De eulogie (uit het Grieks εὐλογία,
letterlijk: goed woord, is een lofrede of
lofdicht uitgesproken bij een speciale
gelegenheid) bij de begrafenis van Ted
Kennedy werd uitgesproken door
President Obama:
Bijna 40 jaar geldeen sprak
hijzelf de eulogie bij de begrafenis van
zijn broer Robert Kennedy (1968):
Wat opmerkelijk is dat in één familie
zoveel grote sprekers, denkers en doeners
kon komen.
Gelukkig is er nu een
VN-tribunaal dat de slachting (met tussen
de 1,5 en 2 miljoen slachtoffers op een
bevolking van 7 miljoen!) aan de kaak stelt
en de schuldigen straft. Het verhaal over
de moeder van Sophal Ear
is een
bron van inspiratie voor ons allen:
Hoe het systeem zo snel alles bij elkaar
weet te halen is een wonder (de visuele
weergave is bijzonder mooi overigens) en
wat de uitkomst betekent is ook niet altijd
duidelijk. Maar als je bijv. Mark Rutte
ingeeft in plaats van je eigen naam (of
Geert Wilders) zie je bijna minutenlang
alle data voorbij komen. Voer je naam in en
leer wie je bent! Of toch niet helemaal?
Hoe zou jij
eruitzien zo’n
50 jaar terug?

Naast
het audio-visuele genot (en de droge humor)
zijn er ook management-lessen uit de serie
te trekken (quote van Inc.com):
1.
Most acquisitions don't pan out as
planned. From
the start, this season's action seems to
revolve around the consequences of the
decision of partners Roger Sterling,
Bertram Cooper, and Don Draper to sell
their agency, Sterling Cooper, to a larger
British firm, Putnam, Powell and Lowe. The
agency's new chief financial officer, Lane
Pryce, has spent the show's hiatus laying
off staff, and morale is low. New staffers
from London are butting heads with their
New York counterparts, including Joan
Holloway, the agency's office manager, who
is as perspicacious and mischievous as she
is curvaceous. Elsewhere, the head of
accounts, a firm veteran, is let go. He
takes the news poorly. In a nice touch, the
writers have an ebullient Roger stumble in
on the termination meeting. While the
cashed-out entrepreneur is buying antiques
and traveling, some of the key employees
who helped him build the agency are getting
shown the door. It's clear he doesn't feel
particularly badly about his good fortune,
or his employee's loss of work. In his
mind, why should he? It's not enlightened
management, but it's an honest portrayal of
something that all entrepreneurs who intend
to sell their business some day have to
reckon with. When you sell out, employees
will have to live with the consequences of
that decision, and it isn't always or even
often pretty. Don't kid yourself that it
will be any other way.
2.
Everyone responds differently to the
co-management model. After
the head of accounts storms out, Pete
Campbell and Ken Cosgrove are promoted to
replace him, with each being awarded
responsibility for half of the agency's
accounts. For a day, Pryce lets each man
think that the job is his and his alone;
once he has disabused them of that notion,
the CFO darkly observes that the
arrangement could be changed if "one man
distinguishes himself." Splitting a team
between two managers and encouraging
competition between them is a time-honored
management gimmick embraced by many
investment banks and other dog-eat-dog
workplaces. The model has some strengths:
It creates ethical and financial checks and
balances. If one manager leaves, there is
no gap in continuity. And co-managers can
bring different skills to a team. On
Mad Men,
Ken Cosgrove seems to be satisfied with the
arrangement, and suggests that he and Pete
Campbell avoid one-upping each other. But a
sulky Campbell feels that he deserves the
top job all on his own. I'm of two minds
about this. On the one hand, two heads are
generally better than one, and an employee
who doesn't have a peer to push--and to be
pushed by--tends to be less motivated than
one who does. On the other hand, an agency
with a culture of trench warfare tends not
to be commercially successful. What do you
think? Is the co-management model
effective, even in a situation where it's
clear that internecine conflict will ensue?
3.
Building a brand: To focus or not to focus?
That is the question. Creative
Director Draper and Art Director Salvatore
Romano travel to Baltimore to visit a key
client, London Fog, the raincoat company.
The business is going through a
generational transition, as an aging
president hands over the reins to his
younger son. The family-run company
dominates its niche, but is now
contemplating adding new product lines such
as hats and umbrellas. Draper counsels
caution ("You stand for one thing"), but
the London Fog folks worry that they need
to expand or else they'll be overtaken by
competitors. "Everyone who is going to buy
a raincoat from us already has," the owner
frets. My vote: Add new products.
4.
A capable junior employee may struggle when
promoted to a higher level.
Poor
Peggy! She was a rock star assistant who
was able to make unexpected creative
contributions
and guard
Don's schedule with zeal. Now she's been
promoted to copywriter, and she has to
manage her own assistant, who would rather
flirt than help her boss place a phone
call. Peggy is learning the hard way that
not everyone is as dedicated as she is.
Will she allow the secretary to disobey
her, or will she whip her into shape?
5.
You learn more about what makes your staff
tick on the road than you ever could in the
office. Poor
Sal! He was inadvertently outed in
Baltimore when the hotel's fire alarm went
off and Draper discovered Sal canoodling
with a frisky bellhop. Today, of course,
(a.) Sal would be flaming; (b.) he would
not be invited on a client visit, in any
case; and (c.) nobody would budge from
their room when the hotel's fire alarm went
off in the middle of the night.
Voor iedereen die het boek nog niet heeft
gelezen; je kunt je de vlucht naar Sandakan
besparen (mis je wel dit en dit) en het bij
Bol.com bestellen.
Doen!
Als je dit filmpje over je hele scherm zet,
is het net of je er bent, want anders moet
je ervoor naar Japan: