C/2023 A3 (Tsuchinshan–ATLAS) appearing in the night sky October 17 over Lake Opinion in Ontario. Shot with my iPhone 13
A collection of interesting links I found and posted at my Mastodon account this month. Happy Hallowe’en!
- A really nice overview of Edgar Schien’s book “Humble Inquiry” and his approach to working with clients. Please read this if you are a consultant.
- This is what happens when you privatize a public service. This is no surprise. We absolutely get what we deserve. Don’t want to pay taxes? No problem. Stick your finger in the wind and see what’s what.
- I truly believe that Citizens Assemblies are the way to go now. Public hearings are not helpful, not transparent, and not generative enough. Here in BC, we undertook a significant initiative back in 2004 when we looked at changing our provincial electoral system. It produced a remarkably creative and well-supported result. There is currently one beginning work to examine the amalgamation of Saanich and Victoria.
- The missing people of North Carolina. My heart is constantly breaking for my freinds and colleagues who are mired in disaster that continues. It is nowhere near over, and the trauma and permanent damage to communities, hearts and brains will not abate any time soon
- Dave Winer is one of the guiding lights in the field of #blogging. I discovered him not long after I started my own Parking Lot blog back in 2002 and followed along with some of the folks that helped inspire him to create RSS and podcasting. RSS should be protected as a treasure of the heritage of humanity. It keeps things open. Scripting News is turning 30.
- The Alberta government’s recent legislative actions are deeply troubling. It’s heartbreaking to see a policy based on exclusion rather than inclusion.
- Traditional Waters, Modern Threats: The Gitga’at’s Fight for Humpbacks. First Nations asserting jurisdiction over their lands and waters generally result in good things for life within their territories.
- A nice collection of Complex Systems Frameworks rendered by my friend Sam Bradd for Simon Fraser University .
- LIstening to Rob Piltch and Lorne Lofsky have an intimate conversation on guitar through Cole Porter’s Everything I Love. These two are absolute masters in very different styles and lions on the Canadian jazz scene.
Surfboards inside the museum at Nazaré, Portugal, all of which have ridden the biggest wave in the world.
Things I have found while surfing. Have a look at these, and maybe leave a comment about which link grabbed your attention and what you learned there.
(PS…the headlines are links! Click for more)
John Coltrane’s ideas behind “A Love Supreme.”
I adore this piece of music. I think I first heard it about 20 years after it was recorded, which was nearly 60 years ago now. It is a high form sacred music piece, as important and meaningful as anything that Bach created (it is the season of the Passions, after all) and it so perfectly captures Coltrane’s theology and perhaps every artist’s theology. This article is worth a look for how Coltrane thought about the work and the way he used form as prayer.
Imagining Yourself in Another’s Shoes vs. Extending Your Concern: Empirical and Ethical Differences
An interesting paper about the contrast between The Golden Rule and the idea and practice of what Eric Schweitzgebel calls “extension.” In the paper, Schweitzgebel writes:
“A different approach [to The Golden Rule] treats concern for nearby others as a given and as the seed from which care for more distant others might grow. If you’d care for a nearby child, so also should you care for more distant children. If you’d want something for your sister, so also should you want something similar for other women. This approach to moral expansion differs substantially from others’ shoes / Golden Rule thinking, both in its ethical shape and in its empirical implications.”
This reminds me of the Buddhist practice of Metta, and is food for thought for someone like me who places stock in The Golden Rule.
Every Dr. Johnny Fever DJ break woven into a single show.
If you were a music fan and maybe also if you were involved in radio in the 1970s and 1980s (both of which are true for me), then WKRP in Cincinnati was a must-listen to show. And you had to see the original versions, because the music they played was great but the producers couldn’t afford to syndicate it all, so in re-runs, all the original tracks are just filler tunes and not the originals.
But here is some genius. Someone has taken all of Dr. Johnny Fever’s DJ breaks and announcements and cut them into a three hour show. It contains the live audience laugh track, but it is otherwise a BRILLIANT project and elicits much loving nostalgia for me.
The Implosion of the Retirement Contract
I love a good policy discussion. I admit to being at a loss about how to address inequality and inaccessibility to basics like food, housing and education in a country that thinks of itself as “an advanced economy” and has no political party that is willing or able to make fundamental changes. But policy choices dictate the constraints that create outcomes like unaffordable good food, inaccessible housing and clipping student debt. This paper talks about an interesting underlying assumption that keep property prices high (and therefore also rents).
In nearly all liberal democracies, it is quite normal to treat “property” as “the ideal retirement asset for homeowners, with high house price growth helping downsizers release cash to fund their golden years.”
The Cluetrain Manifesto was a gamechanger for the early web. Those of us that were blogging back at the beginning of the century all knew about it and if your work extended into the organizational world, reading Cluetrain just laid bare how poorly prepared your company or agency or government was to deal with the oncoming onslaught of conversation, creation and disruption to the ways communications, marketing and organizations worked. Cluetrain is 25 years old now and it’s interesting to think about what is different now. Community is largely gone, for one thing.
Thirteen Ways of Looking at Ritual
Ted Gioia should be a must-read on everyone’s list. He writes on music and culture, and everything he says is thoughtful, skillfully economical, and insightful. He points you to pieces of music you would have never found. He provides takes on culture that you aren’t going to get anywhere else. This piece is so insightful about what it takes to live with boundaries that make our lives meaningful in an era where our attention has been nearly completely colonized.
The Origin of Last Summer’s Maui Wildfire
It’s hard to overstate the impact of the fire that destroyed Lahaina on Maui last summer. Having been there in February and witnessed the destruction myself, it is profoundly sad. To make matters worse, the fires ripped open a wound on Maui that private interests have rushed in to heal. The community is now in serious danger of being lost to outside owners and investment companies who have predatory designs on the land and property that was destroyed by the fire. Locals are in danger of forever losing their home places because there is no public support that can compete with what the wealthy interests are offering. It’s a shit show. In this article, Cliff Mass undertakes an analysis of the causes of the wildfire.
Raise energy and reduce ‘meeting fatigue’ by making meetings optional
My mate Mark McKergow has a research-supported idea for lowering cognitive fatigue for online meetings. It’s simple enough, but it requires managers to let go of control and let the work speak for itself. And it requires organizations to loosen up on the samara of accountability culture that is killing many of the workplaces I am working with.
Evaluation is one of those things that become a massively problematic constraint on a project if one doesn’t understand it, or worse, fears it. My friend Ciaran Camman is offering his course on Evaluation called “Weaving it In” and you should go to that. To get ready for that though, let this whimsical discussion whet your palate.
The British poet, musician and performer was an incredible voice over 40 for racial justice and as an advocate for all people taking their place in Britain. His version of the Tam Lyn story, retold above in a stunning performance with the Imagined Village Ensemble, is a brilliant and creative arrangement of the old folk tale but applied to the reality of a refugee living in a 21st century British city and asking that his lover hold on to him as all of the power at play throws itself at him to try to have him deported.
It’s a stunning retelling. Explore Zephaniah’s work and life here.
My Epiphone Emperor Joe Pass guitar upon which I am learning…leadership? Read on!
It’s a cliche as old as time, one I have been guilty of using occasionally too. Leadership is like jazz, where the members of an ensemble support each other in improvisation. We listen carefully, respond to what each other is doing, offer creative responses and make something amazing together.
Yes. Leadership is way more about improvisation than, say, following a step to step guide to assembling IKEA furniture.
But there is another set of metaphors from jazz that I have never seen talked about, perhaps because it needs you to understand a little about music theory, but that is leadership as jazz harmony.
My pandemic project was, after forty years, marrying my love of jazz with my love of guitar playing. My musical life hasn’t been the same. It has felt like starting over again. I have been learning jazz guitar with a teacher and with online tools now since late 2020. I’m focusing on learning how to play jazz standards, mostly solo, which means learning how to make chord melodies while also trying to do interesting things with improvised lines, over chords. I had to learn the fretboard in new ways, had to learn new techniques for voicing chords and playing lines from scales to which I had never given much thought: the harmonic minor, the altered scale, the Lydian dominant. I am getting to the point where I am learning to say things with jazz, but I feel like a baby. One reason for that is that there is SO MUCH TO LEARN from technique to theory to language to repertoire.
Of course with all new endeavours you have to learn a bit of theory to understand how it all works. While I know basic music theory, I have also had to take a deep dive into jazz theory because at its core, jazz is a structured, logical music that provides a harmonic and rhythmic container for improvisation and all the tools one needs comes from the specific ways jazz theory works. When you are playing on guitar, especially comping the lush and colourful jazz chords that accompany other players, your goal is to be as sparse as possible while still implying the harmony so that the melodic lines that the soloists are producing make sense. To the untrained and cynical ear, jazz sounds like “the wrong notes” but in the hands of skilled guitarists, jazz harmony has a number of different characteristics that are interesting.
First of all, in good jazz guitar playing, we try to make arrangements where the chords change only one or two notes at a time, and most often to notes that are just nearby. This is called “voice leading” and has been a feature of Western music since harmony was invented. In fact it probably was the origin of harmony, as two independent voices singing together will produce different notes. Sometimes these notes will sound pleasing and consonant and sometimes they will clash and sound dissonant. However, the point of voice leading is to guide the ear gently from one chord to another through the changes. As long as I have have loved music I have loved voice leading. I spent hours just voicing chords on piano as a kid without knowing what I was doing. But when you play a chord and change one note you discover that you are somewhere else entirely. Your next move from there is constrained by where you are now, and there are patterns of logic and harmonic tradition that are yours to follow or break as you wish.
Because guitar is a weird instrument – six strings played with four or five fingers with the same note appearing in different places all over the neck – jazz guitarists are very fond of stripping chords down to only two notes, to play their essence. In jazz we call these “guide tones” and they are the 3rd and the 7th notes of the chord scale. For example if I’m playing in the key of C and I need a C major 7 chord, I need only to play an E and a B (C-D-E-F-G-A-B) to imply the chord. Guide tones, along with the context of the chord – what comes before and after it – gives you enough information to work with to create a solo that sounds good. Guide tones are connected to voice leading. Playing a standard jazz chord progression like a Dm7 – G7 – Cmaj7 (the well-known “ii-V-I”) with guide tones produces smooth voice leading: Notes go like this: F-C, B-F, E-B. You can see that in each chord change, only one note changes, but when it does it produces a very different sound. We get led by one notes that wants to stay stable (the third) and one that wants to go somewhere else (the seventh). Together these two notes contains the essence of tension and release.
Jazz harmony is all about tension and release. In most of the music I have ever played on guitar, chords are just blocks of information. I might have a chord progression that goes C-Am-F-G (I-vi-IV-V) which is very common in pop and folk music and while certain chords want to go to other certain chords, the most tension is with the G chord, the five chord, which wants to go back to a C. End a song on a five chord, and your audience will be left in suspension. Go listen to the end of The Beatles “For No One” and you’ll see what I mean. You get left there. What happens next? This is the most basic tension and release. When most of us are learning guitar, we learn 7th chords and understand that these always lead us back to the tonic. D7 goes to G. A7 goes to D. C7 goes to F.
In jazz working with tension and release is a high art and there are many, MANY, more things you can do with chords to make jazz lines flow from one chord to the other, but the essence is that a little bit of suspense makes for a satisfying resolution. So we take those guide tones and start adding notes to them, and this is where jazz theory gets really arcane. You can add a sharp 11 or a flat 13 or a sharp or flat 9 to give you some tension and dissonance. Or you can add a 9, 6 (or 13) to give some lush colour to a more stable chord. You can play different scales over different chords. You can keep suspense and tension alive for a long time, or just imply it and bring it home. In Western music tension and release is such an important aspect of the musical experience that it is essential to understand for both composition and improvisation. Music with no tension of release is just a drone. Everything else in music is textured around moments of discomfort and anticipation and moments of relief and stability.
So if you want to see all this in its glory have a watch of this old Ed Bickert recording with his trio. Ultimately all of these tools are helpful in aid of creating a container inside which you make coherent choices for expressing yourself. And THAT is why jazz harmony is like leadership.
Extending the metaphor
I’m writing a lot on containers right now, so my attention is guided toward how containers – contexts for meaningful action – are structured and how we create them. In complex situations, leadership is about creating these contexts for action and interaction, and there are many lessons from the world of jazz harmony that apply here. Here are a few, in case you haven’talrady sussed them.
Theory matters. It really does. In jazz, there are reasons why something sounds “jazzy” and reasons why it doesn’t, and the same is true in working with containers and people. There are things you can do as a leader that will have better chances of certain outcomes than other things. Learning theory, especially working in complexity – like why managing to targets is less effective than managing to a direction of travel – will help you create experiences for people that get better results over time. If you want your tem to be more creative, there are things you can do that will help. If you all want to learn some new things together, knowing what they are and how learning works makes a big difference to how effective you will all be.
Small changes make a big difference. Voice leading in jazz has taught me that changing one small thing can have a powerful effect of taking you somewhere else. We think of “change” in organizations as a big planned thing, but in reality the constant change that arises from interactions between people creates all kinds of new situations. Leadership is about working with existing stability – for better or worse – and making small adjustments to see what can be done to take you closer to your preferred direction of travel. And making small changes means that, as you are improvising, you don’t over commit to an idea that has no future. Instead you are trying to open up new pathways to explore – called affordances in complexity – that are coherent with what is already happening, but might offer a better way to be.
Start with where you are. In jazz if you are playing in the key of B flat major, you should not play a line from the D major scale unless you really really really know what you are doing. One of the biggest lessons I have learned from complexity theory over the years is that the current state matters so much that any attempt to just show up and create something new in a workshop or a retreat with no regard to context is almost guaranteed to be a failure. In complexity, change happens along affordances in the current context, and fruitful change-making and leadership understands that. That is not to say that you cannot create completely new things out of the blue, but there are all kinds of reasons why this entails a massive energy cost to individuals, not the least of which relates to just how much tension and release people can take.
Tension and release helps us move from one place to another. Our work lives are full of moments of tension snd suspense followed by moments of release and stability. Cognitively, we can only stay in this so long and we all have different tolerances. Just like your endurance for listening to a free jazz piece that seems to have no release of stability at all – I love Cecil Taylor but your mileage may vary – folks at work will have a hard time staying in a state of constant tension, or indeed, constant stability. And even though good leaders give their teams and organizations a sense of stability over time, ignoring the changing context of one’s work can render a team irrelevant or ineffective, and in some cases, an entire company can find itself no longer in business. So as a leader, it’s a developed practice to dance with the paradoxes of challenge and rest, creativity and stability, outside thinking and standardization. Human beings live this journey and it is what helps us grow and evolve and form and break our identities and try new things and generally give meaning to our lives. That is a high art of leadership: to create what I’ve heard Jennifer Garvey Berger call “life-giving contexts.”
So there you go. The next time you meet someone who just cavalierly throws around the “leadership = jazz” metaphor, go a bit deeper. And I encourage you to really listen to great music to hear all these things at play. Knowing a bit about how music works helps us to understand why it matters to you, why you like what you like and why and how you are moved by it. Just like everything.
Last night we were treated to an incredible concert here on Bowen Island by Susie Ungerleider and Sarah Jane Scouten, two of Canada’s finest singer-songwriters, lyricists who simply and directly reach for the soul, remind you of things you have loved and lost, of times that have rolled on and of places that hold the heart no matter how they change. Sarah Jane is Bowen Island born and raised, brought up in a family and a community that soaked her in folk music, theatre and language. She lives in Scotland now and this is the first time she has been back to play in her own small town in about seven years. I warned her on Facebook that she would be facing a love bomb of appreciation when she took to the stage at the Tir na nOg Theatre, and she was.
Susie Ungerlieder is a long-time mainstay on the Canadian music scene, and she has come out from under the cover of “Oh Susanna” as if, after 35 years, her alter ego in the song “My Boyfriend” steps into bringing the soul.
These two are accomplished crafters of exquisite song. Simply chords, folk/country/Americana idiom, but distinctly west coast Last night in concert they traded songs back and forth, in a barely amplified setting, both offering only the sparsest of guitar accompaniment to their lyrics. The songs are simple but powerful and evocative. From Sarah Jane’s lament of a World War 1 mother’s labours to Susie’s conjuring of the landmarks and zeitgeist of 1980s Vancouver, back when it used to rain and Teenage Head played in dingy clubs in East Van and the Town Pump turned you away for not having ID. What delivers them are their voices, and for both, the intensity of being back on home soil, singing songs that resonate just that little bit deeper with an audience who knows their place and knows a little of what has formed these songs.
It was a really special evening, and I’m thankful that one of this Island’s prodigal daughters returned to us for a night with stories from her travels, and a curious and incisive eye for what makes us all tick.