Hard Work at a Cutting Edge

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This article really humbled me, for a few simple reasons.

I gained a real appreciation for some of the very hard work that people do across the world, in this case in the States, to make a living. At times I think I’ve worked pretty hard in my life. And then I read an article like this, and I think I hardly know the meaning of hard work. 

I was really enamored to read about how someone finds their passion, a calling and love for a certain job, in an industry where you wouldn’t think of it as an industry of passion (the article is about logging, which I am sure for some is a controversial subject–but unless you live in a Yurt or Tent, then the reality is you probably live in a structure that somehow ties back to the logging industry). Sure, there are jobs out there–in any Company and industry–where people are just punching a clock. But, then, there are those certain people who have a passion for what they do (these people are the “magic” in an organization).

And, as it turns out, this includes the logging industry. 

This story also reminded me of a few other things personally.

In the Fall of 2000 I was working as an Exec at a start-up company in Manhattan. It was an incredible job and opportunity, but the hours and intensity were pretty brutal, I can’t quite describe it and unless you’ve been in that environment you can’t understand it. During the week I rarely got home before midnight (maybe one night a week, two if I was lucky) and it was pretty normal to get home in the middle of the night or early morning. Yet, I loved it and it was one of the best jobs I’ve ever had. But with every job there’s a bit of “downside” and the time required for this job was one of them. 

Then one day I was feeling a bit fatigued, and was probably even pining a bit to myself about the magnitude of our task, and that same day I stumbled onto a Wall Street Journal article. It told the story about two Chinese citizens living in the rural countryside, and the amount of work they had to do daily just to earn enough to afford a shanty for their family along with simple rice and chicken as food. Above the story there was an oversized picture of these two men working; I remember one guy was 67 years old. He looked 80. And the work in the rice fields appeared backbreaking. And there was no future, for them it just looked so hopeless. Even though it was a sterile B&W photo from 10,000 miles away in an environment I’m unfamiliar with, their exhaustion poured off of the page I was holding in my hands. That day I took that picture and posted it on my wall at work (and have kept it ever since) as a reminder of the privilege I have been given. 

The story below reminds me a bit of that article from nearly a decade ago, and it gave me a new appreciation for the hard work that goes on across the world, and also the passion that people can find within it. 

Hard Work at a Cutting Edge
In any gathering of men who take down trees for a living you will see a few battle wounds. Sliced digits. Crooked legs. Scarred faces. Chain saws are fast, powerful and unforgiving, and the ones that the professionals use resemble what the ordinary citizen buys from Home Depot about as much as a Chevy off the lot resembles the Impala SS Jimmie Johnson drove at the Daytona 500. Then there are those dead limbs — “widow makers” — that break off as a tree is coming down, whipping through the air and occasionally landing on a logger who considers himself “lucky” if he is merely injured. Hazard also comes from the heavy equipment for bundling logs and moving them out of the woods on greasy skidder trails and along narrow dirt roads. Those bundles can roll over and crush a man if he isn’t careful, or even if he is.

In “Brush Cat,” Jack McEnany offers a vivid account of the “wood economy” of New Hampshire, never stinting on the danger in this line of work. “According to the U.S. Department of Labor,” Mr. McEnany writes, logging is “the most dangerous job in America,” handily beating out the number-two killer profession, commercial fishing.

So why do it? What, to use a term from Econ 101, are the incentives? Looking for an answer to that question, Mr. McEnany spent some serious time with loggers — both in the woods and in the bars where they restore themselves at the end of the day. The answer turns out to be simple — they do it because they love it. Why they love it is a little harder to figure out.

Click here to read the full story.

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Genius: The Modern View

Why do we love the “underdog” story? Susan Boyle. “Mine that Bird” (Derby this weekend). Slumdog Millionaire (brilliant fictional drama).

To some degree, I think it’s because it represents more of “us.” Where we think we are, and what we hope to someday do or be. 

But the reality is that we’re less than an underdog than we give ourselves credit for. The following New York Times article is a good reminder that hard work, a commitment to excellence and focus, and patient determination count for a tremendous portion of our successful outcome and result. 

And there really are a lot of examples of this. A few that come to my mind off the cuff are Eric Clapton, whose music I really like, who acknowledges that if you go into a few bars chances are you’ll find someone as good or better on the guitar than him. Or take the common bit of wisdom passed onto University President’s which says “Be nice to your A-students because they’ll come back and teach; be nice to your C-students, because they’ll make all the money that funds your endowment.” And just today fact my dad sent onto me a list of “NFL Busts”, stories of guys with great talent–superhuman talent–who never went anywhere in the NFL (which was especially interesting to me because one of the guys I played against in high school was featured on the list and the guy was a rock star).

So sometimes the “talent myth” is too often decided by perception or some false quantitative measurement. No question, you need some talent. But, beyond that, there are other factors that seem to matter more. 

 

OP-ED COLUMNIST for the NEW YORK TIMES

Genius: The Modern View

Published: April 30, 2009

Some people live in romantic ages. They tend to believe that genius is the product of a divine spark. They believe that there have been, throughout the ages, certain paragons of greatness — Dante, Mozart, Einstein — whose talents far exceeded normal comprehension, who had an other-worldly access to transcendent truth, and who are best approached with reverential awe.

We, of course, live in a scientific age, and modern research pierces hocus-pocus. In the view that is now dominant, even Mozart’s early abilities were not the product of some innate spiritual gift. His early compositions were nothing special. They were pastiches of other people’s work. Mozart was a good musician at an early age, but he would not stand out among today’s top child-performers.

What Mozart had, we now believe, was the same thing Tiger Woods had — the ability to focus for long periods of time and a father intent on improving his skills. Mozart played a lot of piano at a very young age, so he got his 10,000 hours of practice in early and then he built from there.

The latest research suggests a more prosaic, democratic, even puritanical view of the world. The key factor separating geniuses from the merely accomplished is not a divine spark. It’s not I.Q., a generally bad predictor of success, even in realms like chess. Instead, it’s deliberate practice. Top performers spend more hours (many more hours) rigorously practicing their craft.

The recent research has been conducted by people like K. Anders Ericsson, the late Benjamin Bloom and others. It’s been summarized in two enjoyable new books: “The Talent Code” by Daniel Coyle; and “Talent Is Overrated” by Geoff Colvin.

If you wanted to picture how a typical genius might develop, you’d take a girl who possessed a slightly above average verbal ability. It wouldn’t have to be a big talent, just enough so that she might gain some sense of distinction. Then you would want her to meet, say, a novelist, who coincidentally shared some similar biographical traits. Maybe the writer was from the same town, had the same ethnic background, or, shared the same birthday — anything to create a sense of affinity.

This contact would give the girl a vision of her future self. It would, Coyle emphasizes, give her a glimpse of an enchanted circle she might someday join. It would also help if one of her parents died when she was 12, infusing her with a profound sense of insecurity and fueling a desperate need for success.

Armed with this ambition, she would read novels and literary biographies without end. This would give her a core knowledge of her field. She’d be able to chunk Victorian novelists into one group, Magical Realists in another group and Renaissance poets into another. This ability to place information into patterns, or chunks, vastly improves memory skills. She’d be able to see new writing in deeper ways and quickly perceive its inner workings.

Then she would practice writing. Her practice would be slow, painstaking and error-focused. According to Colvin, Ben Franklin would take essays from The Spectator magazine and translate them into verse. Then he’d translate his verse back into prose and examine, sentence by sentence, where his essay was inferior to The Spectator’s original.

Coyle describes a tennis academy in Russia where they enact rallies without a ball. The aim is to focus meticulously on technique. (Try to slow down your golf swing so it takes 90 seconds to finish. See how many errors you detect.)

By practicing in this way, performers delay the automatizing process. The mind wants to turn deliberate, newly learned skills into unconscious, automatically performed skills. But the mind is sloppy and will settle for good enough. By practicing slowly, by breaking skills down into tiny parts and repeating, the strenuous student forces the brain to internalize a better pattern of performance.

Then our young writer would find a mentor who would provide a constant stream of feedback, viewing her performance from the outside, correcting the smallest errors, pushing her to take on tougher challenges. By now she is redoing problems — how do I get characters into a room — dozens and dozens of times. She is ingraining habits of thought she can call upon in order to understand or solve future problems.

The primary trait she possesses is not some mysterious genius. It’s the ability to develop a deliberate, strenuous and boring practice routine.

Coyle and Colvin describe dozens of experiments fleshing out this process. This research takes some of the magic out of great achievement. But it underlines a fact that is often neglected. Public discussion is smitten by genetics and what we’re “hard-wired” to do. And it’s true that genes place a leash on our capacities. But the brain is also phenomenally plastic. We construct ourselves through behavior. As Coyle observes, it’s not who you are, it’s what you do.

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