‘P’ is for Potential


“You have to create some dung to fertilize the flower,” Martin Sheen said when he was asked how he could only be proud of three movies in a career that listed 69 titles.

The fact that this was my favorite quote, for years, should’ve told me something about the dreams I had of becoming a writer. I believed that I had a capital ‘P’ emblazoned on my chest, until I realized that everyone else did too, and I hadn’t done enough to separate myself from the pack. The thing with the ‘P’ word that those in the card carrying ‘P’ world don’t know is that there is another ‘p’ word in the vocabulary of those that watch you. This is an evil ‘P’ word to those in the card carrying ‘P’ world. That ‘P’ word is performance.

HaloSome may have their ‘P’ word swinging before their face, in the manner a farmer puts a carrot on a stick before their horse. They may also wear it in every smile they give you, and those smiles tell you they are meant for something more, but they just don’t know what yet. When one runs across a true ‘P’ word, they know it when they see it, and it diminishes their capital ‘P’ a little by comparison. Most people are not unusually jealous, they’re happy, and they lead a great life, but when they run across one that carries a true ‘P’ on their various smiles, they decide that they would do just about anything for just one of those smiles.

When they speak of events that have occurred in their life, and they speak about them in a casual manner, the observer knows that the career that we currently share with them is just a way station for them, and we can’t help but be genuinely jealous in that moment.

Others wear this letter ‘P’ as a costume, in conversations, to cover for the fact that they haven’t achieved as much as they once thought possible. We’ll know these people when we see them too. All of these people teach us the various definitions of the ‘P’ word. We see the beauty in their smiles, and we perceive their limitlessness, but we’ll also see the evil ones. We’ll see that these definitions are defined by how the user uses it, and if they use it.

I thought I had a capital ‘P’ branded into my chest at one point. I didn’t. I thought I did though, and that thought prompted me to work my tail off to convince myself, and others, that it was truer than true. The idea that I pursued something, for which I had so little talent, amazes me now in retrospect, when I look back on the actual performances that convinced me that there was, at least, a lower case ‘P’ somewhere on my chest.

Those that manage their ‘P’ word correctly, rarely comment on it. They don’t have to say it. It is the conclusion their observers reach soon after getting to know them. Those that wear the letter ‘P’ on their chest, as a costume, know this also. They know that most in their audience are so loaded with insecurities that those insecurities can be translated into a variety of ‘P’ words, and ‘P’ word synonyms, if they do it right.  In order to do it right, however, they know to avoid performing in front of them. Give them silence, and let them fill in the rest.

“I can’t hang out with those two anymore,” a friend of mine told me one day after an outing with co-workers. I initially thought he was being a cool guy. A cool guy tells those around them that a fun and exciting night was boring; a cool guy tells those around them that a great movie, or album, sucked; and a cool guy stops all the plastic people, with all of their plastic proceedings, and drops a quick quip like: “The world sucks!” Cool guys can also reveal those nerds around them by saying that what we thought was such a great time, was time spent with nerds. I attempted to dispel what I thought were my friend’s cool guy condemnations by saying that those two were fun and entertaining, and that fun and entertaining people don’t usually hang out with two drips like us. He said that wasn’t it. He said his concern was work-related.

I attempted to dispel this notion by saying that our company didn’t discourage senior agents hanging out with employees, only managers. My friend believed he was born with a capital ‘P’ on his chest, and I thought this was another moment where his delusions of grandeur had gotten away from him. “It’s not that,” he concluded. “It’s that, they know what I think now.” Here I thought that all the symptoms I was witnessing added up to the fact that my friend had come down with a simple case of delusions, but as it turned out he was suffering from a complex case of grand delusion.

What his last sentence told me was that he knew his thoughts were never as complex, or as complicated as he wanted them to be, but those two didn’t have to know that. He was despondent. They knew. He told them what he thought. All those weeks and months he spent quietly sitting in the background cultivating, harvesting, and weaving the idea of his brilliance into gold by allowing these people to fill in the blanks for him were gone, shattered, in one night.

He feared that the grand delusions he had perpetrated in their world, had just been popped, and he feared that when Monday rolled around, they would know that he was just one of them, in the present, with a future that probably wouldn’t be that much different than theirs. On Monday, they would see him quietly typing away at his keyboard, in an office, and that visual would take on an entirely different meaning than it had on the Friday before our weekend outing.

The other employees around him took their jobs less seriously. They always got their work done, but they played, and talked, and joked. He didn’t. He was serious. He even went so far as to shush employees when management walked by. He had always been a quiet guy with few friends, and in the real world this defined him as an awkward person that had a difficult time mixing with other people. In the office world, these characteristics can lead to an employee gaining a mystique of being a model employee with a serious future. That night, spent with our two co-workers, revealed him as more of a quiet, socially awkward guy that feared authority. It made everything he had done to procure those grand delusions in their head feel pointless.

He feared that they would now believe he was what they saw, nothing more. The idea that he didn’t mix well with others, was once a silence thing, but silence begets the ‘P’ word if one does it often enough and allows others to fill that silence in with their own exciting and intoxicating words. Why does he behave so well? Why doesn’t he mix well with others? I’ll tell you why, that boy’s got the ‘P’ word in spades. They fill that silence with words that you wouldn’t believe, until you accidentally fill those blanks in for them one night, while drinking, and there’s no turning back after that, or so he feared.

There were times when he spoke his mind during that night, and our two co-workers realized he didn’t know everything. He wasn’t as wise as they feared in their silent, insecure comparisons. There were other issues he wouldn’t discuss with them that he found too revealing, because he said he couldn’t discuss it with them. In the latter, he attempted to convey the notion that he had proprietary information that he could not divulge, due to his position in the company. When we reminded him that he was not management, and he could reveal whatever he thought on the matter without fear of recrimination, he went silent. It was revealed that he simply didn’t know what we were talking about. We accidentally took away his shield of silence. He thought these co-workers had given him a capital ‘P’ followed by an exclamation point, and he feared that that ‘P’ had replaced by an ‘R’ word, reality, that would shatter all the myths he had worked so hard to create.

My friend wanted to be like a politician that stood for nothing, but allowed his constituency to fill in the blanks that he left for them, until they had other ‘P’ words dancing in their head, and ‘P’ words that had question marks behind them, as opposed to his preferred exclamation point.

The thing with the ‘P’ word is that it can be beautiful. It can drive a person to become better tomorrow than they are today, if they’re willing to engage in the naughty ‘p’ word of the ‘P’ world vocabulary, performance. The reason that most card carrying ‘P’ words regard performance as a naughty word is that performing can lead to another ‘R’ word, revelation. It can reveal if the card carrying member truly has a ‘P’ word or not. It can tell reveal whether a person is truly special, gifted, and meant for more, or if they’re just a regular guy, collecting a regular paycheck, with as many limits on your ‘P’ word as everyone else.

I identified with my friend. I thought I had a capital ‘P’ behind my name that was followed by a big, old gleaming exclamation point. I thought God whispered things in my ear, and I wrote down everything I heard. I wrote short stories. I wrote novels. I wrote anything and everything I could fit in one mind. I thought it was my job in life to see this calling to its end. I thought I was a few steps below Stephen King and Dean R. Koontz, and Robert McCammon. I thought I just had to perform my way through that hole.

I’ve read through all those whispers recently, and I realize that if they happened today, I would turn to my wife and say, “I just had a thought.” I would then say those two sentences, and be done with it. Back then, a part of me believed that those whispers were telling me to be a writer, and I listened to these whispers, until I had enough material that it should’ve come true, and then I wrote some more, until I reached a point where I may have fertilized that ground so well that all the cultivating, harvesting and turning of those lies might have accidentally produced a truth.

What’s your favorite color baby?


“What’s your favorite color baby?  Living Colour” –Living Colour

Do we choose what our favorite color is going to be, or does it choose us?  Is every person color conscious on some level —some more than others— or is the effect of color in one’s life over analyzed by those that think too much?  How much does color affect our shopping habits on those most important purchases we make in life?  If color is important to some of us, why do we choose one color over another, even in the most trivial moments of life?  Does it say something about our personality, where we’re from, or what we do for a living?  Or, could it be that on some existential level, our favorite color has chosen us?

eyeIf we find that perfect house, and it’s gray, and we’re not a gray guy, how likely are we to say, “It’s great, but it’s just not me.” If we’re not what one would consider a color conscious person, we may not be able to put your finger on it, but we know it doesn’t seem right to us.  We may then go through a litany of excuses as to why that house wasn’t for us, but the question is if that house were the perfect color, would we have felt the need to search for those excuses in the first place?  If we’re extremely color conscious, and we’ve braved this world before, we may tell our wife that it’s the color that bothers us most. To this, they’ll likely say, “We can always paint it, or re-panel it.”  We knew that was coming, and we probably already sorted through that, but some part of us knows that we wouldn’t be able to get passed the fact that it is a gray house.

“If you think every person is color conscious on some level,” a person that swears that they’re not color conscious at all will say, “then consider me an anomaly.  Color just isn’t that important to me.”  Everyone considers themselves anomalies to general rules of psychology, and some are, but some of them have probably never considered the role that color has played in their life on an unconscious level.

Do you love lilacs?  Is there some subconscious memory you have of lilacs that causes you to favor that flower, or do you just like the way they smell?  Is your favorite color purple?  How many purple cars are there on the motorways?  If we search through the websites of the major auto manufacturers, we find that purple is not an immediate option, yet if we travel to northern Kansas—home of the Kansas State Wildcats—we’ll find an inordinate amount of people that drive purple cars.  If we travel to Green Bay, Wisconsin, or Eugene, Oregon, we’ll probably find more green and yellow cars there than in any other part of the nation, and we’ll find roughly the same amount of people that will tell us that they did not choose the color of their car based on the local sports team’s colors.  The color of these vital products are just too important to some people to suggest that they made such important choices based on the color of their local, or favorite, team.

Yellow and purple may be exaggerations to prove the point, as most people would not purchase yellow and purple cars without some acknowledgement of team affiliation, but the general point remains that most people have deep seeded affiliations with colors.

Many of us have team affiliations for a variety of reasons.  Some of us have an appreciation of local college football teams, and subsequently their colors, that date back generations.  We cheered on the Nebraska Cornhuskers with our family, and friends, for so long that it’s ingrained, and the colors red, white, and black have an appeal to us that is so undefined, so subconscious, that when someone informs us that we selected a red car based on the fact that it touched this inner core, we get defensive.  “I just liked the color red for that particular model of car.  I thought it looked slick… or pretty… or shiny.  I’m a Cornhusker fan, but I’m not so fanatical that I would select a red car for that reason.  I don’t do fanatical things like that.  I just like the color red.”  The central question is not specific to that particular purchase of that particular automobile, but all the subconscious, and conscious, decisions that we made along the way that led us to believe that the color red was slicker, prettier, or shinier in general?  Was there something about the color red that reminded us of lazy Saturday afternoons cheering on the Huskers with friends and family, on some subconscious level, or did we just think it’s prettier?

When we purchase a shirt from a store shelf, we’re looking to make a statement.  We all know that a shirt will say a lot about us, before we’ve even said a word.  We know that that perfect shirt will send a message out to our world that we are a person to be taken seriously, at least for one day.  Some shirts may say too much, and some may not say enough, but is this message all about color, does it involve a brand name, or does our decision making revolve more around design?  If it’s color, why does grey appeal to us, but brown does not?  Is that decision based on our skin tone, and hair color, or do some colors have greater appeal to us based on aspects of your life that we’re not even aware of?

We do know that after looking at our face, our hair, and our teeth—to see if we’re well-groomed—most people will look at our shirt, and then our shoes, to find out what we’re all about.  A shirt, in this sense, frames everything we did that morning to prepare our presentation for the world on that day.  What if we don’t want to prepare yourself fully every single morning?  What if the process simply exhausts us on some level, on some days, that we rarely think about?  What if you’re one that’s been so disappointed in life, that you feel that completely grooming yourself only leads to greater disappointment?  What color would make that statement, or that anti-statement, for you, on that day, in that perfect way?  That perfect shirt, that frames the color of your hair and face perfectly, can lead someone to believe that some of your limited grooming was intentional.

When we sit before a mirror, with that perfect colored shirt on, have we ever gone back and thought that we needed more grooming based on that shirt of the day?  Has a shirt ever caused you to think that you over groomed?  Is there a perfect confluence of grooming, and color, and shirt, or is this too much concentration on the minutiae?  We may have a general feel for our congruence, but what are the particulars?  Is this conscious thinking, subconscious thinking, or an unrealized convergence of the two, and are the people that think this way aberrations, that should be subjected to ridicule for rectification, or are they on a level of color consciousness that most of us only consider subconsciously?

Some may call it a Forer Effect*{1}, to define a person by color, but the Healthy Living website gives detailed descriptions regarding why you select favorite colors, and what those decisions say about you.  If you’re a red, according to this site, you’re an impulsive person.  A darker shade of red, a maroon for example, suggests a more disciplined red person, and pink suggests a gentler red person.  Turquoise is fastidious, and grays may be attempting to suppress their personalities.  They also say that oranges and yellows can’t help but feel happier, and blues can’t help but feel more relaxed. If you believe in what some call the Forer Effect, but the book The Healing Power of Color by Betty Wood, as synopsized in this Healthy Living article,{2} says about color, then you believe that color says it all about a person.

If it’s true that our selection of a favorite color says a lot about who we are, and if color affects how people think of us, what does it say about those numerous homeowners that choose to buy, or later decorate their homes in beige, or some offshoot of beige?  Various interior design sites list beige, and the various offshoots of beige, as one of the most popular colors used in the interior of homes.  The most obvious, and conscious, reason to select beige is that it’s a neutral color, or as Feng Shui decorators would call it a Yang color, that can offset surrounding Yin accoutrements in “earthy colors that suggests neatness, and conceals emotion”.  Others have suggested that beige appeals to women on a subconscious level, because a beige discharge can be an early sign of pregnancy, and that decorating their home in that color is a constant reminder of the intensely exciting moment in their life when they first learned they would be a mother.  Some others have suggested that the decision to paint our homes beige may be a subconscious decision we made to put us in spiritual convergence with the 20,000 surrounding galaxies, casting their light on us, until we appear beige to them, or as scientists at John Hopkins University call this our “cosmic latte” coloring.  Most of us will state that we didn’t know that fact, and that beige just appealed to us for all of the superficial reasons listed above.  The central question to ask those that deny conscious and unconscious color selections is when we make these vital decisions, on the vital products we own, is are these decisions made flippantly, or impulsively, or are we inadvertently searching much deeper for the answer that no other color will do?

Cosmic latteDoes color selection have something to do with our personality, or does it have more to do with our aesthetic sense, and what does our aesthetic sense say about our personality?  Is it a superficial question to which the answer is: “I just thought it looked nice?”  When we select the color of our home, or the car we drive, or the shirt we wear for the day, do we select the color beige based on the fact that we simply don’t want to stand out?  Are we making an anti-statement against all of the colorful statements being made in our neighborhood, with the hope that our anti-statement will allow us to stand out against our otherwise colorful neighborhood?  Or is our selection of this cosmic latte coloring an unconscious attempt to protect ourselves against those surrounding galaxies, in the same manner the Jews of Moses’s day put lamb’s blood over their door posts to protect their firstborn against the angel of death?  Some of our decisions are conscious, some are unconscious.

*Forer Effect–An effect that leads some individuals to give high accuracy ratings to descriptions of their personality that supposedly are tailored specifically for them, but are in fact vague and general enough to apply to a wide range of people.

{1} http://en.wikipedia.org/wiki/Forer_effect

{2}http://www.care2.com/greenliving/favorite-color-personality.html

The Uncompromising, and Unsuccessful, Band Called Death


“Sometimes, your convictions are just wrong,” is the theme, the moral, and the import of a movie called: A Band Called Death. This line is so integral to this movie that it would have been a pertinent, provocative subtitle for the movie.

This movie tells the story of how a man of strong, artistic convictions –and the rest of the loyal band mates, that backed his conviction in public– decided to tell one of the most powerful men in the music industry to go to hell … and how that decision ended up destroying what could’ve been a storied career in music.

A Band Called Death
A Band Called Death

I realize that I’m not in the business, and I don’t know what sells, but this theme seems so integral to the movie that the producers should’ve considered for the byline to distinguish it from all of the movies of the week, documentaries, and docudramas that focus on the theme of how a man of artistic integrity fought against the man, the industry, and the corporate execs “that don’t know music” and won. 

Such feel good stories are legion in our culture, because they appeal to the idea that a creative man can take on the man and win! Americans love the underdog, and we love the “underdog” mentality. We love it when the lowly individual stands up to the man, tells him to go to hell, and his uncompromising, artistic purity wins out. We consider these stories inspiring and almost romantic, because we’re little guys too, and this idea that a little guy would have what it takes to tell music mogul Clive Davis to go to hell and win out might land him on our personal Mount Rushmore. 

A Band Called Death is not one of these stories.

These romanticized stories are told so often, most often in America it seems, that some of us make the mistake of believing that they are common in an artistic industry like the music business. They’re not, and some part of us knows this, but those same parts of us wish they were true more often, and that’s what makes them so compelling.

What is more common, as illustrated in the movie A Band Called Death, is that the music industry executive, and the man in general, knows more about the industry than the uncompromising, twenty-something artists.

“Nothing against (the corporate, industry honchos),” you often hear the good-natured, ‘no hard feelings’ little-guys-turned-stars suggest. “They know the music industry, but they just did’t understand our music, and our fans, and they couldn’t see what we were trying to do. They were more interested in the cookie cutter bands that do things in a more normal, more popular manner to appeal to Middle America. We held true to our convictions, and the rest is history, our history, baby.”

This history, in this case the history of modern music, would be written without a band called Death in it, because they refused to compromise, a decision that left them in the large slush pile of the uncompromising.

Clive Davis heard the band called Death, and he enjoyed their music so much that he decided to sign them. Even though their music, punk music, was outside his particular area of expertise, he decided to give them a chance. He decided to pay for them to have the studio time necessary to record an album, he offered them a recording contract that amounted to them receiving $20,000 a piece, huge money in 1971, and a man like Clive Davis doesn’t make such offerings without first knowing how tempestuous musicians can be. He didn’t want to change their act, and he believed in them and what they intended to do, but he did have one misgiving: the name of the band.

The other members of the band called Death claim that they were not married to the name. They appeared to like the name, but their convictions did not extend to the point that if a man like Clive Davis informed them that he did not like the name they would not change it. Guitarist, and founder of the band, David Hackney, was another matter. He chose the name of the band. He chose the name as an homage to the death of his father. It was the whole reason David Hackney formed the band, and he developed themes and creative designs around the name Death. He even went so far as to have T-shirts made. He made it clear that he wasn’t going to change the name of the band no matter what. At one point, Hackney even went so far in the presumed, yet not detailed negotiations, as to tell someone involved in the negotiations to tell one of the most powerful men in the music business, Clive Davis, “To go to Hell!”

Before the reader leaps to their feet in applause, they should consider the fact that Clive Davis had enough experience in the industry, and in the market, to know that some artistic convictions just won’t work. Before anyone raises their fist in solidarity of Hackney’s provocative rebellion, they should consider that anyone who worked with talent for as long as Clive Davis had, understood artistic temperament, and that artistic variation was his life’s blood. They should also consider the fact that the man worked with a wide array of artists including: Rod Stewart, Janis Joplin, Barry Manilow, Carlos Santana, and Aretha Franklin. A man who has worked with such a wide array of talent doesn’t do so with an uncompromising ego. We can guess that Clive Davis often went against his own instincts to indulge artistic temperaments throughout his career, and that he may even have encouraged obnoxious rebellion to his requests, but he also learned, along the way, that the road to success occurs at a crossroads between artistic idealism and the realities of the industry.

Davis, like any talent executive, knew talent when he spotted it. He knew that all talent can be tweaked, and that there are some vital ingredients to all artists that makes them unique. He knew that if one tweaked that natural talent too much, they could end up losing the unique quality that made them the exceptional talents that he decided to sign. A man like Davis couldn’t have achieved half of what he did in the music business, if he wasn’t able to recognize when to tweak and when not to tweak.

When dealing with creative artists, a music mogul like Clive Davis also learns how wrong he can be over the years. He knows that for all of his instincts, some of them are impulsive and status quo ideas, so he hires a number of advisers who aren’t afraid to tell him his ideas don’t account for the stratification of the market. He probably signed Death, because he didn’t have any punk bands, and we can guess that he wasn’t a punk aficionado, but his advisers informed him that Death were uniquely talented and gifted. His advisers and fellow investors probably saw Death as a profitable entry into the punk market.  

We can imagine that Davis didn’t like the idea of the name Death for a band, but he was willing to put it to his investors and advisers, and that they nixed the idea too. It’s great for an outlandish artist to be different, and somewhat loony, in other words, but there are lines in the sand drawn by segments of industry, that know their customers’ lines in the sand, and that those lines were far different in 1971 than they are today.

Clive Davis was later proven correct when the members of Death attempted to release a single without him, and they were greeted with rejection every step of the way. The members of the band told the documentarians of A Band Called Death that the rejection they faced had little to do with the music, or their overall talent. The rejection, they said, had everything to do with that moment when they were forced to reveal the name of their band to the various outlets they pursued. One of the band members claimed that after a time, he would cringe when the name of band would arise. He stated that he had nothing against the name, and he knew Hackney’s drive to maintain the name, but the band member experienced negative reactions to the name so many times that he would cringe when it came up. 

After enduring years of such rejection, Hackney finally relented. He changed the name of the band to The 4th Movement, and the band changed their form of music from punk rock to gospel. After this proved unsuccessful, the other band members formed a reggae band called Lambsbread. The band called Death would eventually receive some of the notoriety they always felt they earned, thirty-five years later, and eight years after David Hackney’s death. 

As with every other musical act in existence, it’s possible that Death may have never achieved fame, but the prospect of having the Clive Davis name behind them, his pocketbook, and his promotions team must have caused some internal squabbles and sleepless nights among the Death members. When the final realization struck that their window had indeed closed, one can only cringe when we think about how close they were. That cringe becomes almost painful when we try to imagine what David Hackney must have went through when it finally became clear to him that his righteous, rebellious conviction was wrong, and it wasn’t just Clive Davis who disagreed with him. Everyone did, and it cost him what could’ve been. By the time he finally realized the errors of his way, it was too late. His window of opportunity closed.   

It’s easy for those of us watching the movie A Band Called Death to criticize David Hackney, in hindsight. It’s easy for us to cringe when we learn that the members of his band told him, in private, that his decision to stick with the name of the band was beyond foolish. Hackney believed in his band, however, and he believed that the name Death, and the theme that spawned from it, was the comprehensive idea behind the band gelling so well together. The idea of listening to Clive Davis, however, selecting a different name, and moving onto a career with a different name, may have felt “plastic” to the 1971 Hackney.

We can also assume that the impulse to tell Clive Davis to go to hell felt so right to Hackney, in the moment, based in part on the age he lived in. In the 50’s, music execs controlled the music world, and the stars did everything their handlers told them, because they felt fortunate to be in the position they were in. In the late 60’s and early 70’s the climate began to change, and more bands began carving out their own niches, telling those in authority positions to go to hell and succeeding after doing so. Hackney may have considered the idea that he would, one day, be rubbing elbows with Pete Townshend, Alice Cooper, and all the other top stars of the day, and he may have thought that the act of telling Clive Davis to go to hell would be a point of appreciation among them. We can assume, Hackney loved all the same stories we’ve all heard of rock and roll stars believing in what they did so much that they were willing to tell those who opened doors for them to go to hell, and that romanticized notion may have driven Hackney to do it. We can also assume, he didn’t consider how many of these stories were myths created by the band, or even the record executives, to bolster the renegade, rock and roll image that fans almost require of their rock and roll heroes.

The theme, and moral, of the story of The Band Called Death is that some of the times, some of your uncompromising convictions are wrong, ill-advised, and just plain dumb. Some of the times, the man knows more about the matter at hand than we do, and as much as it makes us feel like a tool to do so, some of the times it’s just better to listen to him. Some of the times, the difference between landing in the slush pile and success involves making some compromises, even when it breaks our heart to do so.

We’ll never know how many of our favorite rock stars made compromises, or the quantity or quality of those compromises to get to the top, as it does nothing for them. It would also do nothing for the  corporate guys who advised them to change something, or anyone else in the hierarchy involved to reveal such information to us. We just know the myth of how their uncompromising, artistic integrity fueled their rise to the top, and we love those myths. We love to think if we were as talented and gifted as David Hackney was, a talent son incredible that one of the best talent spotters of his day, Clive Davis, signed to a contract, that we would tell a Clive Davis to go hell too, and join him in the slush pile of all of the uncompromising artists that were never appreciated in their lifetime.