Some people go to their job. That's the job they have; they have to do it. They hate their boss and their coworkers, this and that. It's hard to get along.
Nothing shatters the relationship between you and your boss like you failing to meet expectations, deadlines, and goals.
I have learned that trying to guess what the boss or the client wants is the most debilitating of all influences in the creation of good advertising.
At one point, you were that employee who looked like a deer in headlights. Confused, lost, and not understanding your purpose within the organization. Even though you have the appropriate skills, you felt like you were in over your head. That is, until an amazing boss empowered you.
While it can feel unfair to have to make a career decision because of a morally deficient boss, doing so can sometimes lead you in the right direction, if a bit faster than you otherwise would have preferred.
On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.
If women talk in ways expected of them or project a feminine demeanor, it's seen as weak. But if they talk in ways associated with men or bosses, then they're seen as too aggressive. Whatever they do violates one or the other expectation: either you're not talking as you should as a woman or as boss.
My worst boss was a departmental chair who never learned to appreciate new developments in the field. He had contempt for students and younger researchers, and he saw the job of running the department as a nuisance.
We had a lot of different personalities. Hoak was the straw boss. He just would not quit.
Eventually, and thanks to my dad, I started working for Total Nonstop Action for $1,000 a show. He was the boss, right under Dixie Carter. TNA wasn't doing too well at that point, but I had a job making okay money.
The name 'Boss' started with people that worked for me... It was not meant like Boss, capital B, it was meant like 'Boss, where's my dough this week?' And it was sort of just a term among friends. I never really liked it.
The first film I ever remember - I think my mother took me to it - was called 'She Married Her Boss' with Melvyn Douglas.
I'm my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error... failing at a lot of things has taught me how to succeed at them eventually... you roll with the punches.
I became Iggy because I had a sadistic boss at a record store. I'd been in a band called the Iguanas. And when this boss wanted to embarrass and demean me, he'd say, 'Iggy, get me a coffee, light.'
I was the assistant to the editor-in-chief of 'Esquire Magazine.' And my experience as an assistant was really best case scenario. My boss was absolutely the greatest boss I could have asked for. But I think there's something universal about being an assistant, regardless of whether or not your boss is the greatest or a complete terror.
We don't want a busybody government - a boss - that butts into our lives every chance it gets to tell us how to work, how to play, where to live and on and on.
The thing about having true fans, it seems, is that they remain loyal to their idea of what the work meant to them. And that might make them more exacting than the toughest studio executive or publishing boss.
When you're an assistant, you're executing the wishes of your boss.
Without false modesty, I feel that, when I'm on the stage, I'm the king, the boss of the situation.
We were a fast-growing company, and I was a demanding boss.