Blending Art with Commerce to Expand Aesthetic Leadership: Insights from Steve Jobs and Jerry Garcia

B. Barnes
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After overcoming business struggles, both leaders and their businesses ultimately thrived in two dramatically different industries. They left behind one business that continues to be a driving force in changing the world-Apple; and another business-the Grateful Dead and Grateful Dead Productions, which mostly dissolved on the passing of Garcia, yet continues to provide a model for others in the still turbulent music industry.This paper begins with a brief biographical look at the surprising similarities in the backgrounds of Jobs and Garcia as well as their differences. Following this is a brief discussion of Shared Leadership theory with an emphasis on four of its elements that may be useful in expanding Aesthetic Leadership theory. Next is a discussion of the emerging Aesthetic Leadership theory, its characteristics and outcomes, followed by examples of those characteristics for both Jobs and Garcia. The paper concludes with implications of the insights gained from the examination of Jobs and Garcia as both Shared and Aesthetic leaders.A short history of Jerry GarciaJerry Garcia was born in San Francisco in 1942 and died there in 1995 of a heart attack shortly after his 53rd birthday. His childhood presented him with a number of challenges including the death by drowning of his father, and the loss of part of his right middle finger in a family accident. Garcia was raised primarily by his grandmother while his mother ran a local bar that catered to sailors. During his life he was married three times and fathered four daughters (Jackson, 1999).Garcia began his love affair with the guitar when he got his first one for his 15th birthday. He didn't finish high school but did attend classes at the San Francisco Art Institute, and this cemented his love of the visual arts in addition to his passion for music. His artwork has become highly valued, and interestingly, he used an Apple Macintosh for his early visual artistic pursuits (McNally, 2002).Garcia was strongly influenced by the Beat Generation writers, artists, and poets in the Bay Area, and he hung around local book and music stores in Palo Alto where the Beat scene was giving way to the folk scene and what would become the Hippie scene in the late 1960s. It was here that he began a lifetime relationship with poet Robert Hunter who became Garcia's lyricist (and who was also part of the federal government's LSD experiments in the early 1960s). Garcia was self-educated through voracious reading, and he was a seeker of higher consciousness, which was aided by the use of LSD while it was still legal (and even after) (McNally, 2002).Although Garcia resisted the label of leader, everyone else around him knew he was. Bass player Phil Lesh said that Garcia was \"the undeclared leader\" of the band (Lesh, 2005, p. 135). Another insider said, \"Jerry's vote was greater than the sum of everybody else's\" (in Jackson, 1999, p. 274). Garcia understood the charismatic power he had with others in the band and the Grateful Dead organization. He knew that as soon as he said anything, then that's the way it would be. So he often held back and avoided speaking up in order to encourage others to voice their views and to lead. 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引用次数: 1

Abstract

This paper aims to help expand and contribute to the understanding of the nascent Aesthetic Leadership theory, which recognizes the importance of both art and science in the practice of effective leadership. This paper also posits that in addition to drawing on both art and science to be effective, aesthetic leaders blend art with commerce in the products and services they create. Additionally the paper proposes that Aesthetic Leadership theory can be expanded with four antecedents from Shared Leadership: shared purpose, social support, voice and transparency. The paper achieves this by drawing from the experience of two nearly mythical Bay Area leaders-Steve Jobs at Apple, and Jerry Garcia of the Grateful Dead. After overcoming business struggles, both leaders and their businesses ultimately thrived in two dramatically different industries. They left behind one business that continues to be a driving force in changing the world-Apple; and another business-the Grateful Dead and Grateful Dead Productions, which mostly dissolved on the passing of Garcia, yet continues to provide a model for others in the still turbulent music industry.This paper begins with a brief biographical look at the surprising similarities in the backgrounds of Jobs and Garcia as well as their differences. Following this is a brief discussion of Shared Leadership theory with an emphasis on four of its elements that may be useful in expanding Aesthetic Leadership theory. Next is a discussion of the emerging Aesthetic Leadership theory, its characteristics and outcomes, followed by examples of those characteristics for both Jobs and Garcia. The paper concludes with implications of the insights gained from the examination of Jobs and Garcia as both Shared and Aesthetic leaders.A short history of Jerry GarciaJerry Garcia was born in San Francisco in 1942 and died there in 1995 of a heart attack shortly after his 53rd birthday. His childhood presented him with a number of challenges including the death by drowning of his father, and the loss of part of his right middle finger in a family accident. Garcia was raised primarily by his grandmother while his mother ran a local bar that catered to sailors. During his life he was married three times and fathered four daughters (Jackson, 1999).Garcia began his love affair with the guitar when he got his first one for his 15th birthday. He didn't finish high school but did attend classes at the San Francisco Art Institute, and this cemented his love of the visual arts in addition to his passion for music. His artwork has become highly valued, and interestingly, he used an Apple Macintosh for his early visual artistic pursuits (McNally, 2002).Garcia was strongly influenced by the Beat Generation writers, artists, and poets in the Bay Area, and he hung around local book and music stores in Palo Alto where the Beat scene was giving way to the folk scene and what would become the Hippie scene in the late 1960s. It was here that he began a lifetime relationship with poet Robert Hunter who became Garcia's lyricist (and who was also part of the federal government's LSD experiments in the early 1960s). Garcia was self-educated through voracious reading, and he was a seeker of higher consciousness, which was aided by the use of LSD while it was still legal (and even after) (McNally, 2002).Although Garcia resisted the label of leader, everyone else around him knew he was. Bass player Phil Lesh said that Garcia was "the undeclared leader" of the band (Lesh, 2005, p. 135). Another insider said, "Jerry's vote was greater than the sum of everybody else's" (in Jackson, 1999, p. 274). Garcia understood the charismatic power he had with others in the band and the Grateful Dead organization. He knew that as soon as he said anything, then that's the way it would be. So he often held back and avoided speaking up in order to encourage others to voice their views and to lead. Some who knew him suggest that he could shrug off his leadership role as mentioned above because he had absolute authority whenever he chose to exercise it (Barnes, 2011). …
将艺术与商业相结合以扩大美学领导力:史蒂夫·乔布斯和杰里·加西亚的见解
本文旨在帮助扩大和促进对新生的美学领导理论的理解,该理论认识到艺术和科学在有效领导实践中的重要性。本文还认为,除了利用艺术和科学来提高效率外,美学领导者还将艺术与商业融合在他们创造的产品和服务中。此外,本文提出美学领导理论可以从共享领导的四个前因扩展:共同目标、社会支持、声音和透明度。本文从两位近乎神话般的湾区领袖——苹果公司的史蒂夫•乔布斯和感恩而死乐队的杰里•加西亚——的经历中得出了这一结论。在克服了商业上的困难之后,两位领导人和他们的企业最终在两个截然不同的行业中茁壮成长。他们留下了一家公司,这家公司至今仍是改变世界的推动力——苹果公司;还有另一家公司——感恩而死和感恩而死制作公司,在加西亚去世后大部分公司都解散了,但仍在动荡的音乐产业中继续为其他公司提供榜样。本文首先简要介绍了乔布斯和加西亚在背景上惊人的相似之处以及他们的不同之处。以下是对共享领导理论的简要讨论,重点是它的四个元素,可能对扩展美学领导理论有用。接下来是对新兴的美学领导理论的讨论,它的特征和结果,然后是乔布斯和加西亚的这些特征的例子。本文总结了从乔布斯和加西亚作为共享和美学领导者的考察中获得的见解的含义。杰里·加西亚的简史杰里·加西亚1942年出生于旧金山,1995年在他53岁生日后不久死于心脏病。他的童年给他带来了许多挑战,包括父亲溺水身亡,以及在一次家庭事故中失去了右手中指的一部分。加西亚主要是由他的祖母抚养长大的,而他的母亲在当地经营着一家专为水手服务的酒吧。在他的一生中,他结过三次婚,生了四个女儿(Jackson, 1999)。加西亚15岁生日时得到了他的第一把吉他,从此开始了他对吉他的热爱。他没有完成高中学业,但在旧金山艺术学院上过课,这巩固了他对视觉艺术的热爱,以及他对音乐的热情。他的艺术作品已成为高度重视,有趣的是,他使用苹果麦金塔为他早期的视觉艺术追求(麦克纳利,2002年)。加西亚深受湾区“垮掉的一代”作家、艺术家和诗人的影响,他经常出没于帕洛阿尔托当地的书店和音乐商店,在20世纪60年代末,“垮掉的一代”逐渐让位于民谣和嬉皮士。正是在这里,他与诗人罗伯特·亨特(Robert Hunter)开始了一生的恋情,后者后来成为加西亚的作词人(他也是20世纪60年代初联邦政府LSD实验的一部分)。加西亚通过大量的阅读自学成才,他是一个寻求更高意识的人,这得益于LSD的使用,当时LSD仍然是合法的(甚至是非法的)(麦克纳利,2002)。尽管加西亚不愿被贴上领袖的标签,但他周围的人都知道他是领袖。贝斯手Phil Lesh说Garcia是乐队“未公开的领袖”(Lesh, 2005, p. 135)。另一位内部人士说,“杰里的投票比其他所有人的总和都要多”(杰克逊,1999年,第274页)。加西亚明白他对乐队和感恩而死组织的其他人的魅力。他知道只要他说了什么,事情就会变成那样。因此,为了鼓励别人表达自己的观点并发挥领导作用,他经常退缩,避免发表意见。一些认识他的人认为他可以摆脱上述领导角色,因为他有绝对的权威,无论何时他选择行使它(Barnes, 2011)。…
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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