Man Down – Take a Knee!

With the 2022 football season well underway, I recalled a blog post that I wrote way
back in 2016 – but never posted.  It was early in that year’s football season that quarterback Colin  Kaepernick decided to take a knee in silent protest of social injustices that he believed were going unanswered in America.  Many in the NFL, its fans, influencers, and political figures didn’t like it.

I had my perspectives on the whole thing – a perspective that I believe many
shared.  But decided to remain quiet.  The block was hot!

At that time, I was at the height of fundraising for the museum project.  I was pushing hard to win friends and influence people all over the country, and across the political spectrum.  As the saying goes, sometimes discretion is the better part of valor.

Times have changed – a little.  In 2020, following the murder of George Floyd, the nation became far more sensitive to the protestations of those who are othered in our society.  While American politics may be as polarized as ever, even the NFL has turned over a new leaf. As I watched Monday Night Football last night, I reflected on all of
this as I saw social justice themes in end zones and on helmets.

End Racism!  Stop Hate!  It Takes All of Us!  Inspire Change! And even Black Lives Matter
slogans flashed across the screen.

I thought about Colin Kaepernick and the injury he suffered because of what I believe
is the very reasonable position that he took. I thought also about Mahmoud Abdul-Rauf, an NBA player who also protested and was marginalized; and about Muhammad Ali, Tommie Smith and John Carlos, and Paul Robeson who came before him.

Protest has always been a part of the Black experience in America, has always
been a part of sports, and was even central in the formation of our country to
begin with.  Protest is patriotic.

In particular, I think that the significance and meaning of taking a knee has been completely overlooked in the Kaepernick circumstance.  It just doesn’t make sense.  In some ways, those who are/were most bothered by his protest should have most pleased with the way he chose to make his point.

 

Boston Tea Party re-enactment.

Following
is the way that I put it in 2016:

 As I’m sitting here on a beautiful September
Saturday watching a little college football, I see something interesting…

 A player gets hurt and the medics rush out to
offer assistance. The treatment is extended and the announcers run out of thoughtful
commentary, so they head for a break. As the network prepares to go to
commercial, the camera pans the field and I see something of note: Players, on
both teams, are on their respective sidelines down on one knee.

This brings to mind my own underachieving days playing high school football. Taking a knee was something we did
often.  Sometimes to catch our breath,but more often at times when we needed to pay attention or to pay respect. Or
even to pray.

Taking a knee was something that my teammates and I did during times when we needed to focus. We needed to listen to the coach and learn something new; we needed to gain understanding.  Maybe we’d take a knee because we were hurt ourselves, or we’d send good vibes or say a prayer for a man who was down.

Never was taking a knee a tool for communicating disinterest, disengagement or disrespect.

So, as the medics did their work and the TV goes to commercial, I could just imagine the coaches saying, “Man down –
everybody take a knee.”

Contrast this then with the controversy over San Francisco 49ers quarterback Colin Kapernick’s decision to take a knee when the Star-Spangled Banner is played. I understand that this is not the standard way off showing respect when this song is played, but, with the above as context, I have a tough time understanding why there is an issue at all.

Veterans are supporting him. Jersey sales are through the roof. Yet, there’s a controversy. Seems I’m not the only one who doesn’t understand why.

I won’t comment on the lax gun laws that contribute to senseless deaths all over the country. Never mind the scores of
police murders of Black and Brown people.
Let’s overlook the corruption in the San Francisco and Oakland, California police departments.  We don’t have to explore the racist words of the song in question. And we can save discussion about the public servants who do nothing about it all for another day.

No matter what your perspective may be…  Putting all of that aside… It’s clear that there is a man down.

Children and mothers are being gunned down in the streets of Chicago, in schools, night clubs and in movie theatres. Man down! 

People are being killed for selling loose cigarettes, or while meandering with skittles and iced tea. Man down! 

Wages are stagnant, the middle class has nearly disappeared, and unemployment remains at epidemic levels for people of color. Man down! 

Tax policy continues to favor job and productions exports. Man down! 

Public education is failing kids in urban communities around the nation.  Man down!

Addressing these issues requires listening to one another. Resolving them will require learning from one another.  Solving these issues requires focus. 

We may even need to catch our breath.  Prayer would most certainly help.  Players, spectators, coaches and commentators are all hurt themselves.

Yet there’s controversy because athletes won’t stand for a song.  There’s a man down.

Seems to me the only respectful thing to do is to take a knee.

“Man down. Take a knee!” 

 

God Did (part 3) Psalm 151

 

And by the way, we should respect these artists’ skills.  The artists featured on Khaled’s title track each represent a distinctive style of hip-hop, each emerged from a different part of the country, and each represent the best in the game.  The Boss asks for forgiveness more than once and shows vulnerability when referencing significant tax-related problems that he experienced in the past.  Weezy shows his characteristic self-confidence as well as empathy for others, all while giving God the credit.  And as for Jay, much has already been said about his four plus minute verse – and for good reason. 

As we would expect, Jay’s verse is boastful, but it is also self-reflective and intellectual to a degree that is unanticipated.  Jigga not only takes over the song but likely inspired producer Khaled to extend the anthem far beyond the length of what is acceptable in the genre to accommodate the depth of the message.  Jay Z, on this verse, demonstrates that he is “the best rapper alive.” 



Let me illuminate.  Or better yet, Ari Melber brilliantly dissects Jigga’s God Did verse, in his 12-minute analysis on MSNBC’s The Beat.  The mogul rapper breaks down the hypocrisy of America’s War on Drugs, beginning with the Eighteenth Amendment and American prohibition in the 1920’s and up to contemporary times when nineteen states have legalized marijuana use.  This includes his disdain for policy makers who contributed to more than 250,000 disproportionately Black men being imprisoned for non-violent drug offenses, while Fentanyl distribution and abuse, more prevalent in white communities, has been largely disregarded as a criminal offense. 

In so doing, Melber also points out, that Jay paints a picture of our one of nation’s most serious contradictions.  Quoting Mike Wallace’s 1996 interview with Louis Farrakhan, in which the pair discussed corruption in Nigeria and in America, Hov, in similar context, says “Forgive me, that’s my passion talking… I think y’all should keep quiet.”  As did Farrakhan, in Melber’s way of thinking, Jay “dispatched the contradiction between America’s reality and perhaps her selective vision of herself.” 

Oh, but that’s not all.  Many have commented on the quadruple entendre that Jay includes when he raps “All this pain from the outside / Inspired all this growth within / So new planes gettin’ broken in…”  When you dig into it, that’s compelling – incredible even – but for Jay Z it’s almost basic.

Listening more carefully, what most captured my attention was Jay’s reference to Psalms 151.  “This the New Testament / the book of Hov.”  Blasphemy!

But I couldn’t leave it at that.  I was curious and wanted to understand, so I reached for the Bible nearby.  I couldn’t find Psalm 151.  So, I wondered if the Google would have an explanation – and there it was.  

Psalm 151 is most often excluded from the Christian bible.  Discovered as a part of the Dead Sea Scrolls in 1946, it is not considered canonical in Protestant or Catholic faiths.  However, it is included in the bible used by the Greek Orthodox church. 


This lost chapter speaks of David’s musical gifts and of his unlikely anointing as a leader for his people.  Wait!  That parallel is an appropriate biographical comparison to Jay’s career and not blasphemous at all!  Sounds more like praise and thanks to me, particularly when the rapper also asks for forgiveness and proclaims, “God did.”   

“God has seen everything.  God has heard everything,” it says in the scripture.  God did.  Not only is that next level; that’s a whole new plane!  That’s exegesis that most ministers only wish they could pull off. 


Moreover, a 2022 rap star’s interest in making use of an iconic, yet 25-year-old, nearly forgotten, 60 Minutes interview and his ability to flow cryptically with biblical reference that most don’t even know exists makes him well-read, well-researched, or gifted.  Or all three.

It’s different.  I don’t understand it all.  But I’m paying attention.  These artists are skilled and talented, and from the record’s performance on the charts, it seems that you’re as curious as I am.  Maybe it’s new – its sincerity and blasphemy can be evaluated and debated.  But in any case, maybe we can all become better by considering new perspectives on the idea that God Did.

God Did (part 2) the birth of hip hop

 

Snoop owns a company called Death Row.  Chance the Rapper’s biggest hit, No Problem, speaks of ethnic gang violence.  And, while Rick Ross and Lil’ Wayne’s verses on God Did are surprisingly tame, Jay Z can’t resist direct religious references. 


In just a few consecutive lines he boasts “these ain’t songs / these is hymns / cause I’m him,” he compares the evolution of moving from illegal drug dealing to legal drug dealing with the miracle of Jesus turning water into wine, and even refers to a chapter in the book of Psalms.  And each of them uses profane language with such fluidity that the choir boy in me has to be in the right mindset to even listen at all.

Maybe it’s both – a sincere expression of faith in God and blasphemy simultaneously.  Paradoxically, the two don’t have to be mutually exclusive.  After all, hip-hop emerged out of a blasphemous and ungodly experience. 

The 1950’s introduced urban renewal to America, intending to rebuild the country’s inner cities while leaving housing conditions and public services in a shambles as corruption riddled appropriations and redevelopment progressed slowly.  By the 1970’s President Nixon had initiated the War on Drugs to rid society of the narcotics that plagued those same inner cities and were, in many cases, distributed in those communities by the federal government itself.  At the same time, this confluence of circumstances led portions of the Bronx section of New York City to literally burn uncontrollably, leaving the living environment even worse in this densely populated urban center.

It is against this backdrop, in 1973, that Jamaican born deejay DJ Kool Herc began to use two turntables to mix samples of older records with contemporary dance songs to extend the flow of music and find break beats that permitted dancers to freestyle and create dance contests.  With other deejays such as Grandmaster Flash, Afrika Bambaataa, and Grand Wizard Theodore innovating simultaneously, MCs partnered with the deejays to get the crowd hyped and encourage the theatrics of the break dancers.  This was the birth and hip-hop and rap.  



Out of these hopeless circumstances, in which the racism, apathy, incompetence, or greed of the government turned communities against themselves and left its residents to burn, emerged a culture and a genre of music that will turn 50 in 2023.  It is from this situation – one that was surely offensive to a kind God – that DJ Khaled, Jay Z, Snoop Dogg, Kanye West, Rick Ross and all other rap artists emerged and were compelled to create.  So, whether their requests for forgiveness or expressions of gratitude to a God that believed in their ability to rise from their circumstances to be better, do better, make more, and contribute more is something new or just a continuation of the same ol’ same ol’, any sincere connection that these lyricists make to God’s role in their lives and thanks they offer for His provision should be celebrated.

part 3 to follow

God Did (part 1) a new manifestation

In recent days, the latest anticipated album from DJ Khaled, God Did, was released.  Dropping just a year after his previous work, Khaled Khaled, I must admit that I was more curious about this one than the previous, and I most especially wanted to hear the album’s title track.

I am a PK, raised in a home where God was at the center and where attending church, Sunday school, choir rehearsal, and usher board meetings on a regular basis was the norm.  Secular music was enjoyed and welcomed at our house, but the lessons


that I picked up along the way included a healthy skepticism about the distinction between church life and club life, and between the lifestyle and focus of the prototypical gospel
artist and that of the stereotypical R&B singer or hip-hop rapper.

My work over the last decade to create a new player in the music industry has given me the opportunity to allow my perspectives on these distinctions to mature and become more nuanced. Many religious musicians have made public errors that would make a gangster rapper blush and it’s quite possible that more than a few jazz, R&B, or blues musicians have spiritual lives that are deeper than your favorite gospel performer.  And all of us have “sinned and fallen short of the glory…”

The last several years have also permitted me to pay closer attention to music industry patterns than I did earlier in my career.  One trend that has piqued my interest recently is the intersection of hip-hop and gospel. This is causing me to think more deeply about the artists I interact with and the music industry executives with whom I work – people who are serious about their business, and whose passion and dedication I admire, respect, and appreciate.

Often their upbringing, acculturation, and ways of life are different than mine; sometimes in ways that are small and sometimes large.  Yet, for me, that simply highlights the diversity of our world and the many roads that one can take towards a solid relationship with God.  Your path may be different, but that certainly doesn’t make mine any better.

I’m not talking about the continuing careers of Kirk Franklin and Lecrae, or the growing body of work of Koryn Hawthorn, or even Chance the Rapper, although they are worthy of note.  I’m really fascinated by the motivation of artists such as Kanye West and Snoop Dogg, whose vast catalogs largely represent the absolute antithesis of religious themes, and now DJ Khaled, to bring their faith front and center in their music.

Kanye West, in addition to his Jesus Walks anthem, more recently assembled a gospel choir to modify classic R&B melodies with religious lyrics.  It’s sincere, impressive, and moving.  Snoop Dogg worked with Rance Allen, Tye Tribbett, and Marvin Sapp, among others, on his Bible of Love LP.  It was met with critical acclaim.

But DJ Khaled takes a different approach entirely – his collaborators on the God Did track are Lil’ Wayne, John Legend, Fridayy, Rick Ross, and Jay Z.  And when you listen to the entire album, including features from Drake, Eminem, the City Girls, Future, Sza, Latto, and Jadakiss among quite a few others, you note that there’s not a gospel artist to be heard anywhere.

That’s OK.  It made me listen more closely.  What is going on here?  What are these guys trying to say?  Is this genuine; is it for real?  Whether it’s Chance, Kanye, Snoop, DJ Khaled or others, that’s what I’m trying to figure out.

It’s different that’s for sure. Different from how I was raised to understand interacting with the Christian faith or singing to the glory of God.
But different doesn’t necessarily mean that its inauthentic.  In fact, when Khaled revealed the cover art for his 13th album, he commented that “the tear represents tears of joy from God’s blessings.  God, I love you so much!”

I believe him.  Why wouldn’t I?  Him and anyone else who claims to have faith in a wise and powerful God. Khaled’s expression, understanding, and relationship with the almighty may be different than mine, but it’s his relationship.  And maybe I can learn something from it. More than once I’ve exclaimed aloud to anyone in earshot “This is new.  This is a new example of Christianity.  I may understand it all, but it’s interesting.”  Maybe it’s new entirely; maybe it’s just new to me; or maybe it’s actually a new manifestation for a new generation. I postulate that this is coming to the fore because many of the most successful artists in the nation’s biggest genre aren’t in their twenties or thirties – they’re pushing fifty.  More seasoned representatives of the industry have more life experience and more mature concerns.  They have families.  They’ve had to overcome obstacles.  They’ve faced the mortality of their closest friends and their own.  And it’s likely they’ve even witnessed a miracle or two.  No matter what you do to earn a living, how fly your publicity shots look,  how many followers you have on Insta, or what access you have to the latest in luxury watches, those kinds of moments in life can cause even the hardest or wealthiest among us to fall on our knees to pray or to lift our hands and shout “thank you Jesus!”

Or is this “new manifestation” simply blasphemy?   (part 2 to follow)

I Just Decided to Stay

Today I had lunch with one of my colleagues at NMAAM.  As we finished our barbecue at  Jack’s, I asked her if she ever thought that we’d complete and open the National Museum of African American Music.  Before she answered she asked me if I ever thought it wouldn’t get done.  I paused before I responded that I never thought it wouldn’t get done, I just didn’t know it would take so long or be so hard…  I just knew that I had to stay in the fight to make it happen.

She then responded to my questions, saying that she
always thought it would get done, but confessed that there were times that she
wasn’t sure how.  Then she added a coda;
“I just decided to stay.”

Those words would turn out to be prescient.

As we returned to the office, I was scheduled to meet with another teammate for a 1 on 1 update conversation.  I knew this was the meeting I’d been dreading when she came into my office with a yellow folder, in addition the more common notebook she carried.  We discussed several curatorial, marketing, and operational updates before I asked how her family was doing.

At that point, the letter she protected was relieved from its folder.  I was invited to read a letter of resignation.  A key member of our team had deduced that it was time to move on… time to get closer to family.

I probed to see if there was something that could be done or said to reverse the decision.  I suspected not, because I understood that, in this case, the pull of home and family was strong.  But in addition to those matters, I wanted to understand if there were cultural or operational issues that were chronic, egregious, or would otherwise cause someone to rush to leave  our team.  In that vein, what I heard was a series of challenges that might be expected of a complex start-up like ours, or that otherwise pointed to the inescapable fact that we are an imperfect place to work.  Altogether these disagreements and complaints, along with our unfortunate geography, added up to
a reason to leave.

I could relate, maybe more than my departing colleague would realize.  In fact, this might well be a good summary of the first half of my career.  “I like this place.  I like these people.  But I also have a list of complaints that’s pretty long. Those issues are “their” problem.
I don’t have to put up with this.
I’ll go find somewhere else to make use of my underappreciated talents!”

Right or wrong, that approach took my family on a journey up and down the east coast, and along the way I made an interesting discovery.  Those new places had problems, challenges, and issues too.  It didn’t take more than a couple of years before I had a list of complaints about those places too.  Along the way I also discovered that more and more of those problems were mine – either personal growth, skill gap, or professional development challenges that I needed to face, or business challenges that I was now responsible for fixing.  “Their” problem was increasingly becoming
“my” problem.  And, as a result, there
was no place else left to go.  I wasn’t
very good at running from myself and, if I wanted to be a leader, I had to face
and fix the very challenges that I had once been able to leave to others.  This was important for my own professional
satisfaction and development, and for the benefit of the business.

All of this played in my mind as I held on to that
resignation letter.  I wanted to share
with her my own leadership journey, ask her to shorten her own path, and compel
her to stay, take more responsibility for the business and cultural challenges
that our organization faced and make us better, while she also became a better
executive.  But the letter was neatly
typed, signed in blue ink, she’d shared her decision with several others before
coming to me, and there was the call of getting closer to parents and
family.  I accepted her resignation with
thanks.

Every day we trade our time and expertise for
compensation.  Sometimes we lend our
heart to the task as well, in exchange for personal gratification and,
hopefully, a dose of loyalty.  Along the
way there are challenges, problems, and opportunities – big and small.  Some can be overcome easily, others take
time, strategy, and effort to work through.

But ultimately, we make a decision:  “I just decided to stay.”  Or “It’s time for me to go.”  And no circumstance is ever permanent – the
“cheese” always moves.

There is no right answer.
Every situation is a little different.
What I have come to appreciate though, is that the first place to look
when seeking to solve a series of problems is in the mirror.  What is more problematic, the issue or my
response to it?  What is better for the business,
my effort to work through an issue or my leaving it to someone else?  What will better satisfy my professional
aims, working to improve where I am or moving on?  What better suits my spirit or addresses my
calling, fighting on this battlefield or moving on to another?

Disappointed though I was, I understand why my colleague
decided to leave.  I’m also glad that my
lunch partner decided to stay.

Tennessee Voices: Episode 143

 

I had the honor of speaking with David Plazas with the Tennessean newspaper for his Tennessee Voices podcast.  We talked about the path of building the National Museum of African American Music in the midst of a pandemic.  Check it out here:  https://bit.ly/3deHa5C  #DBTE

 

Behind the Scenes: One Nation Under a Groove

The National Museum of African American Music’s Henry Hicks shares his love of music, the story behind the collections and his hopes for future exhibits

H. Beecher Hicks, or Henry to all who know him, moved to Nashville in 2009 after buying a business here. That he might one day be running a museum — much less one that wasn’t built yet — was probably furthest from his mind. But in 2010, he joined the board of the National Museum of African American Music (NMAAM), and by 2013, he was named its CEO. His impressive career in the private, public and nonprofit sectors made him the perfect choice to make NMAAM a reality.

More than 20 years in the making, NMAAM is finally readying to host a grand opening next year (after being postponed by complications due to COVID-19). The museum will feature a collection of more than 1,500 artifacts and over 25 interactive touch points in five galleries, a theater and library across 56,000 square feet in the new Fifth + Broad development. Combining the best of music museums with history museums, it showcases Black music from the 1600s to the present day and highlights the stories that African Americans have made to American music and culture. 

Music is a catalyst for inclusion, and Henry says, “At NMAAM, we bring people together with a unified shout of ‘One Nation Under a Groove.’” Intentionally, NMAAM will also serve as a social justice center by bringing people together and helping people understand the humanity and the genius of African American contributions to our society.

We caught up with Henry, who told us where his love of music comes from, the most fascinating items in the collection and who he thinks we might see in a future exhibit.

For the latest news and updates on NMAAM’s opening, visit nmaam.org.

What is the most important thing you want people to know about NMAAM? It is the manifestation of a dream long held by many hundreds of Nashvillians and embraced by fans from around the country. It is disruptive in that it accurately centers African Americans in the narrative of American culture and music, but it is also a place where all are welcome to come and join in the fun.

What’s the most unusual fact or fascinating item you have found in the collection? The items on loan to us from the Ray Charles Foundation, more than 15 years after his death, were simply hanging in his wardrobe closet at his office. We also have a trombone from Helen Jones Woods, who recently passed. She was an original member of the International Sweethearts of Rhythm, an all-female, multi-ethnic jazz band that toured the country in the 1940s. Just imagine how unique — and dangerous — that was at the time! Each of the artifacts has a story. Families and artists cherish these items; if you look closely, they tell the tale of not just a career but of our country and culture.

Where does your interest in music come from? Music has always been central to my life, from singing in the choir at church, watching Soul Train as a kid, being entranced by hip-hop from its birth, being immersed in D.C.’s go-go music in high school and getting turned on to cool jazz in college. There is a soundtrack to my life. I’ll bet that you have one, too.

Are there any contemporary or up-and-coming musicians today that you can see in a future exhibit? Beyoncé Knowles-Carter and Kirk Franklin are both icons, and each has so much more creativity to share. There will be complex stories to tell about their careers and impact.

When you have out-of-town guests visiting, where do you take them? My wife and I love to go to Bourbon Street Blues and Boogie Bar to see Bizz & Everyday People. It’s a late night but more than worth it. Friends are never disappointed.

What’s your favorite locally made product? Slim & Husky’s pizza and The Cupcake Collection cupcakes.

What’s the best advice you’ve ever received? My grandfather often quoted Henry Wadsworth Longfellow: “The heights by great men reached and kept were not attained by sudden flight, but they, while their companions slept, were toiling upward in the night.”

What’s the one thing you hope never changes in Nashville? The feeling that Nashville is a “big ol’ small town.” The close-knit nature of the community here is what makes it a special place to live and do business.

Blessing in the Quarantine

Today is a Tuesday

Had breakfast with my kids

Took a walk with my bride

Put in 9 hours at the (home) office

               Solved a problem or two

               Raised some money

               Coached a colleague

                                                   

Sat on my porch

Attended a birthday party in Chicago

Watch Bible study on You Tube

Looked out the window for a few minutes

Read a chapter or two of a dusty book on my nightstand

Had dinner with the family

Washed dishes

Went into a store – with a mask on

Took a stroll to the mailbox

Ate a cookie

Listened to some jazz and some trap

Laughed a few times

Called a friend in New York

Researched our next vacation

Bought something unrelated on Amazon

Watched an episode of Billions

In bed at a reasonable hour

There’s a blessing in the quarantine

Note To Self


Get (very) organized… Most can’t.
Follow up… Most don’t.
Hit deadlines… Most won’t.

Objectives

Over the last year, as I’ve walked through the process of improving culture and building teamwork, setting clear expectations and holding my colleagues accountable for results have risen to the top of the list of areas where I need to improve and as critical to the success of our mission.  My colleague, LoLita Toney, our director of development, had also repeatedly asked for an updated strategic plan to guide our work (we’d achieved the milestones set forth in our previous plan).

This brought to mind a concept that my friend Anthony Barber, a PepsiCo and former Procter & Gamble exec, had introduced me to several years back – OGSM’s.  Objectives, Goals Strategies and Measures, developed in Japan and brought to America in the 1950’s, was popularized as an organizational tool by P&G and would address each of the needs that my team and I had.  The objectives, goals and strategies set out clear expectations and the measures provide a standard means of accountability.  Additionally, because the company OGSM’s cascade down through the departments, tying company strategies and measures to departmental objectives and goals, it creates a strategic plan for the organization as well.

I’d attempted to use OGSM’s previously in other leadership assignments.  While I’d found them to be good in theory, I also found them to be too dense (or detailed) to be practical.  These OGSM’s required a lot of thinking, writing and revising.  Just drafting the OGSM’s required commitment.  They also require, buy-in, participation, communication, discipline and focus for them to be effective.

But that’s the point isn’t it?  If I want results then discipline, focus and thoughtfulness shouldn’t be too much to ask.

To get started, I gathered several articles on OGSM’s to refresh myself on how they worked.  Then I shoved my management team into a conference room for a few hours to take a stab at it.  Intended as an exercise to demonstrate the mutual dependence that we have in doing our work and achieving results, for the first hour or so, the sailing was smooth.  Interest was sincere and participation was full; and within that time we had a rough draft of
company OGSM’s.

As we ended hour two, we started to explore departmental OGSM’s.  Eyes glazed over, folks were wiggling in their chairs and optimism was scarce that OGSM’s were applicable  or a beneficial tool.  Nevertheless, after a short break, I insisted that we continue.  So after the breather and with a renewed sense of determination, I’m sure, just to get the meeting over with, the team pushed through to rough departmental OGSM’s.

For me, and for them, what we’d drafted only raised more questions.  I needed to learn more about how to apply this model to our work.  So the next step was for my director of marketing, Dionne Lucas, and I to head to Chicago to meet with a guru.  My friend Reggie Moore is the SVP of sales and marketing for Land O’ Frost consumer products and uses this process routinely in his business.

Dionne and I spent a day in Reggie’s basement talking marketing strategy and OGSM’s.  (Reggie and Dionne did most of the talking.  I was focused on the snacks that Reggie’s wife, Miriam, provided.)  As I listened, I came to appreciate how, if I was going to use this tool, I was going to have to invest the time and fully buy-in to the model
myself.

So, when back in Nashville, I took time over the next few weeks to compile and revise the drafts that the team put together at the retreat a few weeks earlier.  This took more time and concentrated thought than  ever imagined that it would.  I came to understand that the Goals and Measures MUST be quantifiable.  Not only does that help with accountability, but it also enables the necessary “cascading” of the company OGSM’s to the departmental ones.  I also came to appreciate that all of the company strategies should become departmental strategies and, conversely, there should be no departmental objective that is not identical to a corporate strategy.

These are really the basics of OGSM’s, but until you focus on it you don’t realize how important it is to follow those rules closely.  This is also what contributes to clarity of expectations and enables accountability.  It is also what makes the OGSM’s a proxy for a strategic plan.  In addition, this model will enable me to communicate with my board of directors and all company employees what we are focused on and enable periodic regular updates on how we are tracking.

2019 will be the year that we put this all to the test.  I am betting that OGSM’s will be the tool that keeps us focused and guides our talented and dedicated entrepreneurial team towards NMAAM’s grand opening – just a year from now!