The Beatles at Sea

I don’t think I am likely to run out of things to write about The Beatles.  Scratch that.  There is no chance I will ever run out of things to write about The Beatles.

How about The Beatles on Norwegian Cruise Line making our away around the calm summer waters of the Hawaiian Islands?  That’s about as magical a place for The Beatles as I can imagine, beyond the Sea of Holes and across the Sea of Time.  Toss in a set list that spans the entirety of Beatlemania performed by one of the most gracious husband and wife musician couples I have ever met — now you’re talking magic, an experience so utterly perfect it’s hard to believe it’s even real.

TobyBeauBeatlesToby Beau is the joyous source of this sound celebration, a rock band with Texas roots dating back three decades, now performing on the main stage and in cabaret surroundings of the Pride of America.  It’s not the usual kind of place you would find me, nor where you might expect to be sharing in the sing along chorus of Hey Jude.  I think that was a big part of what made it all so wonderful, it wasn’t the expected in any sense of manner or place, and yet it all just clicked the way brilliant music and expert performance always succeed — pleasing the mind, pleasing the senses, creating realtime context that is both Yesterday and Today.

Last week my wife and I spent a week island hopping in my home state of Hawaii with about 2000 fellow NCL passengers.  No, it was not a normal thing for us to do, but playing tourist can be fun if you do it right with plenty of time for snorkeling, hiking, biking, and kayaking.  We didn’t spend much time at the buffet, but we did catch all of the live music.  Vacations can be an amazing time of discovery, where you can relax and float downstream, and whenever we hear there are Beatles tunes in the house, well, we just go check it out.  About midway through our week we ventured to the main showroom and met ax man vocalist Balde Silva, who performs every single week of the year beside his sometimes lead, sometimes harmonizing wife Rennetta Dennett Silva, the two of them still the core of Toby Beau.  Their biggest hit, My Angel Baby, came in 1978, around the time they were touring with such high power acts as the Doobie Brothers, Bob Seger, and Steve Miller.  Balde and Rennetta are music industry survivors who have reinvented themselves any number of times over the years, not only proudly still playing live music, but playing it together, having a blast, and obviously forever in love.

That brings us full circle, back to The Beatles, at sea, and the kind of love that lives forever in a set of songs that work no matter where they are played, that prove themselves over and over again precisely because they take on new meaning when bounced off new walls.  Music veterans like Toby Beau evidence what it means to play flawlessly, inserting subtleties that are different each night, reflective of the experience that unexpected places can offer, reverberating off audience participation, taking in the physical moment and replacing it with a memory.  It takes a truly inventive catalogue to pull that off endlessly without becoming rote.  Musical excellence is one part material, one part craft, one part passion, and one part ethereal.  A cruise ship is just a venue, a stage is just a platform, but layer in the mystical concoction of the lads from Liverpool with a pair of performers determined to inject love into the tunes, and the formula becomes fully extemporaneous in the emotions that swell.

Balde and Rennetta take it a step further, offering the story of The Beatles through bits of spoken history, stitching together the songs as a real life fairy tale.  This is not impersonation but tribute, commencing with the earliest days of I Want To Hold Your Hand and A Hard Day’s Night, winding the road to Yesterday and Nowhere Man, then reaching with bravado to We Can Work It Out and Back in the USSR.  We get Something by George, then we Get Back, then we Let It Be.  Hands wave in the air for Hey Jude, and then the band covers a Beatles cover with the dance floor encore, Twist and Shout.  It all takes less than an hour, less than a dozen cuts, but once again we have taken the journey anew, heard it differently, felt it reimagined, shared it somewhere we probably won’t return but can carry with us forever as its own idea — an interpretation shaped by its circumstance, constant in its creative rejuvenation.

The Beatles stayed together less than a decade, an incomprehensibly brief interlude that resulted in a body of work that remains inexhaustible in inspiration.  Balde and Rennetta have stayed in the game as long as they have because of their love of the music, their love of the art form, and their love of each other.  The combination of all that love and craft and chemistry just got added to my canon of musicality, new energy flowing through time-tested lyrics, new theater emerging from a bit of the acoustic and a mastery of the electric.  We didn’t go to sea to find it, we found it by chance, spontaneous discovery — and because we shared it, once again it is ours.

Let the music wander where it will, infuse it valiantly with love, the world is at your command.  What we discover in the familiar is the awakening of the imaginative, the surprise of the open-ended revitalized by care and intension.  You can hear it differently if you allow the phrasing to bend here, there, and everywhere — the artists’ touch a composite of admiration and trust.  Thank you again, Balde and Rennetta.  Thank you again John, Paul, George and Ringo.  The music is perfect.  The music is forever.  The music is a gift to be celebrated and loved.

Edutainment No More

About a year ago I wrote the following article at the request of ACM Computers in Entertainment for the debut of their redesigned site, which launched last week.  It is a bit longer than my usual posts, but for those interested in the topic, hopefully it will inspire good thoughts and discussion.  Here is a link to that article on the ACM site, which can also be found in the CIR Library, with the full text below:

“Why Did Edutainment Become a Bad Word?” by Ken Goldstein (ACM Computers in Entertainment: May 1, 2012)

“What have we here, laddie?  Mysterious scribblings?  A secret code?  No!  Poems, no less!  Poems, everybody!  The laddie reckons himself a poet… Absolute rubbish, laddie.”
— Pink Floyd – The Wall

Last year Amy Chua caused quite a stir with her polemic, Battle Hymn of the Tiger Mother.  The excerpt, “Why Chinese Mothers Are Superior,” published in the Wall Street Journal is said to have drawn the most individual responses to any article published to date on WSJ.com. The fact that a number of teens and tweens actually read and responded to a genuine WSJ article speaks to the silver lining in all free speech—that an idea expressed however outrageous is better than an idea suppressed for the very argument it inspires. John Stuart Mill was right, the marketplace of ideas only works when it is fully open for business; we rely on these sorts of diatribes as poorly considered advice that can be danced upon.

Here in my mind is the problem—we continue for some reason to want to draw a line between education and entertainment, between learning and playing, between rote study and inspired imagination. I don’t get it. We worry that the U.S. is falling behind the rest of the modern planet in math and science, we have a national epidemic on our hand with high school drop out rates, we live and work in a society where basic labor continues to be automated and the post industrial information economy is increasingly preeminent, and we are coming to accept the notion expressed by Thomas Friedman that The World is Flat. Largely for electorate exploitation, we continue to tout an ordained notion of exceptionalism, yet with refrains of “We’re No. 1” more often appropriate at football halftime shows than college commencement exercises. We have come to understand such grandeur is more a political mantra than shared aspiration. Budgets are under pressure at the state and federal levels, teachers are underpaid and exhausted, the Internet allows more information than ever to be readily available, yet we elect our candidates based on name recognition and image. What does all this mean? We are not as smart as we should be.

If we don’t think we are doing something wrong, perhaps we deserve what we get. That would be fatalistic, so maybe we should try it a different way. We know change occurs when the pain of change is less than the pain of staying the same. If we aren’t in enough pain now, then change is quite unlikely ever to be an option. We need to “Think Different” about education, and we need to do it now.

Professor Chua may have come to the conclusion that the elimination of play dates, disallowing her children to have a role in school theatrical productions, and psychological downgrading when a wrong note escapes the piano are the correct paths to discipline. Were we to take that path to its logical conclusion, what kind of society might we have? Certainly we might experience a landscape of accomplishment, complete with bragging rights, but would it be a place our children would want to live, either as kids or adults? It would likely lack rebellion, imagination, and most of all, fun. As I look around at kids on the playground, kids in the computer lab, kids on their iPhones, kids in garage bands, I don’t think those kids would call it fun. When the fun stops, the learning stops.

Tooling around Facebook recently I bumped into an old friend, Carmen Sandiego. I will tell you upfront, I have a deep and profound connection with the master thief; she and I shared a good many hours for a good many years. She also once pervaded just about every young classroom in this nation, and a fair number of households in the way back days before we all took connectivity for granted. I played a round of “Where in the World is Carmen Sandiego?” on Facebook and easily won my first case, the gimme we always intended it to be for encouragement and engagement, and then got blasted on my second case. Seems I could not quite remember my cities and landmarks as encoded memory was supposed to ensure, so I did the only thing any logical Aeron potato would do—I searched the locales on Wikipedia to get back on track. In the old days we used an almanac to do this, now that same almanac is about as relevant as the Yellow Pages we use as a booster seat for visiting nieces. The point is, the game was still fun, and it got me thinking. It did not replace the study of geography, nor was it a waste of time. It was a catalyst to make me want to do something—reinforce my weakened memory, by running some queries in a public database—that I am reasonably sure I would not have done otherwise. The game also made me chuckle, the puns were still clever and the animation cheerful, however dated. Years ago we built a business around this called “edutainment,” and while controversial at times with some leading academics, it was a good business that we enjoyed. When we sat with kids in the classroom and tested new versions, they seemed to enjoy the games as well; the games they didn’t enjoy, we mostly cancelled.

Did their test scores go up? I doubt it. Did a lot of them grow up to be detectives or geographers? Statistically speaking, I am guessing not more than usual. Was the introduction of computers to them at a young age a path to wanting to understand how the program code worked and how they could rip it apart? That I can promise you was my experience. A lot of those young folks grew up to be programmers and worked for me. Did we tell them anywhere, anyway, anyhow that we expected them to take apart the computer code? No, actually we begged them not to do this for copyright reasons. Yet here is a secret: When kids enjoy something, they often take it apart all on their own. I did it as a kid with music, poetry, written fiction, theatrical performance, cardboard models, solid fuel rockets, even my first bank account. Inquiry is natural when it is interesting, that’s how a lot of us are wired. Think about your work—when you are engaged, the time flies by and you complain a lot less about how terribly busy you are. When you are performing rote tasks for financial reward, the clock ticks by slowly…oh, so slowly.

My definition of fun is engagement. My definition of entertainment is engagement. My definition of learning is engagement. You don’t need a Ph.D. in advanced mathematics to see the transitive nature of the implied equation.

There needs to be more fun in learning, not less. There needs to be more entertainment in education, not less. If we want kids to stop dropping out of school, they need to want to be in school. If we want kids to do their homework, we have to make their homework worth doing. Somewhere along the way, a vast conspiracy of otherworldly forces decided that school was about getting a job to make money. Suppose it is. Is that fun, getting a job so you can make money, so kids can look into our eyes and say, yeah, I am gonna play by the rules so I can have what you have? And we wonder why kids are having a hard time with this?

Cut back to when you were toddler, where every day was a miracle, where the distinction between learning and playing did not exist. When you explored the world as your own adventure, every living second was learning, and the last thing you wanted to do was crawl back into the crib. Kids practically beg us to go to preschool, then kindergarten, even first and second and maybe third grade. Why? Because it is fun. It is social. Learning and playing are one and the same. The magic of math is one big puzzle to unravel. The cipher that is language is practically super-power in letting us open new doors, whole universes. The unraveling of science gives the knowledge once restricted to society elders to a five-year-old, as we come to grasp the physical riddles of fire, gravity, why our little teeth drop out of our mouths and are replaced without asking by big teeth. Every day we see our friends and share with them. We sing with them, we learn to play soccer together; we come to embrace simple rules of order and etiquette so that we can get along, even if it just means being polite when cookies and juice are served. We are in a peer group of our own, with an authority figure who temporarily replaces mom or dad called a teacher, and we know intuitively every day we are getting smarter because we are having more fun.

Then they start to measure our performance, and the jig is up. No more fun. Grades. Test scores. College prep. So we can learn something valuable enough to get a job and make money. Oh yeah, that sure is fun.

In his 2011 State of the Union address, President Obama said, “We need to teach our kids that it’s not just the winner of the Super Bowl who deserves to be celebrated, but the winner of the science fair.” If this is just rhetoric than we are bipartisan doomed. We absolutely must embrace the nerds just as much as we applaud the athletes, not because they will all grow up to be Bill Gates and Steve Jobs and Mark Zuckerberg, but because they probably will not. Unless it is cool just to be smart and “be in the band,” then why on earth should anyone stick with education? I buy that with every fiber of my conviction, probably because I was one of the nerds and an embarrassingly awful athlete—but I was never an outcast, because I knew learning qua learning is what mattered most and I was always on the inside with someone who shared that core value and called it fun.

Now let’s dig a little deeper into President Obama’s meaning. My personal sense is that he was saying until education returns to being a core value, we will remain a divided land. That division is what I suggest our well-intentioned but unedited antagonist, Professor Chua, is unintentionally supporting, not the least of which is by drawing ethnic association into a social landscape that continues to evolve appropriately to multiculturalism, tolerance, and shared embrace. If some of us are forced to learn in over structured traditions of education, then whether we like it or not, we probably will get through college and end up with a job that allows sustenance. Whether that is fulfilling and happy for us is not the point, we will participate in the economy and not be a burden to other taxpayers. What then do we do with the rest of us, is it just, oh well, we will get by the best we can? I don’t think so, because the currency of the new economy is not instilled knowledge, it is creativity. In President Obama’s own words: “The first step in winning the future is encouraging American innovation.” Innovation is a direct reflection of creativity, not recitation.  Larry Summers said as much in his response to Professor Chua, citing great minds that did not follow traditional paths, but embraced creativity and started companies instead. And here is another secret that almost no one seems to get—they started those companies not to make money, but to have fun. They chose to work hard at building those companies because they found it enjoyable. There was no separation of work and play, education and entertainment in their minds. They did what they wanted to do, they did it well, and they enjoyed more days than they did not. The fuel of innovation is creativity, and the fuel of creativity is fun.

Sound familiar? Like professional sports perhaps? Or young people who want to become musicians, actors, writers, or fashion designers? Well, we all know the bad news on statistics, we aren’t all going to be at the top of our game if our game is economically limited to a celebrity few. A tiny few of us will start companies that become empires, accidental or otherwise. Yet can we borrow from the motivations of the people who do make these inroads? Instead of fantasizing about playing in the Super Bowl or collecting an Academy Award, how about looking into the sheer drive that brought those “players” to the top of the top. Leave the frosting, eat the cake—the lesson is that the journey is the reward, so start learning the way you want to learn such that you learn what matters to you, and put it to work for intrinsic rather than extrinsic reasons. When you do that, education and entertainment are one and the same, it’s your world. Why don’t we get smart and start teaching kids that way?

If the currency of the new economy is creativity, then we need to celebrate creativity. If kids love entertainment, then we need entertainment to be the fabric of learning. Am I suggesting we do away with drills, practice, focused preparation, and the like? Does the football coach do away with drills, practice, focused preparation and the like? And does the football coach tell his players the reason they are running drills, practice, focused preparation, and the like is because he wants them to understand that this is how football will reward them with riches? The football coach is a teacher, and his game is one of learning. If you haven’t had the pleasure, check out the TV series “Friday Night Lights” and see how much heart it takes to escape the ordinary: “Clear Eyes, Full Hearts, Can’t Lose.” Let’s learn from that.

Luckily, my teachers took a different tack, keenly advising that I walk in the shoes of the masters so that when the time came to rebel, I would know precisely what I was rebelling against. I was one of the lucky ones; I had guidance first, instruction only as a conduit. There was plenty of welcomed discipline, unending study, invited volumes of dusty old books; all I wanted was more, because it was clear to me that a war chest of fully digested material was armor for the long and winding road. Most athletes don’t really like push-ups, but they do as many as they can, as often as they can. Most students don’t really like Hegel in the vernacular or translation, but oh, dialectic synthesis can sure come in handy when a modern Sophist plays fast and loose with history. We each only get one vote, the same value, but we both know if we earned it. In developing our own voices, we are able to see clearly that laughing is always part of learning. When we learn and laugh well, how can we not call it fun?

Best Written TV Series of All Time

This is not a “normal” blog entry for me, but it seemed fun and worth sharing.  Earlier this month, I received the following announcement from the Writers Guild:

In 2006, the Writers Guilds of America, West and East presented the 101 Greatest Screenplays, honoring the best screenwriting of all time as chosen by WGA members. The final list and tribute event garnered major media and industry attention.

Now in 2012, the WGA turns its attention to the small screen with plans to unveil the 101 Best Written TV Series, honoring the most outstanding television writing of the past seven decades and spotlighting the writers who crafted the acclaimed TV shows that helped shape our lives.

If you would like to take a trip with the Ghost of TV’s Past through an extensive but still incomplete list of WGA acclaimed television series, they have provided the link included here.

The request was to vote for my own Top 20 in no particular order, which I found so interesting, enjoyable and difficult, I offer it here.  I share this not because it is definitive or I think my choices are in any way the correct ones, but to offer a perspective of what gets me jazzed about good commercial writing for the media.  This is highly subjective ground and potentially controversial, but what it says to me is that our choices of what we find to be good writing help define our own unique place in the world by nudging us to articulate a personal sense of aesthetic.  Storytelling in any compelling form can offer a window into interpreting our own motivations.  What we like is what we like, and that helps make each of us who we are.  No doubt you will think I am wrong for both what I included and did not, but hey, that’s the fun of it.  Maybe you’ll talk me in or out of a title.  Vive la difference!

Some of these lasted a single season, a few more than a generation.  Clearly the ones that went on longest had the most ups and downs, but even where they may have been inconsistent, the fact that they held my attention to stay connected kept me from penalizing the rough patches.  I tried with each to think about writing specifically as the key element in my selection, although too often it is hard to tease apart the written word from acting, directing, and even show design.  Television is known to be the writer’s medium, but there are times when a featured actor creates a character so defining it can carry the show beyond the craft of the teleplay.  Although outstanding writing is a critical component in what I enjoy, I did not approach this as a “favorites” list per se — otherwise as many as a half-dozen of these picks might have been switched.

The shows noted all had an impact on me for all kinds of reasons, personal, professional, in work and play, writing and non-writing professional work.  In no particular order, with a touch of bias toward recency, here is what I came up with for my best written 20:

1) Hill Street Blues

2) NYPD Blue

3) Friday Night Lights

4) Roots

5) thirtysomething

6) My So-Called Life

7) Man Men

8) Sopranos

9) Lost

10) The West Wing

11) Boardwalk Empire

12) The Dick Van Dyke Show

13) Mary Tyler Moore

14) All in the Family

15) Modern Family

16) M*A*S*H

17) Cheers

18) Married with Children

19) Daily Show with Jon Stewart

20) Saturday Night Live

If you want to know why or why not, please feel free to comment, but make sure you suggest at least a few of your own!  We’ll see how all our tastes aligned with the compiled WGA ballot tabulation when the 101 Best Written are announced later this fall.

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Do I Have To Eat It?

A recent opinion piece in the Wall Street Journal by Jesse Kornbluth, a onetime devoted and inspired employee of America Online, pondered the question of “How AOL—aka Facebook 1.0—Blew Its Lead.” Kornbluth does a good job acknowledging the irony of overlap between the fallen angel and the rising star—the staggering power of community, the seduction of the walled garden, the financial reward of vast momentum—but more importantly, he gets his head around what he believes to be the downward turning point for his former employer. It was not so much the bursting of the bubble, nor even the distractions of failed promise in the historic merger with Time Warner. As a product person, Kornbluth saw the blood start to flow when those who loved product began to be overruled by those who lived by argument. Those arguments were not the healthy tension of developers debating the relative merits of features and benefits. The conflict shifted to initiatives in product strategy that were driven by individuals who had assured themselves their creative ideas would lead to success, even though they did not much have time to embrace and use AOL they way its creators had previously.

When the consultants arrived, strategy was not driven by those who embraced the product and its audience; strategy became a set of theoretical suppositions evidenced by the competitive landscape. There were only two problems: 1) the consultants were no more obsessively using competitive products than those of AOL; and 2) the competitive landscape was crumbling because it was just as inorganic in construct, itself no more than the conclusions of observation. Using a product is not trying it once, it is using it every day and using competitive products to fully internalize how bad becomes good and good becomes great. Data, analysis, reconnaissance, and interpretation are all essential in responding to hyper growth, but if you aren’t eating your own dog food, all bets are off.

Yes, you must Eat Your Own Dog Food.

Alpo Lorne GreeneSome people trace this edict to the television commercials for Alpo in the 1970s and 1980s where Lorne Greene made a point of showing us that he fed the very product he endorsed to his own dogs. No, he didn’t actually eat it himself, but the way he looked at it, you could tell he might be considering it. His dogs were an extension of himself. That love made it clear he would only feed them a product he trusted, and he would only endorse it publicly because he trusted it. I am not saying he was right. I am just noting than his conviction was visceral.

In the software spectrum, the phrase “Eating Our Own Dog Food” is more commonly traced to a 1988 memo from then Microsoft Manager Paul Maritz, encouraging his team to obsess over use of Microsoft’s products. His basic tenet was that to win a category and perfect your work, you had to be the consumer. The memo spread widely throughout Microsoft, over the gate and through the industry. It resonated with many of us, and began being accompanied by such observations as, “If you won’t use the software when it’s free, why should anyone pay you for it?”

Soon after came the dawn of the Dot-com age in the mid 1990s, quickly followed by the implosion of Web 1.0 known as the Dot-bomb era circa 2000. Interesting to note, a few of the companies that survived the turmoil and went onto become the great first generation brands of the Internet like Amazon and eBay made it a point to eat their own dogfood. While third-party consultants poured into corporations to sort out their tanking business models and rationalize their value propositions, far too many of those consultants were busy writing decks and compiling spread sheets. When you asked them what online products and services they loved, they often couldn’t respond, because they were too overwhelmed by time commitments to use the products they would evaluate, let alone love them. For those who had already been through a product development cycle or two, the writing was on the whiteboard.

The absolute necessity of eating your own dog food is anything but limited to software. If you design cars for a living and are not planning to drive your own creation when it comes off the line, how can you attend to every nuance and detail that sets apart your vehicle from the vast number of choices already available for sale? If your team designs a new line of workplace apparel intended to be marketed as more comfortable, durable, and stylish than everything else already hanging on the rack, will you not be planning to wear what you have produced proudly at least a few days each week out of pure joy? When you have the privilege to be creative and innovative in your occupation, you are quickly humbled by the fact that an idea for a new product or service however inspired and brilliant is in fact almost worthless. Customers seldom buy or become loyal to the ideas you pitch. Until a concept is executed expertly and embraced by those who will champion it, it really is just a first draft—perhaps filled with promise, but nonetheless in need of refinement, iteration, and polish. There is a long and winding road from pitch to product, and all along the way details have to be vetted first by those who most love the work, the creators.

Apple long ago coined this notion as Evangelism, and no Apple Evangelist in his or her right mind would try to get you excited about a product they weren’t already using themselves. To be fair, Evangelism is a beginning, not an end, after which customer feedback must become part of the process, but if our goal in social marketing is to engage our community in a supportive and seamless dialogue, then we owe it to them to initiate the dialogue with honesty, commitment, and passion. There will always be pain to share in early releases, but the more defects we extract ahead of release because we already know they are there, the more our customers can trust us to take them seriously in allowing our own needs to be met before we presume to address theirs.

Design is not cynical; its true elegance is purely self-reflective because form and function are easily evaluated in day-to-day use. If something is good enough for your dog, it might be good enough for someone else’s dog. Now imagine if you ensured it was good enough for you before you topped off the can. That would be some seriously tasty dog food. Go on, take a byte.