The week@work – @AMarch4OurLives, Evolve Entertainment Fund, ‘Wonder Boys’, Facebook & “always a little further”

It happened again this week@work: violence@work – another school shooting, this time in Florida. In Los Angeles a new entertainment industry diversity initiative was announced by Ava DuVernay and Mayor Eric Garcetti. And three ‘long reads’ on creative partnerships, Facebook’s identity, and a polar journey.

Violence@work
The students at Marjory Stoneman Douglas high school are grieving for their colleagues and teachers who were murdered in another incident of workplace violence on Valentines Day. Since Wednesday, a remarkable group of student representatives have  given voice to the anger at adults who have failed to keep students safe in their schools. This time, high school students organized @AMarch4OurLives for policy & change vs. thoughts & prayers.

“Every kid in this country now goes to school wondering if this day might be their last. We live in fear.
It doesn’t have to be this way. Change is coming. And it starts now, inspired by and led by the kids who are our hope for the future. Their young voices will be heard.
Stand with us on March 24. Refuse to allow one more needless death.”

It may not be a surprise that this group, from this high school, seized the moment and demanded change. Their school namesake, Marjory Stoneman Douglas, was an author, editor, environmentalist and early advocate for women’s right to vote. gettyimages-112963085-e1518738141248.jpgJournalist Mary Schmich interviewed Ms. Douglas. “She was 95 by the time we met, hard of hearing, almost blind and as opinionated as ever.
I’d gone to visit her because finally, after decades of crusading to save the Everglades from being turned into subdivisions and shopping malls, she’d begun to see the fruits of her labors.
She had battled governments, developers, engineers, sugar cane industrialists and the apathy of normal people. She had pushed so hard and for so long that the state had finally committed to preserving one of the world’s great wetlands. We have her to thank for Everglades National Park.
Had she ever been discouraged, I asked?
“What does it matter if I’ve been discouraged or encouraged over the years?” she said, brusquely. “This thing’s got to be done. It’s not a question of how I feel from moment to moment.”

Inclusion@work in Hollywood
Speaking of thing’s got to be done. Los Angeles Mayor Eric Garcetti, filmmaker Ava DuVernay, and producer Dan Lin announced the creation of the Evolve Entertainment Fund to promote inclusion @work in Hollywood.

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Journalist Dave McNary reported on the new initiative. “The Evolve fund is an alliance between the City of Los Angeles, industry leaders in entertainment and digital media, non-profit organizations, and educational institutions. The EEF has already secured 150 paid summer internships for students participating in the Hire LA’s Youth program — partnering with leading entertainment and digital media organizations that include DreamWorks Animation, Ryan Murphy Television, Film Independent, WME, CAA, Kobe Bryant’s Granity Studios, and Anonymous Content.

That number is expected to grow to 250 by the end of 2018, with a goal of 500 placements by 2020.

“As we radically reimagine Hollywood, it is critically important that young people are included in our vision,” said DuVernay, founder of Array Entertainment and EEF co-chair. “Real change happens when we take tangible action — and that means giving young women and people of color opportunities in the industry early on, so they have the chance to shape its future.”

‘Wonder Boys’
The next three articles fall into the category of ‘long reads’. The first, from reporter Laura Jacobs recounts the creative partnership of Leonard Bernstein and Jerome Robbins. In 2018 we celebrate the centennial of both the composer and choreographer.

IMG_0443.jpg“Both these men were about energy—positive, negative, generative—and while they racked up stunning achievements separately, they were elevated when joined. Put them together in collaboration—in masterpieces such as the joyous ballet Fancy Free, the breakaway musical On the Town, and the electrifying experiment West Side Story—and you had an ongoing theatrical Manhattan Project, work kinetically detonated, irreducibly true, and oh so American.

They met in October of 1943, the beginning of what Bernstein would call “the year of miracles.” Bernstein was living in New York City, marking time as the assistant conductor of the New York Philharmonic, and Robbins was in the classical company Ballet Theatre. Both were hungry for the Big Break, but it was hard to see anything on the horizon. Bernstein’s would come a month later, when on November 14 he took the podium at Carnegie Hall—without rehearsal!—and conducted for the ailing Bruno Walter. This kiss of fate allowed him, in one afternoon, to loosen forever Europe’s grip on the conductor’s baton. His debut made the front page of The New York Times, and the skinny kid, soon dubbed the Sinatra of the concert hall, soared to stardom. Two months later his Symphony No. 1, Jeremiah, was premiered.

Robbins had to make his own luck. Though a dazzling mimic and scene-stealer in character roles, he was tired of dancing courtiers and exotics in the corps. He wanted to choreograph ballets that were immediately American. After inundating company management with over-ambitious ideas for ballets, Robbins finally offered up a timely, simple scenario—three wartime sailors on shore leave in Manhattan. Management bit. All he needed was a score, which took him to Bernstein’s studio in Carnegie Hall.”

When Vision and Reality Collide @Facebook
Next, Nicholas Thompson and Fred Vogelstein take the reader ‘Inside The Two Years That Shook Facebook – And The World’

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“The stories varied, but most people told the same basic tale: of a company, and a CEO, whose techno-optimism has been crushed as they’ve learned the myriad ways their platform can be used for ill. Of an election that shocked Facebook, even as its fallout put the company under siege. Of a series of external threats, defensive internal calculations, and false starts that delayed Facebook’s reckoning with its impact on global affairs and its users’ minds. And—in the tale’s final chapters—of the company’s earnest attempt to redeem itself.”

“Always a little further…”
On Sunday, January 24, 2016 British polar explorer, Henry Worsley died in hospital in Punta Arenas, Chile. He had been attempting to cross Antarctica on foot, unassisted and unsupported. He had traveled 913 miles since November 13, 2015 and was 30 miles short of his destination.

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On Friday, January 22, Henry Worsley called Antarctic Logistics and Explorations to request a rescue.

“When my hero, Ernest Shackleton, stood 97 miles from the South Pole on the morning of Jan. 9, 1909, he said he’d shot his bolt,” the British adventurer Henry Worsley said in the message. “Well, today, I have to inform you with some sadness that I, too, have shot my bolt.”

“My journey is at an end,” Mr. Worsley said. “I have run out of time, physical endurance and a simple sheer inability to slide one ski in front of the other to travel the distance required to reach my goal.”

Writing for The New Yorker, staff writer David Grann takes us on the journey behind the headlines into ‘The White Darkness’.

“Worsley was a retired British Army officer who had served in the Special Air Service, a renowned commando unit. He was also a sculptor, a fierce boxer, a photographer who meticulously documented his travels, a horticulturalist, a collector of rare books and maps and fossils, and an amateur historian who had become a leading authority on Shackleton. On the ice, though, he resembled a beast, hauling and sleeping, hauling and sleeping, as if he were keeping time to some primal rhythm.

Worsley’s journey captivated people around the world, including legions of schoolchildren who were following his progress. Each day, after trekking for several hours and burrowing into his tent, he relayed a short audio broadcast about his experiences. (He performed this bit of modern magic by calling, on his satellite phone, a friend in England, who recorded the dispatch and then posted it on Worsley’s Web site.) His voice, cool and unwavering, enthralled listeners.

By the middle of January, 2016, he had travelled more than eight hundred miles, and virtually every part of him was in agony…”

“Always a little further”—a line from James Elroy Flecker’s 1913 poem “The Golden Journey to Samarkand.” The motto was painted on the front of Worsley’s sled, and he murmured it to himself like a mantra: “Always a little further . . . a little further.”

 

 

The Saturday Read ‘Leonardo da Vinci’ by Walter Isaacson

The Saturday Read returns! The first selection of 2018 is the biography, ‘Leonardo da Vinci‘ by Walter Isaacson. This is a life story disguised as an art book translating the fifteenth century wisdom of a genius into the language of our present day innovation canon.

What is it about Leonardo that resonates with us over five hundred years later?

“The fifteenth century of Leonardo and Columbus and Gutenberg was a time of invention, exploration, and the spread of knowledge by new technologies. In short, it was a time like our own. That is why we have so much to learn from Leonardo. His ability to combine art, science, technology, the humanities and imagination remains an enduring recipe for creativity.”

The narrative of the polymath has captivated Isaacson in all his previous work. In ‘da Vinci’ he has found the origin story and he’s the perfect narrator to introduce a twenty-first century audience to the man “who never outgrew his wonder years.”

If you are a person who is intimidated by a 500+ page doorstop of a book, don’t be. Leonardo’s fifteenth century artwork, notebook transcripts, sketches and drawings engage with the text to guide the reader through the history, culture and political upheaval of Milan, Florence, Rome and France.

If you are one of the thousands who have traveled to the Louvre… IMG_5851.jpg

to catch a brief glimpse of the Mona Lisa…mona lisa

this is the backstory. Isaacson devotes a chapter near the end of the book to the portrait, describing Leonardo’s work process. “He began working on it in 1503, when he returned to Florence after serving Cesare Borgia. But he had not finished it when he moved back to Milan in 1506. In fact, he carried it with him, and continued to work on it, throughout his second period in Milan and then during his three years in Rome. He would even take it to France on the final leg of his life journey, adding tiny strokes and light layers through 1517. It would be in his studio there when he died.”

I read the biography over four weeks, one chapter at a time, alternating with other reading. It gave me time to reflect on the multiple aspects of his genius and connect Leonardo’s behavior with what I have read over the years in hundreds of Harvard Business Review articles on the topic of innovation.

My non-fiction book club had selected ‘da Vinci’ as the January choice. The discussion centered on the aspects of math, science and art; each member commenting from their frame of reference. Finally, I added my view through the lens of @workthoughts. This is a book that advocates for the generalist vs. the specialist. In many aspects it’s a career guide. Imagine an extended conversation with a mentor tracing their work/life trajectory.

Isaacson concludes with ‘Learning from Leonardo’, beginning with some familiar basics of twenty-first century theories of creativity. A sampling: “Be curious, relentlessly curious”. “Seek knowledge for its own sake.” “Observe.”Get distracted.” “Avoid silos.” “Take notes, on paper.” “Be open to mystery.” There’s more. Shadowing each of these ‘lessons’ is the story of Leonardo and his exploration of man and nature; his evolution, still tinkering with the Mona Lisa at the time of his death.

‘Leonardo da Vinci’ is your ‘professional development book’ of the year. It will break you out of your ‘career specialization rut’, opening your eyes to the ‘dots’ you didn’t even know you could connect.

If you make one bookstore purchase, continue your life-long learning with this one. “Let your reach exceed your grasp.”

Leonardo’s most important lesson for our times – “Respect facts.” Never stop asking questions.

“Above all, Leonardo’s relentless curiosity and experimentation should remind us of the importance of instilling, in both ourselves and our children, not just received knowledge but a willingness to question it – to be imaginative and, like talented misfits and rebels in any era, to think different.”

 

 

The Friday Poem ‘Consolation’ by Wislawa Szymborska

The Friday Poem this week is ‘Consolation’ from Nobel Prize winning poet Wislawa Symborska.

In November, novelist Annie Proulx was recognized with National Book Foundation’s Medal for Distinguished Contribution to American Letters. Her acceptance speech offered hope, “the happy ending still beckons”, and quoted Symborska’s words as proof.

“…somehow the old discredited values and longings persist. We still have tender feelings for such outmoded notions as truth, respect for others, personal honor, justice, equitable sharing. We still hope for a happy ending. We still believe that we can save ourselves and our damaged earth — an indescribably difficult task as we discover that the web of life is far more mysteriously complex than we thought and subtly entangled with factors we cannot even recognize. But we keep on trying, because there’s nothing else to do.

The happy ending still beckons, and it is in hope of grasping it that we go on. The poet Wisława Szymborska caught the writer’s dilemma of choosing between hard realities and the longing for the happy ending. She called it “Consolation.”

Consolation

Darwin.
They say he read novels to relax,
But only certain kinds:
nothing that ended unhappily.
If anything like that turned up,
enraged, he flung the book into the fire.

True or not,
I’m ready to believe it.

Scanning in his mind so many times and places,
he’d had enough of dying species,
the triumphs of the strong over the weak,
the endless struggles to survive,
all doomed sooner or later.
He’d earned the right to happy endings,
at least in fiction
with its diminutions.

Hence the indispensable
silver lining,
the lovers reunited, the families reconciled,
the doubts dispelled, fidelity rewarded,
fortunes regained, treasures uncovered,
stiff-necked neighbors mending their ways,
good names restored, greed daunted,
old maids married off to worthy parsons,
troublemakers banished to other hemispheres,
forgers of documents tossed down the stairs,
seducers scurrying to the altar,
orphans sheltered, widows comforted,
pride humbled, wounds healed over,
prodigal sons summoned home,
cups of sorrow thrown into the ocean,
hankies drenched with tears of reconciliation,
general merriment and celebration,
and the dog Fido,
gone astray in the first chapter,
turns up barking gladly
in the last.

Wislawa Szymborska

Translated by Clare Cavanagh

A new question

On February 2, 2015 ‘Workthoughts’ joined the blogosphere with a question, Why work?

“As children we are open to any work possibility. We haven’t learned the value society places on work and workers. Our exploration of the world of work begins with the folks who keep us safe. We imagine ourselves as those fictional superheroes, donning capes and masks, scaling buildings to save the city or the planet from threat.

Throughout our years of formal education we gain additional information about work and workplace options. By the time we are in high school, our academic performance and test scores have segmented the class into college bound and not.

As we progress through education we acquire the biases of our community and culture, strongly influencing our choice of work.

We begin our careers as interns; apprentices excited about an opportunity to finally realize a long held dream. Along the way we translate that experience into a full time job and begin our careers acquiring skills and learning the culture of the organizations we join.

We become engaged in our communities, raise families and continue our education.

At some point the momentum of our career trajectory outruns our initial dreams and values, and it’s important to ask, why work?”

Other questions emerged over the past three years, but all seemed subsets of the original. This one, posed by writer Meghan Daum, captured the uncertainty of our current workplace moment: “How do we measure fulfillment in work and where do we find it when the traditional channels have given way to a round-the-clock hustle?”

This may be the defining ‘future of work’ career question.

To respond, we need new definitions of success, more inclusive portraits of achievement; focus on the work itself, not the consequences. There are new constructs, locations, timelines and contracts. Relationships and expectations @work are more fluid. Everything is changing.

“We get surprised in real life because we can’t know everything there is to know. For one thing, we’re stuck in our own heads, in a single point of view.” Jincy Willett

As we begin year four, @workthoughts will continue to share the surprises and examine life@work through the lens of current reporting, research, poetry and ‘The Saturday Read’.

 

 

 

 

 

The Friday Poem ‘The Three Goals’ by David Budbill

We need poets to convert obfuscation into clarity: to communicate, not “confuse, bewilder or stupefy”. The Friday Poem this week, ‘The Three Goals’ by David Budbill does just that.

Author, poet, playwright and musician David Budbill “took a workman’s attitude toward art and despised pretension. Asked about the sources of his inspiration, he said: “It comes from out of nowhere, from my imagination, from the voices I hear, from somewhere. In short, I don’t know where it comes from, and I don’t care.”

The Three Goals

The first goal is to see the thing itself
in and for itself, to see it simply and clearly
for what it is.
No symbolism, please.

The second goal is to see each individual thing
as unified, as one, with all the other
ten thousand things.
In this regard, a little wine helps a lot.

The third goal is to grasp the first and the second goals,
to see the universal and the particular,
simultaneously.
Regarding this one, call me when you get it.

David Budbill   ‘Moment to Moment: Poems of a Mountain Recluse’   2012

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Photo credit: Peter Miller

The Friday Poem ‘Why I Wake Early’ by Mary Oliver

The first Friday Poem of 2018 is for the early risers, the folks who ‘seize the day’ as first light tints the sky in pastels. Poet Mary Oliver shares ‘Why I Wake Up Early’.

“Watch, now, how I start the day
in happiness, in kindness.”

Why I Wake Early

Hello, sun in my face.
Hello, you who make the morning
and spread it over the fields
and into the faces of the tulips
and the nodding morning glories,
and into the windows of, even, the
miserable and crotchety–

best preacher that ever was,
dear star, that just happens
to be where you are in the universe
to keep us from ever-darkness,
to ease us with warm touching,
to hold us in the great hands of light–
good morning, good morning, good morning.

Watch, now, how I start the day
in happiness, in kindness.

Mary Oliver   ‘Devotions: The Selected Poems of Mary Oliver’ Penguin Press, 2017

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‘Open A New Window’ – Music & Lyrics by Jerry Herman

The ‘Friday Poem’ this holiday week comes from the 1966 Broadway musical, ‘Mame’: the lyrics to ‘Open A New Window’ by Jerry Herman.

The musical, based on the 1955 novel ‘Auntie Mame’ by Patrick Denis, “opened on Broadway at the Winter Garden Theatre on May 24, 1966. Three years later, it transferred to the Broadway Theatre, where it remained until closing on January 3, 1970. It ran a total of 1,508 performances and five previews.”

This was the play that produced ‘We Need A Little Christmas’, and the lesser known ‘Open A New Window’. Sung by Angela Lansbury to Frankie Michaels playing her nephew, it conveys some of the best ‘mentoring’ advice for the new year.

Open a New Window

Open a new window,
Open a new door,
Travel a new highway,
That’s never been tried before;
Before you find you’re a dull fellow,
Punching the same clock,
Walking the same tight rope
As everyone on the block.
The fellow you ought to be is three dimensional,
Soaking up life down to your toes,
Whenever they say you’re slightly unconventional,
Just put your thumb up to your nose.
And show ’em how to dance to a new rhythm,
Whistle a new song,
Toast with a new vintage,
The fizz doesn’t fizz too long.
There’s only one way to make the bubbles stay,
Simply travel a new high way,
Dance to a new rhythm,
Open a new window ev’ry day!

Jerry Herman 1966 (Original Cast Recording)

 


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The Friday Poem ‘The Question’ by Karla Kuskin

Before poetry was printed on the back of NYC Metro Cards, there was ‘Poetry in Motion’, a joint effort of the MTA and the Poetry Society of America. Between October, 1992 and August, 1997 commuters, families and tourists could sample poems, reading from the placards displayed in subway cars and buses.

Poetry in Motion® places poetry in the transit systems of cities throughout the country, helping to create a national readership for both emerging and established poets.”

The Friday Poem this week was one of those selected for the inaugural NYC program: ‘The Question’ by Karla Kuskin. In this holiday season, revisit career choice through the eyes of your younger self.

The Question

People always say to me
“What do you think you’d like to be
When you grow up?”
And I say, “Why,
I think I’d like to be the sky
Or be a plane or train or mouse
Or maybe a haunted house
Or something furry, rough and wild…
Or maybe I will stay a child.”

Karla Kuskin   ‘Poetry in Motion: 100 Poems From the Subways and Buses’ 1996

The Friday Poem – The Purpose of Poetry

On October 26, 1963, less than a month before his death, U.S. President John F. Kennedy visited Amherst College to deliver a speech at the groundbreaking for the Robert Frost Library.

“In publishing the remarks after Kennedy’s murder, The Atlantic noted that he“identified himself, as no president before him has done so poignantly, with ‘books and men and learning.’ ”

Today, 54 years later, rather than a Friday Poem, the text of the address delivered that day by the 35th President of the United States, in recognition of the contribution of Robert Frost and the place of poetry in our national value set. This is what American leadership looks like.

Our national strength matters, but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost. He brought an unsparing instinct for reality to bear on the platitudes and pieties of society. His sense of the human tragedy fortified him against self-deception and easy consolation. “I have been” he wrote, “one acquainted with the night.” And because he knew the midnight as well as the high noon, because he understood the ordeal as well as the triumph of the human spirit, he gave his age strength with which to overcome despair. At bottom, he held a deep faith in the spirit of man, and it is hardly an accident that Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself. When power leads men towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment.

The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure. He has, as Frost said, a lover’s quarrel with the world. In pursuing his perceptions of reality, he must often sail against the currents of his time. This is not a popular role. If Robert Frost was much honored in his lifetime, it was because a good many preferred to ignore his darker truths. Yet in retrospect, we see how the artist’s fidelity has strengthened the fibre of our national life.

If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.

If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society–in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost’s hired man, the fate of having “nothing to look backward to with pride, and nothing to look forward to with hope.”

I look forward to a great future for America, a future in which our country will match its military strength with our moral restraint, its wealth with our wisdom, its power with our purpose. I look forward to an America which will not be afraid of grace and beauty, which will protect the beauty of our natural environment, which will preserve the great old American houses and squares and parks of our national past, and which will build handsome and balanced cities for our future.

I look forward to an America which will reward achievement in the arts as we reward achievement in business or statecraft. I look forward to an America which will steadily raise the standards of artistic accomplishment and which will steadily enlarge cultural opportunities for all of our citizens. And I look forward to an America which commands respect throughout the world not only for its strength but for its civilization as well. And I look forward to a world which will be safe not only for democracy and diversity but also for personal distinction.

Robert Frost was often skeptical about projects for human improvement, yet I do not think he would disdain this hope. As he wrote during the uncertain days of the Second War:

Take human nature altogether since time began . . .
And it must be a little more in favor of man,
Say a fraction of one percent at the very least . . .
Our hold on this planet wouldn’t have so increased.

Because of Mr. Frost’s life and work, because of the life and work of this college, our hold on this planet has increased.”

Listen to speech

Text and recording courtesy of the John F. Kennedy Library and the U.S. National Archives.

 

The Friday Poem ‘What Kind of Times Are These’ by Adrienne Rich

It has been a week. Another week. A week that began with NFL players joining Colin Kaepernick‘s protest@work. If you are confused by the fog of publicity over the past week, let Charles Blow clarify the issue for you.

“…patriotism is particularly fraught for black people in this country because the history of the country’s treatment of them is fraught. It’s not that black people aren’t patriotic; it’s just that patriotism can be a paradox.”

“We have to accept that different Americans see pride and principle differently, but that makes none of them less American.”

The Friday Poem this week, ‘What Kind of Times Are These’ was written in 1995 by poet and activist, Adrienne Rich. It was one poem in a collection described by her publisher:

“Her explorations go to the heart of democracy and love, and the historical and present endangerment of both.”

“This parable-like poem raises difficult questions about the nature and dangers of leadership and the complicity of ordinary citizens in their government’s uses (and abuses) of power.”

It just seemed the right choice for this week@work. “our country moving closer to its own truth and dread..”

What Kind of Times Are These

There’s a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meeting-house abandoned by the persecuted
who disappeared into those shadows.

I’ve walked there picking mushrooms at the edge of dread, but don’t be fooled
this isn’t a Russian poem, this is not somewhere else but here
our country moving closer to its own truth and dread,
its own ways of making people disappear.

I won’t tell you where the place is, the dark mesh of the woods
meeting the unmarked strip of light—
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.

And I won’t tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it’s necessary
to talk about trees.

 

Adrienne Rich
‘Dark Fields of the Republic: Poems 1991-1995’ (W. W. Norton and Company Inc., 1995)

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Listen to the poet read ‘What Kind of Times Are These’