Living in More Than One World

Last week I wrote about my experiences in Claremont, California at Drucker Day, on November 10th. However, I also had the pleasure of spending November 8th and 9th, and part of November 7th, on the campuses of The Claremont Colleges and The Claremont Graduate University. In between meetings with friends at the Drucker School and the Drucker Institute, I also managed to take advantage of a few on-campus activities.
After arriving in town mid-day Wednesday, I attended a fascinating talk by John Bachmann, senior partner (and retired managing partner) of Edward Jones, and chairman of the Board of Visitors of the Drucker School and trustee of Claremont Graduate University. He was interviewed by Rick Wartzman, the Executive Director of the Drucker Institute, on “How I Became a CEO.” Bachmann is also a Distinguished Visiting Assistant Professor at the Drucker School, and was a longtime friend and consulting partner of Peter Drucker. He is a perfect example of the many high-profile, highly accomplished leaders who were followers of Drucker.
A trait that Bachmann shares with Drucker, and so many of Drucker’s followers, is intense intellectual and cultural curiosity. This played out for Drucker in his interest in and collecting of Japanese art. During the Drucker Centennial in 2009, I attended the opening of an exhibit, “Zen! Japanese Paintings From the Sanso Collection,” of this collection on campus, at the Ruth Chandler Williamson Gallery, at Scripps College. I returned there during this visit for another Japanese-themed exhibit, “Genji’s World in Japanese Woodblock Prints.” Maybe it was because it was late Friday, but I had the gallery all to myself.
I always enjoy going to the Honnold/Mudd library on campus, including the Honnold/Mudd Café. On Thursday I attended the library’s Claremont Discourse Lecture, “How American Bandstand Created the American Teenager,” by Scripps College professor Matt Delmont. It was based on his new book The Nicest Kids in Town: American Bandstand, Rock ‘n’ Roll, and Civil Rights in 1950s Philadelphia. As a pre-teen during that decade in Scranton, Pa., I religiously watched the show when it was a weekday, after-school offering. Matt’s lecture was highly interesting and intriguing, the same qualities I’m finding so far in the book. It provides new perspectives on Bandstand’s host, the late Dick Clark; and on rock music’s central role in the growing power of teenagers in the early baby-boom years. And gaining new perspectives is a perfect reason to spend a few days on a college campus.

What did Peter Drucker have in common with Bob Dylan and The Beatles? More than you might initially think. All were/are at the top of their fields; all were/are prolific, serious innovators. They also changed their initial styles of expression from their early to more mature work.
Beyond that, there are interesting geographic angles. Drucker, who was born in Vienna, Austria in 1909, began working as a clerk apprentice, and studying law at Hamburg University, in Germany, in 1927. This was a formative time for him, which included being introduced to great works of literature by a local librarian, and also attending the opera on a student ticket to hear what became a life-changing work, Verdi’s Falstaff.  Thirty- three years later, in 1960, The Beatles left Liverpool and did their own apprenticeship in Hamburg; playing grueling hours in the city’s gritty clubs. Their experiences formed the basis for the polished, groundbreaking band they would later become.
Drucker moved to the United States in 1937, and in 1950 began teaching at the Graduate Business School of New York University (now New York University Stern School of Business), an association that would last for two decades. While he was teaching at NYU, Bob Dylan moved from Minnesota to New York City’s Greenwich Village, in 1961. It’s fascinating to think that while Dylan was doing his world-changing work in the 1960s, Drucker was in the same city all along, teaching, consulting and writing some of his most important books, such as The Effective Executive and The Age of Discontinuity. While it’s tempting to think that Dylan and Drucker could have bumped into each other on the streets of the village near the NYU buildings, my understanding is that Drucker’s classes were actually held in the Wall Street area, so it is unlikely their paths crossed. (If anyone knows differently, I’d love to hear about it!)
People will still be reading Drucker’s books, and listening to the music of Dylan and The Beatles far into the future. And none of it would have happened without those early days of apprenticeship and inspiration.

If you are anywhere near Arlington, Virginia from now until the end of May, check out the recently extended “D.C. Punk” exhibit at the Arlington County Public Library (where I did an author event in 2009). The combination of flyers for gigs and album cover posters vividly illuminate the music scene of the early punk era. In 2009, I wrote about part of my connection, including being neighbors in the same Arlington apartment building as Henry Rollins before he moved to California to join Black Flag.  Even before that, I first met Henry and his longtime friend Ian MacKaye, who started the phenomenally popular Dischord Records more than 30 years ago, while launching his own band, Minor Threat. Ian became even more popular with his subsequent band, Fugazi. As part of the exhibit, on April 18th the library screened “Instrument – Ten Years with the Band Fugazi :  A Film by Jem Cohen and the Washington D.C. Band Fugazi.” Individuals and companies can learn a lot about branding from studying the history of Ian and Dischord. Another related event takes place on April 26th, when Jennifer Egan will speak about her 2011 Pulitzer Prize-winning novel A Visit from the Goon Squad, a selection of Arlington Reads 2012.
Many other D.C. area bands of the punk era are featured in the exhibit. Whether you go or not, be sure to have a look at the extensive Flickr pages from DSI Archives. Some of the graphics are terrific, and the DIY, entrepreneurial spirit is strong. Another admirable aspect these graphics demonstrate is the commitment to social justice that some of these bands represented.
It’s only fitting that this exhibit takes place in a library, as evidenced by this column in LAWeekly last September: Henry Rollins: The Column! Henry Speaks On His Consciousness-Expanding Trip to the Library of Congress With Ian MacKaye, about a visit to LOC and the National Archives that Henry called “a day of nonstop awe and inspiration.”  Even if you don’t like listening to the music, you can have your consciousness expanded by your in-person or virtual visit to “D.C. Punk” at the Arlington County Public Library.

Leave it to The Economist, and specifically the Schumpeter management column, to find the intersection between Leonard Cohen and entrepreneurship. The February 25th Enterprising Oldies explores, in a neat package, why all of us (no matter where we are chronologically in adulthood) may have to explore entrepreneurship and other forms of self-employment at some point in our working lives.
As we think about how to diversify our portfolio of work experiences, it’s worth digging deeper into how we can apply some of the life lessons of the 77 year old Cohen, a singer/songwriter/poet/novelist who was inducted into the Rock&Roll Hall of Fame in 2008. He’s written such oft-recorded classics as “Suzanne” and “Bird on a Wire,” and the more recent “Hallelujah.”
As pointed out in The Economist and a recent New York Times interview, part of Cohen’s recent renaissance has come about because he had to resume touring and recording to help make up for millions of dollars lost in dealings with a former financial adviser. But no matter what the impetus was, the fact is that he has a new album, Old Ideas, and has toured the world recently at far beyond traditional retirement age. What can we learn from his example?
1.    Diversified creative output. He has a tremendous body of work, going back more than 40 years, to draw on. It’s entirely possible that his poetry books are not major money-spinners, but he also has his albums, songwriting royalties (perhaps a considerable sum, given all the cover versions of his songs) and concert fees.
2.    A  powerful personal brand. Mention the name and people instantly associate it with him and his work.
3.    A global outlook. He has a worldwide following, with his books and music available worldwide, and fans everywhere, well beyond his native Canada.
4.    Remaining relevant. People are eager to listen to the new output of this 77 year old man, and he’s adding new fans all the time.
5.    An impressive body of work. One reason millions of dollars are at stake from Cohen’s career is that he has written and recorded so many important songs over more than 40 years.
Even if the work you do is not creative in nature, chances are you still may have to/want to work beyond 65. It’s never too soon, or too late to be thinking about amassing a high-quality body of work, diversifying your output, building your brand, thinking globally and remaining relevant.
As ties to traditional jobs and employment arrangements continue to evolve and become more tenuous, we will increasingly find ourselves in what could be called The Leonard Cohen Economy.

One of the best examples of a multidimensional person living in more than one world is Chuck Leavell. He is probably best known as a top-level pianist who has played with The Rolling Stones for nearly 30 years and was with the Allman Brothers Band before that. He has also led his own band, Sea Level, and his discography is jaw-dropping. But as his recent bylined piece, A Rock ‘n’ Roll Tour de Forest, in The Wall Street Journal shows, he also operates on many other important levels: operator (with his wife, Rose Lane) of a tree farm in Georgia, conservationist, environmental/sustainable development advocate, author and tech entrepreneur.
His recent TedXAtlanta video about balance in life and balance in development demonstrates the personal characteristics that have made him a success: he comes across as passionate, articulate, genial and informed. Although I never met him during my music world days, I’ve known about him since the beginning of his music career in the early 1970s. I’m sure he meets and interacts with a fascinating diversity of people in each of his roles, and that his involvement in so many worlds feeds an intense intellectual curiosity.
It’s encouraging that he has attracted so much attention. His most recent book, Growing a Better America, was published earlier this year. In recent weeks, besides the WSJ piece, there has been a New York Times college football-themed blog post interview with him, Postcard From Alabama: Playing for the Stones, Rooting for the Tide; and Chuck Leavell On Piano Jazz, a recent piece on NPR.org that includes his enjoyable and informative 2003 interview/music appearance on Marian McPartland’s Piano Jazz. We should all be grateful that Leavell is truly living in more than one world.

300 Words With is a new, semi-regular feature on my blog, in which I interview people I admire, especially those who exemplify the spirit of living in more than one world. Their responses are (in the range of) 300 words. Today’s interviewee is the artist/writer/musician/NPR radio commentator David Greenberger, who also has done innovative work with the elderly. I knew David back in my music writing/selling days in the late seventies and early eighties, and then lost touch with him until becoming reconnected earlier this year on Facebook.

1. Can you briefly describe your life’s professional journey so far, including Duplex Planet and your art?

Duplex Planet is my art, or one aspect of it. I won’t take up the limited word space here to describe it, but will say that I started out as a painter – art school, showings, the whole thing – and after I created the earliest issues of the periodical in 1979, I purposefully set aside painting a year or so later so that I could truly allow this other medium to become my voice. That said, for the past half decade, I’ve returned to visual art as well (though there are also visual components in The Duplex Planet) and it picks up around where I left off thirty years ago. For the past 15 years I’ve been most interested in the creation of monologues with music, further abstracting the underlying source material to make for a more universal, less documentary-specific focus.

2. Has music been a running thread through your personal and professional life, and if so, in what ways?

Music has been a constant since I was ten or eleven years old. I’ve always been nourished by hearing something new, as well as finding new in the familiar. I played bass guitar in bands in my hometown of Erie, PA, through high school and into college. I returned to performing when I lived in Boston and formed a band called Men & Volts. We did five albums and numerous other releases over the course of the eighties. Putting together an issue of The Duplex Planet has always been like assembling an album: the rhythmic flow, the juxtapositions, the slow reveal. My recordings and performances now – monologues with music – I liken to a band with a guy (me) talking.

3. What non-work activities do you find particularly meaningful in your life?

As an artist, I find very little divide between my daily endeavors and the notion of work. They are the same; they are who I am and what I do. That said, stepping away from the various processes is necessary for the growth and integrity of the art. So there are friends, the aesthetic pleasures of food, film, literature and every other medium, to baffle, amuse, delight and enrich.

Last year, I blogged about how in my rock writing days I had interviewed Nick Lowe several times. Last week, I saw Lowe at the Birchmere, in Alexandria, Va., with his wonderful new touring band. As always, he put on a musically strong, highly enjoyable show. I’ve seen him in pretty much every permutation: solo, with Brinsley Schwarz, Rockpile, Little Village and his various touring bands. Listening to his short, funny monologue at the beginning of the set made me think that Nick should write a self-management book and go out on the lecture circuit. He would be a natural, and I think lots of people would buy a book in which he told in his own words how he’s navigated a career, in a tough business, of more than 40 years. He certainly has managers and agents helping to guide him, but I believe that he has set the direction of what he wants to do and how he wants to do it. The result has been a strong, steady career as a singer, musician, producer and songwriter. In the mid-‘70s, he was a mentor (although I doubt he would call it that) for Elvis Costello and Graham Parker. He gets lots of press, partly because he is so good, but also because he gives great, highly quotable interviews. Above all, he continues to develop his craft. Lowe builds quality into his professional life. When he is not working solo, he only collaborates with top-flight musicians, either the lesser-known ones in the current band to the likes of Dave Edmunds, Ry Cooder and John Hiatt. It has been years since I’ve had a chance to talk with Nick, but if I had a minute now, I’d make my suggestion: write a book that would have appeal beyond the music world, and apply your considerable speaking talents to the lecture and presentation circuit. I would pay for that, and I know many others would as well.

Joshua Green’s article in The Atlantic, Management Secrets of the Grateful Dead, got considerable attention when it was published earlier this year. Last weekend’s Fairport Cropredy Convention, the long-running outdoor festival the British band produces each August, got me thinking that perhaps we should also consider the Management Secrets of Fairport Convention. Not that the latter has had anywhere near the business success of the Grateful Dead, but Fairport has many things in its favor. The band, which has been together in one form or another for more than 40 years, is as much a collection of concepts and ideas as a musical entity. It stands for a number of admirable things: quality, roots, continuity, inclusiveness, durability, relevancy and timelessness. One page on their site gives all the details for anyone wanting to do business with them. Somehow I doubt that they make a lot of money, though I imagine that financial wealth is relatively low on their list of aspirations. But they have admirably produced the festival, which draws 20,000 people yearly; and in recent years, released albums on their own label. (All of the early albums on major labels still sound great. They were definitely, to borrow a phrase from Jim Collins and Jerry Porras, Built to Last.) Fairport Convention’s inclusiveness and sense of family is also demonstrated by a page on their site with links to sites of former members, with the best known being Richard Thompson. Although he often appears at Cropredy, as do other former members, this year he was on tour in the States. Another former member, Sandy Denny, died in 1978. Her stature and importance as an artist has grown considerably since her death. She will be the subject of a 19-CD box set next month, according to this recent feature in The Guardian. Any person or organization attempting to build a successful brand and develop a community can take notes on how Fairport connects with their community in such a sincere, good-humored, genuine way.

I’ve decided to relaunch my blog by commemorating the 30th anniversary of the release of Declaration of Independents, a compilation of independent label rock music that I co-executive produced with Steve Leeds, now of Sirius satellite radio. It was the only album on the label we co-owned, Ambition Records. Declaration was one of the first compilations of its type, fittingly released on July 4, 1980. We licensed 13 songs from small labels nationwide, by such artists as SVT (from San Francisco, with Jack Casady of Jefferson Airplane/Hot Tuna), Bubba Lou and the Highballs (also from San Francisco), Robin Lane and the Chartbusters (Boston); Kevin Dunn (Atlanta; with a highly original electronic version of Chuck Berry’s “Nadine”); Pylon (Athens, Ga.; their cut “Cool” was co-produced by the band and Dunn); The News (Rock Springs, Wy.), Luxury (Des Moines) and Ragnar Kvaran (Ann Arbor). There were also several cuts from Washington, D.C., area artists: Razz (with Tommy Keene), Tex Rubinowitz and the late Root Boy Slim; and two from Springfield, Mo., Jim Wunderle and D. Clinton (Donnie) Thompson, one of the most phenomenal roots-rock guitarists, then and now. It was distributed in the UK by Stiff Records, then at or near the height of its fame. The amazing cover art (you can get a basic idea of it from a 2008 Wilfully Obscure blog post) was by Steve Byram and David Gambale. The musician associated with the LP who arguably became most successful, Ben Vaughn, didn’t even play on it. He designed Ambition Records’ logo, in his other capacity at the time as a graphic designer. Steve Leeds, Ben and I remain friends, but I’ve lost touch with most of the artists, and would love to hear from them, if any see this post. And if you enjoyed the album, it would be great to hear from you.

I recently wrote a post about the intersection of two of my favorite subjects, music and literature. Now I have discovered a series of posts on the Los Angeles Times’ Jacket Copy blog about rock music books and related topics, capped by The 46 essential rock reads, on Sept. 1. Obviously a list of this sort is going to be not only incomplete but controversial, as shown by the comments. But it does provide interesting food for thought. Among the 46 books is Get in the Van, by Henry Rollins, an account of his early ‘80s days as lead singer of Black Flag. Right before he moved to California to join that band in 1981, he and I were neighbors in the same apartment building in Arlington, Va. I knew him even before that, having first met him around 1979 or 1980, when I was working a part time job at the late, lamented Olsson’s Books and Records. Henry has been highly successful for many years, and he’s an intriguing example of living in more than one world: as a singer, poet, actor, DJ, entrepreneur, public speaker, etc. I met him at the same time as his friend Ian MacKaye, who has also been a longtime, huge success both in music (with Minor Threat, Fugazi and The Evens) and in business (starting and leading Dischord Records). I know from experience how hard it is to start and run an independent record label – I didn’t last long — and his success over nearly 30 years is well-earned. Among the best LA Times posts is Robin Benway’s Favorite Storytelling Songs. I was unfamiliar with her before this, but Benway is an interesting writer, and has done well with her novel, Audrey, Wait! Let’s hope that Jacket Copy returns to rock themes before a year from now.