Dealing with a pessimist on your team is a stressful, frustrating and mind-numbing experience. The bad news is that attempts to ignore or counter frequent negative comments by escalating the war of words are destined to backfire. The good news is that by taking some proactive steps, you can help change this behavior.
The first step is to figure out what is causing your team member’s negativity. Some common sources of pessimism include resentment at not having been promoted, a need for recognition, or a need to cover for a lack of knowledge or skill. It is essential to separate the cause between skill-based (”I can’t do it”) and motivation-based (”I won’t do it”) FIRST. Then, you can move toward identifying where the real issue lies. Whatever the source of the pessimism, the key to responding constructively is to focus on the impact of the individual’s behavior. Changing behavior is much easier than trying to reform a person’s long-held beliefs and values.
Here are three approaches to managing negative behavior:
1. Call them out- NICELY. This is best done by pulling the team member aside and explaining how their comments are received. The rule when giving this type of feedback is to be at least as positive as you are negative. Once you understand the underlying reason for the pessimism, you can provide additional support or information if it’s needed.
2. Redirect negative forces. Negativity can fester and eventually kill a team’s momentum and motivation. Don’t let negative comments linger. Ask for clarification or more information about what the speaker means.
For example, if a team member says, “This project is never going to make it past Finance,” ask the speaker to explain why they think that. Better yet, you can ask for alternative solutions: “What can we do to make sure the project does make it past Finance?” You can also ask team members to use “but statements.” Ask them to follow skeptical or critical sentences with “but.” For example, your team member could say “This project is never going to make it past Finance, BUT it’s worth laying the groundwork now because next year, Finance is apt to approve more tech projects.” It’s helpful to model this type of behavior for the entire team. Offer your own constructive criticism while providing an alternative solution.
3. Remember your manners!! It can be damaging to single out a team member in front of the entire team. Once you have redirected the negative forces, it is very common for supervisors to bring that force right back when they go to the next step, thinking they need to establish a presence in order to change behavior. The truth is peer pressure is a far more effective tactic. Set team norms and ask everyone to observe them. Once you’ve agreed on norms, ask the team to hold each other to them. This approach can be used when you’re not the team leader as well. If a fellow team member is regularly negative, you can appeal to what is known as the collective wisdom of the team by modeling positive behavior and using peer pressure to show the pessimist a more productive way of contributing. Of course as a peer, your influence is limited and you may need to talk with the team leader if your attempts to redirect the pessimist don’t work.
Principles to Remember
When All Else Fails
If a team member is continually disruptive and does not respond to coaching or feedback, you may ultimately need to pursue transfer or removal procedures. Sometimes people are not a good fit for a team or a project and it’s your job as leader to make that distinction.
Negativity Can be Useful
It’s important to remember that the goal here is not to rid the team of any skeptical sentiment. Not all negativity is bad, despite how it sounds or feels. We need dissenting voices to check our assumptions and push our ideas dimension to teaming. As long as he or she is not strong enough to derail progress, he or she may offer thoughts that otherwise wouldn’t come in.
Do:
Find the source of the pessimism
Differentiate between the person and the behavior
Involve the whole team in setting norms for team behavior
Don’t:
Single someone out in front of the whole group
Allow negative comments to go unaddressed
Assume all pessimism is unproductive
No one can overestimate the challenge this issue presents. However, the first objective here is similar to the best strategy one should employ when one finds him/herself in a hole- STOP DIGGING. Once that is accomplished, then it is on to the “real work” of having the tough conversation with the employee. But, first you need to stop the damage. If you follow the steps above, you should be able to get to the point of working towards that inevitable conversation. If you fail in the process, think up a different approach to the steps and try again. It is important to remember to keep your eye on the true prize- a cooperative, trust based culture in which you and the employee in question can flourish and evolve. Keep working at it, and keep believing there WILL be an answer. Just be prepared to accept the answer is not the one you were expecting!
Until Next Time….
Keep Smiling,
Tuesday, March 23, 2010
Monday, March 2, 2009
Who Did You Think I Was?
"You had my number/but I always knew the score
who did you think I was?"
- John Mayer
One of the dangers of negotiating the shark-infested waters of corporate America is in the image that you portray as a worker/subordinate/partner/teammate. You think it would be easy- show up, do your job with a smile on your face, and go home to your family. Not so fast. Not only is it necessary to be competent, you also have to keep in mind who you are perceived to be in the grand scheme of things.
Rock stars have the same kind of problems. Sometimes they can work it out. For instance, the song that inspired the title comes from the John Mayer Trio, a band put together by Mayer in order to distance himself ever so slightly from his image of the "Your Body is a Wonderland" crooner. The jury is out as to whether or not it will be enough to work, but if he stays with it, the odds are he will rise above. Keeping company with bassist Pino Palladino (Entwhistle's replacement in The Who, and master session player/ sideman) and drummer Steve Jordan (playing and/or producing with The Rolling Stones, Bruce Springsteen, Neil Young, Los Lonely Boys, Eric Clapton, etc.) will do nothing but raise his stock in the industry.
That is what you must do as you progress in your chosen profession. Seek out opportunities to work with the people you think have the most star power. Your instincts may warn you that standing on stage with a talent like Jordan or Palladino will only minimize your ability to shine. That is not the truth. Once you are associated with these talents, your abilities will automatically be verified. You will find that the solutions that you come up when in the presence of these talents will be so much greater than the work you can come up with on your own, the shared spotlight won't matter.
A cautionary tale in this vein is the story of Rick Springfield. You may be shocked to realize that Rick has been an active and productive solo act since 1971. You may not know that he only took the "General Hospital" gig because of various issues regarding the management of his recording career and uncertainty with immigration paperwork. You may be surprised to hear he has sold over 20 million albums and has had 17 Top 40 hits (and no, not all are named "Jessie's Girl"). Yet, he is stuck in the bubble of being a "teen idol", with his good looks overshadowing his introspective and spiritual lyrical forays. What Rick (or his managers) never realized in his '80s heyday was that the short term loss of income due to collaborations would have translated into a more respected long term view of his career. As it turns out, he crashed and burned (literally and figuratively) in the late '80s, and didn't come back for 10 years. When he did, he finally reconciled his desires of critical approval with the reality of the image he created. It was only then, ironically, that he was free to pursue his musical goals through producing his own music through his own label. He even learned to collaborate with Matt Bissonnette (bassist that has also played with David Lee Roth, Joe Satriani, Ringo Starr, Brian Wilson, and Don Henley), on his latest album "Venus in Overdrive" which debuted at #28 in the Billboard charts last year.
The point is- if you don't work on your image, someone else will paint the picture for you. Once that happens, you are at the mercy of the artist(s). Don't make the same mistake as Rick, reach for collaborations and partnerships BEFORE the die is cast and your image is created. That way, you can have at least a little control over the development of your career. When the urge hits you to guard your place in the spotlight- THAT is the time to share the glory. It may not feel like the right thing to do at the moment, but it will pay off in the end!!
who did you think I was?"
- John Mayer
One of the dangers of negotiating the shark-infested waters of corporate America is in the image that you portray as a worker/subordinate/partner/teammate. You think it would be easy- show up, do your job with a smile on your face, and go home to your family. Not so fast. Not only is it necessary to be competent, you also have to keep in mind who you are perceived to be in the grand scheme of things.
Rock stars have the same kind of problems. Sometimes they can work it out. For instance, the song that inspired the title comes from the John Mayer Trio, a band put together by Mayer in order to distance himself ever so slightly from his image of the "Your Body is a Wonderland" crooner. The jury is out as to whether or not it will be enough to work, but if he stays with it, the odds are he will rise above. Keeping company with bassist Pino Palladino (Entwhistle's replacement in The Who, and master session player/ sideman) and drummer Steve Jordan (playing and/or producing with The Rolling Stones, Bruce Springsteen, Neil Young, Los Lonely Boys, Eric Clapton, etc.) will do nothing but raise his stock in the industry.
That is what you must do as you progress in your chosen profession. Seek out opportunities to work with the people you think have the most star power. Your instincts may warn you that standing on stage with a talent like Jordan or Palladino will only minimize your ability to shine. That is not the truth. Once you are associated with these talents, your abilities will automatically be verified. You will find that the solutions that you come up when in the presence of these talents will be so much greater than the work you can come up with on your own, the shared spotlight won't matter.
A cautionary tale in this vein is the story of Rick Springfield. You may be shocked to realize that Rick has been an active and productive solo act since 1971. You may not know that he only took the "General Hospital" gig because of various issues regarding the management of his recording career and uncertainty with immigration paperwork. You may be surprised to hear he has sold over 20 million albums and has had 17 Top 40 hits (and no, not all are named "Jessie's Girl"). Yet, he is stuck in the bubble of being a "teen idol", with his good looks overshadowing his introspective and spiritual lyrical forays. What Rick (or his managers) never realized in his '80s heyday was that the short term loss of income due to collaborations would have translated into a more respected long term view of his career. As it turns out, he crashed and burned (literally and figuratively) in the late '80s, and didn't come back for 10 years. When he did, he finally reconciled his desires of critical approval with the reality of the image he created. It was only then, ironically, that he was free to pursue his musical goals through producing his own music through his own label. He even learned to collaborate with Matt Bissonnette (bassist that has also played with David Lee Roth, Joe Satriani, Ringo Starr, Brian Wilson, and Don Henley), on his latest album "Venus in Overdrive" which debuted at #28 in the Billboard charts last year.
The point is- if you don't work on your image, someone else will paint the picture for you. Once that happens, you are at the mercy of the artist(s). Don't make the same mistake as Rick, reach for collaborations and partnerships BEFORE the die is cast and your image is created. That way, you can have at least a little control over the development of your career. When the urge hits you to guard your place in the spotlight- THAT is the time to share the glory. It may not feel like the right thing to do at the moment, but it will pay off in the end!!
Sunday, February 15, 2009
Acrobat
I've noticed lately the lengths that co-workers, supervisors and subordinates go to in balancing who they think they should be with who they know that they are. I realize we all put on masks, and that their are roles that need definition, and popping in between these roles does take a level of dexterity, however many people take this to an art form. So, whenever I hear someone express an opinion in an informal way, or present ideas in a staff call, I am forever amazed by some people's ability to pull it off with aplomb.
I have found that the good ones never let on that they are performing. They seamlessly roll into their persona as easily as putting on a suit and and tie, or make up and a dress. The others are less fortunate; for every time you let your guard down, you are dropping one of the metaphysical "balls" you are juggling, and you lose your sense of balance, timing and authority. As a circus performer, or a rock star, you are undone by your inability to pull off your part in a believable or "authentic" way. We all have preconceived notions of how rock stars and upper management are supposed to express ideas, and when that expectation is not met- the act is not believable.
The truth is, there are few people in the stands that can tell if the guitar player is slightly out of key, or if the singer's high note is flat. Of those people, fewer still even care, knowing how hard it is to come that close in the first place. The performer, however, knows very well his or her mistake. In that case, you have two options- show your frustration and advertise your mistake stopping the song and letting the metaphorical ball hit the ground, or let the misstep take you in a different direction toward your established endpoint. What is best for the performance and your career is to not let your mistake draw attention away from the most important part- the audience's ability to believe in, enjoy and accept the art that you are making.
I had a guitar player in one of my bands that we would playfully call "Jerry" for his sometime atonal and convoluted solos. We would reassure him that what he was doing was channeling the unsteady spirit of Jerry Garcia, and his failed experiments with the guitar were merely a matter of aping one of the Grateful Dead's "improvised jams." Which reminds me of a joke: what did the Deadhead say when he quit smoking pot? "Hey, wait a second, this music sucks." Anyway, the point being is that the people that move forward in companies and the rock world are those who not necessarily believe their own BS, but those people who accept their own BS as part of the whole package and don't look to stop the song because they messed up the drum fill. To them it was just part of the show, even if the acrobat falls from the high wire, the show somehow goes on.
I came to realize the power of this approach as I was addressing the Society of Woman Engineers National Conference in Nashville, TN. As I was extolling the virtues of the US Army and performing my recruiting pitch to a room of about 100 highly intelligent and successful women, I proudly announced that we were "looking for the BREAST and the brightest" to join our team. Unfazed, I retained eye contact with a member of the audience and continued my speech, moving quickly on to the next topic. After about 45 seconds, I figured I was in the clear when I heard one woman whisper to the other "wait a second, did he say BREAST?" After quickly stifling my embarrassment, I once again soldiered on. Yes, I got a brief ribbing from my female co-workers that attended the lecture (I was the only man in the room), but all of them admitted it never was an issue due to my quick and decisive action.
So, when you find yourself juggling your different persona's while on the corporate stage, remember just to act naturally and accept that being an acrobat is just part of the job. Good luck and happy juggling!
Acrobatically Yours,
ange
I have found that the good ones never let on that they are performing. They seamlessly roll into their persona as easily as putting on a suit and and tie, or make up and a dress. The others are less fortunate; for every time you let your guard down, you are dropping one of the metaphysical "balls" you are juggling, and you lose your sense of balance, timing and authority. As a circus performer, or a rock star, you are undone by your inability to pull off your part in a believable or "authentic" way. We all have preconceived notions of how rock stars and upper management are supposed to express ideas, and when that expectation is not met- the act is not believable.
The truth is, there are few people in the stands that can tell if the guitar player is slightly out of key, or if the singer's high note is flat. Of those people, fewer still even care, knowing how hard it is to come that close in the first place. The performer, however, knows very well his or her mistake. In that case, you have two options- show your frustration and advertise your mistake stopping the song and letting the metaphorical ball hit the ground, or let the misstep take you in a different direction toward your established endpoint. What is best for the performance and your career is to not let your mistake draw attention away from the most important part- the audience's ability to believe in, enjoy and accept the art that you are making.
I had a guitar player in one of my bands that we would playfully call "Jerry" for his sometime atonal and convoluted solos. We would reassure him that what he was doing was channeling the unsteady spirit of Jerry Garcia, and his failed experiments with the guitar were merely a matter of aping one of the Grateful Dead's "improvised jams." Which reminds me of a joke: what did the Deadhead say when he quit smoking pot? "Hey, wait a second, this music sucks." Anyway, the point being is that the people that move forward in companies and the rock world are those who not necessarily believe their own BS, but those people who accept their own BS as part of the whole package and don't look to stop the song because they messed up the drum fill. To them it was just part of the show, even if the acrobat falls from the high wire, the show somehow goes on.
I came to realize the power of this approach as I was addressing the Society of Woman Engineers National Conference in Nashville, TN. As I was extolling the virtues of the US Army and performing my recruiting pitch to a room of about 100 highly intelligent and successful women, I proudly announced that we were "looking for the BREAST and the brightest" to join our team. Unfazed, I retained eye contact with a member of the audience and continued my speech, moving quickly on to the next topic. After about 45 seconds, I figured I was in the clear when I heard one woman whisper to the other "wait a second, did he say BREAST?" After quickly stifling my embarrassment, I once again soldiered on. Yes, I got a brief ribbing from my female co-workers that attended the lecture (I was the only man in the room), but all of them admitted it never was an issue due to my quick and decisive action.
So, when you find yourself juggling your different persona's while on the corporate stage, remember just to act naturally and accept that being an acrobat is just part of the job. Good luck and happy juggling!
Acrobatically Yours,
ange
Sunday, January 25, 2009
The Myth of Togetherness
You don't have to get along to work together. There, I said it.
But yet that is the stated goal of most Professional Development courses, providing unrealistic expectations and crushing defeats of well meaning programs. What is essential any stage of a progressive program is continual wins. These provide the momentum necessary to keep the group going. People get along with each other when they are in "winning" situations.
Don't use that as inspiration to start a program. Design things exclusively from the point of view of what is going to benefit the company the most. Once you establish the mission and vision of the company as law, people can start finding their place in the company. Once people start finding their niche, it is up to management to give them something productive to make them feel better about what they are doing. Once they have something they feel better about doing, they will be more productive, as well as focused on the development of the company. Then, when they are more productive in beneficial ways, recognize them for what they are doing.
If you notice, I never mentioned getting along with each other, or having to act as a "team." These are things that are consequences of individual actions towards a common outcome. Most companies go at it from the personal aspect first, then bend the company policy and culture around that. I am saying that the culture and policies have to be strictly enforced by management, then whoever doesn't decide to go along with the company will be outed as the "asshole." You can't let personalities dictate policy- you focus on business necessities, and make your policy one that puts that above and beyond personality issues.
Rest assured, assholes will try to muddy the waters by making personal issues seem greater than they should be in the grand scheme of things. But it is up to you as a leader to remember the real issue, and what should be the focus. Once that is established, there is a fair and logical way to manage your employees, while allowing for a small amount of wiggle room to navigate the hairiest of issues. It is not about being together personally, it is about being together PROFESSIONALLY.
There are so many examples of great bands that have followed this mantra, I don't have the time or the patience to recite them all here. What most of them had in common was this ability to take the internal energy and use it towards completing their professional task. Some of the greatest songs were built because of internal squabbles.
Granted, there are extremes. But what needs to be addressed is employers habit of being scared and intimidated by the power contained in conflict. Use it to produce superior product, and ride the creativity train for as long as possible. Then, when you get to the end of the ride, you can go solo. Most people are so afraid of the inevitable end of a fiery, creative partnership, they are not willing to put themselves in a potentially career defining situation. They would much rather stay in relationship that is built on false hope and unrealistic dreams. We are all unique contributors to the greatest good- let's work towards making our work relationships as explosive as our favorite bands. You just may come up with your company's version of "1984."
But yet that is the stated goal of most Professional Development courses, providing unrealistic expectations and crushing defeats of well meaning programs. What is essential any stage of a progressive program is continual wins. These provide the momentum necessary to keep the group going. People get along with each other when they are in "winning" situations.
Don't use that as inspiration to start a program. Design things exclusively from the point of view of what is going to benefit the company the most. Once you establish the mission and vision of the company as law, people can start finding their place in the company. Once people start finding their niche, it is up to management to give them something productive to make them feel better about what they are doing. Once they have something they feel better about doing, they will be more productive, as well as focused on the development of the company. Then, when they are more productive in beneficial ways, recognize them for what they are doing.
If you notice, I never mentioned getting along with each other, or having to act as a "team." These are things that are consequences of individual actions towards a common outcome. Most companies go at it from the personal aspect first, then bend the company policy and culture around that. I am saying that the culture and policies have to be strictly enforced by management, then whoever doesn't decide to go along with the company will be outed as the "asshole." You can't let personalities dictate policy- you focus on business necessities, and make your policy one that puts that above and beyond personality issues.
Rest assured, assholes will try to muddy the waters by making personal issues seem greater than they should be in the grand scheme of things. But it is up to you as a leader to remember the real issue, and what should be the focus. Once that is established, there is a fair and logical way to manage your employees, while allowing for a small amount of wiggle room to navigate the hairiest of issues. It is not about being together personally, it is about being together PROFESSIONALLY.
There are so many examples of great bands that have followed this mantra, I don't have the time or the patience to recite them all here. What most of them had in common was this ability to take the internal energy and use it towards completing their professional task. Some of the greatest songs were built because of internal squabbles.
Granted, there are extremes. But what needs to be addressed is employers habit of being scared and intimidated by the power contained in conflict. Use it to produce superior product, and ride the creativity train for as long as possible. Then, when you get to the end of the ride, you can go solo. Most people are so afraid of the inevitable end of a fiery, creative partnership, they are not willing to put themselves in a potentially career defining situation. They would much rather stay in relationship that is built on false hope and unrealistic dreams. We are all unique contributors to the greatest good- let's work towards making our work relationships as explosive as our favorite bands. You just may come up with your company's version of "1984."
Thursday, January 22, 2009
More Management Tips from Springsteen
In the newest edition of Rolling Stone (RS 1071 January 21, 2009), there is an interview by David Fricke with some of members of the E Street Band, Bruce Springsteens faithful band that has toiled with him for decades. Beneath the barrage of hype behind his new album "Working on a Dream" lies the interesting release patterns Mr. Springsteen has begun to take. Once a man of long, arduous sessions with gaps of 2 to 3 years between albums, Bruce has streamlined his processes and has delivered two albums in just over a year.
As outlined in earlier blogs, I discussed Bruce's business model and and admired how he assembled his company. His change in release patterns highlights the path he has taken to create a business environment fueled by artistic inspiration. These people not only have their place in this company, they are happy to be in the position that they are in. All of them no longer have the financial need to tour, but are summoned by the greater good, and the work that becomes.....well, just a little unlike work!!
In the article Little Steven remarks "because the communication, the friendship, is where it all begins. That's what makes a band. That's why bands are different than individuals. They communicate something different, by their nature. You are not just communicating music. You are communicating friendship, brotherhood, sisterhood and ultimately your community. It doesn't matter if there's one guy who's a leader. It's a band. You are communicating community, and an individual cannot do that. The way to do is to be. And as long as you are there being, then nothing needs to be said."
What a great approach for a company to take, to seek that ability to communicate the greater good through communal force. Also significant is Mr. Van Zant's assertion that "it doesn't matter if there's one guy who's a leader." Please keep in mind that this approach was honed by years of hard time. The band didn't really start making money until the Born in the USA album, ten years after the band started. Bruce himself came home after "The River" in 1982 with a whopping $15,000 in the bank. This after leading a sold out arena tour for over a year. So, this sentiment was not born of the heady days Mr. Springsteen enjoys now. But, as Mr. Van Zandt details, the basis of this is the bond- that is what leads you to you being able to communicate your community to your customers and co-workers.
Drummer Max Weinberg next revealed one of the catalysts behind the development of this corporate communication culture. Max reveals that he and Mr. Springsteen would converse one-on-one to discuss their craft, and there Mr. Springsteen would communicate his needs to Mr. Weinberg in the best way possible for his particular situation. By showing him in a language Max could understand. He explains in the Fricke interview that "it could be a little thing. In the middle of "The Wanderer" by Dion, there is a drum part by Panama Francis, a brilliant drum part, one of the classics. He plays it on the snare drum. Then in the sax solo, he goes to the cymbal. Bruce got such a kick out of it. Then when Dion goes back to the vocal, you hear the cymbals just shut down [makes a "zip" sound], and Francis goes back to the snare beat. It was those little details that Bruce would point out to me, what he thought was brilliance in drumming." This is what I mean by setting expectations clearly and succinctly. What the leader has to challenge him/herself to do is to find the language, how their employee accepts and disseminates information. This is at the heart of Springsteen's management philosophy.
Nils Lofrgren sums up Fricke's interview. When asked for his explanation of how this works, he came up with a simple equation-"You take the material and the intensity of the leader, then you mix it with everyone on board. You get everyone as focused as you, on the intent of the music, the rest is how you navigate it. Bruce is a master at that. It goes beyond doing it well. It becomes a calling. When you mix the love of performing and leading a band with a catalog of songs you can call on, if you keep everyone around you focused with the same commitment for three hours, it's a formidable thing."
So, let's translate that into corporate speak. First, you take the charisma and power of the leader, then surround him with good people. That leader gets everyone focused on the mission and vision of the company, then guides that intellectual momentum into a creative vein that produces viable and marketable goods. Then, you mix the enthusiasm behind creating new products and revisiting existing products, you are able to keep the company committed through grueling and exhausting (and ultimately rewarding) circumstances, creating a formidable force in the marketplace.
Though it sounds simple, it bears repeating that this process took a long time to come to fruition. I don't want to sound as if this is an easy thing. Even Bruce made some tough decisions before settling on the lineup that stuck. Also, it is convenient to think of Bruce as this megastar, but if he hadn't made the long term decision to jettison his first manager, Mike Appel, his career may never have gotten off the ground. Somehow, though, through his strategy of putting together incredible live shows would be enough to garner even an Allman Brothers like following. That he had this foundation built made it possible to take advantage of the opportunity to make it big when he had his shot. Without the long-term plan, the odds would be pretty large that this would not have worked out!
Wednesday, January 21, 2009
Assured Reciprocity
Not many of us are willing to sublimate their contributions in the hopes that someone will one day return the favor. That, and a host of other reasons we will outline later, is the most common reason why bands and businesses don’t survive. Once the trust is gone in our band/teammates ability or desire to reciprocate, dissatisfaction starts to creep in. This is where a lot of musicians start listening to outside influences, or bring their instrument away from a healthy creative relationship. You know the kind of people I am talking about- the ones that tell you that “you don’t need those people, you are better off on your own/ those guys are dragging you down/ you are the real star of the band- just go solo!!” In our business example, it is “YOU deserved that promotion, not him, YOU should be the lead on this team, YOU should have gotten to brief the General, etc. etc.” Once you lose the assurance that the rest of the band will support you when it is time to take your solo, or you lose your sense of trust in the organization that you are willing to let others take temporary lead in a project while you fill the supporting role, trust will break down. In either case, the ability of the team to function properly is compromised when there is not a direct link between what I contribute and what I am recognized for.
Sometimes, the problem is in the worker. While I would love to drum like Keith Moon- it is just not my style. Plus, the barbiturate toll alone would make this a serious “non-starter.” What I need to focus on is not what Keith has put on a record, but what Keith brought to the instrument. Too many times we settle for the easy way out- to regurgitate what we hear others doing (or what other companies are doing). We don’t take the time to translate what is being expressed in the song into something that resonates deeply in our soul; we merely parrot what the others in the room are saying. What needs to be done is to be constantly aware of how we as musician/workers are affecting the song/product or service. When things start to break down (and they will) the collective needs a way to find their way back to thier creative space. The existance of "Assured Reciprocity" creates the possibility of a bridge being built to get this done.
In a lot of ways, U2 was uniquely blessed by not having the burden of being able to replicate the latest songs when they got together. It allowed them to grow and develop a brand that was uniquely singular, and spectacularly successful. The only way they could create songs was to rely on each other to help the guy next to him get through. This wasn't a band with the guitar player that spent his life carefully mimicing Eddie Van Halen's solos, leaving you to do your best Alex, Mike or Dave (yikes!) impersonation. While it is luck that they got together and that these bands had pieces that fit (especially in the case of The Who), but it is not luck that these bands ended up with a business partnership that lasted longer than 90% of most marriages and 95% longer than most companies. It is WORK. Put that longevity with the dominance that they have experienced, and that makes it doubly (or is it Dolby?) remarkable!
Assured reciprocity is not a subservient or passive arrangement. Quite the contrary. It is its most effective when all of the members of the group have the strength and the motivation to apply their given gifts towards the greater good. It can work in the context of The Who, but it also works in the context of a more dare I say fascist leadership arrangement.
Take, for instance, the situation of Bruce Springsteen and the E Street Band. With the exception of one unfortunate 5 year period, Bruce has played with the same line-up of Max Weinberg (drums), Garry Tallent (bass), Roy Bittan (piano), Nils Lofgren (guitar), Steve Van Zant (guitar), Dan Federici (organ- played until his passing in 2007), and Clarence Clemons (sax) for the better part of 30 years (yes, I know Nils came and Little Steven went in 1984, then Stevie came back in 1996 to play with Nils since, just play along). The reciprocity piece in this organization plays out in the way that Springsteen is able to arrange his band to consistently get the most and best performances out of them, all the while keeping them satisfied and enthusiastic employees. Bruce is able to manipulate arrangements as well as song choices in his live act to give each player a chance to shine. While Clemons does garner a large dose of the solos, each member is seamlessly brought in to weave their instruments through the fabric of the song. While The Who relied on each other to provide the trust that each of them will be heard, Bruce took on that piece of the leadership himself. The fact that he still maintains an incredible pace as a live musician and each of his albums are met with fanatical interest and combine it with the limited amount of turnover (think what he saves on his training budget!) gives his brand a consistency and a level of integrity that isn’t often seen in today’s music world, or business world.
So, why aren’t there more leaders like Bruce, or bands like U2 or The Who? One reason is the approach of the music business. They have tweaked the market so badly that the only way the record company thinks it can make a profit is by getting a hit single right away, not promoting the synergy generated by the existence of Implied Reciprocity. The labels themselves have to have the same kind of relationship that is internal to the group- the label has to believe that the act that they sign will be successful and return the money invested in them if they are given a chance to develop. The problem is most bands aren’t given the chance or the time to grow together and develop a sense of camaraderie and mutual purpose that is essential to any business relationship.
By the same token, companies are guilty of getting caught up in the bottom line. Too many times, companies sacrifice long term success in the name of short term market dominance. If they tempered their short term plan to include a healthy approach to development, they would be able to have the kind of teams (bands) and make the kind of product (songs) that make for long term success.
Why is it that reunion tours are so successful?? Perhaps it is pure nostalgia, a desire to return to days of our youth through the portal of the popular songs of the day. Or, perhaps it is that those songs and those artists were so much better developed than the artists of today ( I suppose I’ll have to wait another 20 year to test this hypothesis). People like the familiar, are comfortable with the familiar, will gladly spend money on the familiar. So, why aren’t more companies working towards being more familiar? Why aren’t record labels developing artists that will be familiar to fans in 20 years? The easy answer is a lack of initial profitability, but the real answer is that it is a lot easier to “shuffle the deck” and change the make-up of your workforce rather than work together with existing workforce to drive towards a common goal.
When Bruce ditched his band in the mid 90’s, it was to see how the music sounded when poured through different artists. What he soon found, though, was that most people weren’t ready to accept the same notes played by different people. He had done such a thorough job in developing his brand that he painted himself into a corner. Realizing this, he still had enough integrity and emotional capital to be able to call the guys back up and say “hey, let’s get the band back together.” He accomplished this by both properly acknowledging his band when they were together, and trying his best to explain why he needed to move on when he did. It is not realistic to think management won’t make mistakes, it will (even though there were a few artistic highlights- the E Street band-less era is commonly known as a disappointing time in Springsteen’s career), it is blindingly obvious that most bad mistakes could have been rectified had management just done the things that they needed to do at the beginning of the relationship. Chris Martin of Coldplay said it best when he said “the rest of the band is standing behind you, telling you to speak to the crowd all of the time constantly, then when you say one thing wrong they are insulted for a year.” It is important that workers appreciate the stress that leaders are under. Remember, it is they who have the “Sword of Damocles” dangling by a single thread above their heads.
So, no matter if you are a four piece rock band, or a 15 piece folk band, or even a 23 piece monstrosity like The Polyphonic Spree (check them out!), you need to find a successful model that reflects our situation and figure out how and why they made it happen. As Bob Dylan said “All you need is a red guitar, three chords, and the truth….. The rest is up to you.”
Sometimes, the problem is in the worker. While I would love to drum like Keith Moon- it is just not my style. Plus, the barbiturate toll alone would make this a serious “non-starter.” What I need to focus on is not what Keith has put on a record, but what Keith brought to the instrument. Too many times we settle for the easy way out- to regurgitate what we hear others doing (or what other companies are doing). We don’t take the time to translate what is being expressed in the song into something that resonates deeply in our soul; we merely parrot what the others in the room are saying. What needs to be done is to be constantly aware of how we as musician/workers are affecting the song/product or service. When things start to break down (and they will) the collective needs a way to find their way back to thier creative space. The existance of "Assured Reciprocity" creates the possibility of a bridge being built to get this done.
In a lot of ways, U2 was uniquely blessed by not having the burden of being able to replicate the latest songs when they got together. It allowed them to grow and develop a brand that was uniquely singular, and spectacularly successful. The only way they could create songs was to rely on each other to help the guy next to him get through. This wasn't a band with the guitar player that spent his life carefully mimicing Eddie Van Halen's solos, leaving you to do your best Alex, Mike or Dave (yikes!) impersonation. While it is luck that they got together and that these bands had pieces that fit (especially in the case of The Who), but it is not luck that these bands ended up with a business partnership that lasted longer than 90% of most marriages and 95% longer than most companies. It is WORK. Put that longevity with the dominance that they have experienced, and that makes it doubly (or is it Dolby?) remarkable!
Assured reciprocity is not a subservient or passive arrangement. Quite the contrary. It is its most effective when all of the members of the group have the strength and the motivation to apply their given gifts towards the greater good. It can work in the context of The Who, but it also works in the context of a more dare I say fascist leadership arrangement.
Take, for instance, the situation of Bruce Springsteen and the E Street Band. With the exception of one unfortunate 5 year period, Bruce has played with the same line-up of Max Weinberg (drums), Garry Tallent (bass), Roy Bittan (piano), Nils Lofgren (guitar), Steve Van Zant (guitar), Dan Federici (organ- played until his passing in 2007), and Clarence Clemons (sax) for the better part of 30 years (yes, I know Nils came and Little Steven went in 1984, then Stevie came back in 1996 to play with Nils since, just play along). The reciprocity piece in this organization plays out in the way that Springsteen is able to arrange his band to consistently get the most and best performances out of them, all the while keeping them satisfied and enthusiastic employees. Bruce is able to manipulate arrangements as well as song choices in his live act to give each player a chance to shine. While Clemons does garner a large dose of the solos, each member is seamlessly brought in to weave their instruments through the fabric of the song. While The Who relied on each other to provide the trust that each of them will be heard, Bruce took on that piece of the leadership himself. The fact that he still maintains an incredible pace as a live musician and each of his albums are met with fanatical interest and combine it with the limited amount of turnover (think what he saves on his training budget!) gives his brand a consistency and a level of integrity that isn’t often seen in today’s music world, or business world.
So, why aren’t there more leaders like Bruce, or bands like U2 or The Who? One reason is the approach of the music business. They have tweaked the market so badly that the only way the record company thinks it can make a profit is by getting a hit single right away, not promoting the synergy generated by the existence of Implied Reciprocity. The labels themselves have to have the same kind of relationship that is internal to the group- the label has to believe that the act that they sign will be successful and return the money invested in them if they are given a chance to develop. The problem is most bands aren’t given the chance or the time to grow together and develop a sense of camaraderie and mutual purpose that is essential to any business relationship.
By the same token, companies are guilty of getting caught up in the bottom line. Too many times, companies sacrifice long term success in the name of short term market dominance. If they tempered their short term plan to include a healthy approach to development, they would be able to have the kind of teams (bands) and make the kind of product (songs) that make for long term success.
Why is it that reunion tours are so successful?? Perhaps it is pure nostalgia, a desire to return to days of our youth through the portal of the popular songs of the day. Or, perhaps it is that those songs and those artists were so much better developed than the artists of today ( I suppose I’ll have to wait another 20 year to test this hypothesis). People like the familiar, are comfortable with the familiar, will gladly spend money on the familiar. So, why aren’t more companies working towards being more familiar? Why aren’t record labels developing artists that will be familiar to fans in 20 years? The easy answer is a lack of initial profitability, but the real answer is that it is a lot easier to “shuffle the deck” and change the make-up of your workforce rather than work together with existing workforce to drive towards a common goal.
When Bruce ditched his band in the mid 90’s, it was to see how the music sounded when poured through different artists. What he soon found, though, was that most people weren’t ready to accept the same notes played by different people. He had done such a thorough job in developing his brand that he painted himself into a corner. Realizing this, he still had enough integrity and emotional capital to be able to call the guys back up and say “hey, let’s get the band back together.” He accomplished this by both properly acknowledging his band when they were together, and trying his best to explain why he needed to move on when he did. It is not realistic to think management won’t make mistakes, it will (even though there were a few artistic highlights- the E Street band-less era is commonly known as a disappointing time in Springsteen’s career), it is blindingly obvious that most bad mistakes could have been rectified had management just done the things that they needed to do at the beginning of the relationship. Chris Martin of Coldplay said it best when he said “the rest of the band is standing behind you, telling you to speak to the crowd all of the time constantly, then when you say one thing wrong they are insulted for a year.” It is important that workers appreciate the stress that leaders are under. Remember, it is they who have the “Sword of Damocles” dangling by a single thread above their heads.
So, no matter if you are a four piece rock band, or a 15 piece folk band, or even a 23 piece monstrosity like The Polyphonic Spree (check them out!), you need to find a successful model that reflects our situation and figure out how and why they made it happen. As Bob Dylan said “All you need is a red guitar, three chords, and the truth….. The rest is up to you.”
Welcome to my Blog
Thanks for being here! My main inspiration lies in trying to find a way to bring the worlds of music and leadership development together in one place. I believe people could be happier and more productive if they took some of the lessons learned from music and musicians and used them in their everyday work lives. So this space will be a cross between a music blog and a leadership development blog that will hopefully turn you on to some good music, and give you a little bit to think about while you work!
The title of the Blog is a play on the phrase "Party Like a Rock Star." I am a true believer in the way you approach your job is the crucial factor for success. Like an old boss of mine used to say "if it aint brain surgery, it aint brain surgery." Skills can be learned, but the attitude and ability to "fake it 'til you make it" is key. For my money, no one epitomizes that attitude more than rock stars. What if we approached our jobs like rock stars? What if we could walk into meetings with the confident swagger of Bono, or communicate the abosolute joy of performance like Bruce Springsteen in our staff meetings? I believe by studying the key elements of thier lyrical statements and analyzing their musical live stories, we can all find our "Inner Rock Star." I am here to guide you on your journey to this special place!
My music "expertise" is born of two sources. The first and most important source is the 5 years I spent as a drummer in various bands in Denver, Colorado during the early to mid 90's. The name of the bands aren't important, as you probably haven't heard of them (but if you want to buy a disc, click [http://www.amazon.com/gp/offer-listing/B0002Y15OY/ref=sr_1_olp_1?ie=UTF8&s=music&qid=1232578930&sr=1-1 here] or [http://www.amazon.com/gp/offer-listing/B000L4CF1C/ref=sr_1_olp_1?ie=UTF8&s=music&qid=1232578860&sr=1-1 here] (I promise I am not getting a cut of the price of the disc, but would be happy to sign any copies of the discs for you!), but the lessons learned during those years were incredibly important. We wrote our own music, got our own gigs, and recorded our own music. Along the way, I formed life long bonds with many of the musicians I had the honor of playing with, and it taught me a lot of what I know about being a good friend and a good co-worker.
The second element of this expertise comes from my passion for discovering and analyzing great bands and their work. From the time I was 7 years old singing into my comb to Glen Campbell, I was a hopeless addict. I snapped up my older brothers album collections and digested all I could, slowly developing my own tastes and preferences. Finally, I found musicians and music I could gravitate to.
First, it was The Police. The combination between Stewart Copeland's manic drumming, Sting's introspective, provoctive lyrics (and of course the delightfully self-depricating humor of Stewart's songs).
But soon I developed a voracious appetite for articles and information detailing how bands got together, how they stayed together (or why they broke apart), and most importantly how they played together. As I got older and entered the workplace, it occurred to me that there could be a definite connection drawn between a company producing products, creating a customer base, then successfully branding their company to a group of musicians creating music, developing a fan base, then being able to transfer that energy into an enduring career.
The second crucial inspiration behind my approach comes from my academic pursuits. After a less than inspired first attempt at college, I regrouped for a second try at the ripe age of 31. Going back to Monmouth University at this advanced age helped me focus (finally) on the task at hand. My time through undergraduate and graduate school gave me the opportunity to put fancy words and intelligent theories to the basic concepts I had lived out in the "real world."
The final piece of the puzzle comes from my colorful and varied vocational adventures. I have had the unique pleasure of having a couple of different professional "lives." I worked in a South Denver liquor store for 7 years, then bounced around as a salesman (working for many different companies selling beer, computer software and telephones) when I returned home to New Jersey for another 7 years, then have been in Human Resources for about 5 years.
As inspiration for my Masters Thesis I submitted while pursuing my graduate degree, I drew a parallel between my current job, in the US Army working for an Engineering Center in the HR department, to one of my old jobs at Enterprise Rent-A-Car. I tied them together with a Fantasy Theme Approach, and was able to draw in some of my personal experiences for some extra flavor. It was accepted and lead to an opportunity to be a "published scholar." I was honored to present my thesis in England at the Corporate Communications Institute annual seminar and to have my paper accepted for publication in their annual communication theory journal.
So, now that you know me, and know what this is about- I will try to fill this space with worthwhile information-thanks for reading!!
The title of the Blog is a play on the phrase "Party Like a Rock Star." I am a true believer in the way you approach your job is the crucial factor for success. Like an old boss of mine used to say "if it aint brain surgery, it aint brain surgery." Skills can be learned, but the attitude and ability to "fake it 'til you make it" is key. For my money, no one epitomizes that attitude more than rock stars. What if we approached our jobs like rock stars? What if we could walk into meetings with the confident swagger of Bono, or communicate the abosolute joy of performance like Bruce Springsteen in our staff meetings? I believe by studying the key elements of thier lyrical statements and analyzing their musical live stories, we can all find our "Inner Rock Star." I am here to guide you on your journey to this special place!
My music "expertise" is born of two sources. The first and most important source is the 5 years I spent as a drummer in various bands in Denver, Colorado during the early to mid 90's. The name of the bands aren't important, as you probably haven't heard of them (but if you want to buy a disc, click [http://www.amazon.com/gp/offer-listing/B0002Y15OY/ref=sr_1_olp_1?ie=UTF8&s=music&qid=1232578930&sr=1-1 here] or [http://www.amazon.com/gp/offer-listing/B000L4CF1C/ref=sr_1_olp_1?ie=UTF8&s=music&qid=1232578860&sr=1-1 here] (I promise I am not getting a cut of the price of the disc, but would be happy to sign any copies of the discs for you!), but the lessons learned during those years were incredibly important. We wrote our own music, got our own gigs, and recorded our own music. Along the way, I formed life long bonds with many of the musicians I had the honor of playing with, and it taught me a lot of what I know about being a good friend and a good co-worker.
The second element of this expertise comes from my passion for discovering and analyzing great bands and their work. From the time I was 7 years old singing into my comb to Glen Campbell, I was a hopeless addict. I snapped up my older brothers album collections and digested all I could, slowly developing my own tastes and preferences. Finally, I found musicians and music I could gravitate to.
First, it was The Police. The combination between Stewart Copeland's manic drumming, Sting's introspective, provoctive lyrics (and of course the delightfully self-depricating humor of Stewart's songs).
But soon I developed a voracious appetite for articles and information detailing how bands got together, how they stayed together (or why they broke apart), and most importantly how they played together. As I got older and entered the workplace, it occurred to me that there could be a definite connection drawn between a company producing products, creating a customer base, then successfully branding their company to a group of musicians creating music, developing a fan base, then being able to transfer that energy into an enduring career.
The second crucial inspiration behind my approach comes from my academic pursuits. After a less than inspired first attempt at college, I regrouped for a second try at the ripe age of 31. Going back to Monmouth University at this advanced age helped me focus (finally) on the task at hand. My time through undergraduate and graduate school gave me the opportunity to put fancy words and intelligent theories to the basic concepts I had lived out in the "real world."
The final piece of the puzzle comes from my colorful and varied vocational adventures. I have had the unique pleasure of having a couple of different professional "lives." I worked in a South Denver liquor store for 7 years, then bounced around as a salesman (working for many different companies selling beer, computer software and telephones) when I returned home to New Jersey for another 7 years, then have been in Human Resources for about 5 years.
As inspiration for my Masters Thesis I submitted while pursuing my graduate degree, I drew a parallel between my current job, in the US Army working for an Engineering Center in the HR department, to one of my old jobs at Enterprise Rent-A-Car. I tied them together with a Fantasy Theme Approach, and was able to draw in some of my personal experiences for some extra flavor. It was accepted and lead to an opportunity to be a "published scholar." I was honored to present my thesis in England at the Corporate Communications Institute annual seminar and to have my paper accepted for publication in their annual communication theory journal.
So, now that you know me, and know what this is about- I will try to fill this space with worthwhile information-thanks for reading!!
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