Follow the Music

This is an excerpt of my remarks for the June 19, 2014, Jazz Diplomacy event sponsored by Natixis at the National Archives. 

Into a Black, Brown, and Beige World
Into a Black, brown and beige world went US Jazz Ambassadors, including: Dizzy Gillespie, Dave Brubeck, Benny Goodman, Louis Armstrong and Duke Ellington. Leading with jazz and spreading democracy in sound, our finest musicians traveled to far-away places — Africa, the Middle East, Asia and Eastern Europe — collaborating and integrating with various people of the world for more than two decades, beginning in the mid 1950s.Middle East and Africa c 1955

Oh, they had been overseas before. Armstrong and Ellington had toured abroad in the early 1930s — just after the Stock Market Crash of 1929 — but this was different. These were no ordinary gigs. These musicians, who had established themselves as cultural icons at home, were now tasked with representing the nation abroad. Indeed, this integrated bunch whose home country was in the midst of an intense Civil Rights struggle, was being called upon to save the nation’s image, globally. They did that and so much more.

Ike Gets Dizzy
The idea of Jazz Ambassadors was a collaboration between President Dwight D. Eisenhower and Harlem Representative Adam Clayton Powell, Jr., after the successful multi-year Cold War tour of Porgy and Bess. Dwight EisenhowerNew York City Councilman Adam Clayton PowellPowell, who was married to organist Hazel Scott, was able to secure Dizzy Gillespie for the first official tour (Middle East, 1956). In the midst of racial strife that seemed sure to tear the nation apart, Dizzy Gillespie was a bold and necessary choice for leading the new venture.

But why jazz?

Jazz had an established global audience, internationally recognized talent, and was an art form indigenous to the United States. Primarily an instrumental music, jazz did not require lyrics, understanding the English language was not required for participation or appreciation. A “stealth weapon” of the Cold War, jazz was a relatively new art form so exceptional, it could rival the centuries of excellence of ballet and classical music embedded in European cultures and the Soviet Union. (Satchmo, 28) What’s more, jazz musicians weren’t hung up on race or ethnicity; jazz culture was and is inherently integrated, musicians sought and seek the best sounds. Jazz is an inclusive form, welcoming as many instruments as can be played.Global face

Created by Americans of African descent living in the US, jazz could simultaneously combat racial strife at home and promote diversity abroad. Supporting jazz meant acknowledging the cultural value of its historically marginalized populace, an effort that was in direct opposition to the realities as witnessed in contemporary news accounts. Dizzy big bandSeen through the lens of jazz, the United States was not the racist, materialist society others deemed it to be; instead, the US was a leader, a modern, progressive nation unified though its diversity, a disruptive innovator in a world wedded to custom.

Prelude to Chaos
The 1950s were turbulent years in the US. Senator Joseph McCarthy was closely associated with the era known as the “Red Scare” and took the ideological divide between democracy and communism to levels that were positively surreal. He turned his glance inward, accusing fellow countrymen of betrayal; and widened the gulf between races by castigating the socially conscious of every hue. The US involvement in the Korean War (1950-53) divided that country along ideological lines.

Separate, however, was not equal; so said the Supreme Court in its 1954 decision in Brown v Board but society had other ideas. In the summer of 1955, a young boy from Chicago, Emmett Till, was murdered in cold blood because witnesses thought they heard him whistle at a white co-ed during a summer visit to Mississippi.

Emmett Till imageDespite their own damning testimony, his killers were acquitted. That December, Rosa Parks refused to give up her seat to a white patron on a Montgomery, Alabama, bus and so launched a dignified nonviolent economic attack that lasted more than 380 days.Rosa Parks on bus

Segregation has been US social custom. Despite the Supreme Court’s ruling, Governor Orval Faubus of Arkansas sent the National Guard to prohibit nine children from integrating public school. Charles Mingus 2The Little Rock Nine eventually received protection from President Eisenhower who sent troops to protect the students’ right to matriculate. The insidiousness of this violence and the complexities of justice — these blues — were written indelibly into our cultural history with “Fables of Faubus” by Jazz Ambassador Charles Mingus.

Jazz and Life
Jazz had various forms but each reflected life in a unique way. Bebop musicians such as — Dizzy Gillespie, Charlie Parker, Thelonious Monk, Roy Haynes, and JJ Johnson — brought forth a sound that illuminated virtuosity, was harmonically complex, and faaaaast! Bebop was rebellious, unsettling, and energetic. Domestically, it reflected the struggle for Civil Rights. Internationally, it appealed to youth and many overseas who struggled (psychologically, at least) and imagined life under a more liberal order.

The swing music of the big-band era with its steady, reliably placed beats, no longer seemed sufficient for capturing the velocity of social change. Incredulous, unnerving social contradictions, were expressed in bebop with sounds that were at once fiercely violent, emotionally dense, and cathartic. In one sense, musicians seemed to intellectualize the struggle; creatively processing its absurdities and indignities. Yet, swing privileged collaboration, promoted individuality through improvisation, and suggested social cohesion in ways bebop did not.

Innovation through Jazz
Legendary producer, NEA Jazz Master George Wein understood integration on a variety of levels. He knew we needed a variety of jazz forms and he wanted as many people as possible to engage the music. In 1954, when the United States seemed to be on the brink of social collapse, George began a series of annual outdoor jazz festivals in Newport, Rhode Island; and the rest, as they say, is history. George Wein & DukeThe idea of jazz festivals democratized the way we experience music. Through jazz festivals, George gave us a template for active engagement, audience growth and development, rotating leadership, and private/public partnership. Jazz reached through socio-economic barriers, dealt with the depths of emotional pain and injustice forthrightly, celebrated the triumph of the human spirit, and made even the most unlikely collaborations possible.

This was music to the State Department’s ears. George had a model that worked and a sizable, reliable network of musicians. The alliance between George Wein’s Festival Productions and the US Department of State was ideal. Musicians were able to expand the audience for their music and develop artistic alliances that would otherwise not be possible. The State Department was able to enter geopolitical spaces in black, brown and beige areas, bridge gaps in understanding, and forge meaningful alliances by bearing culture — not arms.

What’s more, jazz is self-regenerating. Whether swing, bebop, avant-garde, or cool — jazz adapts to change, embraces difference, and enables individuality through freedom of expression. Jazz is always modern and always relevant; it is agile. As Cultural Historian Albert Murray wrote, “The more any art form changes… the more it should be able to fulfill its original function.” (Hero, 72)

The tours of Eastern Europe and the Soviet Union were arguably the most successful. Musicians adapted to their ever-changing environments and audiences. EE Soviet map c1960They formed musical alliances, booked gigs and gave interviews in local markets. The music was sold bootleg and broadcast on the radio. Jazz became the sound of democracy and where jazz went, so too did commerce. Jazz had broad social appeal and reached the “man in the streets” not just those in elite circles of power. This was revolutionary — average citizens the world over had the chance to experience an art form that spoke to them directly and encouraged them to speak back. Jazz availed people of the possibilities inherent in individual self-expression.

*          *          *

The, now historic, Jazz Ambassador tours ended in the mid 1970s. The program left an indelible impact on all those involved; from diplomats whose jobs were made easier because of the way jazz commanded respect and made conversations flow, to musicians who hungered for the breadth of exposure to new sounds and interactions with new audiences, to average citizens who recognized their voice.

Follow the Music
Jazz tours continue today in modified form. Cultural presentation programs are now commonplace but it is no coincidence jazz was an early leader. As a response to economic disaster at home, musicians revealed themselves as entrepreneurs and expanded their networks of supporters and sponsors decades before terms like “social media” or “globalization” would enter into our collective vocabulary. Moreover, the blues — the deep feeling of contrasting emotions transmitted through sound, captured and sustained in jazz — is what connects people to the music and invites them into the shared creative, expressive, space and facilitates the formation of emotional communities. People from far and wide travel to be close to the music and what’s more, jazz musicians will travel to reach the people; they seek each other. As an inherently inclusive art form, jazz works because musicians absorb the sounds of local environments and through seamless collaboration, extend and enhance understanding.
Our efforts to engage the black, brown and beige of the world today — those in our own country and in emerging economies — will require lessons learned best through jazz: collaboration, listening, improvisation, and leading. Follow the music, it will teach you everything you need to know.

 

 

 

Jazz & the State

Mark S. Weiner was our guest on the March 7, 2014, episode of Trading Fours with Drs. Modeste & Wes. Mark’s most recent book, The Rule of the Clan, is a really smart read; insightful, and filled with the intellectual provocations suggested by his title via the word “clan” and the idea that its ability to “rule” itself (and perhaps us?) is something we should think about carefully.

The idea is that in the presence of a weak State, extended kinship groups (clans) provide necessary protections, resources, and assistance for its people. The role of the State, then, is to integrate into these groups — via laws, enforcement, myriad resources, opportunities, and assistance — in such a way as to present an attractive alternative to clan rule. In liberal societies, the goal is to “liberate” or remove barriers to individual self-expression. So, the laws, resources, etc., are ideally intended to facilitate the process by which individuality is realized, actualized.

This is what jazz does. What you see on the bandstand, what you hear when you listen to jazz, is the process of granting individual self-expression via improvisation within a group. So, liberal society requires diverse voices and structures that enable the freedom of self-expression.

The agreement amongst musicians, the social contract, if you will, is that each person has decided to enable the freedom of self-expression — “we will help each other and won’t get in each other’s way” — is the unstated mantra of the jazz band.

During the Cold War, jazz was viewed as a stealth weapon precisely because if its ability to entice people with the possibilities inherent in the freedom of self-expression. Jazz music represented democracy, literally and metaphorically; and during the ideological standoff between communism and its foe, jazz musicians and their fans were considered threats to a more orderly way of life. Makes sense, jazz and democracy are messy. When everyone has a voice that is deemed valid for meaningful participation on the bandstand and/or in civic, judicial, political, and executive processes; then, decision-making is complicated and can be slow, tedious, and costly. Authoritarian regimes can seem utopian by contrast.

Jazz is Hard. Democracy is hard. Integration is hard.
Clans offer comfort and security, until they don’t. Deep loyalties can mask abuses of every kind, limit or obscure opportunities, and otherwise veil potential. When the State is weak, corruption reigns, and abuses of every kind are rampant. Deregulation is a great idea, until it isn’t. Sure, liberating markets is great but when the effort feeds on itself; we can easily revert to closeted activities — nepotism, sexism, racism, etc., — that erode progress and undermine not only the economy but the strength of liberal society. Integration encourages transparency, revealing activities that might otherwise remain hidden. This inherent checks & balances system makes democracy hard all over again. A strong State promotes and protects individuality. Dr. Wes said it best on Friday’s show, [Duke Ellington would], “enable members of his band to be their best selves—and as a result, by the way, very few people wanted to leave his band.” Where jazz goes; so, too, goes democracy. Let’s swing.

Albert Murray’s Influence Beyond the Blues

Albert Murray was 97 when he passed away in his Harlem apartment on Sunday, August 18, 2013, at 7:30PM. It was a moment those of us closest to him had been expecting and when the moment finally came, the foot soldiers in his command knew just what to do. A series of calls, emails, and text alerts signaled to all — the time had come. Some of us convened in his home to offer comfort to the family; hear his long-time caretaker’s stories of his final moments, watch a VHS of his 50th wedding anniversary, toast the magnitude of the man, and contact the media.

Albert Murray, Jackie Modeste

Albert Murray, Jackie Modeste

 

In the days that followed, there have been many tributes to Murray. I have remained silent; the articles written – when combined – offer a fair assessment of Murray and his work. Fellow Murrayite Paul Devlin shared an article written by Daniel Matlin that motivated me to join the discussion. Matlin gets off to a good start, quoting Henry Louis Gates Jr. in describing Murray as a “militant integrationist” Ahhh yes; that line of thinking will move us in a direction we’ve not yet ventured in re-membering Murray. In his seminal text, The Omni Americans, Murray famously defined American culture as “incontestably mulatto.” (22) Matlin’s historical timeline — his delineation of the riots, their impact, and the shifting discourse from the civil rights issues of the South to the urban blight in the North — is insightful. His deft positioning of the intellectual and philosophical divide between those who laid bare the urban blight of Northern cities and those who celebrated the “creativity and agency of the black poor” is instructive. As Matlin asserts, Murray’s writings often countered “pathologism by adopting a diametrically opposed position that was no less partial and exaggerated, and that tended toward a troubling romanticization of the lives of the black urban poor.”

Indeed. So, let’s begin THAT discussion….

The integrationist ideology advanced in Murray’s nonfiction and depicted fictionally in his Scooter series lacked the overt edginess and violence of the Jim Crow era, the tumultuous Civil Rights era, and subsequent racial strife. As Matlin suggests, Murray’s writing seemed out of touch. This criticism is not without merit. However, there are two aspects about Murray you should know: Albert Murray was an Air Force officer and a man who believed, unwaveringly, in the power of educational excellence. As such, Murray saw a world beyond localized conflict. Instead of harnessing the energy of legitimate resentment or anger towards social and economic injustice and transforming these emotions into more of the same in a “boots-on-the-ground” effort to effect change; Murray employed a strategy that had the potential to change the governing structure of society.

In the culture of so-called black Americans, Murray found the arsenal for revolutionary change — the creative transformation of the blues and the harmonious collaboration of jazz in the form of swing. In the trenches of civil unrest words, ideas, and bodies could become casualties of sectarian fighting. So from his Spyglass tree – the eighth floor of his Harlem apartment – Murray looked down on the rooftops and streets, considered the vast expanse of human endeavor and possibility, and developed a strategy – a cultural coping mechanism – for combating injustice, long term and worldwide.

The Necessity of heroes 

The Scooter Murray created was a storybook hero, an archetype, whose exploits were meant to instruct the masses. If Scooter’s do-good nature seemed to belie the very real dangers of Jim Crow, it was because he saw a world of possibility in spite of the perpetual threats to his mind, body and spirit. Indeed, Scooter was Murray’s “(local) personification of the hope… of mankind.” (Hero and the Blues, 92) Armed with a rich culture, solid education, an inquisitive nature, and steel-rugged determination, Scooter was a “prediction and even a promise” a “warning as well as an inspiration” of the meaningful change to come. (Hero, 92) Those, who like Scooter, wielded razor-sharp intellect and demonstrated intellectual and emotional agility could be central players in societal transformation – not in the streets – but on the level of policy; an effort that required deep integration into new and more complicated environments and the “high grade point average” Murray wrote about so often. (Briarpatch, 20)

JALC Wall: Emilio, Jose, Albert Murray

 

Education & revolutionary change

Murray noted, “Many confuse revolution with rebellion.” (Briarpatch, 18) Murray reminded his readers that the “rebellion part, as rugged as it may get to be from time to time, is only incidental. It is the revolutionary change that counts” and in Murray’s estimation, education would be the key. So, at the 1978 Honors Convocation at Howard University, Murray advised his audience to be “outstanding students.” “What” he asked “could be more subversive in the United States!” (18) Indeed, in light of the privatization of education, the frenzied high-stakes testing, the rising cost of higher education, etc. – Murray’s insights are as timely as ever.

From the particular to the universal 

The dichotomy Matlin creates – castigating or celebrating black American life – is not sufficient for studying Murray. Murray’s writing on the hybrid nature of the blues and jazz and their rightful place in discussions of US identity are key to understanding the vast influence of his thinking. The blues and swing represent the relationship between the particular and universal. For Murray, “the intellectual’s very first step should represent an effort to approach life in universal terms…. To become as cosmopolitan as possible.” Further, he advised, “you reach the universal or the cosmopolitan through the particular.” (Briarpatch, 18)

So what does this mean?

It means by recognizing the individuality expressed through the blues we gain insight into larger group dynamics. The blues with its deep emotion, inherent call-and-response pattern, and ultimate catharsis, acknowledges and affirms humanity. The human desire to connect is revealed through the blues as is the potential to transform, endure and perhaps thrive amidst even the most inhumane circumstances or conditions. Jazz with its polyrhythms, multi instrumentation, and varied configurations represents the complexity of group dynamics. The blues is the common denominator, connecting individuals emotionally. When individuals recognize their shared emotion — when they listen to one another – they can develop empathy for each other. When jazz musicians bend their instrumental sounds to the fragility of the human voice, the wailing, moaning, and longing so often associated with the blues; they acknowledge, integrate, and emulate human emotion and make it part of the group’s consciousness and forward movement. When this is part of swing, it is the ultimate form of cooperation or collaboration because it indicates we’re listening to one another and moving in the same direction.

Writ large, the relationship between the blues and jazz offers insight into community formation, organizational structure, and the possibilities of large-scale collaboration. Championing the blues as a necessary component of jazz acknowledges the myriad contributions of Americans of African descent in the creation of the broader US national identity. It is also a mechanism by which to acknowledge and integrate the historically marginalized and disenfranchised into the broader fabric of American life. By transference, this is a template that can be applied across geopolitical borders because every region, every country has its own blues. Swing represents a coordinated effort. Make no mistake, spreading jazz – especially in the form of swing – whether by musical tours, educational programming, online streaming, etc., is an inherently radical act because it makes people aware of their individual voices and their collective power. This is the connection between jazz and democracy. One need look no further than to the Arab Spring to understand the transformative power of people acknowledging individual suffering, collaborating, and effecting meaningful change. Historian Penny M. Von Eschen insightfully noted, “jazz consistently represented a stealth weapon” during the Cold War – the same is true today. (Satchmo, 28)

 

Beyond the Blues…

And there’s more… When multinational corporations enter into established or emerging market areas, their activities are not unlike that of the musician playing blues-based jazz. The corporate behemoth must bend its “ear” to the streets in order to better know the desires of potential consumers. To better understand the dynamics of crowds? Look no further than a Second Line parade or a jam session. To integrate innovation into business models or company culture? Look to the jazz musician soloing, improvising collectively, or in a small group. Hierarchical organizations in general – corporations, governments, and higher education institutions – pose particular challenges to progress and innovation, the blues and jazz studied as related processes offer insight into how and where to make necessary improvements. Through his writing, Murray projected an “image of man (and of human possibility) that is intrinsically revolutionary. Such an image… is automatically at radical odds with the status quo.” (Hero, 81)

Do Murray’s methods of combat belie the grittiness of the struggle for socio-economic justice? Hardly. Like the military man he was, Murray formulated strategy above the fray (an Air Force officer would) that would take care of us individually but that could serve the cause of socio-economic injustice globally.

My mentor Albert Murray will be memorialized tomorrow, September 10, 2013, at 1PM in the Allen Room at Jazz at Lincoln Center, an organization built in large part on his intellectual framework. We do ourselves a great disservice if we think of Murray as a man who presented simple dichotomies such as – black v. white or “misery and social breakdown” v. “joyful and carefree.” Not only do we miss the breadth and depth of Murray’s thinking and reveal ourselves as poor students of culture with only a tangential understanding of his voluminous writings; we simplify the struggle for socio-economic justice and so become consumed with distractions at the margins of the debates. Honoring Albert Murray requires intellectual integration, moving our thinking from margin to center; being “incontestably mulatto.” After all, we are Omni-Americans.

 

The Gorilla & the Deep Blue (Ocean) Sea

This is a tumultuous time in the US. The Sanford, Florida, trial that let a murderer walk free reinforced various laws designed to protect assailants and insure the silence of targets of violence. In blatant opposition to public discourse, the judge in the case did not allow racial discussion to enter meaningfully into the proceedings. The outcome of the case has been contested in the media and public discontent stands in stark opposition to the court’s ruling indicating a most troubling disconnect between the public and the laws that govern our lives.

Part of a Larger Trend

This disconnect is part of a larger trend. Our human capital is our most valuable asset. We do ourselves a great disservice when we fail to recognize the potential of our diverse US population in bridging obvious gaps in the cultural capital we need to broker multinational deals in emerging market areas. The world is round, brown, young, rural and poor (by Western economic standards). Global access to the market economy is conduced largely via mobile transactions. This is why Facebook, Apple and Google have been in a push to open Internet access and sell cheaper versions of their devices in emerging market areas. It’s no surprise that multinationals see and appreciate this value; potential for new customers is an ocean that is vast and blue. Blue oceans represent continued growth for multinationals, longevity. However, so many of us don’t see similarly; we are not swimmers, we are afraid of the water and of the enormous gorilla sitting at the shore but more on that in a bit…

Population & Income

Neil Ungerleider notes, “tens of millions of American [US] Android and iPhone owners are struggling to make ends meet – and there are even more who are senior citizens, who live in rural areas, lack college or high school degrees…”

Income & Age

Income & Age

These people most closely resemble the billions of people in emerging market areas. Yet, the startup technology sector tends to preach to the choir – creating apps and opportunities for the “suburban/urban, and middle-to-upper class.” Neil insightfully notes, the “technology world is missing out on a lot of innovation” and tech companies are “missing out on potential profits.” Tech companies simply and unimaginatively create for each other and seem content investing in each other’s ideas; splashing around rather merrily in the backyard pool, they are oblivious to the big blue ocean.

The 800lb Gorilla

Diversity is a term that has become cliché and that’s unfortunate because we miss its nuances and so its value. The history of racial heritage bias in the US is so long and deep that it obliterates more complex discussions, such as the conflation of racial heritage and economics. We are left with relatively simplistic discussions of race that not only lack intellectual nuance but also that leave the structures of division unchallenged and so firmly in place, reinforcing socio-economic stagnation. These days and certainly with the re-election of the nation’s first President of African descent, discussions of race and racially realized power are considered outdated or irrelevant.

800lb gorilla

The 800lb gorilla blocking our access to sustained progress is race and its myriad combinations (gender, sexuality, power, etc.). Our efforts to ignore the gorilla are directly proportional to our delusions of grandeur. We simply cannot be effective players on the global stage if we refuse to engage matters of race in a brown world. So when an adult, whose father was a judge and served 10 years at the Pentagon, carries a concealed weapon and murders an unarmed teenager, the presiding judge’s decision to prohibit discussions of race from courtroom proceedings makes good sense – if you don’t think about it.

Youthful Future

In “Killing our Competitive Edge” I lamented the killing of our human capital. That our youth is our future is not simply a cliché; it’s a matter of fact; and, as the population expands, so does the growth of the nonwhite US sector. Likewise, the world’s population is growing steadily, particularly in emerging market regions. Internationally, growth is projected to be most robust in high-fertility countries such as India, Pakistan, Indonesia, and the Philippines. Additionally, the populations of several African nations are expected to increase by at least five fold between 2013 and 2100. Young brown people, those under 25, comprise approximately 40 percent of today’s overall population and the number of people older than 60 is projected to triple by 2100. Despite this, technology companies create for the relatively few moneyed and well educated, seemingly blind to the existence and so the demands of the 800lb gorilla.

So What Gives?

We discuss diversity in terms that eliminate mention of race and so leave race and its related discussions void of complexity and nuance. We dance around the gorilla. In her well-meaning, thoughtful and even insightful article “Innovation Needs a Lingua Franca” (and by the way, that lingua franca? it’s called jazz) Whitney Johnson discusses the benefits of foreign language (Spanish in this case) and travel (to Uruguay) and describes how being on the “margin of culture” and “reaching out into unknown territory” were invaluable personal and professional experiences. Innovation, Johnson “discovers” happens when we put ourselves in “unpleasant” situations because it “opens a space for truly new ideas.”

Indeed, people of color no matter their socio-economic status live at the margins of culture everyday; and at least since W.E.B. DuBois articulated the notion of two-ness in his seminal work, The Souls of Black Folk (1903), we’ve had a language to describe and critique this allegedly newfound condition of being. When, like Whitney, we acknowledge and then disrupt our largely self-imposed segregated communities by daring to venture into realms unknown – like so many native-born, forced and willful immigrants who courageously integrate into “majority” societies the world over – we encourage creativity and position ourselves to “discover” all things anew. Through “two-ness” (three-ness, four-ness…), we discover the complexity that brings with it the benefit of helping us see more of the spectrum of human endeavor, behavior and desire. Through complexity, we build the confidence and the capacity to face the beast (otherwise known as the blues) and move beyond it into the vast blue oceans that await (knowing all the while there will be other predators to face).

Where Do We Go From Here?

When foreign travel and in-country language training become the recommended solutions for experiencing so-called diversity; when technology companies create apps, products and services for those within their own elite communities; when justices silence racial commentary from entering into legal discourse, we feed the gorilla while continuing to deny its existence and so reveal the breadth and depth of our delusions and essentially admit to the world our inability to partner effectively on matters of global consequence. We also perpetuate “otherness” and relegate diversity to a trendy “add-on” experience for the moneyed and well-educated and distance ourselves from the global reality of a growing youthful, brown and non-moneyed population. So when, as Mary Driscoll notes, we discover “major supply-chain disruption” in multinational corporations due to “unforeseen events” the problem is indeed blindness, cultural blindness to “many crucial strategic risks.” Ralph Ellison wrote eloquently on the dangers of these so-called “sleepwalkers” in his 1952 classic, The Invisible Man. Sleepwalkers are ill-prepared to contribute effectively to matters of global significance. I know it’s scary but it’s time to acknowledge the gorilla and call it by name — these are the first steps of change.

Killing our Competitive Edge

The outrage over the acquittal of George Zimmerman in the death of Trayvon Martin is a reminder of the continued racial hostilities in the United States.

Trayvon Martin

Inequality and racism are toxins in the US that undermine every effort to build stronger communities, better schools, and prepare our populace to contribute effectively to the global economy. If we cannot right the wrongs in our midst, we lack the legitimacy to combat various humanitarian and political crises beyond our shores. We are ill-equipped partners in the global battles of women’s rights, human rights and justice in general if we cannot acknowledge the deep injustices in our own systems.

Circle of feet

The World is Brown

The world is not only round it is brown. Globalization is real. The next billion customers whose business is coveted by multinational corporations inhabit vast regions of the globe where the people are brown. The ethnic, religious, and national diversity inherent in the US populace and the – albeit, imperfect – framework we have in place to integrate all people into the functioning of the nation gives the US a unique advantage in having the skills necessary to effectively engage with the global community. Our diversity is our strength, it’s our competitive edge in all matters international. However domestic rising economic inequality and deeply imbedded racism unSchool childrendermine our progress in ways sure to leave us the outliers in global conversations of significance. Decisions of consequence – such as governance, education, and women’s rights – will be decided for us by a small faction, the globally proficient moneyed elite.

Education: the Miner’s Canary

The changes in education are instructive: the cost of tuition far outpacing median incomes; student loan debt surpassing credit card debt; students, teachers and schools “failing” to meet the standards necessary to ensure operations and funding; and the murder of pedagogy (and so creativity) in favor of an autocratic system designed to constrict learning to test taking.

Tuition v Income

A college education is considered mandatory for being competitive in the global economy. Yet when only the wealthy can afford higher education and we saddle the masses with massive student loan debt when they “buy-in” to the American dream, we undermine democracy, the likelihood of social mobility and contribute to greater income and asset inequality. What’s more, we create the conditions that cultivate the continued rise of a global elite, an oligarchy, separated – segregated – from the very masses that dominate the global economy.

Possibilities

MOOCs and community colleges offer practical alternatives for our domestic population and the global masses. However, these options are not recognized as viable replacements for brick-and-mortar or traditional four-year institutions. Furthermore, in their current iteration MOOCs have the eery appearance of “push” education, using a cookie-cutter approach to educational delivery, oblivious to differences in culture, learning styles, exposure,   and overall readiness to learn. The archaic system of educating lacks the agility necessary for educating broadly and is certainly incapable of educating billions around the world. Educational reform should concern itself with making education more egalitarian.

Youth: Leaders of Change

Our youth have always been the leaders of change, domestically and globally. When we allow an assailant’s bullet to kill our youth – such as in Chicago; Sanford, Florida; New York City or Oakland, California – we are killing our competitive edge, breeding hostility and distrust, and nourishing the status quo. Civil unrest in the Middle East, Africa, Asia, and Latin America are not unlike struggles in the United States. Indeed, these global movements serve not only as powerful reminders of the consequences of cultivating inequality they undermine the legitimacy of our democracy, preview the bloody struggle necessary for justice, and align our struggles with the global masses. Globalization has come home.

SeminArts: cultural education

Cheating is a pervasive in our educational system; ok, yes, and in so many other areas of recent angst such as finance and banking/loans. But for now…

As the US tries to find new ways to emulate the Chinese system of educating, we’d do well to keep in mind the outcome of such efforts. When a sole test is the primary determinant for admission to college – which students are told is mandatory if they are to lead meaningful lives as middle-class citizens – then, we should expect a high incidence of cheating. Sal Bommarito’s suggestion that we teach ethics courses in school is just fine but is inadequate in combating the systemic problem of cheating. We have a cultural problem. Integrity is not learned in one class or even in a series of classes. It is cultivated over time and should be integrated into every aspect of learning, in the classroom and beyond its walls.

There is no way to “cheat” on a musical jury. There is no way to fake your way through an audition for acting, dance, or voice. There is simply no way to hide your inadequacies in sculpting, paining or design. Live performance requires authenticity. Our blind quest to mass produce education via standardized tests administered to swaths of students holed up in testing centers, leaves us ill prepared to identify the fakers in our midst. Artists practice integrity every day.

Matt Schiavenza notes that China’s educational system reflects “ancient Confucian principles” and “places an overwhelming emphasis on “memorization, recitation, and examination.” This makes sense because Confucius is so important in Chinese culture. Shouldn’t we value our own culture? The fierce independent spirit and innovation associated with being American should be at the core of our educational endeavors, impact pedagogy and guide policy decisions. Our obsessive and rather mindless obsession with testing illuminates the very worst parts of US culture; namely, our obsession with consumerism and this undermines our global legitimacy – it always has.

One reason jazz is so often associated with democracy is that the music is egalitarian. This means, anyone who desires to play jazz can participate. French horns, bassoons, saxophones, drums of any sort, Middle Eastern instruments, foot stomping, hand clapping, singing, humming and the like can all be used to perform jazz. The prerequisite for participation is a basic understanding of the instrument you choose to articulate your voice. It seems to me that our system of educating should also be egalitarian and reflect our democracy and culture of innovation.

So, here are some questions to consider: How do we honor our culture through education? Who is important in US culture and what aspects of their importance do we want to model? How might we transfer the best aspects of our culture into our pedagogy? How can we restructure, influence and so reshape our educational policies to be more in line with the richness of our culture? SeminArts and SeminArts LIVE!!! will explore these questions and more. Stay tuned…

The Necessity of Global Swing

Swing is a matter of coordination – finding and sustaining equilibrium – a rhythmic flow. The recent G-20 meeting in Mexico was an example of the shifting global terrain. The ebbing of Western dominance must be balanced with nations not historically integrated into the global power structure. This year, BRIC nations asserted their voices globally by contributing 75% of the International Monetary Fund’s firewall. Similar articulations resonate in the healthcare sector where India, for example, has had a major impact on reducing the price of HIV/AIDS treatments and essentially eliminating its country’s polio epidemic.
Swing

The need to compete

Getting the world to swing will require coordination across and through regions. As with a jazz ensemble, each section or region has its own sound, its own expertise. Mutual respect within sections and between them informs the performance of the chart. Divided into chairs or individual roles within the section, each musician – like each geographic region – has a role to play that can be noncompetitive within the section/region and certainly across instrumental divisions in the same way that Taiwan will differentiate itself (market segment, military, cultural offerings and consumer preferences, etc.) from South Korea and from Hong Kong. Likewise, a first-chair saxophonist cannot compete with a second chair; they play different parts. A saxophone and trombone are, of course functionally different and play in different keys though both are needed in an ensemble.

When the virtuosity of one instrumentalist challenges that of another within his section; increasing the number of chair positions can accommodate the internal or sectional differentiation. The more chair positions (think globally here and think diversity) the greater the ability to capture nuances of sound, to recognize individuality. Geographically, when the virtuosity or expertise of one region is articulated, it differentiates itself from other regions.

Blind & Deaf

Superpowers no longer rule the world. Today’s construct is not a dialogue but a conversation disrupted by a multiplicity of voices. BRIC nations, African countries, and Latin American nations have integrated into and diversified the global dialogue, and have created a polyrhythmic global conversation that requires more nuanced hearing, different listening, and more complex and attuned responding. Nicholas Kristof’s NYT article on Africa and its promise is instructive. As he notes, the media typically covers the famine or genocide dichotomy all too familiar when reporting on African nations. This “black or white” divide is all too common in US political, legal and economic history. When these polarities guide discussions, they mask underlying potential of people and individual nations; turning a blind eye and a deaf ear to nations and entire continents where talent and vast resources are left unrealized. By seeing and hearing differently the US might – like the Asian countries Kristof mentions – build mutually beneficial relationships in Africa.

Jazz as a conversation

Conversations enriched by multiple points of view can – like jazz – create the conditions for new ideas to emerge and innovations to occur. Each new bit of information integrated into a conversation, each new instrumental voice incorporated into a jazz score increases the differentiation. Each new disruption requires us to seek balance again by acknowledging and responding to the disruptive force. For example, the common 4/4 time signature is disrupted each time the blues weaves its way into the sonic efficiency. Improvisations also challenge equilibrium. Culturally this is the process by which we integrate diverse national, religious, gendered, etc., voices into conversations ranging from global governance and multinational management strategies to local politics and school board elections.

Artful impact

Seeing and hearing differently increases our consciousness and can change our perspective. Take, for example, Scott Shane’s NYT article “as Islamists Gain Influence, Washington Reassesses Who Its Friends Are.” The author correctly assumes that Americans don’t see clearly or listen carefully. Why should anyone be surprised when a nation of Muslims elects an Islamist government? Yet, those accustomed to binary opposition are suspicious of the gray area regarding inquiries by the newly elected President into the release of an Egyptian sheik. On this point Representative Peter T. King, chairman of the Homeland Security Committee asserts, this is “the kind of talk you hear on the street – not from the president of the country.” Well, yes, Peter and that’s actually the point. Learning to listen to the crowds and not simply voices emanating from the elite sectors of government (or the C-Suites in business) gives us vital information that could be instructive. (Think Jamie Dimon).

Middle East experts like Michele Dunne, however, are attuned to nuances. In her view it should not be assumed that the “rise in Islamists puts the United States in greater danger from terrorists.” In fact, she thinks the opposite may be true. “Major Egyptian terrorists” she notes, “were shaped by their rage against the [Hosni] Mubarak dictatorship” – a secular Western-leaning leader.  “The movement of Islamists into mainstream politics should reduce the terrorism threat.” Thinking musically, this makes sense to me because when the voices of the people are integrated into the policies that govern their lives – the score – the policies are consistent with their views. When strategy reaches the frontline, productivity increases due to large-scale “buy-in.” The integration of voices into and across sectors disrupts the one-way flow of information. But there’s more – when multiple voices are integrated into the flow of information the dichotomy is disrupted and an enriched conversation occurs.

Is this hard to manage? Of course! Short term, dictatorial styles are highly efficient but if you’re committed to democratic formation or long-term business viability and relevance, it’s wise to be slow and steady. Coordinated efforts increase engagement and dissention but they also diffuse tension over time and create the conditions for sustained organizational flow, or swing. Michele Dunne’s advice is instructive, “If Islamic groups like the Brotherhood lose faith in democracy” — when your citizens or employees think their voices are not being heard — “that’s when there could be consequences.”

Get ready to swing…

What’s this mean for you? Get more art in your life. Art is disruptive; it forces us to emote, to demonstrate our humanity. Moreover, art gives us examples we can use to deepen our understanding of the world.

Disruption anyone?

Consider the following clip: Alan Gilbert directs a masterful program, the “Philharmonic 360” a spatial performance that features three separately situated orchestras in New York’s Park Avenue Armory. Philharmonic 360This ain’t no concert hall. The Armory is the size of a US football field with an 80 ft (24m) vaulted ceiling. Think about the three separately situated orchestras as geographic regions and consider their efforts to perform their very best rendition of a chart, the way in which their sounds diffuse into the air, and are received by audience members. Now consider the challenges of conducting or governing these disparate regions, each with its own identity, personality, strengths and weaknesses, etc. Now consider the importance of trust and having your strategy/chart reach the “frontline.”

Classical changes

Disrupting organizational structure is unsettling. Coordinating seemingly disparate voices is an anxiety-ridden endeavor and the outcomes are not assured (though Gilbert’s program was brilliant). Gilbert’s program was exceptional in the classical realm. Jazz at Lincoln Center’s largest venue, Frederick P. Rose Hall, features a stage where part of the audience sits behind the orchestra.

JALC Rose Theatre

 You see, jazz is about mobility and integration and so in the concert hall designed specifically for its performance, audience engagement was a key factor. In Gilbert’s program and in the Ode to Joy Flash Mob, classical music is seen doing what art always does – disrupting our sensibilities. Jazz does this all the time but classical? Indeed, the tectonic plates are shifting. Let’s find our footing and swing.

Crowds, Chaos, & the Competitive Edge

“Facebook really helped people to communicate, but not to collaborate.”

— liberal Egyptian friend of Thomas L. Friedman

I’ve been fascinated by Facebook’s IPO and its skewed valuation. I’ve written here about its mission to connect people, its open platform, use as a diplomatic tool and how this correlates to jazz and its similar use. Today, I’m thinking about connecting, collaborating, and crowds. While jazz encourages collaboration, it’s alleged Facebook does not… but can it? What is the relationship between connecting and collaborating? Are crowds manageable and if so, to what extent, and what are the consequences?

The role of social media in transforming dictatorships is well documented. By raising awareness and creating a sense of urgency, Facebook users in the Arab world were able to voice collective opinions about their governance and effect change. Yet, the crowds that connected to topple dictatorships have been unable to answer the bigger more prescient question: What next? The Muslim Brotherhood and the Egyptian Army, relatively small groups, are well-organized and will likely make decisions on next steps. In the US, the Electoral College streamlines the power of the masses and usurps the popular vote to decide Presidential elections.

But aren’t crowds the essence of democracy? Don’t the Muslim Brotherhood, Egyptian Army, and Electoral College create oligarchies by representing (or seeming to represent) the masses who fought and died for democracy?

Meritocracy

Chris Hayes has an interesting take on this. In a really smart discussion about meritocracy in education, Chris touts the benefits of selecting the “best and brightest” from the masses through a process that is open and transparent. Those deemed exceptional receive specialized training and are tracked for enhanced opportunities because they represent society’s best. Chris disrupts the notion of hierarchy based on merit by using several key examples and reveals how centralized power is born from an otherwise democratic process that essentially reinforces the status quo.

Do open systems and crowds naturally or logically lead us to centralized power and oligarchies?

Facebook & Jazz

Facebook’s dilemma seems two tiered: how to determine its valuation and how to monetize crowds. With more than 900 million users and room to grow globally, advertisers and investors have a difficult task at hand. The growth strategy needed seems to be one of moving from connecting to collaborating and here’s where jazz can be instructive.

Connecting to jazz can be as simple as passively listening to music on an iPod but collaborating is different. Active listening – engaging the music through foot tapping, finger snapping, head bopping and the like – integrates audience members/listeners into shared time with musicians. Physical response is a way of acknowledging and validating each other’s presence; it’s collaboration, the ultimate “buy in.” In second line parades, in particular, the energy of cooperation has both magnitude and direction; collaboration is compounded because random people from various points – crowds – convene, enter into, and act upon the acknowledged shared time in a coordinated way along a designated path. The crowd eventually disseminates, becomes random again, and moves onward to the next parade.

Music experienced in shared time reduces, momentarily, the chaos of crowds by coalescing, harnessing, and channeling the energy. Individual and collective movements become relatively predictable in and around the rhythm. Of course, this is why algorithms are important (but insufficient because humans are emotional beings – think of the disruptive nature of the blues — with no finite number of predictable responses) in data analysis. But for now…

Controlling the chaos of crowds is meaningful for jazz, Facebook, and democracy. Swing jazz with its mechanically efficient time signature, is an important step in ordering action. However, this is not the Pied Piper, leading his passive followers to doom. This is a Second Line parade, a dynamic ordering of people where participants are meaningfully and creatively engaged in shared time for a specific purpose. The band and audience members need each other to sustain the forward momentum.

Similarly, in Facebook, the power of the crowd lies in its differentiation realized collectively. Administrators of Facebook Pages create spaces where people can convene and actively and meaningfully engage one another around a common topic, event, goal, or activity. In democracy, the voices of the people must be integrated into the governing party lest questions of legitimacy arise. There should be active engagement, not merely representation, between members. In each case – jazz, Facebook, democracy –individuals have the power to disrupt order despite organized efficiency (think metronomic swing, timelines, status updates, “likes”, and Six Sigma).

The voices of the people are integrated into an ensemble (if the sound is smooth) or by way of collective improvisation (if it’s edgy) – no single entity or small group reigns. According to Mc Kinsey Quarterly, this type of interaction “requires a more direct, personal, and empathetic exchange than a traditional town hall meeting allows.” It’s team building or creating a band.

The Competitive Edge?

This emerges over time as a result of differentiated focused action. Get inside the crowd; integrate into the masses and change your vantage point and your steps accordingly. Crowds don’t walk in straight lines; they are nimble, agile, and ready for change. Beware of systems of efficiency because these do not take into consideration the volatility of humans. Structures that don’t bend, break (NOLA levees and Hurricane Katrina)

Jazz, Billy Preston and Global Governance: the song that ain’t got no melody

There’s a standard seating arrangement in a jazz ensemble; reeds up front, brass in back, rhythm to the side. Jazz seating arrangment imageThe configuration of the ensemble can be changed by the conductor to accommodate her/his artistic vision and the personnel can be expanded or contracted in order to evoke a certain sound, mood, nuance, etc. Chair positions within sections can be arranged to accommodate variations in desired sound. Individual sounds work together to express a common idea and the sound is enriched when there is a diversity of voices. The artistic director is a position that rotates and for a given performance, s/he has the authority to determine the set list. This arrangement has the benefit of being both flexible and diverse.

Will it Go ‘Round in Circles?

This is a great question posed by  Billy Preston but first, Nilofer Merchant’s ideas on concentric circles… In her HBR blog Nilofer explains, “In the concentric model (as in jazz), each party has a role to play that meets shared objectives. Each ‘layer’ has power. Yet each always shares the joint goal. concentric circlesCompared to top-down hierarchy where the things are aligned at the top but then divided into parts, the concentric model shifts power to each “circle” (or musician in the case of jazz).” hierarchy imageThis is similar to my own thinking about jazz ensembles where each ‘layer’ is an instrumental section (reeds, brass, rhythm). As concentric circles move around a given point, so too do ensembles change around the shared goal of performing the score. Chair arrangements change, personnel is increased and decreased, and the artistic director position rotates. All this allows differing artistic visions to be realized and different talent groups to be illuminated. Additionally, different outcomes are realized although the overall goal is singular. Billy Preston’s song is relevant here because in his song “that ain’t got no melody” in his story that “ain’t got no moral” and his dance that “ain’t got no steps” he dares to reimagine his lived reality and embraces uncertainty such as that in reimagining hierarchy. Not only will Billy sing the song with no melody to his friends, he allows the “bad guy” to win every once in a while” in his story with no moral, and in his dance with no steps, he “lets the music move [him] around.” Uncertainty imageTurning normality (hierarchy) on its head and daring to engage uncertainty, Billy wonders “Will it go round in circles? Will it fly high like a bird up in the sky?” What will be the outcome of such daring and bold moves?

When leadership is not stagnant things change. Everyone is engaged and can see potential (think no glass ceiling), has decision-making authority, and can also function as an effective team member when systems are flexible and reality is creatively conceived. When all voices are validated, the sound of ensemble is enriched. When all members of a team are empowered by having decision-making ability – when concentric circles pull in talent that exists near the circumference – they can view their contributions as meaningful in the journey to reach a common goal. As it happens, such “buy in” is likely to reap benefits. In “The US Needs to Make More Jobs More Creative” Richard Florida and Roger Martin suggest asking “employees to exercise judgment and [involve them in] decision-making in order to innovate and enhance the productivity of the operation” so that “the possibility for higher productivity, higher firm performance and higher wages exists.”

Bird flyingWill it Fly High Like a Bird Up in the Sky?

In their study of creativity and the US job market, Richard and Roger distinguish between types of employment (routine oriented and creativity-oriented jobs) and income (by occupational groups and industry types). They find that no matter the industry, wages are better in clustered industries (geographically specific and trade mostly outside their home area) than in dispersed industries (they note primary medical care). By extension we can consider global governing systems where each region in a multilateral system can be seen as a clustered “industry” having specific strengths and expertise.
Global IndustryEngaging our multilateral world will mean acknowledging strengths in various sectors and being cognizant of leadership therein. Richard and Roger are concerned about the “current challenges with income inequality” given the income disparity between creativity-oriented workers in clustered industries and routine-service workers in dispersed industries. While the authors note, “there is no quick fix for this problem” they insist “we have to rethink how we utilize workers in our advanced economy.” Asking workers what they think about various processes pertaining to their work-life can tap into resources we’ve yet to discover and increase productivity in ways we’ve not imagined. Flexible arrangements like jazz ensembles or concentric circles are two examples that appeal to me because they dismantle typical organizational hierarchy in favor of lateral, flexible arrangements of people who do a better job of realizing talent, engaging democratically, and altering leadership.

Who will Sing the Song, Tell the Story and Dance?

Yet, structures that lend themselves to flexibility and diversity also require much of the individual. People must not view their positions as “routine” and must “exercise judgment [and] decision-making.” (Richard and Roger again) In a jazz ensemble, for example, each person must be a master of her/his chosen instrument; which means demonstrating exceptional technical ability, infallible literacy, and a deep knowledge of the music and its associated traditions in order to adapt to ever-changing conditions or the possibility or likelihood of change. Each person must contribute her/his voice because to do otherwise would hurt the overall sound. Surely there will be anxiety surrounding the practice of engaging people who are not accustomed to being engaged. Even world-class musicians face difficulty and anxiety when faced with performing new music. Expressing the views of members of the Berlin Philharmonic as they prepared to perform the premiere of Wynton Marsalis’s Swing Symphony, Conductor Sir Simon Rattle said, “the trouble is, we just feel so stiff in comparison.”[1] Human frailty notwithstanding, the depth of knowledge and training of world-class musicians coupled with their ability to meet change head-on and prevail in spite of anxiety is required and the more experience a musician has, the greater the likelihood that s/he can enter into volatile situations confidently and deliver sound results.

Democracy, or Who’s Running this Show?

From jazz ensembles and concentric circles, my thoughts moved deeper into democracy, civic engagement and leadership. Global communicationDana Nelson’s provocative text, Bad for Democracy: How the Presidency Undermines the Power of the People came to mind. Far from arguing against having a president, Dana Nelson insists that the president is not our Savior and can’t solve our problems. She places that Herculean responsibility squarely on our shoulders and argues for increased civic engagement “something larger than federal and local government and definitely more expansive than presidential leadership.” (183) In insisting that we commit to the “never-ending work of negotiating democratic disagreement,” accept a “certain level of political disunity” and the “unpredictability that lives hand-in-glove with increased creativity” she holds people accountable for their own destiny and asks us to re-imagine democracy as currently practiced. (184) Unknowingly, she also harkens the lessons of blues and conjures Billy Preston’s song “that ain’t got no melody” because she wants people to move beyond their comfort zones. Dana Nelson like Billy Preston advocates “reimagining and expanding democracy as an open system, a project nourished by both our independence and by our interdependence.” (185) – jazz ensemble, concentric circles.

Back to Basics…

Businesses are changing various management styles as our global interconnectedness increases and becomes clearer and as social media challenges existing frameworks for operational efficiency. Going back in time and using the example of Bell Labs and a NYT article highlighting the company’s history of innovation written by Jon Gertner, I found several remarkable similarities between jazz ensembles and corporations, including: (1) the incremental improvements Bell made en route to (but with no guarantee of) revolutionary innovations; (2) the necessity of physical proximity to innovation; (3) deep integration of personnel; (4) physical structure/edifice conducive to business strategy; (5) autonomy; (6) mentorship; (7) time. Who knew a jazz ensemble had so much in common with a historic business known for its technological expertise?

Interestingly, this metaphor can be extended to include workers. Haydn Shaughnessy’s article in Forbes, “What Does Work Look Like When Half of Americans are Not in a Job?” highlights qualities workers will need – individuals who are networked and who can reliably “step into an expansion opportunity and fill it out quickly.” Even when musicians are regularly employed as house bands, they maintain extensive networks of colleagues near and far who play a variety of instruments and who can be assembled quickly for performance. Social mediaSocial media has only expanded these networks. Additionally, ensembles are commonly intergenerational and thereby take advantage of the skills of both younger and more experienced musicians. Shaughnessy acknowledges the trend in business of hiring, “the under 25” group because it has a “stronger grip on social media tools” so necessary today but he notes, “they have no grip on what business needs or how businesses operate.” The need obviously, is for a mixed-generational cadre of workers and such is typically the case in a jazz ensemble where there is deference for the experience only age can bring.

Quick fixes cure nothing at all…

Learning a musical instrument (or playing a sport or learning a foreign language) takes time and is an investment that can’t be easily quantified. Culture has trained us to privilege quick fixes for everything from weight loss and controlling diabetes, to educational testing and aligning cognitive ability with GDP (see my thoughts on PISA), to restoring the economy by putting someone new in the White House this fall. Repeat after me – Barack Obama is NOT the problem.

We don’t need to reinvent the wheel as we try to come up with ways to retain US vitality and harness the creativity that leads to innovation. We do, however, need to take lessons from our past and not simply, unimaginatively and arrogantly view history as irrelevant. In The Hero and the Blues, Albert Murray asserts, “[N]ot only is tradition that which continues; it is also the medium by which and through which continuation occurs.”[2] So, in taking the example of Bell Labs, we can alter the model to suit our current environment and perchance, realize similar successes long term. Innovation imageHowever, we must rethink our understanding of innovation. Gertner explains, “one type of innovation creates a handful of jobs and modest revenues; another, the type Mr. Kelly and his colleagues at Bell Labs repeatedly sought, creates millions of jobs and a long-lasting platform for society’s wealth and well-being.” Polly La Barre echoes this sentiment in her Harvard Business Review article, “Reimagining Capitalism” where she asserts, “It’s time to radically revise the deeply-etched beliefs about what business is for, whose interests it serves, and how it creates value. We need a new form of capitalism for the 21st century, one dedicated to the promotion of greater well-being rather than the single-minded pursuit of growth and profits…” We need to invest time and educate culturally from k-16, at least, because nurturing those activities that require an investment of time trains people to meet short-term demands en route to a long-term goal even when, as in the case of Bell Labs, the goal may not be immediately recognizable. Even when we are left wondering like Billy Preston, “Will it fly high like a bird up in the sky?”

Investing in time…

Teresa Amabile and Steve Kramer discuss “Talent, Passion and the Creativity Maze” in their HBR blog in a way that really captivates me. While everyone raves about wanting top talent, innovating and creating new models, Teresa and Steve present a counter narrative – sort of. Quoting a Nobel Prize winning physicist, the authors write, “The labor of love aspect is important. The successful scientists often are not the most talented, but the ones who are just impelled by curiosity. They’ve got to know what the answer is.” Wait, wait! What about cognitive ability? What about test scores? What about grades? What about GDP! Teresa and Steve explain, “intrinsically motivated people are more creative because they engage more deeply with the work.” It really is that simple. Do we have the courage to sing a song that ain’t got no melody?

 

 


[1] Kate Connolly, “All Das Jazz: the Berlin Phil Swing with Wynton Marsalis” June 2010

[2] Albert Murray, The Hero and the Blues (New York, Vintage Books, 1973), 72.

The “Daddy State” and Swing

Political Scientist Dorian Warren was a guest on Melissa Harris-Perry’s inaugural show today. He used the term “Daddy State” to describe the current trend in Republican politics to curtail the rights of women. I found this really intriguing especially given MHP’s discussion about why it is good for the nation to have a healthy GOP and not the fractured incoherent variety now on display. I don’t think MHP had ample opportunity to develop this idea on today’s show but she’s already got me thinking (and you too, I hope!).

So, the idea of a “Daddy State” bothers me because dictators (pick your favorite) use the language of fatherhood to disseminate their messages. Authoritarian imageThey don’t lead because they desire supreme power or authority; instead, they are caretakers of the nation and its people. They lead from a position of deep love, not a deep need to control. So, when they rain down on their populations with brute force or curtail the rights of women to seek education, advance professionally, drive cars or decide on reproductive rights it is from a position of taking care of people, lovingly, as a father would his children. Scary.

The idea of a “Daddy State” is also troubling to me because it brings to mind the GOP and its ongoing efforts to curtail women’s rights. This effort reached a new high on February 16, 2012, when the House Committee on Oversight and Government Reform convened an all male panel to testify at a hearing on women’s health. This is part of an effort that has been trending for a while (historic efforts to roll back Roe v Wade, “personhood,” etc.). Lacking a coherent strategy both as a party and as a unified opposition to Barack Obama, the GOP seems to be positioning itself to establish a “Daddy State” to take care of the nation and this is scary because it is a move towards authoritarianism and this should worry women and men. On its most elemental level, the “Daddy State” keeps the populace in infancy. As we see the rise of Super PACs and the electorate shifting towards the billionaire sector, even the power to vote is being threatened. Well, neither girls nor boys are eligible to vote in a “Daddy State.”

As bothersome as this is, the current incoherent state of the GOP is also of grave concern. While those of us who support Barack Obama may breathe easier thinking such GOP disarray ensures the President a second term, the lack of coherent opposition to Obama and his policies is tantamount to a win by default and so does not indicate national strength or political vibrancy. Voter supression imageIn fact, if the GOP would break itself into various factions or if other parties would emerge and contribute to the national formation of a multiparty political system, Obama’s win would be more meaningful. As much as unity indicates strong consensus, it also indicates the type of ideological singularity that can lead to authoritarianism.

The US values competition to a fault but where is ideological competition or the diversity of opinion now? While diversity strengthens “wins” in politics, classrooms, board rooms, etc, the GOP’s incoherence is not simply an indication of the diversity inherent in its ranks; rather, it signals panic. The GOP seems to be in need of sound restructuring and I kind of mean that literally. If we think of the various political assertions or voices within the GOP as distinct voices in a fugue; then, the overall structure of the party should allow distinct articulations to enrich the score. Instead, there is cacophony. The guiding structure is not able to sustain the diverse voices in the party.

Well, fortunately, our President knows the blues and has more than a passing knowledge of jazz. Obama’s method for governance is not unlike Duke’s as he sustained his band over the course of decades despite economic hardships, illuminated individual talent within his ensemble, and kept swinging. Duke big bandThe GOP needs to get its act together (I mean that kind of literally too) so we can have a meaningful election season. The fugue is not the right model for our contemporary environment. Jazz, especially blues-based jazz in the form of swing, offers a model for managing uncertainty and integrating disparate voices into the overall score. No Daddy, noooo! — let’s swing.