The unison of individual instruments that all have different sounds, the harmony of individuality and collaboration, perfect alignments to reach a common objective, the logic of freedom and restriction, and the leadership of the conductor are some examples of the workings of an orchestra from which we can draw implications applicable to organizational culture. In particular, there is a subtle resemblance between an orchestra and the business concept of our company.

Someone once asked the late Leonard Bernstein, the music director and chief conductor of the New York Philharmonic, which of all the instruments in the orchestra is the most difficult to handle? How would you respond to such a question? Would you answer perhaps the heaviest instrument? The hardest instrument to blow? The rarest instrument? Bernstein replied with an answer befitting a man with a literature background from Harvard by saying, "My answer would be the second violin. Why you ask? Because we can always find someone to brilliantly play the first violin. However, to find a person to play the second violin with the same amount of passion as if they were playing the lead is very challenging. And its the same with the french horn and the flute as well. There are many lead players but it is hard to find a quality support player to make beautiful music together as one.

Now, we all aspire to be the lead player. All of us want to become a "star" and have the spotlight shine on us. But just imagine the ridiculous thought of an orchestra being comprised solely of lead players. From the back rows and at the end of the stage, out of the spotlight and away from the attention of the audience, it is because of support players who silently provide the unassuming chords to go with the prominent melody of the lead player that makes great classic works such as Beethoven's Fate, Eroica, and Pathetique all possible.

Only with support players with talent and skills equivalent to lead players will the orchestra survive. They are not "second string" because they do not measure up to the lead players, but instead undertake the supporting role in the quest for a different approach to music.
If the road to becoming a renowned lead player is passion then the key to becoming a notable support player is modesty. Passion without modesty is dangerous and modesty without passion is subservient, making both qualities essential in a great classical composition.

This year, like long-awaited rain after a drought, brings to us some good news from the One Show, New York, and Cannes. Cannes was special in that we introduced a seminar for the first time titled "A Day in the Life of a Mobile Phone in Seoul" and in the process had a branded presence for Cheil Worldwide at the heart of the world's idea and creative market.

Of course we applaud and commend all the lead players. And at the same time, we also send our respect and honor all support players who behind the scenes play the second violin. We appreciate all your efforts.

Vacation season is fast approaching. How about including the sounds of an orchestra as part of this year's summer vacation. Since mobile phones these days come equipped with an MP3 function, I can foresee all vacation spots turning into a concert hall.