The waterfront in this midcoast hamlet is quiet under a fresh snowfall. The pleasure boats are long since gone to shrinkwrap, and only a few working boats remain. It’s a serene scene in the piney inlet as the holidays approach. Like so many saltwater villages, this one is but a single part of a larger town, and people are often confused just exactly which one, the one to the north, which sounds like it’s actually south, or the one below it (whose name might make you think of dragons). And for good reason: the history of all these communities is tightly intertwined. They all used to be a single town of epic proportions, until 1848 when they split. The ink had hardly dried on the maps of these new towns when a bunch of residents in this village wanted to secede yet again and form their own town, aptly called Independence. That didn’t work. So they raised the issue again in 1853, and again in 1856, when they thought the town name Melrose had a nice ring to it. This particular village has been called all sorts of things, from Seal Harbor Island to Lobster Cove Island to Elwell’s, and then by the early nineteenth century it took its current moniker. Turn to page 98 if you think you know its current name.
Im Jahre 1904 fielen dem russischen Maler Michail Larionow Ladenschilder auf, die er auch in seine Arbeiten einbrachte. Damit entdeckte er für die Kunst quasi eine ganz neue Domäne. Ladenschilder brachten Farbe in die städtische Landschaft und bestimmten in vielem ihr Aussehen. Ladenschilder gab es schon immer, sie wurden aber nicht als Malerei empfunden, sondern sie waren einfach Details, die zum Alltag gehörten und an denen man vorbeieilte, meist sogar ohne sie eines Blickes zu würdigen.
Ende des Jahres 1910 wandte sich auch Boris Kustodijew begeistert den städtischen Ladenschildern zu. Er ließ sie nicht nur in seine Gemälde einfließen, sondern ließ sich auch von ihrer dekorativen Prägnanz und ihrer Natürlichkeit anregen. In dem anscheinend so vertrauten städtischen Milieu nahm Kustodiew auch als Erster den Kitsch wahr. Früher wäre keinem in den Sinn gekommen, all diese vulgären tönernen Sparbüchsen in Katzenform und die laienhaft bepinselten Wandbehänge für Kunstgewerbeerzeugnisse zu halten, geschweige denn als Kunst zu betrachten. Die Welt der Kustodiewschen Kaufmannsfrauen ist mit solchen Details reich bestückt. Seine Malerei orientierte sich an der Farbpalette des russischen Basars.
Your brand management and talent management approaches are two of the most powerful levers at your disposal in driving tangible, measurable improvement to the performance of your business.
Brand management helps ensure that people are aware of you, of what you can do for them and why they should consider and purchase from you. It gives you something clear to stand for and to steer by; it guides some of your biggest strategic decisions. Name something more important to a CEO than the reputation of his or her firm.
Talent management helps you make sure you get the right people aboard to help in the first place, and then create an environment where they can contribute more so that your organization can deliver on its promises. Name something more important to a CEO than the talent needed to deliver growth.
Chances are, they are both in the top five; for some, the top three, according to recent surveys by McKinsey, PWC and BCG. But the two are inextricably linked a fact that seems to be lost on many boards, CEOs and strategists today.
We badly need a national policy that enables schools to meet the intellectual demands of the twenty-first century.
—Linda Darling-Hammond (2007)
James Bellanca:In your article for The Nation magazine (Darling-Hammond, 2007), you call for a national policy so that students can meet the intellectual demands of the 21st century. What are these demands?
Linda Darling-Hammond: Our economy and our lives today are much more complex than many people understand. That complexity is exacerbated by the extraordinarily fast rate of knowledge growth in this century. Some people say that the amount of technological knowledge in the world is almost doubling every two years. Thus, the notion that we could take all of the facts that a person needs to know, divide them into twelve years of schooling, and learn those facts and be done does not clearly equip young people for the future. Twenty-first-century students need a deeper understanding of the core concepts in the disciplines than they receive now. In addition, students need to be able to design, evaluate, and manage their own work. Students need to be able to frame, investigate, and solve problems using a wide range of information resources and digital tools.