Why Management?
 
In the management concentration at SFSU, the student prepares for 
a rewarding career in managing contemporary organizations. The 
emphasis is on the managerial functions of planning, decision making, 
coordination and control, organizational structure, and on managerial 
concepts and practices. This concentration will interest the person 
who is stimulated by handling a myriad of subjects rather than being a 
specialist in one area. 

An ideal manager knows how to make plans, solve problems, 
hire, train, motivate, and lead employees. 

# of people in profession: 1,000,000 
Average hours per week: 70
Average starting salary: n/a
Average salary after 5 years: n/a 
Average salary after 10 to 15 years: n/a

Professionals read these: Fortune, Forbes, Money 
Films and TV Shows Featuring the Profession: 
The Jerk, The Art of the Deal, Forrest Gump,
Risking It All 

Major Associations:

Center for International Private 
Enterprise
1155 15th Street, NW
Suite 700
Washington, DC 20005
Tel: 202-721-9200
Fax: 202-721-9250
Web: www.cipe.org

Committee of 200
625 North Michigan Avenue
Suite 500
Chicago, IL 60611
Tel: 312-751-3477
Fax: 312-943-9401

All information above thankfully provided by the Princeton Review.
>>The Princeton Review

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Jokes or Misc

"Lessons you can learn from clowns other than your boss." 
Selected excerpt from Working Wounded, by Bob Rosner-San Francisco Chronicle, Sunday, 
August 26, 2001-At Work section.
    What Could the circus possibly teach us suits in the business world? After being 
repeatedly blown away by Cirque du Soleil, a mesmerizing mix of circus, acrobatics, 
dance, music and theater, I wondered. I put the question to Pavel Brun, creative
director of Cirque's two shows in Vegas.

Bob Rosner: Do you think there's anything a "normal business" can learn from Cirque du
Soleil?
Brun: I believe that in business, the time for dictatorship is gone. It's time for facilitation.
At my best, I try to create an environment where people will think that what they do on-stage
is coming from them.
Bob: What do you do when you see something you don't like?
Brun: I start by evaluating the situation using four scenarios: Is it a mistake? In which 
case I have to be very forgiving. Is it a bad tendency? In which case we'll have to work on
it. Is it an attempt to irritate others? That's unforgivable. Or is it an attempt to create 
something? This is something that I have to allow.
For example, an artist will come to me and say, "I have an idea," I can say, "Don't do it."
What will happen? This artist will say, "I'm not offering anything else." Another option
is to bite my tongue and say, "OK, go try it and we'll talk." After the show, he or she comes 
to me, we'll analyze what happened and why. And that's the learning process, which I really 
like.
Brun: I would like to make very, very clear the difference between flexibility and anarchy.
I always use a jazz mentality when I'm dealing with the artist: I don't need to write every
single note for them as long as I know they can play. I am giving them direction to go from
point A to point B; the rhythm they use is entirely up to them. They know they have to go 
from here to there-"how" is a question of their creativity.

Bob Rosner is the author of "The Boss's Survival Guide."
email: [email protected]
fax: 206 780 4353
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