Learn To Laugh

Comedy is about other people’s pain. Wiley Coyote going off the cliff one more time is funny. The guy slipping on the banana peel is hysterical as long as you are not that guy. Humor is mostly a status drop for someone.

I’ve been writing and drawing a cartoon called FL!P for almost half a year now so I’m inadvertently making a study of what’s funny and what is not. Recently some acquaintances that know me from my coaching life took me to task because my comic strip seemed out of character. “It’s mean,” they said. “Yes.” I said. That is precisely why it is funny.

The strip is aimed at entrepreneurs and there is a need for a bit of levity in a world so steeped in self-interest and confusing agendas. In many traditions around the world the trickster is an integral part of worship. We are not meant to take our gods so seriously. The reverence is always found in the relationship and the realization that the godhead is in all of us. It is our flaws that take us closer to the creative. Worship is a relationship and a full relationship includes laughter, joy, play, as well as inner quiet and awe. Tricksters break rules and pull the blanket off of societies inequities. Tricksters help us see what we pretend not to see. The Emperor would still be strutting around naked if the trickster boy hadn’t spoken a truth that the rest of the village denied. Truth comes easier with laughter. I can tell you that there is much public prancing in the world of accelerators and incubators but very little real apparel. Humor is necessary in a landscape so rife with pretending.

Artists are often of necessity the tricksters of their culture. It is the artists’ job to open eyes to what is there (versus what we think is there). It is the artists’ job to bring the communal attention into the present, to slap-stop the puffed up importance of things that do not matter so that the things of real importance can be seen. With a 24 hour news cycle and a congress ruled by corporate dollars it is hard for us to sort out what is valuable and what is not. The narrative in the commons rarely reaches the level of significance. It is no wonder that many people confess to getting their news from John Stewart and Stephen Colbert (both heroes of mine).

The greatest lessons of my life did not come gently and I am all the more grateful for the force behind the learning. My lessons came with status drops and like Wiley Coyote I have gone more than once over the cliff with an anvil close behind. Comedy is mean. Learning requires falling down. Stepping into the unknown is potent because of the myriad of things to trip over. If you can’t laugh at the bungle you’ll miss the lesson.

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For a humorous look at the wonderful world of innovation and new ventures, check out my new comic strip Fl!p and the gang at Fl!p Comics.

Meet At “We.”

Many years ago I was watching Johnny direct a play. It was one of Shakespeare’s though I can’t remember which play. Suddenly, in the middle of the rehearsal, he was overcome with the recognition that he and his actors where carrying forward a tradition. They were engaged in an artistic tradition that stretches back centuries. They were carrying the torch in this lifetime so that they might pass the flame to the next generation. Johnny’s passion and recognition was infectious and his cast dawned to the reality that they were in service to something greater than their small parts in a singular production of the play. They became priests and priestesses enacting the ritual story for all ages.

They found deeper meaning to their work. It mattered. They found connection to both the past (the tradition) and the future (the legacy). Their work rippled in time and came alive in the present moment because they suddenly understood who they were relative to the past and the future. They located themselves. This play was theirs to do. Their service to the play and the tradition defined their purpose. Their art was their gift to the community and the community the served transcended time: it reached into the past and stretched into the future.

This is the purpose of the arts: to locate us in time relative to our traditions and our legacy. The arts orient us to the question, “Who are we?” The arts do not answer the question, there is no single answer, but they facilitate an ongoing conversation and exploration of what it is to be alive as a member of a community.

Artists are the keepers of the communal narrative. When the artists no longer occupy the center, the narrative dissipates and so does the society. Rules and laws can hold the pieces together for a while but disparity and self-interest are inevitable. They are harbingers of communal collapse. A common narrative is the beating heart of a healthy community.

No plant can live without it root and neither can a community. No person can prosper alone. The purpose is never the “I.” Purpose requires a target so it is by definition the “We.” Greater purpose extends to the past and the future, just as the roots of a plant reach deep into the earth while the branches and leaves reach to meet the sun. This reaching, this connection to past and future that meets and grows in the present moment defines us. It is the two directions of mattering that meets in the moment of “We.”

(895. Join me in inspiring truly powerful people. Each day I will add a new thought, story or idea to support your quest and mine.)

For a humorous look at the wonderful world of innovation and new ventures, check out my new comic strip Fl!p and the gang at Fl!p Comics.

Give The Gift

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Amy and I meet for coffee every few months. We usually meet early in the morning, bleary eyed and mostly exhausted by the path we’ve chosen to walk in this life. That’s why we schedule the date: we are exhausted and seeking inspiration. By the time we part a few hours later we are on fire with possibility. It happens every time. We spark each other. We ignite the imagination and remind each other of the riches of art and creativity in a community that understands the creative through the lens of commodity. We leave behind our need to assign value to our work and simple revel in our reason why.

Early on in life, artists learn to either diminish or inflate their gift. In looking for their place in this tribe that knows value only in monetary terms – and art cannot really be understood in such an abstract value system – they default to judge their own work. In the absence of any meaningful valuation they create a shadow standard. They cannot find a place so they invent one and the invention usually comes in the form of a value box: good enough, not good enough, appreciated, underappreciated, understood, misunderstood. It becomes an inner debate, a reason to hide, a certainty of inauthenticity, a story of hidden genius, a disdain for an ignorant community. It is a story of separation or suffering, a story as disembodied as the commodity system that inspired it.

I shared with Amy that a major part of my learning this year has been to get out of the valuation game. I’ve surrendered my shadow standard and am no longer interested in placing my work in a value box. I’m out of the business of inflation or deflation. I have a gift and need not concern myself with its reception. Mine is to give it. Mine is to give it as boldly and joyfully as possible. The value debate sucks air from my offer.

I’ve learned that arts live at the center so I need not seek any other place. They are connective tissue and any form of separation (belief that I am special or less than useful) is anesthetic; it is the antithesis of art. Art joins. Art enlivens. It awakens. It unifies. It does not fit in boxes. It is ordinary, ubiquitous, a path available to every human being. Gifts are meant to be given without condition. Gifts are meant to be opened and celebrated..

See Her Hands

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Alan issued me a challenge today. He asked me, for a few weeks, to write about something other than the events of my day. Perhaps to write about ideas or dreams or imaginings or something that happened in the past. His challenge to me is about moving beyond the role of witness – a role I play well – and to actually inhabit the moments of my life. He asked me to intentionally be a participant more than an observer. It’s a great idea and a worthy challenge. And, I will start tomorrow. Today I have to write about Kerri’s hands.

Kerri is a musician, a composer with many albums to her credit. When she plays the piano she drops into a deep root, she grounds into her music, and a river of sound flows from her. Life flows through her. So much life flows through her that she cannot sit at the piano. She stands and life flows through her hands as sound and vibration and heart. It is her music.

The first time I met her I asked her to play something for me. I stood at the side of the piano and I watched her reach into the earth. I watched life pour through her hands. They knew just what to do. When she grounded and gave herself over to the music, her hands merged with the keys and I wasn’t sure if the hands were playing the keys or the keys were moving her fingers.

This morning while I was talking with Alan she began to play a new composition. I left the call and stood by the piano. The lid to the piano was open so I could see her hands and the hammers touch the strings as she touched the keys. I know this sounds obvious but the piano is an extension of her hands. The piano is a channel for her soul.

Later we stood on the front stoop as a storm blew through. The thunder rolled and rolled without ceasing. It was magic, something I’ve never heard before. The same power I saw in her hands I also saw in voice of the sky. I took her hand and felt the life, the thunder and the power. I felt the music. It was breathtaking.

Play The Ukulele

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Last night I was at Ukulele practice in a garden on the shores of Lake Michigan. I am a rank beginner and learning to play the Ukulele with 47 other people. We were laughing our way through Over The Rainbow. I was playing air Ukulele pretending that I was expert at my chord progressions, when a sphinx butterfly circled us, flew into the garden right next to me, and began drinking from the flowers. It was close enough to touch. I’d never seen anything like it before. I was so captivated by the butterfly that I forgot to pretend that I was strumming.

A sphinx butterfly looks like an exotic hummingbird. It is shaped like a hummingbird, its wings beat like a hummingbird, it hovers like a hummingbird, and yet it is not a hummingbird. My section of the ukulele band completely dropped their chord progressions and joined me in gaping at the butterfly. We entered an intense debate about whether it was a hummingbird or indeed a sphinx butterfly. The people seated to the left of the garden voted for hummingbird. Those of us on the right were solidly in the butterfly camp. I had no idea so I went with those seated around me. Each camp had solid justifications and good reasons for their point of view. The butterfly paid us no attention. It was not concerned about our debate or our need to identify its species. It continued feeding regardless of the label we attached to it.

I can’t help it. In moments like this I step into the role of witness. I watched people enrapt by a butterfly. I watched their loving debate, their laughter, their awe. I watched this group of amazing people hold their treasured ukuleles of many colors – green, purple, midnight blue, orange, red, pink and sky blue, white and black – watching a butterfly of many colors – pink, orange, purple, salmon, white, blue and black – and I was in awe of their awe. They did not see how beautiful they were as they admired the beauty of the butterfly.

This is the role of the human being isn’t it? To see the beauty of the world. To appreciate and give a name to the awesome and unimaginable. To engage with the beauty and then to join in a simple way with the creation of beauty: this group who gathers each Wednesday night to play their ukulele’s together and laugh and drink wine and gape in utter amazement at a butterfly.

Dance With “What If…?”

886. Join me in inspiring truly powerful people. Each day I will add a new thought, story or idea to support your quest and mine.

I’m on the road today and a new posts is impossible. So a repost. This was #555:

David just started his new job. He is now a professor of acting and directing at a university. He just finished his first week of classes after moving to a new city a few short weeks ago; he’ s the new member of an old faculty; everything is strange. He has no comfortable patterns yet, the grocery store is unknown, the walk to and from work is more a discovery than a ritual. Creating a new life is never easy precisely because of the unknowns. And, what I love about David is that he is the consummate teacher, a gifted artist that uses his experiences as fodder for class; he studies his life just and uses what he finds as material for his work.

Our conversation was about his students, about how dreadfully reinforced they are in the notion that they have “to know” before they commit to an action. He laughed and told me, “I was the same way! I had to work through this debilitating idea that I needed to know what I was doing before I made a choice. Consequently, I had a hard time making choices!”

I’ve yet to meet a dynamic, potent artist or businessperson who really knows what they are doing. Artists become potent when they stop thinking that they need to know. What they need do is try, experiment, offer, wreck, scribble, tear, sculpt; play. They need to make a strong choice and follow it. They dance in the fields of “what if…?” By the way, this is also known as good scientific method: state a hypothesis and test it.

As David and I discussed, needing to “know what you are doing” is a certain sign of feeling like a fraud. All of us have at one time or another ducked behind a mask of certainty to hide our belief that we were inauthentic – and we felt inauthentic because we invested in the tragic notion that we needed to know before we acted. Putting down your need to know is a passage ritual, it is the threshold to vitality and self-actualization.

Life is never found in the knowing. It is always found in the questioning. It is made vital by the freedom to experience without masking or hiding behind the castle wall of knowing. The sweet secret to bold artistry is the same sweet secret to vital living; whisper it to yourself as it seems to be a dirty little secret: nobody knows what they are doing regardless of what they pretend.

Dream And Follow

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Patti used to say that she refused to make business cards because a business card was a commitment. Say it and you will have to walk it. I’ve learned in the past several months that entrepreneurs resist talking to potential customers for fear of learning that their idea – their dream – may not have merit. Today Sean said it best: people are afraid of failing at their dream so they find a thousand reasons not to pursue it.

Dreams can be deferred but they will not be denied. A dream rejected becomes a knot in the belly. A dream ignored becomes low-grade anxiety, heart palpitation, road rage, a good reason to drink too much, an investment in notions like perfection or not-good-enough, a deathbed regret. Ignore a dream and it will twist and block all flow.

“What if…?” is a powerful question when in reference to the future. It is a call to action, a fount of possibility, an imagination tickler. “What if…? is equally powerful question when in reference to the past. No action is possible. It is an imagination tormentor. it is an abdication of responsibility to your self.

It is an old adage: the only certain road to failure is to not try. Failure is an abstraction. It is a construct that exists only as a story in your mind. It is an investment in what other people might think. Hint: other people have their own dreams and usually if they are negative about your dream it is because they are ignoring theirs; they need allies in their impotence.

As Tom used to say, “A painter paints.” A Painter does not succeed or fail. A painter paints and becomes a better painter. Failure is not an option when you are following your dream. Success is not an option when you are following your dream. Dreams do not dally with failure or success. Dreams call. All that is required is to follow, to grow, to learn, to live. To love.

Swing

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Sometimes I think the most amazing piece of art I create is the studio floor. While working on paintings my brushes dribble and spatter, charcoal is ground underfoot into a fine dust and swirled into the gesso drizzle. I rarely look down at the unintentional artwork that emerges under my feet but when I do I am awestruck. It is lively, spontaneous, child like, and free. My underfoot artwork is not labored, over-thought, or heavy with a too serious intention. It is emergent, ongoing and completely without limitation.

My underfoot artwork is vital because I am not in the way.

A few nights ago I confessed that the muse possessed me and I stapled a new canvas to the wall. In a fury of gesso madness, I coated the canvas so that it might stretch and ready itself to reveal its secrets. Today I put on a second coat of gesso and also managed to cover myself with more gesso than actually made it onto the canvas. This has always been true of me: it is nearly impossible for me to put paint on anything without getting equal amounts on myself. Roger used to say that I only needed to walk within ten feet of a can of paint in order to wear half of it. Too true! During the process of painting I am never aware of my personal transformation into canvas. It is only after the fact that I discover the spatter pattern on my shirt and pants and shoes. And, today, while following the spatter trail to my feet (no shoes where involved today), my eyes went to the floor! It was glorious.

Picasso famously said, “Every child is an artist. The problem is how to remain an artist once we grow up.” When we grow up we put down our big brushes, our spontaneity, our spirit of play and pick up our little inner critic, a need to impress others with our little brilliance, and the notion that “artist” is something you do. Adults forget that artistry is essentially curiosity in relationship with a moment. “Artist” is not a role, it is a way of being. What happens when you smear the paint simple to feel the smear, tear the paper for the sound, use vibrant orange to paint the broccoli tree against a purple streak that might be an indication of sky – or deep joy made manifest with the swipe of a brush. Every child knows that joy is purple today and another color tomorrow.

My underfoot artwork, now showing on the studio floor gallery, is the work of the inner child, the real artist. All of the critics say his work is vibrant, free, and alive. The artist is not concerned with the critics’ interpretation because he was distracted by the sun, left his brush unattended on the table, and went outside to swing. All the world is his studio and swinging is, after all, real work of the serious artist.

Answer The Call

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Tonight, for the first time this year, for the first time since I started my wandering, I stretched a new canvas. Actually, to be more specific, I stapled it on the wall. I don’t know what possessed me. It was after midnight and I was closing up shop and suddenly I found myself unfurling a large piece of canvas, covering the wall and the surrounding furniture with plastic, and stretching and stapling the canvas to the wall. It’s a big piece!

Preparing a new canvas is a ritual. It is a commitment to the unknown. It is a dance with the gods of possibility. Preparing the canvas is calling the muses. It is to walk to the leaping off place and call into the void, “I am ready for you,” and to expect an answer. It is an act of surrender, an invitation to battle, a flirtation with a lover, a cry of anticipation, a step into silence. Preparing the canvas is to step through the threshold.

The first coat of gesso tightens the fibers and pulls the canvas tight. I relish this process because it is messy and furious and fast and that was especially true tonight. I was splashing gesso and water onto the newly stretched canvas as if I had no control. I needed to do it. I needed to call into that void. I needed to issue a challenge, “I’m here. Take me.” It had been a long, long time since the last ritual passage.

I recognize this frenzy. In the past it has come when the doors that have been locked tight for months suddenly open and the universe like the light of a full moon pours in. The frenzy is a kind of madness, a response to the moonlight and there are few satisfactions greater than dropping the brush into a bucket after the madness passes and asking myself, “What’s this?”

It is potential. It is the universe standing on the edge of the leaping place calling to me and saying, “I’m ready for you.” And this journey, like all great journeys into art, begins with a smile of recognition and a leap into the unknown.

Make The Offer

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If you’ve not yet heard Neil Gaiman’s commencement address to the University for the Arts in Philadelphia, take a moment and treat yourself. His message in a nutshell: make good art regardless of what life throws your way. And, by good art, he means your art. Give full expression to your voice. Make your art regardless of what life throws your way.

This morning Kerri sent me a text. She’d just played the music for a funeral. Her message: this ride is short. There’s no time to be afraid. Make your art. Step into life. Love big. Love now. And, back to Neil Gaiman, enjoy your moment. Really enjoy it. That’s how you make good art. The tortured artist image is highly overrated and mostly a lie. Art comes through pain but is never sourced in it.

As Skip and I waited for the ferry last night he recounted a conversation from his day. It was with a young entrepreneur who thought the whole world was waiting impatiently for his idea. Idea thieves lurked around every corner. He was keeping his idea close to his vest. He was suffocating his idea and himself so steeped was he in his assumed importance. I told Skip to share with the young entrepreneur what Quinn once told me: there are several billion people on this planet and you are the only one who gives a damn about what you think.

Life is too short to suffocate your ideas and limit your artistry with assumed importance. The other several billion people are thinking about their voices, not yours. They might compare theirs to yours and perhaps, like you, even copy some of what you chunk out. That’s called inspiration. Make good art. Share it. Enjoy it, regardless of its reception. Its worth has nothing to do with how it is received. Your worth has nothing to do with how you are received.

Make the offer. Make good art.