Transcript
A (0:00)
Foreign. This is Current Yale, Grant's interest rate observer of the air. And I am Jim Grant. And with me, as always, is the great deputy editor of Grants, Evan Lorenz. With me today, not as always, but it's a special treat to have him with us is Phil Grant, who is the editor of and the progenitor of Almost Daily Grants, which you ladies and gentlemen may have for the simple request of having it. And Henry French, as per always, is our sound engineer. And welcome to you, Henry. And let's see. Oh, this, I meant to say this is a unique Grant's podcast because it is just us. That is to say, ladies and gentlemen, you and Grants. And the idea for kind of a Grants Only and Friends of Grants podcast came to Evan and me when someone said, I didn't realize you guys also published periodically. I thought it was just a couple of mellifluous voices on the radio. God, we've been. Evan, I have been. You've been with me. I think I've been with you better part of 15 years. Just about. Yeah, almost. Yeah. And. And I have been with me during this Grants thing for more than 40 years. So you can imagine that when people begin asking you, you, you publish something, I think it's high time to remind them that we do so we actually.
B (1:21)
Do have a business model that produces revenue.
A (1:23)
Yeah. Yes, and I have the tuition receipts to prove it. Yeah. This is a profit making business and we want you to, ladies and gentlemen, to be a part of it. We want you to know who we are, what we do, why we do it, and how you can become a part of it. That's the agenda today. But we're not going to. Yeah, you're probably thinking we're just going to pitch you on grain. Nope. We are going to tell you what we're thinking about what? What we have thought about, what's worked, what has not worked. What's worked is a much longer part of the discussion, is it not, Evan? Then?
B (1:55)
Yeah.
A (1:56)
We tried to think of a couple of things that fell flat on their faces and I don't know, but I couldn't quite find them in my memory.
B (2:02)
But yeah, after a beer or two, they complete that in my mind too.
A (2:06)
Yeah. Let the record show that we're entirely sober. That goes for you too, right?
C (2:09)
Yes, I just checked, Henry, Everything's good.
A (2:11)
Okay, so to begin. I don't know, I thought Evan and Phil and Henry, I thought I would begin, if I may indulge myself in the audience by reading something that I delivered in the way of A kind of a short talk at a recent party given by a subscriber of ours whose name is Diego Segura. And Diego is the most interesting character. He is a downtown Denison, downtown Manhattan, a craftsman. He is a designer. And he has an interest in finance, hence his interest in grants, and full of energy and enterprise. And he asked me whether I'd come and say a few words to people he was going to gather on tax day to talk about creativity. Creativity and flattered to death. I mean, I happened to be, ladies and gentlemen, 77 and a half years old. And here was this guy who is probably a little bit old for a grandson, although actually not, but certainly of a different generation, wanting to hear from me and wanting his friends to hear from me. Not so much about me, but about how it is that grants came into the world and what it has to do with the downtown scene of creation, creativity and craftsmanship. I think the younger people call themselves creatives. That's not that word, isn't for me. But anyway, so I'm going to. I'm going to read a little bit of this and then we're going to get into securities that you have selected, long and short. We're going to get into some of the macroeconomic themes we have developed and are developing, developing. And Phil's going to talk about some of the things that he does almost every day. That's the agenda. Here is a few paragraphs from my talk to the Diego Segura Tax Day party. I'm a bookworm, a gold bug and a newspaperman. I'm the father of four, the grandfather of six, and the husband of Patricia Cavanaugh, MD. And we have been married for 50 years. I've been writing about money and investing for 52 years. Grant's interest Rate observer, the periodical I own and edit, has been publishing for over 40 years. And so Diego wrote a book actually called the Dropout Manifesto, which I think was kind of a cool thing, you know. So I found in Diego kind of a spiritual brother and a help meet. And I said that I dropped out of stuff. I dropped out of college after one semester. I went back and in 1983 I dropped out of the Dow Jones company to found the best 12 page financial periodical in the world. It didn't start that way exactly, but that was the ambition. So no salary for the first three years. That's kind of par for the course. No money or not much money to take from the business. So I went on to say that I can't say that I never wanted to quit. But I can say that Patricia wouldn't hear of it. By this time she was pregnant with her fourth child. Wife, house, everything. The full catastrophe was the line from the Anthony Quinn starred movie called Zorba the Greek. So I said that. So I described a little bit about what we were doing, what downtown life was like, because I've been working down here off and for since 1967, if you please. So. And I said, so what does all this have to do with creativity? I don't know, I said, but it has everything to do with craft. By craft in the journalistic sense, I mean the production of ordered, rhythmic, pleasing sentences. So craftsmanship can in no way be confused with genius. But geniuses can be craftsmen. Here are the credo of the great 19th century German composer Johannes Brahms. Work it over and over, he would say, quote, until there is not a note too much or too little, not a bar you could improve on. Whether it is also beautiful is an entirely different matter. But perfect it must be. So I addressed these young people, I said, not a word here about work, life, balance, for that matter. Not a word about the happiness or mental health of the Creator. Perfect it must be. So genius is God's gift sparingly dispensed. Talent is more generously apportioned, and craftsmanship is within the reach of many of us. It is no mean thing, craftsmanship. Evelyn Waugh, the wonderful British novelist, called himself a craftsman. He said he had a craftsman's hands. So Grant publishes 7,000 words, or 28 to 30 double spaced pages, every two weeks. My God. Oh no. I approach each deadline with a constructive sense of dread. Put perfect, I have told myself two dozen times a year for the past four decades. It ought to be, though how rarely it is. You remember the term paper you dreaded writing, that is, before you dropped out of school. I have somehow chosen to make that millstone my life's work. What do our words say? I went on to ask rhetorically. Well, they deal with value and integrity. That is the value, or lack of it, in stocks and bonds and the integrity of the currency. We look for mispriced securities and we journalistically ride herd on the Federal Reserve. The Fed, as our central bank is familiarly known, sets out to cheapen the purchasing power of the dollar by 2% a year. It believes that a little bit of inflation lubricates the wheels of commerce. No such thing, we have told them time and again. Do they listen? Evan?
