• Version 2

    To step out of your front door into an always open, free-for-all, continually shape-shifting art gallery is one of the true pleasures of living in Shoreditch, East London.

    There are downsides (for every Londoner, wherever they are in this kaleidoscopic city, there’s always a downside – that’s the joy of being a Londoner). I’ve lived in Shoreditch for over a decade, and, in that time, I’ve seen ā€˜the village’ (London really is nothing more than a collection of villages) transform from a slightly seedy, slightly forgotten hinterland into a rampantly-modified, elaborately-gentrified, spectacularly-affluent, sort of Disneyland version of urbanity.

    Whereas once the streets only came alive at night, now there are throngs of people in Shoreditch any time, any day. In particular, a booming development over, I’d say, the last five years, has been the emergence of the Street Art Tour.

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    Once, during daylight hours at least, I practically had the streets to myself. Now, whenever I pop out to get food shopping, or a birthday card, or to fulfil any number of mundane domestic chores, I find myself fighting my way through crowds of photo-taking, ponderous tourists (I suspect I exist, hatchet-faced and out of focus, in many a shot taken by said tourists as I steam on through with the slightly hostile air of ā€˜someone who actually lives here you know’ – an air I developed living in Knightsbridge many years ago, where, again, I had to fight with throngs of people on the Brompton Road in order to buy a pint of milk – the downside of having Harrods as your corner shop).

    Not that I can blame them for their curiosity – if I’m being sincere, I champion it. And I’m one of the lucky ones. I get to see it every day. Some of it really is quite spectacular. Most of it is, in fact. All the more so for its temporary, transitory nature.

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    When I set up this blog, it seemed the easiest and most logical thing for me to do was to use the art on my door step to illustrate my musings on the nature of work. I like the fact that the art work I use is also ā€˜out of the cage’ – walking the streets, rather than confined within a gallery. Plus, of course, literally one quick walk around the block with my camera and I can capture weeks of content.

    I do worry about accreditations. I’m not sure of the protocol here and implore any artist who stumbles across their work on this blog, and would rather it wasn’t, to contact me. Likewise, please contact me if I can give your work an accreditation as I’d be more than happy to.

    That said, I do feel a little entitled to make of my ā€˜manor’ what I will. The edginess of the Shoreditch Street Art scene has, in part, driven the gentrification and ā€˜destination coolness’ of a place that has, historically, always been on the city limits, on the edges, rather than enveloped into the City.

    That’s changing, and I do worry about the continued desire for further development here. It’s already lost much of its soul. Its true diversity. It runs the risk of losing it altogether.

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    There are another couple of factors that feed into my sense of entitlement. Putting up with the street tours being one. Being kept awake in the summer, not by the hissing of summer lawns but by the rattling of spray cans, hard at work in the dead of night in the alleyway three stories below me, being another.

    Having people walking across my roof (again in the dead of night) in order to paint FREE GAZA in six feet high letters also springs to mind (the free political expression doesn’t bother me, but it is a bit alarming to realise someone is above you where there should only be sky). Ā  Ā 

    Like most Londoners not in the one percent, I have my moments of wondering if I should, or want, to stay here. Those downside days. Would I even like to live in another part of London again (I’ve been here longer than I’ve resided in any of my other London villages).

    But there’s still something about Shoreditch that I can’t quite even contemplate pulling myself away from.

    Yes, it’s central and convenient to get around. Despite my sniffiness about its gentrification, I still shop in the shiny new shops, drink in the glamorous bars and eat in the fancy restaurants. It might even be in my blood (in a weird ancestral echo, I live a stone’s throw away from where some of my Huguenot forebears probably spun their yarns in Spitalfields).

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    Like Vince Noir, in fact, I rarely leave Shoreditch (people are always happy to come to me, another real boon of living here).

    More than any of that, though, I think the real stickiness of Shoreditch, for me, is the perpetual provocation and inspiration its living creativity provides me.

    The very walls talk to me – and they have a lot to say.

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  • Version 2

    I was at a dinner party on Saturday night and a friend asked me a question:

    ā€œIf I had enough training and support, do you think I could do your job?ā€

    To which I answered, barely missing a beat, ā€œNo.ā€

    To which he replied, clearly a little hurt, ā€œThat’s a really brutally quick response!ā€

    Let me put some context around this.

    My friend is a city trader of some thirty years standing. He trades in currencies, which seems to be an incredibly intricate operation involving a perpetual shift in exchange rates and timezones (I think that’s the gist of it, I could be doing him a terrible disservice, but, to be fair, whenever we’re having these conversations it’s on nights in, or nights out, and, either way, quite a bit of alcohol is consumed; things get a little blurry).

    I am, well, that’s not a straight-forward answer these days. I’m a writer, blogger, speaker, brand and organisational culture consultant, communications strategist, creative director, trainer, facilitator, interviewer. I could even, as I’m independent, add (perhaps a little sketchily, but then, I wouldn’t be alone there) ā€˜entrepreneur’ to the list. It’s a little fluid (which, I hasten to add, has nothing to do with the wine – I’m actually a real lightweight, but there we are).

    For argument’s sake (not that this was an argument, as such), we took my last full time role of Executive Creative Director (which I only left in the autumn) as the job in question (which basically comprised of all of the above, with some people management thrown in).

    So, why was I so quick to say no? Do I really believe a super-smart, very successful, very experienced city trader couldn’t transform into an ECD in an agency environment?

    My gut (hastened by Sauvignon Blanc, no doubt) said no. If you boil it all down, I’m able to do two things: come up with ideas, and articulate them. That’s the purest distillation I can get it to. The atom is creativity; I’m a creative type. The mode, in essence, is big picture – finding and fulfilling a vision.

    My friend’s job, if you put it in the pot over a high heat, could be said to come down to two things: the ability to interpret figures, and to act on them. Of course, I am reducing these job descriptions to their basest forms and taking out all of the relationship-building elements vital in any job (if you can’t work with people, there’s not much you can do).

    Still, not knowing it as my own, it’s harder to get to the atom of ā€˜the trader’: is it numeracy, commerciality, technical ability? But I think the mode, in essence, is detail, nevertheless. One wrong decimal point, and the whole thing can come crashing down.

    So am I saying highly numerate, commercial, technically-minded, detail-oriented thinkers can’t be successful Creative Directors? No, I’m not. Many are exactly that. Some people get to the big picture working through the details, and others, like me, reverse the process. And, much as the big picture for our trader is made up of zillions of tiny percentages, he still has to hold on to a big picture perspective of what all these multiple trades will result in.

    There are actually plenty of transferable skills. The ability to convince others, to earn their trust, to get them to part with their money on the promise of a bigger return, to make quick decisions, to barter and haggle. All things needed by any Creative Director worth their salt.

    If the mode doesn’t really matter, if there are plenty of skills to transplant, what else drove my first instinct to a definitive ā€œNo,ā€ then?

    My friend has a good eye, good taste. Of course, he does live with my other very good friend, his wife, who has pig-sickeningly good taste (their home really is the envy of all) so, to be fair, after more than a decade of living with her, how could he not?

    But my expanded, expansive answer on Saturday night was along the lines of being a conceptual thinker. It’s very hard to train someone to be a conceptual thinker, able to take random components, connect them, turn them into something original – an idea, a range of ideas, a story – plan how to execute this, to shape it and form it, and then persuade others to consider it, invest in it, make sense of it, be inspired by it or interact with it.

    Or just to read it.

    Not to say it’s impossible, but it can be struggle enough with a young, open-mind that doesn’t have a particular propensity for wild imagination, let alone one that’s been hard-wired over decades to think along certain circuitry lines.

    On reflection, however, I am coming back to a point above I didn’t consider on Saturday – it’s not impossible. It wouldn’t be impossible.

    Of course, he also flipped the question: could I be trained to do his job?

    I wasn’t so quick, or definitive, at first, with this one (vanity, vanity, all is vanity!). Could I have been a trader; could I be trained to be one now?

    Certainly, when it comes to managing figures and brokering a good trade, when I was a producer I was pretty good at this (I can honestly say I never produced anything that didn’t come in under budget, with one exception – but that was totally out of my hands!). I wasn’t bad at Maths. I didn’t love it, it bored me, I could have done better if I’d concentrated more (I got a ā€˜B’ at GCSE – the lowest grade I ever got for anything – but, like I say, I really could have tried harder).

    So, yes, maybe, at a push, if given no other choice, perhaps, I could learn the mathematical principles behind the trade. I could stretch my mind in that direction. But (and it’s a big but, the end, the real butt, in fact, of any notion I might have that I should go and make my fortune in the city), much as I think I could probably get my head around the theory, I don’t think I could get my head around applying it in practice.

    My mind might be pretty speedy, but it works in words and pictures. I’m never the first to calculate the bill in a restaurant. Fact is, I’m never even the first to bother (which really tells the whole story).

    I couldn’t spend my working days having numbers and people coming at me from all directions and be expected to make the right decision. No, definitely no. I couldn’t. I resign. The very thought…

    This is a reversal. I’m now thinking I was totally wrong – that perhaps there isn’t so much veritas in vino as they say there is. I think ā€˜the trader’ could be trained to be an ECD, but I don’t think this old ECD could trained to be a trader.

    With one final caveat, though – and I think, in this, I’ve come to the real truth of the matter.

    I think if you’re creative you have to create.

    Even if you can only do this in your life outside of work, of paid work, the impulse is too strong to contain. Just as, for so many creatives, the paid work in their creative field might still not be ā€˜the dream’, and they battle with themselves over which way to jump, what to sacrifice, what might be eclipsed (but that’s a whole other post…).

    So, no, my trader friend, I don’t think you could do my job. Not because you haven’t got the skills or ability to learn to do it, but because you’ve never had the impulse to do it or anything like it – and I couldn’t do your job because, well, I just don’t work that way.

    And, I think, that’s my conclusion to this fascinating hypothetical (I will continue to ponder it, however, as I think there’s a lot in it). Most of what we do can be taught; our skills and experiences may well be transferable into many different working environments; but our desires? Not so much.

    The heart wants what the heart wants – and I guess that’s why it’s so important, when it comes to work (particularly when it comes to starting out down a path at the beginning of your working life), exploring your heart’s desires really is the best place to start.Ā 

    Ā  Ā 

  • Version 2

    The extent to which rumour, gossip and speculation can rise within an organisation, from those on the ā€˜frontline’ to those in the C-suite, was one of the fundamental questions posed by Dame Janet Smith’s Savile Inquiry.

    One of the others, perhaps the most pressing, the most legitimate as Lord Hall, I thought very eloquently, put it, is ā€œHow could people not have known?ā€

    Having read the report (and I do take a breath here to praise Dame Janet Smith on creating a document uncluttered by jargon, ā€˜speak’ or laboured sentence structures – its clarity and accessibility is a good benchmark for such things), it leaves you incredulous as to how Savile and Hall got away with it and yet, at the same time, for someone of my generation (born in the mid-Seventies), with a strange sense of eery recognition, like deja vu.

    I remember the world Dame Janet describes in her smart contextualising sections. I remember those light entertainment shows, all smut and innuendo and end-of-the-pier.

    Though unimaginable now, it’s not hard to understand how different the sexual mores of the time were when you think that Benny Hill chasing around after scantily clad girls with his tongue hanging out was early evening entertainment for all the family (by the Nineties, you had to stay up until after the pubs closed for Eurotrash to get pretty much the same thing).Ā 

    Even as a child I can kind of remember feeling all a bit unsavoury about it. I would have hated to have gone on Jim’ll Fix It; I thought he was a creep and probably would have made me cry. He was scary and strange and unreadable, as it turned out, a way of being he’d effected and perfected in order to enable him to hide in plain sight.

    But people adored him (just as they adored other really creepy, lecherous guys like Stuart Hall and Rolf Harris). There’s an interesting section in the report, where Andrew Neill comments on trying to pin Savile down to some facts about his personal life in an interview with an audience present, and sensing how quickly the audience were turning on him (Neill) for pursuing the line of questioning.

    It seemed to say something nice about us at the time – that we could accept oddities, people who didn’t live to societal norms and wouldn’t answer to society’s conventional romantic expectations.

    The English Eccentric. There were certainly more of them about in the Seventies than now. Now, of course, we know just how unfathomable, and warped, dangerous and damaging, some of those eccentrics’ proclivities were.

    Now it just begs the question ā€œHow could we not have known?ā€

    What the report also shows is that, though we’ve come no where near as far as we should, we have come quite a way. Or have we just gone a different way? It’s hard to tell.

    I think women’s treatment in the workplace is a world away from the ā€˜pat your behind and make the tea’ attitudes expressed in the report (I’m sure there are pitiful exceptions).

    I think the overall safeguarding of children, and our awareness of even the potential of abuse, is significantly improved. This report can, hopefully, only do more to improve on that.

    But in one area, depressingly, and most notably for me, was the identification of something that hasn’t really changed at all since the Savile era, clearly within the BBC and, in fact, in the majority of organisations in either the public or private sectors: ā€˜cultural factors stopped reporting upwards’.

    In other words, people are too frightened to speak out about anything at work to the powers that be, for fear of being seen as ā€œradioactiveā€.

    Speak out and there’s the potential you could do more harm to yourself than to rectify a troubling situation of harassment, bullying or misconduct.

    You could be seen as anything on a scale from the relatively mild labels of worrier, tattle-tail or gossipmonger, to the more concerning sh*t-stirrer, trouble-maker or whistle-blower (with, now, it’s alarming connotations of Julian Assange and having to hole yourself up in the Ecuadorian Embassy with no sunlight for years at a stretch).

    Even if the whistle you’re blowing isn’t loud enough to be heard around the world, you could still end up losing your job, being held back from a promotion, ignored, sidelined or simply shut down.

    As the report puts it:

    The sense of insecurity which inhibits staff from whistle-blowing is a widespread, longstanding and intractable problem.

    But, surely, isn’t it for exactly these kinds of things that we have HR? Aren’t HR there to make sure it isn’t an intractable problem?

    Ah, well, therein really hangs the tale – and the lessons to be learned.

    As the report puts it:

    ā€œHR worked for management.ā€

    Far from being seen as the department you go to when the ā€˜human’ dynamics of work become problematic, HR is seen as the department management go to when they either want to get rid of you or chastise you for your behaviour. HR is there to protect management from laying the organisation open to litigation, rather than being there to open up the organisation (or conversation with management) to protect the people.

    This is the real shift the BBC can lead on in the aftermath of this damning report. This is the real lesson all organisations can learn from a ā€˜corporately-enabled’ human tragedy of this scale (and let’s not forget, that is what this is for the victims of these abuses).

    People at work need a voice, and HR needs to be the safe place they can go to to express it. I’m not even sure it isn’t time to change the naming, and therefore emphasis, of HR altogether.

    For starters, people aren’t just a resource to an organisation, they’re not just the inert bodies Human Resources implies. Every ā€˜body’, performing as it should, should be an asset. How many times do we hear that – ā€œPeople are our greatest asset,ā€ – so let’s start thinking about them that way.

    You protect your assets. You invest in them. You enhance them. People management is asset management. And, in all of the organisations that have it, asset management is a skill in itself, a function in itself; it isn’t left to other less experienced or qualified people to do it, it’s left to the Asset Managers.

    So why do we push people into people management roles as a matter of course without any certainly of their experience or qualification to do it. Time served isn’t a qualification in itself. That’s not to say people with no prior people management experience can’t be great bosses, but, when more people leave their job down to their boss over any other reason, we could draw the conclusion that these people are, indeed, a rare breed.

    HR shouldn’t be there to only add value – it should be front and centre, total value, and of value to everyone – to all the people – within an organisation.

    In large teams, in large organisations (possibly in small teams in small organisations too), isn’t there an argument to have, on hand, on tap, a ā€˜people’ expert – someone who can provide wise counsel to individuals, relationship counselling to colleagues at odds, in-function team coaching and cross-functional understanding and collaboration.

    Relationship managers, if you will, there to look after the people and promote and protect the culture and to let the (servant?) leaders know what’s really going on – and how close the cultural promise is to the experienced reality.

    Wouldn’t that be slicker? Wouldn’t that be more productive? Cost-effective? Take the people management aspects away from middle and senior managers, and let them be ā€˜task’ managers as befitting their specialist skills.

    In most service and creative industries (those most likely to be thriving in the UK), the talent is the only asset (and everyone keeps lamenting it’s impossible to find), so why not look after it? Why continue to let it get cracked and battered about, demotivated and depleted?

    Can you really do the best you can do when you’re living each day in fear?

    I would surmise that a lot of the time, when people bring their managers a people-related problem, the manager’s seeming, or actual, reluctance to deal with it is because they don’t know how to deal with it. They just want the problem to go away. They want you to go away.

    Imagine the difference it would make if you were able to go to someone whose job it was to know how to deal with it? Who, rather than wanting you to go anyway, invited you in?

    No talent, however large, luminous or looming, has a licence to abuse those around them. Where is that ever part of the job description?

    The BBC has an opportunity to be creative and imaginative, radical, in response to this report. So do others. Policy and procedure can be clearer. Management training and cultural communications can be stronger.

    But, to really put people’s best interests centre stage (which is also, as it happens, putting your future commercial sustainability centre stage too), reassessing the role of the people function would be the wisest thing to do.

    Failing that, from now on, just give everyone a whistle with their welcome pack.

  • Version 2

    At last, I have come across a neuroscientific explanation for my contrary, contradictory nature. It all makes sense now. The very thing that makes me, well, maybe a little more polarised as a personality than many others I know (or think I know), is also the very thing that makes me able to do what I’ve always done: create.

    Anyone who knows me well knows I am, indeed, a bundle of contradictions. As someone once told me, I am predictably unpredictable. I’ve also been told I’m mercurial, and a rock; an optimist and a pessimist; a prophet and a heretic. And, always, a creature of extremes.

    It may not be a prudent thing to advertise such traits to the world, but I’ve got news for you world: firstly, you’re going to have to get used to a lot more people like me running around (in fact, you’re going to have to start really thinking about how we can help create more people like me – yikes); and, secondly, I don’t really care.

    This fits, of course. As Caroline Gregoire and Scott Barry Kaufman write in their fascinating piece on research into the nature of creativity, conducted in the 1960s by the dashingly monickered Frank. X. Barron,

    ā€œThe common traits that people across all creative fields seemed to have in common were an openness to one’s inner life; a preference for complexity and ambiguity; an unusually high tolerance for disorder and disarray; the ability to extract order from chaos; independence; unconventionality; and a willingness to take risks.ā€

    So now you see why I just don’t care. I’m a conventionally unconventional creative type that way.

    But why should the world start caring about creativity? Well, according to a World Economic Forum report, by 2020, it will be the third most desirable skill needed by employers (moving from its current place of tenth most desirable).

    That’s a big push. And a hell of an ask in terms of getting employers to think differently about those they recruit, what they do with them and how they let them go about it.

    In many ways, these are desperate times to be a creative type. They’re also breathlessly exciting times too. Social media is allowing millions of people to explore and express their inner lives. It’s also creating unparalleled social complexities and ambiguities, disorder and disarray – and opportunities (not often grasped, it has to be said, but, nevertheless, they are there) to extract order from the chaos.

    Getting your voice heard, however, can be a desperate enterprise. As can getting a job. At so manyĀ  ā€˜creative’ events I’ve been to over the last few years, the question I’ve heard most often from the (always disproportionately) youthful audience is ā€œHow can I get a full time job in [insert creative field]?ā€

    To be honest, I’m yet to attend an event where I feel this question has been given an adequate enough platform. Experienced creatives tend to want to talk about where they’re going, not how they started out, which is understandable for such visionaries, but a bit of a shame for those looking for a leading light.

    Light and dark. The creative destiny.

    It’s a ray of light, then, surely, that in the next five years businesses around the world are going to have to attract a lot more creativity to them in order to survive?

    Well, yes, I guess it is, but I think this is going to need to be some pretty seismic shifts in thinking to pull this off, on both sides.

    First off, and the real biggie for employers, is going to be the need to take risks. Especially in hiring. Tick box exercises are not the way to identify the extent of someone’s imagination, so, to doĀ this requires a lot more imagination than the majority of employers are currently displaying.

    The second major hurdle is the willingness to evolve culturally. To become a place where people can bring the full spectrum of themselves to work, without this descending into a workplace beset by pathological behaviours (or just lots of hissy fits). Not easy.

    But cage those creatives in and you’ll risk doing just that (which also means a much deeper, and broader, examination of the types of workplace contract employers can offer which give people a continuing sense of their own independence and self-determination).

    We creative types have got to bend too, though. As I’ve said before, I’m not a believer that disruptive talent should be ā€˜housed’ elsewhere, or left to run riot in privileged isolation. We can’t expect to just express exactly how we feel, as we feel it, whenever and wherever we feel like it. That might be the preserve of the artist, but the ā€˜commercial’ artist has to be willing to follow some rules (at least, some of the time).

    Happily, because most creatives are more than in touch with the ā€œdarker and more uncomfortable parts of themselves,ā€Ā  you can usually tell us, in our sunnier moments, to dial back on the hissy fits.

    Communication will usually work with us, because really, however introspectively it might have seeded, the creative drive is a desire to communicate with people.

    Applying a bit more emotional intelligence on both sides (another big ask – it’s skill number six on the 2020 list and not even there for 2015) could smooth the way to galvanising this, currently, rather delicate romance.

  • IMG_4329 (1)

    As anyone who has ever worked under a manager knows, ā€œDon’t poke the bear!ā€ is pretty smart advice. In fact, learning to gauge your manager’s moods, likes and dislikes, bio-rhythms and neuroses, is an essential skill to develop in the workplace.

    My question is, what makes the manager a bear in the first place?

    Is it nature or nurture that make so many at work so ready to attack at the slightest provocation? Is this just how we are, or how we’ve made ourselves become?

    Cock-eyed optimist that I am, I think it’s the latter. It’s predominantly a mode of our own making. We’ve created environments that have encouraged us to be that way. And, worst of all, we’re still struggling to see how much of a problem that is.

    Even for those with the genetic propensity to be a workplace warrior, it’s still only a trigger that waits to be activated. We can be taught to find ways to hold off pulling the trigger. Does any child sit there and dream that one day they’ll be able to boss people around and make their lives miserable for no apparent or meaningful reason? I doubt it.

    It’s not the bear’s fault.

    Not really. But our inability to tame our bears costs us a lot. People join companies, but they leave bad managers. People have potential, but, if that’s not harnessed by their current bear, it either stagnates or slips away.

    So what should we do? Have a bear cull? Walk softly, and carry big sticks, to work? Actually, I think we need to look elsewhere.

    It’s no good attacking the bears, they’ve been taught to believe this is the way to be. What we should be attacking, what we should be tearing down, are the cages we’ve made for ourselves. The constructs we have put around work that are dehumanising us, diminishing us and, ultimately, damaging us.

    We need to attack the conventions, the dogma that constrains us. At the same time, we need to show that, out of the cage, you can still be commercial, you can still bring back the goods.

    The big beasts of business, of government, are still building cages designed for another age. It’s time they woke up.

    Hitting them head on doesn’t tend to get us anywhere. But, if we poke the cage itself, rattle it a little, maybe we can get their attention and then, gently, calmly, persuade them, show them, there might be a better life to live outside the cage if they can just take a few steps towards the door.

    We can help them open it. With a bit of creativity, a bit of imagination. And by reminding ourselves, and reminding them, we are human beings from the planet Earth, not algorithms to be deciphered or cogs to be turned.

    It’s the systems, the stifling structures, the lack of bend, we need to attack; the lack of imagination, of true innovation. Not each other. We’re only human, after all.