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."
Sunday, January 25, 2009
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!!
Tuesday, January 20, 2009
What U2 and The Who can teach us about Coming together for the Greater Good
As I learned from starting my drumming career- the best way to begin is to start with your strengths and your limitations to serve as a guide as you define your approach. When U2 got together, they were so bad; they COULDN’T copy anybody else’s songs. As a result, they were forced to follow their unconventional talent that they had to a place where it would start to make sense sonically. The advantage U2 had was that this approach had its origins in absolute necessity. When they stayed true to what they believed in- their strength of purpose, the approach yielded results, thus keeping the process moving forward. All of the progression they managed to achieve was based on their confidence in somehow knowing that what they had was enough to start with. The rest would come as they worked toward their goal of becoming a cohesive, melodic band that used spiritual passages as inspiration for a comprehensive study of the human soul. Being able to execute a single roll, or doing the fastest scale would have to wait. Once you commit to the fact that you (by nature of your appointment) are qualified for the job, it is up to you to realized that with that qualification comes with the responsibility to use that as an invitation to take that talent as far as you possibly can.
Even with that ability to play together, the next step in putting yourself out there is a belief that the other people in the band are on your side. This is what I call the concept of “Implied Reciprocity.” This approach basically says that in order for a team to work well together, they have to have the faith that if they sacrifice for the good of the team, then the other teammates will sacrifice when their time comes. That there is an implied contract between the members to sublimate their contributions to the project at various times during the production process. The payoff for this behavior comes when each member is allowed to contribute, and that their contributions are acknowledged and recognized.
In musicspeak, the best way to describe this phenomenon is the relationship between the melodic and rhythmic sides of the band. In all songs, each member of the band can not go all out at all points of the song. The arrangement mandates that each instrument “stays in their lane” and learns to hold back. Most often, it is the rhythm section that is asked to hold back and keep the engine moving, propelling the song down the proverbial tracks. One notable exception to this rule is The Who, who had a drums/bass combo that was wholly unpredictable and wild. You never knew what you were going to hear out of the manic flailings of Keith Moon and the acrobatic artistry of John Entwhistle. Suffice to say, if they had four Keith’s (perish the thought), or even four Johns, the songs would have suffered.
However, that wasn’t the case because of the contributions of the other two main characters, Pete Townshend and Roger Daltrey. Luckily for The Who, Townshend wrote the songs. By that happening, he was able to assume ownership of the song while Moon and Entwhistle unleashed their bombastic assaults on his products. He may have (and at various points in their career he did) a complete repulsion towards what they were doing. However, for the bulk of their career, they learned to work together as they learned that if you let Moon and Entwhistle go, you could provide a wonderfully chaotic, beautifully contructed canvass to work from. As a guitarist, Townshend was able to realize this and hang back, really coming to the forefront when a strong singular power chord was necessary. This lead to his trademark windmill technique. He realized he didn’t have a lot of room for chords, so he devised a way to have his presence in the song filled by this singular note. When he did this note, miracously, the rhythm section was able to take a break in their activities and support the simple, powerful output of the guitar. To top it off, this allowed the singer to use is strength of the passionate scream to complete the song. So, as most Who songs go, it was a combination of the steady powerful guitar player in the traditional rhythm while the hyperactive, explosive drums and bass propelled the song along its natural course. Add in the soaring vocals to breathe life into the groups songs about alienation and spiritual rebellion, and we have a great team.
How great would it be if your team at work could work this way? How great would it be if each member looked at themselves in the context of what they can contribute to the overall product? In music, that product is the song, in the business world; it is what the company produces for income. It may be a widget, a service, or a less concrete object, but the aim is the same- to get people to use your product (hear your song) so that they can get brand recognition (attract fans), to ultimately drive them to invest financially (buy a record, buy a concert ticket) in your business.
Even with that ability to play together, the next step in putting yourself out there is a belief that the other people in the band are on your side. This is what I call the concept of “Implied Reciprocity.” This approach basically says that in order for a team to work well together, they have to have the faith that if they sacrifice for the good of the team, then the other teammates will sacrifice when their time comes. That there is an implied contract between the members to sublimate their contributions to the project at various times during the production process. The payoff for this behavior comes when each member is allowed to contribute, and that their contributions are acknowledged and recognized.
In musicspeak, the best way to describe this phenomenon is the relationship between the melodic and rhythmic sides of the band. In all songs, each member of the band can not go all out at all points of the song. The arrangement mandates that each instrument “stays in their lane” and learns to hold back. Most often, it is the rhythm section that is asked to hold back and keep the engine moving, propelling the song down the proverbial tracks. One notable exception to this rule is The Who, who had a drums/bass combo that was wholly unpredictable and wild. You never knew what you were going to hear out of the manic flailings of Keith Moon and the acrobatic artistry of John Entwhistle. Suffice to say, if they had four Keith’s (perish the thought), or even four Johns, the songs would have suffered.
However, that wasn’t the case because of the contributions of the other two main characters, Pete Townshend and Roger Daltrey. Luckily for The Who, Townshend wrote the songs. By that happening, he was able to assume ownership of the song while Moon and Entwhistle unleashed their bombastic assaults on his products. He may have (and at various points in their career he did) a complete repulsion towards what they were doing. However, for the bulk of their career, they learned to work together as they learned that if you let Moon and Entwhistle go, you could provide a wonderfully chaotic, beautifully contructed canvass to work from. As a guitarist, Townshend was able to realize this and hang back, really coming to the forefront when a strong singular power chord was necessary. This lead to his trademark windmill technique. He realized he didn’t have a lot of room for chords, so he devised a way to have his presence in the song filled by this singular note. When he did this note, miracously, the rhythm section was able to take a break in their activities and support the simple, powerful output of the guitar. To top it off, this allowed the singer to use is strength of the passionate scream to complete the song. So, as most Who songs go, it was a combination of the steady powerful guitar player in the traditional rhythm while the hyperactive, explosive drums and bass propelled the song along its natural course. Add in the soaring vocals to breathe life into the groups songs about alienation and spiritual rebellion, and we have a great team.
How great would it be if your team at work could work this way? How great would it be if each member looked at themselves in the context of what they can contribute to the overall product? In music, that product is the song, in the business world; it is what the company produces for income. It may be a widget, a service, or a less concrete object, but the aim is the same- to get people to use your product (hear your song) so that they can get brand recognition (attract fans), to ultimately drive them to invest financially (buy a record, buy a concert ticket) in your business.
Musical Business Lessons
From time to time, I will bring you thoughts and interpretations of some of the music I listen to that has had resonance in my life and my work as a Leadership Development Specialist.
The first song I want to submit is by the The Hold Steady, a band out of Minneapolis. On the literal level, the heart of the song deals with the life and the suicidal death of John Barryman, a pioneer in the field of “Confessional Poetry” (although he never considered himself one….). I, on the other hand, have another take on the song, first the words…….
THE HOLD STEADY- STUCK BETWEEN STATIONS
There are nights when I think Sal Paradise was right.
Boys and Girls in America have such a sad time together.
Sucking off each other at the demonstrations
Making sure their makeup’s straight
Crushing one another with colossal expectations.
Dependent, undisciplined, and sleeping late.
She was a really cool kisser and she wasn’t all that strict of a Christian.
She was a damn good dancer but she wasn’t all that great of a girlfriend.
She likes the warm feeling but she’s tired of all the dehydration.
Most nights are crystal clear
But tonight it’s like it’s stuck between stations
On the radio.
The devil and John Berryman
Took a walk together.
They ended up on WashingtonTalking to the river.
He said “I’ve surrounded myself with doctors
And deep thinkers.
But big heads with soft bodiesMake for lousy lovers.”
There was that night that we thought John Berryman could fly.
But he didn’t
So he died.
She said “You’re pretty good with words
But words won’t save your life.”
And they didn’t.So he died.
He was drunk and exhausted but he was critically acclaimed and respected.
He loved the Golden Gophers but he hated all the drawn out winters.
He likes the warm feeling but he’s tired of all the dehydration
Most nights were kind of fuzzy
But that last night he had total retention.
These Twin Cities kisses
Sound like clicks and hisses.
We all tumbled down and Drowned in the Mississippi River.
We drink We dry up Then we crumble to dust
How I See the Song……
In my early twenties, I played softball with a group of my brothers friends while on summer break from college. Most of the guys were from Englishtown, NJ, a working class suburb that could have been the setting of 99% of Bruce Springsteen songs conceived between 1973 and 1978. One of these characters even had the perfect nickname of “Paradise” (as referenced in the first verse). The Hold Steady has continued the lyrically dense, wonderfully quirky storytelling style Mr. Springsteen used to employ with great success at the beginning of his career.
As we settled into our post game pizza and beer ritual, meeting our respective partners at the local Italian bar/pizza parlor, Paradise and I noticed that one of the members of the team sitting with his new girlfriend. Now, this would not have been news had the guy not been married to someone else at the time. To confuse things even more, the new girlfriend was nearly a dead ringer for the wife, both in physical appearance and presentation. In fact, from what I could see, there was literally no difference in the two, besides the drama caused by the disruption of the marriage (yes, there were kids involved). This fact was relayed to our friend in both kind and unkind approaches. All the time, we got a nod and sheepish smile, giving us the impression that our message was being received. This brave affirmation of their forbidden romance told us differently.
As Paradise and I figured out how we were going to sit down and keep the conversation on our pathetic softball play, he turned to me and said “don’t they know where this is going??- It is such a weird thing to know within 5 minutes that they are heading for such a sad time together.” It was this reference to this direct conversation in my past that drew me into the song, and leads me to this particular interpretation.
This song got me thinking about the interferences we deal with while trying to communicate with each other. In the song, The Hold Steady use references that hit close their Minnesota roots, but the truth is we all know people that for all the time and careful preparation we put ourselves through, it is never enough to insure the proper delivery of our proposed messages.
It occurred to me that the messages we were sending them weren’t reaching, or maybe just some of the signals were being received but not completely understood. Anyone who has travelled long distances in the Rocky Mountain region as I have, or have taken any long distance trips before the advent of the iPod or satellite radio knows of the phenomenon of getting and losing signals along your journey. Invariably, it would end in one of two scenarios, either a desperate evangelist trying to save me, or a faded hip hop station, which usually consisted of nothing but some kick drum mixed with static. In some ways, how we communicate in the business world mirrors the fragility of the signals that are broadcast across a great distance. Unfortunately, most people either change the channel or aren’t tuned to the proper frequency.
Even in the case of well intentioned communicators that broadcast great respect and appreciation of our employees, the message that gets through isn’t the one that was intended. I had a circumstance in which our Director was giving out the Employee of the Year awards, and after each one, he said a little bit about each recipient. During one of his mini-speeches, he mentioned that this employee added a tremendous amount to the project because of his extensive experience with the most essential and basic aspects of the technology. The employee took that has a slap to the face- that since he didn’t spend the time “collecting meaningless degrees” (his words) that somehow his contributions would be considered “basic” and simple. He came to me directly after the ceremony visibly upset at this tremendous slight. To this day, he is the only one that thought of what the Director said as an insult. What happened is that somehow, the employee was “stuck between stations” when the message was broadcasted.
So, as we broadcast our message from our towers to the world’s receivers, let’s keep in mind that our transmissions are constantly in competition with all the other frequencies angling for our attention. It may be a person, and emotion, or even a mind set- too many times like John Barryman we get surrounded by “doctors and deep thinkers” but always keep in mind that “big heads with soft bodies make for lousy lovers”!!!
Keep Your Radio Locked to This Frequency….
Ange
PS Google John Berryman now- fascinating stuff!!
The first song I want to submit is by the The Hold Steady, a band out of Minneapolis. On the literal level, the heart of the song deals with the life and the suicidal death of John Barryman, a pioneer in the field of “Confessional Poetry” (although he never considered himself one….). I, on the other hand, have another take on the song, first the words…….
THE HOLD STEADY- STUCK BETWEEN STATIONS
There are nights when I think Sal Paradise was right.
Boys and Girls in America have such a sad time together.
Sucking off each other at the demonstrations
Making sure their makeup’s straight
Crushing one another with colossal expectations.
Dependent, undisciplined, and sleeping late.
She was a really cool kisser and she wasn’t all that strict of a Christian.
She was a damn good dancer but she wasn’t all that great of a girlfriend.
She likes the warm feeling but she’s tired of all the dehydration.
Most nights are crystal clear
But tonight it’s like it’s stuck between stations
On the radio.
The devil and John Berryman
Took a walk together.
They ended up on WashingtonTalking to the river.
He said “I’ve surrounded myself with doctors
And deep thinkers.
But big heads with soft bodiesMake for lousy lovers.”
There was that night that we thought John Berryman could fly.
But he didn’t
So he died.
She said “You’re pretty good with words
But words won’t save your life.”
And they didn’t.So he died.
He was drunk and exhausted but he was critically acclaimed and respected.
He loved the Golden Gophers but he hated all the drawn out winters.
He likes the warm feeling but he’s tired of all the dehydration
Most nights were kind of fuzzy
But that last night he had total retention.
These Twin Cities kisses
Sound like clicks and hisses.
We all tumbled down and Drowned in the Mississippi River.
We drink We dry up Then we crumble to dust
How I See the Song……
In my early twenties, I played softball with a group of my brothers friends while on summer break from college. Most of the guys were from Englishtown, NJ, a working class suburb that could have been the setting of 99% of Bruce Springsteen songs conceived between 1973 and 1978. One of these characters even had the perfect nickname of “Paradise” (as referenced in the first verse). The Hold Steady has continued the lyrically dense, wonderfully quirky storytelling style Mr. Springsteen used to employ with great success at the beginning of his career.
As we settled into our post game pizza and beer ritual, meeting our respective partners at the local Italian bar/pizza parlor, Paradise and I noticed that one of the members of the team sitting with his new girlfriend. Now, this would not have been news had the guy not been married to someone else at the time. To confuse things even more, the new girlfriend was nearly a dead ringer for the wife, both in physical appearance and presentation. In fact, from what I could see, there was literally no difference in the two, besides the drama caused by the disruption of the marriage (yes, there were kids involved). This fact was relayed to our friend in both kind and unkind approaches. All the time, we got a nod and sheepish smile, giving us the impression that our message was being received. This brave affirmation of their forbidden romance told us differently.
As Paradise and I figured out how we were going to sit down and keep the conversation on our pathetic softball play, he turned to me and said “don’t they know where this is going??- It is such a weird thing to know within 5 minutes that they are heading for such a sad time together.” It was this reference to this direct conversation in my past that drew me into the song, and leads me to this particular interpretation.
This song got me thinking about the interferences we deal with while trying to communicate with each other. In the song, The Hold Steady use references that hit close their Minnesota roots, but the truth is we all know people that for all the time and careful preparation we put ourselves through, it is never enough to insure the proper delivery of our proposed messages.
It occurred to me that the messages we were sending them weren’t reaching, or maybe just some of the signals were being received but not completely understood. Anyone who has travelled long distances in the Rocky Mountain region as I have, or have taken any long distance trips before the advent of the iPod or satellite radio knows of the phenomenon of getting and losing signals along your journey. Invariably, it would end in one of two scenarios, either a desperate evangelist trying to save me, or a faded hip hop station, which usually consisted of nothing but some kick drum mixed with static. In some ways, how we communicate in the business world mirrors the fragility of the signals that are broadcast across a great distance. Unfortunately, most people either change the channel or aren’t tuned to the proper frequency.
Even in the case of well intentioned communicators that broadcast great respect and appreciation of our employees, the message that gets through isn’t the one that was intended. I had a circumstance in which our Director was giving out the Employee of the Year awards, and after each one, he said a little bit about each recipient. During one of his mini-speeches, he mentioned that this employee added a tremendous amount to the project because of his extensive experience with the most essential and basic aspects of the technology. The employee took that has a slap to the face- that since he didn’t spend the time “collecting meaningless degrees” (his words) that somehow his contributions would be considered “basic” and simple. He came to me directly after the ceremony visibly upset at this tremendous slight. To this day, he is the only one that thought of what the Director said as an insult. What happened is that somehow, the employee was “stuck between stations” when the message was broadcasted.
So, as we broadcast our message from our towers to the world’s receivers, let’s keep in mind that our transmissions are constantly in competition with all the other frequencies angling for our attention. It may be a person, and emotion, or even a mind set- too many times like John Barryman we get surrounded by “doctors and deep thinkers” but always keep in mind that “big heads with soft bodies make for lousy lovers”!!!
Keep Your Radio Locked to This Frequency….
Ange
PS Google John Berryman now- fascinating stuff!!
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