Archive for the ‘Fundamentals’ Category

Over Under Sideways Down

Tuesday, February 23rd, 2010

One of the characteristics of networks is their flexibility. What our communication channels looked like yesterday may not be what they look like today. This, of course, can be an asset or a liability. The net that allows us to build new relationships, discover markets and expand our potential for taking productive action is the same one that swallows channels and markets like a singularity sucking down solar systems in nanoseconds.  The global financial system, guaranteed, is right now teetering on the edge of such a debt-and-greed-spun vortex.  Call it The Bank Hole.

TheBankHole1In our crazy race to escape these kinds of vortexes, we can turn direction-blind.  We pick a course of action, or someone picks a course for us, and in our all-out effort to escape a certain fate, we go heads down as hard as we can for as long as we can in that direction, like barn-sour horses galloping toward a distant barn.  A strategy, as Umair Haque points out in his latest HBR post, can be just as bad as a locked-in direction, because it can confine or limit one’s options instead of liberating them.

What Haque advocates, and what we could not agree with more, is adopting a set of behaviors (he calls these behaviors ‘Wisdom’) that foster liberation of the ideas and the ethical actions that can deliver us from the Goldman-Sachs Singularity, and whatever else sucks.  These behaviors have no time frame, because they are timeless.  They cannot be quantified, because they are potentially limitless in number.

One of these behaviors (me, adding to Haque’s list) is to Envision.   And by that I don’t mean Ayn Rand’s old Burt Lancaster-as-One-Of-A-Kind-Genius concept of vision but what I call ‘Viola Vision’, which consists of ’seeing and sharing what we see.’  This kind of envisioning expands our horizons, and gives us infinitely more options for escaping what sucks.  So in your quest for solutions, don’t forget to:

Look over. It’s how you get perspective on a problem.

Look under. Play with the dynamic of concealment and revelation.  Respect roots.  Dig deep.

Look sideways. My friend, the animation director John Musker, talks about stories as ‘taking an unexpected left turn.’  A sideways move can shake up your narrative in a way that keeps you on your toes and your audience engaged.

Look down. Who needs help?  Some days, this the only question worth answering.

‘The President’s Question Time’ Scene

Saturday, January 30th, 2010

There’s a great tradition in British government that, if you’ve never seen it, you ought to.  It’s called The Prime Minister’s Question Time, and it is wonderful political theater.  Watch some of this.

And then compare this.

Quite a difference.

The first is improvised.

The second is scripted.

Improvisation is active.  It is alive.  Members of Parliament are energetically engaged in the conversation about the matter at hand, supportive of, but not bogged down by, their various ideologies and positions.  Their actions and reactions are immediate, emotional and visceral.  This honors the problem.  American politicians dishonor a problem, and obfuscate it, when they use it as a foil for politicking, which is how almost every problem faced by the federal government is regarded now.  An excuse for campaigning.

ObamaRepubs1This is the big point President Obama underlined yesterday in his meeting with the Republicans.  That 66-minute conversation may be the best thing that’s happened in American politics since the Watergate hearings.  Obama changed the game by calling out the current political game for what it is.   Let’s call the current game “Our Way or No Way.”  It is played by Democrats and Republicans alike, with equal vigor.  This game is toxic.  Limiting.  Stultifying.  Divisive.  And ultimately it’s unproductive.  This is not about blaming one party or the other.  The bad game is to blame.

Yesterday, Obama not only called out the current game for the quicksand pit it is, he suggested a better, more liberating, more productive game.  You might call the game he’s proposing, ‘Part of a Pie is Better Than None.’  In other words, the invitation to the Republicans (Dems, you’re next!) is to find an area of agreement and agree on it.  Do it knowing that some, but not all, and probably not not 80% of what you’ve got scripted, will come to pass.  Don’t be greedy.  Be generous instead.  Don’t place blame.  Accept responsibility.  Don’t point fingers.  Shake hands.  And then come out fighting.  Let’s relish the good fight, one where we fight together to solve the problem, not the bad fight, where we fight over who’s right and who’s wrong about how to solve it.  Let’s pick battles we can win instead of battles we can make the other guy lose.

Cheers to the GameChanger in Chief for changing the game once again.  Our political discourse needs more of the kind of energetic, intelligent, articulate, performances that the Brits demonstrate in their ‘Question Time With the Prime Minister” and Obama and the Republicans staged yesterday.  It will be a healthy transformation.  And it’ll make great TV.  Nothing we Yanks like better than that!

Do not get locked into your script for success.  Be prepared, instead, to improvise your way there.  Remember that other people have scripts, too.  As I can tell you from working in the entertainment business, when all we do is fight over whose script we’re going to follow, the show does not go on.

Tiger’s Unplayable Lie

Tuesday, December 15th, 2009

Six years ago, after playing hooky from work on a Friday to watch The Best Golfer in the World play nine holes at Riviera Country Club, I wrote this about him for my company’s blog:

Tiger hit one shot that I will remember for a long time, one of the best I’ve ever seen.   220 yards from the green after an errant drive, out of deep rough, he hit a high draw inches to the right of a big tree ten yards in front of him, inches to the left of two bigger trees 30 yards farther up, a couple of feet over a bunker fronting the green, to within ten feet of the pin.  People in the gallery ooohed and aaahed and applauded, then gathered around the divot he made in the rough like so many TV cops peering down at a murder victim.   “Look at how long it is,” they muttered of the divot.  “Look how wide he took his swing path.”  “Did you see how hard he went down after it?  Damn!”

And…

His focus is the most intimidating thing about his game.  There is an unshakeable calmness to him that you don’t see in the other pros.  Earl named him well, because he plays golf like a big cat stalking its prey.   The confidence he has in the inevitability of his success is absolute.

And…

And yet…and yet…it’s strange to stand near another human being and not sense any more humanity in him than you would in a thoroughbred in the paddock at Santa Anita.   What makes us vital—all that brawling, longing, laughing, crying, hurting and loving—all that bitching and moaning and mucking around most of us do on a daily basis–is bad for a person’s golf game.  And so none of it seems to be part of Tiger’s make-up.  He is, on the golf course anyway, inhuman.

The Scripted Narrative

The Scripted Narrative

Today, the Eldrick “Tiger” Woods story, scripted for him by his father, Earl, since before he was born, is falling apart quicker than a 20-handicapper’s swing on the back nine of the club championship.  In two weeks, Tiger has gone from paragon to pariah, and has proved beyond a shadow of a doubt that a brand can no longer script the humanity out of its narrative and expect the world to play along.  In the billion-channel cosmos of the Networked World, sooner or later reality will outflank any brand’s ability to script and control its story the way brands could when there were three TV networks and a couple of major newspapers to be reckoned with, and story material was limited to what happened inside the ropes at Riviera.

As this is written, the Tiger Woods brand burns out of control like a California wildfire, and embers from Tiger’s Inferno have landed on the roofs of Nike, Gatorade, Gillette and Accenture, and they’re in flames, too.  Buick’s house of straw (did anybody ever really believe Tiger drove a Buick?) is probably burned beyond salvaging.

What’s fueling this fire isn’t the the commonplace tabloid fodder of marital infidelity, it’s not about whether you side with a justly aggrieved wife or forgive a superstar his transgressions.  This story is much bigger than that.  It is a story as old as Achilles, the story of a hero’s fall from grace.

It’s in our nature to want to see a story completed.  Tiger’s story will hold the audience’s attention at least until the downfall is assured, the disgrace complete.  The light at the end of Tiger’s tunnel—and the hope for any brand that has lost its way—is that the journey does not have to not end with the fall from grace.  It may be impossible for the audience to turn away from a tragedy, but what the audience turns to of its own volition, and embraces more fervently than anything, is the hero’s return.  As Joseph Campbell chronicles in Hero With A Thousand Faces, ‘falling to the Temptress(es)’ is one of many twists in the journey toward true heroism.  Tiger Woods can redeem himself in the eyes of his audience, but he’s got to want to be an authentic hero, not one playing a role that has been scripted for him.

The Networked World Defies the Script

The Networked World Defies the Script

Here are five productive moves he (or any other burning brand) can make in that direction:

1.  Accept the Unplayable Lie.

For you non-golfers, a Lie is Unplayable when the ball is in a position where not even Tiger Woods can take a productive swing at it.  At that point, you’ve just got to accept the penalty and play on.  This is the situation in which Tiger finds himself today.  There is no excuse that will satisfy.  No spin that can put the scandal to rest.  He’s got no swing at this one.  He’s got to cop to being a pig and a dog and apologize with more than words for whatever hurt his family, and get on with whatever’s next.  Too many brands waste time talking about how or whether to play the unplayable lie, instead of quickly agreeing that it’s unplayable.  They will consult with caddies and seek ruling from judges.  They will pull different clubs out of the bag.  They will check the wind.  They will roll up their pants legs and walk into the hazard.  Sometimes, they will even go all Van De Velde (for you golf fans) and take a stupid swing at the ball and make things much, much worse.   And all along, the best thing would’ve been to simply accept the penalty and play on.

2.   Be entrepreneurial.

I always thought Tiger missed an opportunity when he signed with Nike for so much of his gear.   Nothing against signing with Nike for the clubs, shoes and whatever, but giving them the clothing line, too, turned him into their mannequin.  Nike dresses him like a second grader in a private school.  His golf clothes are billboards with swooshes.  He could be wearing clothes designed by people like Bill Johnson’s Transient label in D.C., or eco-friendly brands like Nau or Vital Hemptations. Small businesses of all kinds need help these days, and Tiger is just the guy to give it to them.  He can help take a small minority-owned solar energy company national.  He can sign with up-and-coming companies as sponsors, and not charge them a dime.   Instead, he can own equity in them.   This will have the added benefit of re-energizing the fan base, as pulling for Tiger will mean that you are pulling for a host of deserving upstart companies, too.  The hero’s journey requires allies along the way.

3.   Embrace your Cablinasianism.

Tiger has made a big deal about being what the brand calls ‘Cablinasian.’  Caucasian-Black-Indian-Asian.  Okay cool.  But the scripted Tiger only explores a very narrow strand of that, the strand that is privileged, plays a lot of golf, owns a yacht and apparently hits on anyone carrying a cocktail tray.   All brands can tap creative energy by exploring their multiculturalism.   Tiger’s ethnic makeup is one thing besides being a great golfer that can differentiate the brand, but he has to show the audience what Cablinasian means beyond the clever cosmetic of a made-up word.

4.   Be a supporting player for a change.

From the time he was born, Tiger Woods has seldom been in a scene in which he was not the star.  His father basically abandoned his other children to focus on young Eldrick.  By age two, Tiger was on national television hitting golf balls.  When he was a junior, he played with the grown-ups, when he was in college, he played with the pros, as a pro, he plays against the history of the game itself.   That is a pretty lonely path.  He needs to focus on sharing the narrative with others for awhile.  This does not mean going into hiding.  It means consciously taking a backseat in someone else’s scene.  Raise your children.  Work with your charities.  Find a protégé to coach.  In the Networked World, we are measured every bit as much by what we contribute to others as by what we amass for ourselves.  No brand is an island.

5.   Get better at something you’re bad at.

We all develop go-to moves.  If you are good at something, and receive a ton of approval and money for doing it, what is your motivation for doing anything else?   Here is your motivation:  In the Networked World, the narrative is not only multi-channel, it is multi-dimensional.  Relying on your go-to move has the effect of limiting your brand’s value, because it limits the dimensions of the brand that have the potential to improve and grow.  When you have won the Masters by 12 strokes and the U.S. Open by 15 and are probably The Greatest Golfer Who Ever Lived, golf is not an area of growth.  It is a flat line at best.  The growth areas are the dimensions of the brand that have not yet been explored.   For Tiger Woods, this could probably mean just about anything other than playing golf and getting girls’ numbers.  What does it mean to you?

Applied Improvisation, Part Seven: Spolin’s Protege

Friday, December 4th, 2009

Last in a series…

Gary Schwartz

Gary Schwartz

While at the Applied Improvisation Conference, I drank beer one afternoon with Gary Schwartz, of Spolin.com. Gary is Viola (pronounced vy-OH-la) )Spolin’s protégé, keeper and practitioner of what is, in my opinion, the mother lode of improvisation, the practice built by the grand dame of the craft, the godmother of the game.  Hearing stories about Spolin and her teaching was in itself worth the trip.

Schwartz, who before meeting Spolin had studied to become a mime, described for me how Viola taught (no nonsense, all about interaction, no note-taking allowed).  How she coached (get out of your head!)  How he happened to become her assistant (a random act of kindness on his part).  How long it took him for a real breakthrough to happen (a long time).

He said that Viola was profoundly influenced by a book entitled The Tao of Physics, which is now at the top of my reading list.

Viola Spolin did profound work that that relates improvisation to all human endeavors, and has particular relevance for business in the Networked World.  She said things like:

“Information is a very weak form of communication.”  (GameChangers translation: Meaning lies beneath the surface of things, hidden behind the facade, the artifice, the mask, it is found primarily in the emotions and in the meta symbolism lurking behind the cosmetic layer of information.)

And –

“Creativity is not the clever rearranging of the known.”  (GameChangers translation: Creativity is daring by design, a plunge into the unknown, into the collective unconscious, and into one’s own subconscious.  It is not rearrangement.  It is newness.  It is radical juxtaposition.  Ultimately it is transformation.)

And –

“Talent or lack of talent have nothing to do with it.”  (GameChangers translation: The individual’s ability to interact with, and be transformed by, environment, has everything to do with it.)  “Act on environment, Spolin said, “and environment will act on you.”

And –

“Don’t thank me!   It’s not me!  It’s not ME.  It’s the WORK!” (GameChangers translation: Stay humble, stay focused, and don’t be an asshole.)

Schwartz quoted Spolin as saying of improvisation, “You can’t write about it, it can’t be described that way. You have to experience it.  When you do it, it’s in your bones.”

At Spolin’s suggestion, I’ll quit writing now, and show you pictures–which I’m sure  Spolin would’ve had said is no substitute for the experience either–of improvisers having the experience at Edgefield.  Good name for it, Edgefield.  We like that about it. At the edge of the field, the transformation begins.IMG_5870

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Applied Improvisation, Part Six: Belina on Biomimicry

Sunday, November 29th, 2009

I attend a session on Improvisation and Biomimicry conducted by Belina Raffy from the U.K. As if there’s any doubt that improvisation is the most natural thing in the world, consider these points from one of Belina’s slides:

1) Nature creates freedom within structure;

2) Nature recycles everything;

3) Nature rewards cooperation;

4) Nature demands local expertise;

5) Nature curbs excesses from within.

Yet how many organizations and brands attempt to circumvent biology? The new organizational model, as we point out at GameChangers, is more biological than mechanical. Only by embracing what is natural and biological can a networked organization stay in sync and in tune with its environment. Humans, are, after all, biological organisms, and participants in the Ecosystem, Gaia, God’s Plan, The Grand Experiment, or whatever you want to call it. It is our obligation to play along. Thank you Belina!Trees1A

GameChanger of the Month, October 2009

Thursday, November 12th, 2009

HollywoodElsewhere4Jeffrey Wells came to my attention around five years ago when I was talking with a Hollywood studio publicist about bloggers who were having an impact on entertainment journalism.  The publicist cited a number of names including Wells’, about whom he added, “He scares me a little bit.”

“Why’s that?” I asked, immediately more interested in this Wells dude than in the others the publicist listed.

“You never know what he’s going to write. He can’t be controlled,” the publicist said.

Wow.  Now I was really interested.  A few high profile critics aside, entertainment journalists had been, historically, notorious shills for studios and PR agencies, faithfully adding spin to the narratives they were sold.  This ensured them steady access to the all-important star interviews, along with lots of free meals, expenses-paid junkets, and invitations to review screenings and the occasional gala premiere.

That a player like Wells dared to leave this comfort zone said a couple of things.  First, the guy had to have guts, and confidence in his game.  Second,  entertainment journalism, like all journalism, was changing.  The very fact that my friend, the publicist, was forced to confront his concern about a blogger with a mind of his own was a revolution of sorts.  Very soon after speaking with the publicist, I took a look looked at Jeffrey Wells’ site, Hollywood Elsewhere, for the first time, and haven’t really looked away since.HollywodElsewhere2

Nothing of importance in the film business goes unobserved by Wells.  He is plugged into its zeitgeist.  His well-written commentary, his obvious passion for the cinema, the reliable frequency of his posts, and the broad spectrum of  sources he cites, make Hollywood Elsewhere a singular visit.  The hilariously-neurotic personal experiences he writes about and the commentary by a smart, often-vicious pack of readers are the icing on the cake.

I don’t work in the entertainment business any more, so I don’t need a lot of industry chatter, what I find useful is to get an early heads-up on films that can impact the industry, its key players, the marketplace, and popular culture.  Wells knows how to separate the story from the hype.  While I don’t always agree with his opinions or his perspective, they are always solid.  A reader can triangulate a position, a point of view, from them.

Jeffrey Wells is the GameChanger of the Month for October because he practices fundamentals that journalists and businesspeople in general can use to succeed in any changing business environment:

Cause change.  It is always better to change the game of your own volition than to have your game changed against your will by forces beyond your control.  Wells left the melting icepack of print journalism for the expanding tundra of online media before the people left on the icepack began pushing one another off like they are today.

HollywoodElsewhere3Prepare to struggle. The path to any breakthrough is unpaved.  Gamechanging does not guarantee an easy road to fame and fortune.  It is, rather, a methodical series of steps taken in order to learn, adapt, and discover new avenues for productivity.   Hollywood Elsewhere struggled early.  At one point Wells had to solicit donations from his readers to keep the site alive. It now seems on healthier footing financially, but Wells has a penchant for drama, so you never know what kind of bind he’s getting himself into just so we can all enjoy watching him work his way out of it.

Have a point of view. Wells’ take on the business isn’t the fanboy gush of Ain’t It Cool News, or the studio commissary talk you get from Nikki Finke, it’s uniquely his own.  Visiting HE is like sitting in on conversations about films and current events, and panel discussions with lots of film clips at a neverending film festival with Wells as the lead moderator.  If you dig movies like I do, this is invariably a good experience.

Embrace distributed narratives.  In the networked world, narratives are distributed, never piped down a single channel to their audience.  In addition to the overlapping nature of the conversations between the blogger and his readers, Hollywood Elsewhere’s narratives transpire on multiple media platforms.  They link out to other journalists and web sites.  They also unfold differently over time.  Some of the site’s narratives may consist of a single post; others may continue for a year or more.

In the Networked World,  you cannot control the conversation between brand and audience.  The objective, whether you’re a one-person shop like Hollywood Elsewhere or a behemoth brand like Disney, is to add to the conversation.

Skateistan

Wednesday, August 12th, 2009

Sometimes, the way to solve a problem is to come at it from an oblique angle.  In fact, it’s often helpful to look in the “opposite direction” of a problem for the keys to its solution.  Paradoxically, focusing on a problem is not always the best way to solve it, especially when it’s long-term or systemic.  Focusing on a game that solves the problem is often a better way to go.

A story on CNN this evening demonstrated this fundamental of gamechanging.  Two years ago, Oliver Percovich  an Aussue skateboard enthusiast,  formed a non-profit group called Skateistan, to give some fun to children who don’t experience much of that in their war-shredded society.  Later this year, the skateboarders of the “Republic of Skateistan” will begin ollying in a new 19,000-square-foot skate park and will be taking English and computer classes as part of the program.

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Skateboarding is probably a hundred eighty degrees from most of the problems facing Afghanistan, which means that the Skateistan game is probably a step in the direction of solving them.  Thanks to Oliver Percovich, at least the possibility has been created that one day “killing it in Kabul” will mean kickflipping and nosegrinding intead of mortar attacks and suicide bombs.

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Managing the Disrupture

Thursday, June 18th, 2009

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As natural as change is, there’s no getting around the fact that it can be painful.  Especially when it happens to you and is not authored or initiated by you.  ‘Disruption’ is a word that some managers toss around in a pretty cavalier way as a desirable state  or productive path for businesses and their employees.  Disruption (from the Latin ‘dirumpere,’ meaning to break or burst asunder) is not, however, always such a pleasant thing.  The past can collide with the future in an agonizing present.  Disrupting an unproductive pattern of behavior is not the same as disrupting a hardworking family’s way of life, and we are seeing entirely too much of that these days.Try telling residents of a small Midwestern town that just lost its largest employer in the auto industry downturn that disruption is cool, and nobody’s going to be buying you a beer anytime soon.  In this kind of economy, we often greet disruption with the same enthusiasm we welcome a rusty nail disrupting the bottom of our foot. (more…)

The Life Drum Core and Pete Carroll

Thursday, April 16th, 2009

A part of my work with the World Wildlife Fund for its Earth Hour event in Los Angeles on March 28, I helped organize a group of young musicians to perform at the event.  My guitar teacher, Lonnie ‘Meganut’ Marshall, put together a group of kids who played drums on recycled plastic buckets they’d painted to fit the theme ‘Funeral for Fossil Fuel’.

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The Life Drum Core, as Lonnie named the group, was a big hit.  They got coverage on all the local TV stations, and on the night of Earth Hour, their four-minute performance was well-received.  They ended up afterward jamming with the mayor, who grabbed his own recycled bucket and began banging out a beat.  (He wasn’t bad.) (more…)

SXSW #2 – BOOK READING

Sunday, March 22nd, 2009

The grapes of Austin and SXSW Interactive have fermented into the wine of memory.  As I sip it, here are a few of the many flavors that emerge:

My book reading on Friday at 2:30 PM is the first official event of  SXSW Interactive, which is like playing in the jayvee game before the varsity takes the floor.  I play a good game, though.  At the start of my session, there are maybe a hundred people in the audience, including Brian Murphy, who is the first person I introduced to the concept of improvisation in business, six years ago.  More people arrive during the reading, including my friend Lin Su, who works in Search Experience for Yahoo.  The audience is with me.  I sell ten books afterward, not bad.  Ray Nichols from New Orleans, whose business card introduces him as a ‘Gonzo Volunteer’ says he’s going to invite me to conduct GameChangers workshops for re-developers there.   I hope this happens, it will be an honor.  For the rest of the conference, three or four people a day come up to me and strike up conversations about GameChangers.  One, Michael Moss, a video producer from Atlanta, greets me with, “It’s Mr. Yes-And!”

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