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“Hi, I have the perfect part for this song,” Al insisted. He was bluffing.

"But I have the perfect part for this song," AL insisted. He was bluffing. He really had lit­tle more than the burning desire to play on the record. But the producer saw right through him. After some back and forth, the producer got a phone call and left the room. AL quietly slipped behind the plastic keys of the organ. When the producer came back and saw him at the keyboards, he gave Kooper a hard time. "What are you doing?" the producer said. But he let Kooper stay on the keys.

I once saw a locally produced broadcast­ and I use the word "produced" very loosely ­of a presentation given by a very short, white­ haired lady in a Navy uniform. I was instantly captivated by the little lady's huge stature as

She described her rise through the ranks of the Navy. She started as a computer program­mer, one of the first in the world. She programmed the Mark I computer in 1943 and in 1973 she became the first u.s. citizen and the first woman to become a Distinguished Fellow of

the British Computer Society. She said she kept a clock that ran backwards on the wall behind her desk in her office to illustrate that just because "it's always been done that way," there's no reason not to do things differently. She handed out "nanosec­onds" in the form of lengths of wire about a foot long the distance that electrons travel in one nanosecond to illustrate that, in order to be fast, computers had to be small. Then she would hold up a "millisecond," a coil of wire about a thousand feet long. But the most vivid message she delivered was one I'll never for­get. "It's much easier," she said, "to apologize than it is to get permission. "The speaker was the late, great Rear Admiral Grace Hooper.

If you listen to the recording of Bob Dylan's "Like a Rolling Stone" you'll notice that the organ always comes in an eighth note be­hind the rest of the band. You see, AL Kooper was not a keyboard player. He was the guitar player who showed up to the recording ses­sion to find Michael Bloomfield there, a guitar player who, by Kooper's own admission, was far and away a much better player than he. So when Kooper slipped behind the keyboard to play that song, he was waiting until he heard the rest of the band to confirm that he was playing the right chords. Apparently he was.

Later on, when everyone was in the con­trol room listening to the playback, Dylan asked the producer to turn up the organ. The producer protested, saying that Kooper wasn't a real organ player. Dylan didn't care; he liked what he heard.

That song turned out to be one of Dylan's earliest and biggest hits, and the organ part is its signature sound. But had Kooper wait­ed for permission to play the organ it never would have happened. Kooper took a chance, even though he wasn't trained for the task he took on.

I'm not sure Kooper knew who Rear Ad­miral Hooper was, but he was following her advice anyways. You should too.

I see a lot of young aspiring production professionals waiting for permission to start their career, to learn AutoCAD, to take on a lighting design, basically to do anything for which they don't feel comfortable doing. Waiting for permission is not the conven­tional way to greatness. Greatness takes risk, it takes guts and it sometimes takes making a lot of mistakes even very big mistakes. I'm talking colossal blunders, super-duper bloopers. But it doesn't take permission.

The judicious application of Hopper's axiom just do it is the first step towards greatness. I don't wait for permission to take a bold step in your life. Take a big chance today.

 

(used without permision. Taking a chance!) Please visit PLSN