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Control freaks

机译:控制怪胎

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THIS month Schumpeter visited the Barnes Foundation, a gallery in Philadelphia full of paintings by Picasso, Matisse and Van Gogh. Albert Barnes, born in 1872, is notable for two things. He made a fortune from an antiseptic that cured gonorrhoea. And he stipulated exactly how his art collection should be posthumously displayed. The result is hundreds of paintings jammed together nonsensically, often in poky rooms, and the creepy feeling of a tycoon controlling you from the grave. Barnes's string-pulling comes to mind when considering today's prominent tycoons, who often hail from technology, e-commerce and media. At the moment they seem omnipotent. But many founders are gradually cashing in shares in their companies. The consequences will vary by firm, with some tycoons gradually ceding control, and others clinging on to it.
机译:本月,熊彼特访问了费城的一家画廊,巴恩斯基金会,陈列着毕加索,马蒂斯和梵高的画作。阿尔伯特·巴恩斯(Albert Barnes)生于1872年,以两件事着称。他从治愈淋病的杀菌剂中发了财。他明确规定了应如何展示其艺术收藏。结果是成百上千的画作被荒谬地卡在了一起,通常是在一个狭小的房间里,一个大亨从坟墓中控制着你的令人毛骨悚然的感觉。考虑到当今杰出的大亨,通常都来自技术,电子商务和媒体的巴恩斯想到了巴恩斯的拉弦法。目前,它们似乎无所不能。但是许多创始人正在逐步兑现其公司的股票。后果将因企业而异,一些大亨逐渐将控制权让给控制权,而另一些大亨则坚持控制权。

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    《The economist》 |2017年第9068期|62-62|共1页
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