Archive for the ‘Environment’ Category

Bacon

Monday, April 30th, 2012

Saturday on my way home from playing tennis, I stopped for coffee at a Starbucks not far from Florence and Normandie, a flashpoint for the 1992 L.A. Riots. This Starbucks did not exist when the Rodney King verdict lit up the city exactly 20 years ago that day.

For all I knew, the Food4Less supermarket in the shopping center where the Starbucks sat had been the same one where four young black men from Inglewood had shot part of the underground L.A. Riots video we’d watched together a couple of years after the whole mess had gone down. I remember us laughing at the looters who were too slow getting out of the supermarket because they were trying to steal too many frozen turkeys or whatever, and had been the ones to get busted when the cops arrived. Stupid looters. All over the soundtrack of their video, you could hear the  guys who shot it expressing a kind of awe at the fire and mayhem that was everywhere they pointed their camera. They sounded half-scared, half giddy, like they were experiencing their first sex, or something. They drove the streets and shot the video  undercover, three of them ducking down so the cops would think it was just one kid in the car trying to get home and not four of them time-skipping into the future, to the day we’d all be laughing at their pre-YouTube clips of Looter Fails and L.A.’s Dumbest Criminals.

On Saturday at the Starbucks, at about one in the afternoon, an African American man, maybe a dozen years older than me, was putting cream and sugar in his coffee at the same time I was.

“Coffee tastes different in the middle of the day,” he said, emptying three packs of raw sugar into his drink. “I wonder why that is,” he said.

“Coffee tastes best in the morning when it’s doing its job and waking us up,” I said.

“That’s the truth. When I was little, the grown ups would be having their coffee in the morning, at four AM! and you’d wake up to that smell. Four AM they’d be sittin’ in the kitchen having their coffee, and the smell of it would be the thing that woke you up.”

“And then a little later, you’d smell the bacon,” I added.

“You would. We had good bacon back where I grew up.”

“Where was this?”

“Down in Louisiana, near Shreveport”

“Good bacon in Shreveport.”

“Oh yeah we had good bacon.”

“You had chicory in your coffee.”

The man ignored what I said about the chicory. He was still smelling the bacon. “Four AM, you’d smell the coffee, and then you’d smell the bacon fryin’. Folks got up early back then.”

“I grew up on a farm,” I said. “You’d go to work when the sun came up, and quit when it went down.”

“They didn’t have TV to watch at night. So they would sit and talk for a little while after supper, or listen to the radio, and then they’d go to bed. Where was your farm?” he asked.

“Indiana.”

“They got good bacon back there.”

“Oh yeah.”

We finished mixing the cream and sugar in our coffees. Wished each other a good day. Went our separate ways.

It was no big scene.  The conversation could have happened to anybody, anywhere in L.A., or just about any other city in the U.S., for that matter, on Saturday. And I think that’s the point. Our ability to make connections that put something good into play is everywhere, all around us, with everyone we meet, and every part of the environment with which we interact.

That man initiated a scene by making a declarative statement that indicated who he was: A Discriminating Drinker of Coffee. We yes-anded one another with the smells of coffee and bacon in the morning, and painted the scene with adults huddled in kitchens in the dark of the morning, and children asleep in their beds. We established the who/what/where. We edited cleanly. It was a nice, tight, 90-second scene.

20 years ago, that man and I could not have had that conversation. And maybe that’s the point, too. We have come a long way from the Rodney King verdict, and Shreveport and Indiana. We are all in the business of waking up and creating the days, the weeks, the lifetimes that lie ahead. We still have a long way to go.  We can only do it one scene at a time. By sharing stories. Smelling  the coffee. Appreciating the bacon.

Enjoy your week!

 

 

Making it Go as We Up Along

Tuesday, March 20th, 2012
Drew Coolidge

Drew Coolidge

Most of the credit for this post goes to Drew Coolidge, an exquisitely gifted improviser I’ve had the fun of watching many times in action with his group Cartel, and before that in a group called Spank Drew (draw your own conclusions about what that team thought of him). On USSRocknRoll.com he writes about his three favorite improv teachers, and the gifts each of them gave him.

Here’s a summary of Drew’s post and my take on its applications to business:

From Eric Hunnicutt, he learned how to deal with fear. “Just be present. It’s not about getting rid of fear, if you’re present, fear has no room to exist.” Hunnicutt taught him.

When it comes to business, or life in general for that matter, who among us doesn’t have fears? A speech. A parent. A spider. A client. Hunnicutt’s advice to Drew about performing onstage is just as legit in any other context: don’t work at being fearless. That’s like treating fear as some kind of virus and yourself a victim in need of medication. Don’t go there with your energy. Instead, practice being present. If you’re completely absent, begin by focusing on your breathing. Your senses, all of them, and the space around you, all of it. Go from there. By giving 100% of your attention to everyone and everything around you, fear ceases to become a factor in your performance.

(The basketball legend, Larry Bird, once said about playing in an NBA championship game against the Houston Rockets that, while running a fast break, was he aware not only of where all ten players were on the court, he was aware of every fan in the first 20 rows of the arena. If someone was sitting down with a box of popcorn, or leaving their seat, Bird saw it while sprinting down the floor. We normally think of players confining their awareness to the court, but when our senses are 100% engaged, a line painted on a floor is just one more thing we notice. It does not define the limits of our awareness.)

From Dave Hill, Coolidge got insight into what improvisers call the group mind. The group mind is when all the players on a team tap into and share the flow of a performance. They are all on the same page, they are one organism, evolving in realtime right before our eyes. “It’s the product of individuals making strong choices and completely supporting the moves of the other players,” is how Drew boils down Hill’s gift. It naturally follows Hunnicut’s note. If you’re present, you can do this.

In business, everyone talks about teamwork, but dishearteningly few understand what Dave Hill taught Drew: Every player on a team can make the strongest, boldest, ballsiest individual move she or he is capable of making, and support those moves by their fellow players, and have all of it be consistent with good teamwork. (Oh, and group mind is not the same thing as groupthink. The two concepts are completely at odds with one another.) Agree on the game your team is playing and you’re on the way toward discovering the group mind.

From David Pasquesi, Drew received this gem: “The scene is already occurring, it’s our job to allow the scene to reveal itself to us. The tools for doing that are: 1. Listening (or Paying Attention) 2. There is no two.”

We call Lstening (or Paying Attention) ‘Heeding.’ In business, we can get so focused on the desired resolution to our ‘scene,’ that we forget to heed what’s happening in the moment, which is the only chance we have to improve our odds of success. Heeding results in opportunity recognition. Forget to heed, fail to recognize opportunity.

I’ve evolved the headline from Drew’s post a bit. He made it go, I heeded, and that’s how we up along. Spanks, Drew!

Jam For Japan

Saturday, March 10th, 2012

Sometimes simple games are the best way to engage in complex problems.

The Musicians Institute, or, as we like to call it, ‘Rock ‘n Roll U.,’ in Hollywood, is a trade school with 1,500 aspiring professional musicians from around the world as its students, and super-skilled music pros on its faculty. It is owned by Mr. Shibuya from Japan. Mr. Shibuya’s daughter, Coko, is president of the school. It is a very cool space. One of my favorite places to hang out when I’m in Hollywood. Musicians on every corner, in and every hallway, talking shop. Classes where the teacher sits at a drum kit on a riser, and the students all have drumsticks and pads at their desks. Guitarists jamming under stairwells between classes. People sharing beats over lunch. Interact with this environment and you cannot help but feel better for having done so.

Because the Musicians Institute has its roots in Japan, last year’s earthquake/tsunami/nuclear disaster shook the school, especially Coko and Mr. Shibuya, like the hand of God. Ever since the day of the disaster, March 11, 2011, it has been MI’s clear intention to raise money for the relief effort.

But how?

There had been a lot of talk about what shape a fundraiser might take. A concert?—the obvious idea. But still a lot of questions and vagueness. And then we came up with a game. We called the game Jam For Japan. The objective: Raise money to buy music instruments for children who ‘lost their music’ the Great Disaster. Give relief in the form of music. Donate happiness, in the form of a guitar, a saxophone, band uniforms, teaching, to the children who had been visited by so much sadness in the past year. 18,000 people died in a single day, remember. The tornadoes back near my hometown in Indiana killed 39 people last week. Imagine 460 such tornadoes hitting the same area in the same day, you get an idea of just how much sadness there has been, and how the region was devastated.

With the game defined, the project took off. Relief International soon joined Jam For Japan as our charity partner. We invited lots of talented people to play along.
We set a date: March 10, 2012.JamForJapan_tee3_crop

The Jam For Japan concert is today! 4 to 8:30 PM at the Musicians Institute in Hollywood. We have already raised over $50K, which is double the $25K goal we’d set, so we have made the concert free, though you really should reserve a seat via EventBrite iif you plan to come.

We’re kicking it off at at 4 PM with a taiko drum core, Kishin Daiko, performing on Hollywood Blvd. Later, Elan Atias is going to play on the main stage. In between, there will be lots of cool stuff, including a work of 3D pavement art by Tracy Lee Stum and a children’s music workshop conducted by the Lil Big Ups Rubba Band Band Man, Lonnie Marshall.

#sxsw peeps, buzz it up, please!!!!! Clint! Jay! Scott! Leora! Taylor! Sloane! Shira! Do your things.. Domo arigato!

How to get to Carnegie Hall

Monday, February 6th, 2012

As the old joke goes, a man carrying a violin case in Manhattan gets stopped by a couple of tourists who ask him how to get to Carnegie Hall. The violinist responds, “Practice.”

So obvious, it’s funny–no one gets to Carnegie Hall without a ton of practice. It is usually the most ‘talented’ performers who practice most diligently. The talent onstage in Carnegie Hall is, as much as anything, a talent for practicing. A love of the hard work and focus that it takes to master one’s craft.

CarnegieHall1Rob McNamara writes in Integral Life about ‘The Necessity of Practice.’ Practice, notes McNamara, is preparation. What we are seeing and hearing onstage at Carnegie Hall is a performance informed by preparation. It is the preparation that elevates and defines the quality of the performance.

Everyone has a Carnegie Hall, a place or ideal they’re trying to get to. A vision for the future. And then, quite often, something happens. We get sidetracked. Distracted. Too busy to practice. We stop off at the Carnegie DELI and call it Carnegie HALL. Our ego tells us we have arrived. That’s when the unproductive patterns–sameness, repetition, redundancy, stagnation, smugness—set in. That’s the point where our performances become cyclical, begin to repeat themselves, and our audiences get bored, and begin wondering why they paid their money.

McNamara defines the act of practicing as ‘Engagement.’ The GameChangers Orchestral Model™ identifies six practices that generate productive outcomes in the world. Engagement is one of the six. The other five are:

Heeding (listening, paying attention, observing actively). In the Orchestral Model™, this practice precedes Engagement. As the social media doyenne, Sally Falkow, (@sallyfalkow) says, “You don’t go right up to people having a conversation at a party or social event and just start talking. First you have to hear what conversation is about, and then can you be part of it, and engage with people in a meaningful way.”

Learning. What is revealed to you as a result of your interactions with others, and with your environment? How does your network inform you? How do you turn learning into solutions? All this takes practice.

Creating. How does what you do make a difference? How does it make you unique? How do channel creativity toward innovation?

Performing. What are your criteria? What is your Carnegie Hall? Is it a seven or eight digit number? A place? A whale of a client? A standard you have set for yourself, or that others have set for you? How does your performance differentiate you?

Deciding. How consistent are you? What values do you represent? How clear and shareable are your decisions? What themes are important to you? Who and what influences your behaviors? If your deciding practices are weak, Big Trouble soon come.

Performing and Deciding are what we call the core practices. If you are not good at these–if you don’t have a clear vision of where you’re going, or if you are indecisive and wishy-washy along the way—the rest of the practices will not matter, because you’ll be too busy zig-zagging toward a mirage, rendering meaningless decisions in service of illusory goals.

So call the whole thing Engagement, yes, definitely! Practice it! Be engaged! Be present! Pay attention! Notice! That’s a good first step. Then refine your practices into the six different areas of the Orchestral Model™, like an athlete working on muscle groups or a musician working through different progressions.

And when call comes from Carnegie Hall, you’ll be ready.

Gameless

Monday, November 21st, 2011
Katehi

Katehi

The old games are exactly that. Old. And like anything old, they lack sap, spine, vigor. In many ways, the Occupy Wall Street movement calls this out. Saturday’s Silent Protest against the UC Davis Chancellor, Linda Katehi, is one of the best ways yet of #OWS demonstrating the impotency of old games.

Here’s the scene breakdown:

A day after the notorious on-campus pepper-spraying incident, the UC Davis protesters have the idea of  creating dialogue with Katehi, by forming a stage between the Administration Building and her car. (Note that no one is out front taking credit for this idea, it doesn’t belong to anyone. Ownable ideas are typical of an old game; shareable ideas are typical of a new game.) The stage is a hundred yards long, a catwalk extending the length of the theater, lined by hundreds of students sitting on the ground in order to effectively elevate the stage.

In forming this stage, the protesters change roles, from ‘Quad Occupiers’ to ‘Silent Audience.’ It doesn’t take them much time to do this. There’s no ‘spin’ of a story being told or sold, no research to back it up, no ‘official position,’ only a simple intuitive agreement to keep their mouths shut for the duration of the scene. Game on. ‘Silent Protest’ is the name you can give the game. The reality of the scene emerges from the focus on this game, this agreement. It is the absence of protest that will make the protest so dramatic.

After 3 hours of what must have been a lot of hemming, hawing and phone-calling by her team about ‘how to handle it,’ the scene finally begins when the Chancellor enters, accompanied by a couple of non-speaking ‘extras.’ She is lit dramatically by the glow of cameras—-eyes of the world—-tracking her across the stage. Her delaying has made this a nighttime scene, which is even more dramatic, the darkness creating a heavier silence. By taking the stage without a script, i.e. nothing in her head, Katehi is exposed as someone with nothing in her heart. She’s got nothing. Because —-

The script won’t be ready until tomorrow!

The silence of the audience is remarkable.  Its discipline is impressive. No one breaks. The silence is marred by a few unable-to-resist journos whose subdued questions as the Chancellor nears her car only underline the otherwise-completeness of the silence.

Here is what gets revealed by the scene: The Chancellor cannot speak for herself. Her heart is closed, her emotions as frozen as the mask of solicitude frozen on her face. She is afraid of saying the wrong thing. Her institution’s students intimidate her. There is no dialogue between player and audience, between administration and student, between authority and autonomy. No dialogue. Just an old game, getting called out for what it is. Empty.

The protesters didn’t have to say a thing. All they had to do was create an environment in which the old game of ‘script and control’ would be displayed in all its inadequacy for the world to see.

A home for all our stories

Sunday, November 13th, 2011

JasonTerryHeadphones1I’ve written about it before, and it bears repeating, because it is such a beautiful concept. After his team had won the 2011 NBA Championship, Dallas Maverick guard Jason Terry (@jasonterry31) said something truly profound.

An interviewer asked Terry one of the most cliche questions in sports (paraphrasing): “Jason, what made the difference this year? How did the Mavericks finally win the championship?”

Terry gave an answer that was anything but a cliche. “We found a home for all our stories,” he said.  It might be my favorite sports quote of all time.

They found a home for all their stories.

That is such a huge idea, I’m going to write it again, just so I  can savor it once more.

They found a home for all their stories.

I think of Terry’s quote every time I see another inescapable headline or hear another sports radio host mention the scandal at Penn State. See, they found a home for all their stories, too. Happy Valley became a home for stories of geographic isolation, cultural myopia, personal idolatry, money, bigtime college sports, religion, patriarchy, imperialism, egotism, groupthink, pride, fear, careerism, irresponsibility and institutional insanity. And, oh yeah, the horror stories of a child rapist preying on the Happy Valleyness of it all.

(I think Terry’s quote gets to the heart of the Occupy Wall Street movement, too. America is supposed to be a home for more stories than those being imposed on most citizens by the financial oligarchs of Wall Street and the politicians who are their puppets. We are supposed to be a country where the stories we imagine for ourselves have a chance of coming true. Not a 1% chance. More like a 99% chance. For me, Jason Terry was the first person to Occupy Wall Street, because his quote was the first time I’d thought of politics in these terms: As a country, are we creating a home for all our stories? Or just for the so-called-success stories of a privileged and fortunate few?)

When you think about what kind of country or city you want to live in, or what kind of company you want to be, become, or belong to, think about it in Jason Terry’s terms. What stories will call you home?

The Cynical Girl

Friday, September 30th, 2011

Laurie Reuttimann came to my attention a couple of years ago when I was looking for gamechangers in the HR field and her blog, Punk Rock HR (tagline: “Teamwork is for suckers.”), snagged my attention. Her stuff was hilarious, honest, and in an envronment that can be obsessed with compliance and normative behaviors, breathtakingly contrarian. She retired Punk Rock HR in June, 2011, and today, goes by the handle of Cynical Girl. CynicalGirlHeader1

I could give you a million reasons why Laurie Reuttimann is a gamechanger, I’ll give you one. She understands the difference between business objectives and business outcomes. So often, we muddle the two, and think they are the same thing. They are not.CynicalGirlHeader2

Laurie’s objective with ‘The Cynical Girl game’ is to,”build a portfolio career. You should build one, too,” she writes in her last Punk Rock HR post.

The outcomes will be things like people changing their own games, finding work, passing her links around, friending and following her online, sharing an occasional smile, and using our newfound cynical outlooks to not automatically buy into the bullshit, especially our own.CynicalGirlHeader3

Objectives are singular. Outcomes are infinite. Focus on objectives to realize outcomes.

Or don’t. The Cynical Girl doesn’t give a damn. She’s too busy babysitting cats to babysit you.CynicalGirl1

What is Leadership?

Tuesday, September 27th, 2011

Last week, Forbes ran a column by Glenn Llopis that poses the question, ‘Is Leadership Irrelevant?’  The unwritten follow-up question probed though not fully answered in Llopis column, is, ‘If leadership is irrelevant, what can take its place?’  This is an issue that comes up all the time in conversations with executives. People understand that their model of leadership is broken, yet they don’t really know what can take its place.

'A Captain of Industry' by Graham McKean

'A Captain of Industry' by Graham McKean

I don’t think it’s a matter of anything ‘taking leadership’s place.’ What are we going to do, remove the word from the dictionary? Are we all going to wait around for someone else to make the first move? (Oh wait, that’s what happens now.) What leaders can do is adapt to a business environment that is different than the one that shaped the textbook definitions of leadership. This environment moves faster, with more, and more fleeting, opportunities for a generation of restless, tech-savvy players entering the global workforce. To prosper in this environment, leaders and the companies under their guidance must adapt. This is not a one-time only thing, adaptation is not a new program that that can be taken off a shelf and ‘acquired.’ It’s a way of life.

We call this new model of leadership Flexible Vision. Naturally it is informed by the principles of improvisation, among them:

Take care of yourself first. This is a phrase popularized by Chicago improvisation master, Mick Napier. It doesn’t mean be selfish, as in ‘get your golden parachute packed, and don’t worry about where the plane is going because you’re jumping off before it gets there.’  Not that. It means come prepared. Have a take. Be someone. Stand for something. Rock your style. What your style is doesn’t matter nearly as much as whether or not you rock it.

Begin with listening. How can you contribute to the conversation if you don’t know what the conversation is about?

Follow the follower. This is a Viola Spolin concept. The narrative was going on before you entered the scene, and it will continue after you’re gone. Don’t ‘try to make things happen.’ Connect with what’s already happening.

Let go of status. In the old leadership models, status followed a person from scene to scene. If you were the CEO that was your role, and you played it in every scene you were in. This model forced a lot of managers into a mode of pretending to know more than they actually did, to feign authority in subjects with which they were not familiar, just to preserve their status. These ‘false narratives’ are a big inefficiency in any organization clinging to old leadership models. Improvisers, by contrast, change roles and status freely from scene to scene. Though your title is ‘The CEO,’ your roles can be ‘Student,’  ‘Fearless Explorer,”Arbitrator,’ ‘Cheerleader,’ etc. Adaptive leaders adjust their role and status to fit the scene, not the other way around. And the higher a person’s rank in the company (however that is gauged), the more adaptive that person can be, because the range of roles he or she can play is wider than that of a lower-ranked person, e.g. a new employee.

Give gifts. This is the phrase improvisers use for supporting one’s scene and one’s fellow players. In improvisation, giving gifts is the most productive move there is. Those who do it most consistently? Those are our leaders.

'Made for Each Other' - Graham McKean

'Made for Each Other' by Graham McKean

Forgive Those Who Trespass Against Us

Wednesday, September 7th, 2011

This weekend, we will see  billions of dollars in media time, politician time, Homeland Security time, Pentagon time, NFL time, and the cost of our collective attention, spent on remembering 9/11. Most of it will be the ‘Never Forget, Never Forgive’ kind of remembering. Politicians and Generals like Panetta and Petraeus will warn us that it’s still a dangerous world, that our enemies are still omnipresent, and bent on destroying us.

We jump at shadows. A weekend pilot who wanders into the airspace above Camp David (where the President was not staying at the time) is immediately characterized by the media as a possible terrorist; this followed by dire predictions from Homeland Security that the next wave of terrorist attacks will come in small planes.

A mentally ill person armed with an AK-47 shoots up an IHOP in Nevada. The media blend this and other sad events like it into a nonstop drumbeat of fear, marching us inevitably backward in time, toward the paralyzing events of 9/11. We go into hiding from one another. Gate our communities. Update our security systems. Buy more guns. And all this does is blind us to the reality that we live in a country where mentally ill people can get their hands on AK-47s. Instead, we are made to feel powerless that we can anything about it. Except burrow deeper into the darkness.

I’ve got an idea for this week, an antidote for the fear being foisted upon us by people who want to manipulate and profit from it. An idea that doesn’t involve chest thumping, flag waving, or the naming and elimination of our enemies:  Do what the Amish do. Forgive.

When five young girls were executed in a schoolroom by a lunatic with a handgun in Nickel Mines, PA, in 2006, the Amish did the most difficult thing I can imagine. They forgave the gunman and his family. They bulldozed the schoolhouse where the massacre took place, and set about doing the unfathomably hard work of getting on with their lives.

When it comes to 9/11, we haven’t been allowed to forget, and we certainly have not been encouraged to forgive.  Warmongers like Dick Cheney, Don Rumsfeld and Paul Wolfowitz saw 9/11 as a business opportunity. And that, with Cheney’s abominably-timed book promotion, continues to this day.

The battles we must fight are not with our enemies but with ourselves. No matter how much we hurt, or how much harm has come our way, we can never find healing in bringing more hurt into the world, or in harming others as we have been harmed.

Forgiveness is the first step out of the shadow of our fear, into the light of a better world.

2006 Site of the Nickel Mines Schoolhouse, Today

2006 Site of the Nickel Mines Schoolhouse, Today

The Hurricane with a Thousand Faces

Sunday, August 28th, 2011

I wasn’t going to write a blog post this morning, I have too much to do, flying to San Francisco later today for a workshop at Art.com with the miracle who is Ivy Ross and a small group of artists and storytellers from her amazing constellation of friends.

Then, as I was scanning my network, a pattern became too obvious to ignore:

Television news missed most of the Hurricane Irene story. Social networks did not. This may be the most visible, tightest-framed example I’ve ever seen of how narratives live differently, more dynamically, in networks than they do in the old inside-out media channels. And why improvisation trumps scripting.

From Wednesday on, the mainstream media beat the drum for a monolithic, fear-based narrative about Hurricane Irene. Don’t get me wrong. Precaution is good, and often necessary. “Worry,” William Inge said, “is the interest paid on trouble before it comes due.” The problem for the scripters of TV News is that this is the only narrative they had, and it became increasingly and visibly detached from most of the storm’s reality.

By Friday, CNN’s Wolf ‘Cry’ Blitzer was bouncing from correspondent to correspondent in search of bad news, and you could sense their desperation at not finding any. They were showing B-roll that could have been any Friday afternoon Raleigh-Durham traffic jam in the rain, and characterizing it as a panicking populace fleeing to higher ground. Politicians, camera whores that they are, played dutifully along.

By Saturday,  kids were dancing around in their underwear behind your intrepid TV c0rrespondents who were doing their best to file Admiral Byrd’s dying words even as the dancing kids spoofed their phony narrative. IreneStreaker1

Social and local networks, by contrast, were generating an entirely different portrait of the storm. It was not a picture of panic, but of ‘yes-anding’ the situation. Of neighbors connecting, and watching out for one another. Of helpful hyperlocal reporting about downed trees and street closures. Of beautiful photography from the beaches as Irene rolled in. Of friends gathering for a drink at their favorite martini bar, and bikers blazing through empty Manhattan streets.

Hurricane Irene Photo by Paige Minimi

Hurricane Irene Photo by Paige Minimi

When we play along with the fear-based narratives–be they our own or anyone else’s–there’s no opportunity, no expansion or growth. Irene is a scary bitch, stay inside, don’t answer a knock at the door, and whatever you do, don’t laugh at her or she will terrorize you like her sister, Katrina, did to New Orleans.

The reality of Irene is that she is a Hurricane With a Thousand Faces, and many of those faces are smiling.  Find yourself a smiling Irene and dance.