Archive for the ‘Gifts’ Category

Objectives vs. Outcomes cont’d

Thursday, January 19th, 2012

Tuesday night, we staged an invitation-only workshop for 25 friends, acquaintances and interested folks to let them experience the marvel that is GameChangers. After reviewing our performance, the GameChangers team’s consensus is that on this particular night we were not marvelous. We started 15 minutes late, got slow in the middle and rushed at the end. We felt that the experience was, at times, less than riveting for our audience.  A couple of people spent an inordinate amount of time on their mobile devices, and we know for a fact they were not tweeting about how great it all was.

Specific notes:

- After cautioning the audience at the beginning of the presentation about long monologues as a means of communicating, I wrapped up the presentation with a long monologue.

- Our direction was soft on a couple of the exercises. This resulted in a kind of sponginess in the middle of the two-hour session, with drawn-out explanations by Antonio and me, less focus by the teams, and a rushed ‘third act’ in the last 15 mins.

- As any improviser can tell you, you have to work on pieces of the process at a time. You cannot drop everything you know on your audience all at once. In my explanation of what we call ‘the orchestral model’ of business communication, and the concept we call ‘quantum narrative,’ I got into more detail than the audience was able to absorb in such a short window. ‘Too clever by half,”as they say in Blighty. ‘Ten pounds of potatoes in a five pound bag,” as they say in Boise.

- The teamwork that usually happens during our workshops was not so much apparent in this one. Things stayed more individualized, and less knit-together than we would like.

- The tempo at which we conducted the session was inconsistent. If I had been conducting a piece of music, it would have been in about 20 different time signatures, with me conducting at least part of the performance with my back to the orchestra. Missing cues. Dynamics roller-coastery instead of scenic.

These notes are related to our business objective for the workshop, which was to explain GameChangers and give attendees a sampling of what we do with our clients. At achieving this objective, we give ourselves a 50%. We were only about half as effective as we believe we’re capable of being.

So why are we not upset?

Two reasons: One is that because our process lets us see so clearly where the issues are, we have already taken steps to remedy them before the next open workshop.

The other, bigger, reason is that the outcomes of the session have been extraordinary, better than the outcomes of many workshops where our performance was actually  much better than it was Tuesday. A lot of credit for this goes to the people who were in attendance. One of the points we make in these introductions to GameChangers is to distinguish between objectives of the game, and the outcomes of the game, and wow, has that been our experience since Tuesday.

These are some of the outcomes:

- Our friend Ron Finley, the ‘renegade urban gardener’ connected with our friends Jenna and Adam from TakePart, who were in attendance. TakePart is the digital division of Participant Media. They are going to do a story about Ron.

- Erin Reilly, the creative director of USC’s Annenberg Innovation Lab, spoke yesterday to her faculty committee about having us do a one-day workshop there in March.

- Marcy and Strath Hamilton of Tri-Coast Studios, which is producing a lot of e-books, met a Ruby on  Rails coder named Patrick Maddox, who was in attendance Tuesday.  They’ve been looking for a coder. Now they’re talking to Patrick.

- T.H. Culhane and David Groder, who are working on a robotics education program funded by the U.S. Naval Research Dept., are making a presentation today (Wednesday) at Washington High School in Los Angeles, and are being joined by Ron Finley, who is a Washington High graduate. This is happening as a result of them connecting on Tuesday night.

- T.H. and Groder will soon get introduced by GameChangers associate Jamal Williams, who was in town from D.C. for the Tuesday workshop, to Nii Simmonds, the ‘Nubian Cheetah,’ a Ghanian-born D.C. resident and former investment banker who funds a program called Afrobotics, a robotics competition for African schoolchildren.

- Kevin Wall, who is producing the opening ceremonies and concert for the 2014 World Cup in Rio, was in attendance. Kevin learned for the first time that Fernando Godoy, who used to be an intern in at one of Kevin’s companies, is today a successful internet entrepreneur in Sao Paulo and is a partner in Spirit of Football 2014. Kevin and Fernando are going to meet the next time Kevin is in Brazil.

- Tri-Coast Productions and GameChangers are meeting this coming Monday to discuss two projects–a GameChangers ebook and a video series that would be produced and performed by people from our network of world-class improvisers.

- Andy Sternberg has since Tuesday introduced us to two friends of his whom he believes will be interested in our work.

- We were able to continue a conversation with Nicholle McClelland Betelier, a marketing officer from IdeaLab, that began at a yoga retreat in December.

- A crypto-hipster named Som showed up uninivited, and asked some of the best questions and offered some of the most thoughtful comments of the evening. Thank you, Som, whoever and wherever you are! Please stay in touch!

- My favorite outcome of the evening came about thanks to a ‘gift’ from David Groder. At the very end of the session, after my long-winded closing monologue, Groder asked if we could go around the room and have everyone introduce themselves. All 25 people introduced themselves and described the work they’re doing. It was really remarkable, not only because it completely subverted the normal order of things—introductions at the end instead of the beginning!—but also because the people in attendance are doing brilliant things in the world. Attendees are working in robotics, social media, community development, urban gardening, fashion, cause-related marketing, transmedia storytelling, architecture, criminal law, venture capital, entertainment, academia, e-books, tech, watercraft stabilization, app development, etc. etc. etc. Introductions at the end became a very enjoyable kind of reveal. Almost everyone stayed and talked for half-an-hour or more after the session, and I believe most of that conversation would not have happened if not for David’s gift to the scene.

Never get objectives confused with outcomes. Objectives are what we use to assess and improve our performance. Outcomes happen as a result of having performed. Objectives are finite. Outcomes are unlimited. Objectives create focus. Outcomes generate value.

Post-event conversations were the most productive part of the evening

Post-event conversations were the most productive part of the evening

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The Origin of the Drum Bucket

Thursday, October 6th, 2011

My guitar teacher, Lonnie ‘Meganut’ Marshall (@meganut) teaches music to a lot of young people. One of the themes he always gets across to his students is that you can make music out of almost anything. Sometime he puts together groups of young musicians who play instruments made out of recycled materials. The Lil Big Ups (featuring a dinosaur named Nervous Rex, and a character named Sample Simon, who has a beatbox for a head) play on instruments made of recycled cardboard boxes and rubber bands. The Life Drum Core plays on drums made of recycled 5-gallon plastic paint buckets that the kids design by repainting and adding neck straps made of bungee cords.

Lonnie with the Lil Big Ups at the Hollywood Farmer's Market (Sample Simon can be seen in back)

Lonnie Marshall (l.) and the Lil Big Ups performing on their 'Rubba Boxes' at the Hollywood Farmer's Market

A couple of years ago, we got the Life Drum Core invited to perform as part of the World Wildlife Fund’s Earth Hour celebration at L.A. Live. A few weeks later, the kids gave me a couple of their hand-painted buckets, autographed by the group, as souvenirs. Naturally I kept one. Off and on for the past two years, I’ve been trying to make a meaningful gift of the second bucket. L.A. Mayor Antonio Villaraigosa jammed with the kids after they’d performed for Earth Hour, and a number of people in the Mayor’s office have told me since then that he ‘would love to have the bucket,’ but no one from the Mayor’s office acted on it, so after a series of slow phone call volleys, I moved on.

Next, I tried to give it to an executive at AEG who’d arranged for Lonnie’s kids to get a dozen sets of drumsticks from the Grammy Hall of Fame gift shop. After the L.A. Live show, the exec said to me, “I want one of those buckets for my office.” He was always too busy, however, to actually accept the bucket. “Leave it in the lobby,” was the word finally relayed by his assistant. Didn’t do it. Leaving it in the lobby would have turned a meaningful artifact into just another hunk o’ schwag on the non-stop schwagathon of gift baskets, food, wine, comp tickets, and sports and music memorabilia sent to an office with that exec’s title on the door. No, this gift was too sacred to be left to the lobby gods and processed through the AEG gift-receiving system like just another gourmet cheese wheel. The rule was that it had to be presented in person and accompanied by its story.

Life Drum Core plays drum buckets at L.A. Live

Life Drum Core plays drum buckets at L.A. Live

Today  I took a couple of bags of groceries to the young people camping outside L.A. City Hall as part of the Occupy Wall Street movement. As I was leaving my office to get the groceries, the Life Drum Core bucket caught my eye. I was using it as a stand for a guitar amp. I took it. Put the groceries in it. Handed it off to members of the movement standing along Temple Street in front of City Hall.

Groceries delivered in drum bucket signed by Life Drum Core, today, Occupy Wall Street at L.A. City Hall.

Groceries delivered in drum bucket signed by Life Drum Core, today, Occupy Wall Street at L.A. City Hall.

Into the bucket I dropped a couple of business cards on which I’d written, ‘I’ll blog about the the origin of the drum/bucket.’ This is the blog. I hope that whoever discovers this story keeps it going. And I don’t mean repeat the story I’ve told here. This is just the beginning. Build on it. Bang on the bucket until its story becomes your own. Keep its beat alive.

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

Red Shoe State

Monday, September 26th, 2011

A good friend of ours grew up in a big family in the Midwest, the Middle Child of nine children. Five of Nine. As happens with Middle Children, he got the least attention of all the children, except when he did something out of the ordinary, or when the Oldest Boy needed someone to pound on after their dad had pounded on him.

Being extraordinary became a way of life for our friend. To this day, it doesn’t matter what scene he’s in, it doesn’t have to be world-shaking, it can be as simple as taking a walk in a park, he will find a way to make that walk unlike any other walk through any other park. Today, he and his family live in a beautiful home on Mullholland Drive overlooking Los Angeles, he is a millionaire many times over, and a philanthropist with a giving heart, especially for people who get pounded by life.

Earlier this year, I met the Oldest Boy, now a middle-aged man who still lives in the Midwest, who struggles to keep their old family business alive, and exudes disappointment and alcohol. He told me a story about the Middle Child:

“My parents and I went to visit him after he’d moved to Los Angeles,” said the Oldest Boy, “He and [his wife] had no money. They pretty much didn’t know where their next meal was coming from. He didn’t even have a decent pair of shoes to wear. So my parents said, ‘Let’s go get you a pair of shoes anyway,’ and we took him to a shoe store and let him pick out a pair of shoes, and he picked out a pair of red shoes! Red shoes! The guy’s going to have one good pair of shoes and he picks out red ones?!’ The Oldest Boy laughed at this as if the Middle Child had done something incredibly stupid, something that was still worth teasing him about, maybe even pounding him for.

Back when it could have changed his life, the truth was right there in front of the Oldest Boy, and he missed it. What he missed was his younger brother’s knack for doing things that were out of the ordinary. Our success comes from consistently making extraordinary choices. Those choices do not have to change the world to be extraordinary, they only have to change the game. When you can only pick one pair of shoes, pick the red ones.RedShoes1

Why Arianna Is Only Half a Player

Wednesday, September 21st, 2011

She sold her HuffPost to AOL for $315M, and didn’t offer as much as a thank you note, forget about any money, to the people who, like myself, had posted most of the content that created the value behind her brand.

Today, the HuffPost ran this headline:HuffPostGameChangers1

GameChangers LLC owns the trademark ‘GameChangers’ in 17 different trade categories, including business education, seminars, improvisation for business, training, etc. I’m not going to say that HuffPost’s repeated use of the phrase ‘Game Changers’ in its editorial violates our trademark (though I implied it in a snarky comment on her story today). And I don’t know for sure, the difference, litigationally speaking, between ‘GameChangers’ and ‘Game Changers’ with the words spaced. We don’t own the phrase, didn’t coin it, and lots of people use it–including every sports announcer who ever lived, and the Bloomberg Network, which DOES for sure tromp on our trademark (but how are we going to sue or even slow down a billionaire politician’s billion-dollar company in the legal arena? If you’ve got ideas, let me know.)

I do know that last year my HuffPost producer, Willow Bay, brought up to Arianna the HuffPost’s use of the ‘Game Changers’ branding and proposed a conversation between the two of us about a possible collaboration. Nothing. Zippo. We shouted into the maw and got nary and echo.

In improvisation, we honor taking. You’ve got to take strongly, and politeness has nothing to do with it. Be aggressive. Play hard. Go for it. Claim turf. ‘Take care of yourself first,’ in the words of the legendary teacher, Mick Napier.

The thing is, we honor giving, too, and if anything, we honor it more. Yes-and. Connect. Make others look good.  Share the narrative. Give gifts.  Politeness, the consideration of others, has a lot to do with it.

One without the other makes you only half a player.

This is just my experience speaking, it does not represent any kind of larger dataset, for all I know Arianna has given $314M to Sloan-Kettering Hospital since February. It is pretty direct experience, though, so it must mean something. What it means to me is that Arianna is Half a Player. She’s fantastic at taking, and needs to work on her giving.AriannaHuff1

Walking Western Avenue

Monday, June 6th, 2011

We live and work in what you’d call the northern edge of South-Central Los Angeles, in one of the city’s oldest neighborhoods, West Adams.  Western Avenue, the main north-south artery nearest us, is one of my favorite streets in Los Angeles. If you want to get a feel for this city, there’s no better way to do it than to travel the length of Western Avenue.  From the exclusive girls school up in the hills on its northern end to the hustle and flow of the ‘hood in the south, and every immigrant dream in between, Western is a ribbon of culture lining the belly of this beast of a city.

PFFlyers1I’m doing a photo essay on Western Avenue for a client of ours. In walking Western yesterday, I had all kinds of rewarding encounters. A street poet named Ron shared a poem he wrote, called Shine that was amazing; a restaurant owner grilling chicken on the sidewalk shared stories of his adventures in the real estate biz; a beauty shop owner opened the door after hours to pose for a photo; a kid showed me his python; another kid getting a tattoo showed me his cool shoes–PF Flyers, a brand I used to wear when I was a kid!; a clothing entrepreneur named Prince confided his strategy for pumping up slow sales; a dude named Noon and I had a half-hour discussion on privacy issues, the school system, the prison system, and the relations between the police and the people of South Central–all because he wouldn’t let me take his picture.

No matter how deeply we dive into virtual worlds and other dimensions of reality, walking around and having conversations with folks is still the best way to learn something you didn’t know.

As Viola Spolin said, “Act on environment, and environment will act on you.”

Rory’s Story Cubes

Tuesday, May 31st, 2011

Recently, Reyne Rice of Toy Trends gave me this wonderful gift, a game created in Ireland called Rory’s Story Cubes. It’s super simple to play and endlessly complex in terms of its outcomes. I don’t know what makes a better game than that. And at $7.30 a set, how can you NOT?IMG_3940

The game consists of nine dice, each die with six different icons, 54 in all. Players roll the dice, line up the nine icons they’ve rolled, and tell a story the icons inspire. There are of course all sorts of variations on this version of the game. When Reyne gave me the Story Cubes at lunch she rolled her dice and told a story that involved her background in improvisation and theater. When my turn came, we changed the rule to be: one person rolls the dice, we take turns putting them in order, and then take turns telling the story, with our turn telling the story coming on the dice the other person has placed in the queue.

A couple of days after Reyne gave the gift, I was with a friend who was working through some difficult career choices. I still had the Story Cubes in my bag. I handed them to the friend, and suggested he roll the dice and tell a story about the next year of his professional life. The story he told was amazing and inspiring. What was muddled in his mind became suddenly very clear. What was clear was not the story itself. What was clear is that no matter what kind of roll of the dice he gets, he will have ability to author his own story. And it can be a good one.

Games are a device for exploring narratives. Good games yield good stories like Ireland grows shamrocks. Thank you, Reyne!  Roll on!StoryCubes1

Daily Paintworks Japan Challenge

Tuesday, March 29th, 2011

Daily Paintworks, an online community of working artists, has raised over $21,000 for Japanese Tsunami victims in just ten days with a project they call The Japan Challenge.  They have done it with what we call a productive game.  Here’s the game analysis:

Environment:  Artists studios; Daily Paintworks website, with the starting point being a page hosted by artist Keiko Tanabe.

Roles: Artists, Buyers, International Disaster Relief Players

Guidelines: Listed here.

Objective:  Raise money for the communities in Japan that were devastated, and still are, by the Sendai quake.

I get jazzed by projects like the Daily Paintworks Japan Challenge for a number of reasons:

Sekura III - Watercolor - 8.25x11.5 in. - Artist: Keiko Tanabe

Sekura III - Watercolor - 8.25x11.5 in. - Artist: Keiko Tanabe

It demonstrates how art has the power to connect us. As we rely more and more on technology for the processes by which we communicate, we cannot let the fact that communication itself is a human thing.  The nerve endings of the network are human.  At GameChangers, we call this human-to-human quality of communication ‘heart.’ Nothing connects across the techno-chasm like art.  It speaks a universal language. It keeps our humanity from getting marginalized, or gamed out of the communication equation entirely, by the mechanisms of the virtual world.

It rallies a community. There is something especially inspiring about a game like the Japan Challenge that rouses a community like Daily Paintworks out of ‘business-as-usual’ mode.  When individuals and communities are stirred to become more than what they were before, so are we.

It is a beautiful yes-and. It deals with the realities of the scene directly.  Keiko Tanabe of Daily Paintworks has family in Japan.  Art production and merchandising in a ‘challenge’ format is something Daily Paintworks already did.  It was embracing these two realities that led to the new reality of $21,000+ in ten days.  To change the game, don’t try to come up with a whole new game, tweak a game that’s already there.

‘Yes and’ Artfully

Wednesday, March 9th, 2011

The basic building block of improvisation is ‘Yes and.’  The premise of every statement improvisers make is one of agreement and addition.  Scenes move forward by ratcheting along with the ‘tool’ of yes-and like a climber finding holds on the side of a mountain…

MountainConnect1BYes, we are here, and I see a place we can grab over there.  Yes!  A new crack reveals itself, and we grab it.  We see another hold and we make the move.  Yes, and now we’re experiencing the mountain from a new perspective.  Multiple new holds appear, and one hold at a time, with each move accompanied by a thousand little calculations that are faster than conscious thought, we move up the face of the mountain.

Beginning improvisation students tend to use the phrase ‘Yes and’ literally.  Skilled players discover infinite ways to ‘Yes and’ without necessarily using the words themselves.  This keeps technique in the background where it belongs.  A scene in which every player begins every contribution with the words ‘Yes and’ will get sing-songy in a hurry, and that’s not what we want.  We want nuance.  Refinement.  We want technique to be second nature so that it becomes invisible to our audience, and we can pay attention fully to the realities of the environment and our fellow players.  That’s gamechanging leadership.

Gamechanging is the art of doing what’s best for the scene.  That means knowing a lot of different ways to yes-and.  GameChangers yes-and artfully, with technique taking a backseat to the scene’s objective.

They can do it with a smile and a supporting comment.  Or

A reaction and a correction. Or

With constructive criticism. Or

By giving gifts to their scene partners and making them look good.  Or

By seeing and adding to the environment. Or

By joining in the shop talk of the scene. Or

By keeping the scene focused on its objective. Or

By supporting the scene from offstage. Or

By making declarative statements instead of interrogating scene partners. Or

By energizing and heightening the emotional level of the scene.  Or

By emphasizing convergence on a solution when a divergence of ideas gets unwieldy. Or

By doing what our friend Kristen Parrinello calls ‘invisible work’ (@invisiblework is her Twitter handle), the little moves that are so subtle as to be invisible to the audience.

Walt Disney used to call yes-anding (and Pixar Animation has taken to calling it) ‘plussing.’  Add something to the scene, and if you don’t have anything to add, get off the stage.

Not that you shouldn’t practice yes-anding by literally using those two words.  You should.  Use them as a kind of warm-up or rehearsal, like you’d practice the basic forms in ballet or the scales in music.  When the game is on, and you’re in the heat of a big scene, ‘Yes and’ may not literally pop up in your dialogue, but the technique will be there, invisible and inaudible, doing its work, ratcheting you and your team to the summit of whatever mountain you choose to climb.

Quili

Tuesday, February 1st, 2011

I was thrilled last Wednesday to have lunch with Phillip Spolin, nephew of Viola Spolin, the godmother of modern improvisation.  Phillip had some kind of two-pronged plastic thing in the breast pocket of his jacket, and throughout our meal, I’d steal glances at it, wondering what it was.  A pair of glasses?  A couple of pens?  I was so caught up during our lunch in his stories about Viola that I never got to ask him.PhillipSpolin_Quili1

After lunch, I left the restaurant a minute behind him, and he was in the parking lot waiting for me, with the thing that was in his pocket in his hand.  It was a plastic figurine in a dancer’s pose.  (The two ‘prongs’ were its legs.)  He explained it to me that it was called a Quili, and that an artist friend of his, John Perry, had invented it.

On Friday, we were going to be doing a GameChangers event, and I’d been looking for some kind of prize to give away to participants.  Quilis would be perfect.  Our theme was ‘Connect the Dots,’ and that’s exactly what Quilis are designed to do–connect with one another in unique configurations with the super-strong rare earth magnets in their hands, feet and heads. Perfect alignment with our theme.

Spolin put me in touch with Perry, who lives in Agoura on a small ranch at the end of a winding gravel road.  He provided us with 20 Quilis, including several that aren’t yet on the market, for Friday’s event.  Perry had been designing refrigerator magnets five years ago when he came up with the idea for Quilis, and began making prototypes.  He had to design around an old patent on a small wooden cowboy figurine from the 1960s that had magnets in its hands and feet.  The patentable difference is that Quilis can stand alone without magnetism.  “Quilis don’t balance,” explained Perry.  “They stand.”

The current line of Quilis is available at museum and gallery gift shops.  The new line will be featured in the gift shop of the Kodak Theater when Cirque du Soleil begins a long-term engagement there this July.

In certain ways, improvisers are like Quilis.  They can connect with one another, with their environment and the objects in it.  (Rich Talarico calls it ‘Velcro-ing”)  They use their spines to help define character.  They don’t balance.  They stand.Quili_PerryCaption1