed. They didn’t change to match. 

    If you’re willing to continuously change and remain state of the art, you have a shot at the long term. This is a constantly evolving problem that you can’t solve just once. Whether it’s a nonprofit or a for profit, any organization in a competitive market will need to come to grips with how to use data to make the way you do things and the way you try to change the world better, or you will be put on the endangered species list. It’s that simple.
  3. How can you better overcome the five common pitfalls of scalability?
    We can only solve big problems by working at scale, but not every good idea is scalable.  If your project has any of the following five pitfalls, you will fail to scale until that pitfall is addressed: 
    • Are parts of your project based on false positives?
      These cases occur when initial research appeared to indicate scalability where there was in fact none. How can you gather additional data to avoid basing critical decisions on false positives?
       
    • Are you overestimating the significance of a small sample?
      Avoid overestimating the impact of small focus groups, pilots, and surveys that measure the preferences of a small sample group. How can you ensure that your experiments are as close to real-life as possible, with replicable results across different groups?
      ​​​​​​
    • Does your project have unscalable ingredients?
      A good example here is a restaurant that is launched around a famous chef vs. a restaurant that is launched around quality ingredients. You can order more ingredients as you scale, but a business built around the talents of one person won’t achieve the same scale. Look at your inputs and determine if they are replicable. Just because something worked one time or in one place, doesn’t mean you can replicate it.
       
    • Does your project appropriately anticipate spillovers and unintended consequences?
      Scaling can have cascading effects, both positive and negative. What will be the impact on your key ingredients, stakeholders, and marketplace as your project gets bigger? Be sure to anticipate the negatives and embrace the positives by rigorous scenario planning. 
       
    • Does your project have economies of scale?
      This is the supply side of economics. What does it cost you to expand production, and are there economies of scale or diseconomies of scale? How can you make sure that as you produce more, your cost per unit will go down (instead of going up)? 

Creating and Collecting Art

3 Actionable TakeawaysTake 60 seconds to answer one or more of the following questions courtesy of the Ivy from our email below:

  1. How can you maximize your chances of succeeding as an artist?
    The biggest myth is getting discovered as an artist because of your great talent. Talent doesn’t matter. The only thing that matters is what network you’re in and who’s showing and buying your work. There is a ‘holy land’ of top galleries and institutions. Getting in that network is critical. Successful artists tend to make sure they spend more of their time meeting people outside their studio versus the time they spend producing. 

    One success story is Oscar Murillo, who is an artist who rose to fame around five years ago when he was suddenly shown by David Zwirner shortly after graduating.  He understood he wouldn’t get discovered sitting in his studio so he was actively reaching out to collaborators in order to expand his network. You find this over and over with successful artists who are very strategic in expanding their network and who to reach out to. It’s also acceptable to form these relationships online or through Instagram.
     
  2. How can you maximize your returns from investing in art?
    Don’t invest in art just to see a financial return. Unless you buy one of the 20 artists that make up 40% of the total auction annual revenue, like Picasso, Warhol, or Jeff Koons, art is not necessarily a good investment. What I find more interesting is buying younger artists who are not part of these 20, and making a contribution to their growth. I call it “responsible art buying”. It’s investing in something way more powerful. I invest in this artist, and I invest in the community that the artist is in, to see them grow. I support them in continuing their practice and introduce them to my friends who might also buy them. Who knows, they might become superstars in the future.

    You need to put in the legwork. You need to go to openings, you need to go to art fairs. The more you see, the better. You’ll start to recognize names and understand the power play in the art market. It’s important to talk to people. Galleries are usually very chatty. They love to meet new buyers because there are not enough of them out there. Let them know you’re starting your collection and they’ll continue to invite you. When you’re getting started as an art collector, I recommend buying a few pieces you like. It’s a bit like fashion, you need to wear something first in order to find out if you like it or not. Don’t overspend at the beginning. After a while, you create a taste. It’s helpful to follow creators and collectors on Instagram to see what they are looking at. 
     
  3. How can you better navigate art fairs? 
    Consider one of these steps the next time you’re at an art fair, especially Art Basel or Frieze which specifically focus on showcasing top galleries: 

    a) Get a Map & Identify Target Galleries
    Get a map and identify the alpha galleries like Gagosian Gallery, Pace Gallery, or David Zwirner. The closer another gallery is to these top galleries, the closer they are likely to be showcasing important rising artists. Critical galleries are likely to be at the center of a fair, whereas the borders of the art fair are usually where the less well-known galleries are located. 

    b) Identify Appealing Work & Look at the Artist’s Resume 
    Once you’ve chosen a gallery to check out, find a work that speaks to you and ask the gallery to see the artists’ resume.  Try to identify what career stage the artist is in, who represents them, and whether you recognize any top institutions or galleries that have displayed their work. 

    c) Dig Deeper on the Price 
    Don’t be shy about asking for the price. If the price is above $10,000 and there are no recognizable names on the artist’s resume, ask the gallery to explain why the price is what it is.  Always ask for a 20% discount, and offer to pay upfront if you’re able to secure the best possible deal.

For your convenience, here are some links to dive deeper: 

Advice from Daniel Pink – Richart Ruddie Blog

  1. How can you better confront your regrets to become a stronger person?
    We think feeling regret makes us weaker, but actually, if we deal with our regrets effectively, it makes us stronger. It clarifies meaning in our lives. It charts a way to a life of purpose and success and contribution.Negative emotions are instructive. Fear is a very instructive emotion. Human beings without fear are human beings that aren’t going to survive. Human beings without a modicum of regret are human beings who aren’t going to flourish. If we ignore our regrets, if we don’t learn from them, they can capture us and debilitate us. Instead of seeing regret as a brutal judge passing judgment on us forever, treat regret as a teacher. 
     
  2. How can you ensure you don’t have regrets later in life?
    You have two paths. You can play it safe or take the chance. Over and over again, people regret not taking the chance. People who take a chance and fail are far less agonized about that than the people who never took the chance at all. In order to have fewer regrets in the future, we can better anticipate what we’re going to regret. It’s important to understand the difference between regrets of action and inaction. In general, when people are younger, they have equal numbers of regrets of action and inaction. As people age, regrets of inaction take over. People regret what they didn’t do, because action regrets are sometimes easier to resolve. If you’ve hurt somebody you can try to make amends. But if you didn’t take a certain action or express yourself, it can be harder to make amends for that. 
     
  3. How can you better overcome painful feelings?
    We all experience regrets. Treat yourself with compassion. Treat yourself with kindness rather than contempt. We sometimes perform a posture of no regrets because we mistakenly believe that no regrets somehow signifies courage. It doesn’t. Courage is staring your regrets in the eye and doing something about them. It’s like grief. Imagine a world where we didn’t have the capacity to experience grief; at some level, the inability to experience loss or grief is an inability to experience love, which gives our life wholeness and meaning. Your regrets make you part of the whole human experience.
     
  4. How can you maximize the learnings you gain from regrets?
    A good tool to use to learn from regret is a failure resume. In one column, you list your failures, setbacks, screw ups, and mistakes. The next column is to explore the question “What did I learn from this?” In the third column, ask yourself “What am I going to do about this?” This experience can be revelatory. When I used it, I learned I’d been making the same two mistakes over and over again and this failure resume brought that to the surface. I was able to see what I was doing wrong and apply it going forward. 
     
  5. How can you empower yourself and others by better sharing your regrets?
    We can move forward from the negative feelings associated with regret by disclosing them to others. One of my favorite exercises is a regret circle. You go around and each person discloses one regret and the others help that person make sense of it and extract a lesson from it. Leaders especially, when they disclose their own regrets, can lift others up. We’ve proven this over the last 10 years in vulnerability research. Disclosing your regrets and showing your vulnerabilities doesn’t make you weaker. It makes you a more effective leader. 

Linktree is a great place to organize your URLs

Linktr.ee or if you use Instagram has become an incredibly popular place to organize your URLs and news stories. If you are a big influencer and want to promote multiple products or stories than Linktree has grown to become a perfect medium that compliments the growing nature of Instagram and social media.

I created my first linktree coming on the heels of the announcement of me sharing any of my artwork with a local South Florida museum. One of my favorite artists Alejandro Vigilante picked up the story as well!

So if you want to organize URLs see how my first setup of a Linktree looks and create your own: https://linktr.ee/richartruddie

The Ladders for Jobs

A website I just ran across for the first time in years is the Ladders. This is the site that had the famous Super Bowl commercial in 2009 when the theme was recession and jobs. They target higher end job applicants and job prospects.

I hadn;t heard of them in years but they popped up on my feed today and I made a profile there that you can see at: https://www.theladders.com/expert/richart-ruddie-0a3ad1

So if you’re looking for a high end job in this great job market with lots of openings that are hard to fill The Ladders may be a great fit. I’ve personally never used it before but am going to see about posting a job on there for one of my companies.

How To Write Good Compelling Content

As a digital marketer one of my skill sets that I’m often asked about is how to get things to rank online. The answer in the most simple terms is to write compelling content and follow attributes that you can find in good successful content.

Here are 5 things that appear in great content that ranks. Whether it’s in a blog about pets or a news article on the New York Times here are attributes that help rankings:

  1. Identify a problem – Stop with the marketing bull shit and dog crap. State the problem that you are going to explain for the reader.
  2. Showcase solutions. Not just one but multiple is good. If somebody wants to know how to program an Alexa to work with their Tablet you should explain how to program for a Samsung Tablet and an iPad. Tablet may be broad and nobody wants to read the first 400 words about you blabbing on about tablets. Which brings me to my next point.
  3. Get to the point. Give answers, provide diagrams, photos, videos, and bulleted or numbered points. Explain a concept incidentally, not as paragraphs that you think are solely done for search engine purposes.
  4. Speak the lingo of your readers. You don’t have to outsmart your readers or speak as if you are above them. Speak to them in a manner they can understand.
  5. Make sure the content is relevant and up to date. Evergreen content tends to not be so evergreen anymore with new query updates and answers that can be changed. Depending on the query you are targeting check back once a year on top visited queries and make a list of declining results and go back and update or freshen them up if you can do so.

Hope you liked my 3 minute 5 Step SEO Guide on writing compelling content.

Richart Ruddie

Today I learned About Julia Butterfly Hill

A true pioneer and as Nassim Taleb would say optiotnality and another definition that eludes me as I’m typing this note up now. None the less she spent two years from 1997 to 1999 living in a Redwood tree in Humboldt County California.

As an environmental activist who stayed up there during a seige of 40 mph winds, freezing rain, and loggers who were not so happy with her tree sit in. She ended up coming down as they agreed to not tear down any trees within 200 feet(or maybe it was yards) of “Luna” that was the trees name.

After this sit in she gained a lot of notriety and thus the ordeal of living in a tree for two years gave her greater purpose and a role as an activist for the environment. She was even mentioned in Athony Keideses Can’t Stop where the Red Hot Chili Peppers singer says J Hill sitting in the tree top.

High risk has high rewards and a tree sit in was the case for Julia Butterfly Hill (she got the name from a butterfly that stayed on her hand during an entire hike).

Today we haven’t heard from from Hill with all the doom and gloom surrounding global warming. I wonder why that is and where she is in the fight to save mother nature?

For more information on Julia you can read about it here: https://en.wikipedia.org/wiki/Julia_Butterfly_Hill

Thank you and have a happy 2022.

-Richart Ruddie

Algae Has The Opportunity to Fix Textiles

As somebody who eats algae it’s nice to see other variations and uses being discovered and invented. This CNN news article discusses an Israeli firm that is using Algae to reduce the amount of water used to create a t-shirt by up to 80%.

In addition to the lower water usage it also reduces harmful chemicals during the creation process. With stronger properties I hope to see this Middle-East startup prosper and change the way that we manufacturer and create t-shirts over the next 30 years.

While change is slow to adapt if it’s economically feasible and better for the environment without increased labor needs this could be a big thing. Only thing is it’s currently being grown via vertical farming so we would need to see an increase in vertical farms growing algae.

Here in Florida I purchase raw living spirulina that is delivered to my door. It’s grown in the Vero Beach, Florida area and delivered in a box that is packed with dry ice packets.

For more information read the CNN Article here:

https://www.cnn.com/style/article/israel-algae-environment-textiles-spc-intl-hnk/index.html

Keeping it Simple in Business Stanford Advice with Richart Ruddie Commentary

From Stanford Business School’s Kathleen Eisenhardt discusses product development at Google. The real bottleneck was the hiring process and not hiring the top notch computer scientists.

Rules such as looking for eccentric people that like to do strange things. Think Burning Man? Riding a Tricycle. Googlers look for referrals and if you see anything phony or fake on their resume as you want people with integrity.

Developing the rules and figuring out a combination of observing your own data such as partnerships and looking at outside experts. Partly working with outsiders and insiders so you aren’t tunnel visioned.

Certain situations simplicity is better and faster. Complicated data with formulas will over fit that past data and predict a future that is fit to what you were going after.

If there were 3 rules for doing X you are more than likely to remember those 3 rules. So simple rules.

Involve people from below and involve them in testing the data you are observing. Stopping or figuring out how to back off and when to say no or stop or when to sell an investment can be tough as there is no hard and fast rule on the matter.

One of the biggest mistakes in business is staying in something too long she says but she doesn’t know about Bitcoin and Ethereum right? What about Tesla and Alphabet stock?

The moneyball example focuses on getting players with high on base % and it worked great until everyone else in the league figured it out. So changing up the rules and innovating is the most important to success. Remember its never too late to change or pivot.

For more great Stanford University Videos and potentially future Richart Ruddie commentary visit: https://www.youtube.com/watch?v=TfPMHkYaYCo