Ben Hines

  • Stephen: Coming to you live from Chatterbox Studios in downtown Memphis, it's Stephen Kirkpatrick with Executive Speakers on Speakers. We're going international today. We're going across the pond to jolly old England to talk to Ben Hines, founder of Moving Performance. Ben is doing things that no one else on the speaker circuit is doing, and we're gonna learn all about his original songs and his Know the Score. So stick around and pull up to the table 'cause we're gonna learn how to speak English good today.

    I'm so happy to have Ben Hines, founder of Moving Performance which inspires leaders to change through the power of music. Ben, how are you doing today?

    Ben: I'm very good. Thank you, Stephen. Great to hear you today.

    Stephen: Well, listen. This is a first for our podcast. We're going international today. So excited about this. Gotta thank producer Bob for the help.

    So, Ben, how are things in England?

    Ben: They're very nice, thank you. I guess if it's the first time you're speaking to an English person it'll be the first time you'll hear how to speak properly, with a proper accent.

    Stephen: Hey. Well, like I said.

    Ben: What do you think about that?

    Stephen: Hey, we're all about educating people on this show and we want people to learn so that's why we decided to choose you.

    All right, Ben, so I need to give people a visual of where exactly in England you live. Now, to most of us people from America, there's London and then Manchester because of Manchester United. So, where do you live in England, exactly?

    Ben: So, if you look to the map of England and you put your finger on London ... If you were to move southwest about 150 miles, I live down there, actually towards America, 'cause it's to the West, in a county called Somerset. Somerset is very beautiful. It's famous for its apples, because it rains quite a lot because essentially we get the weather in from the Atlantic.

    Stephen: Very nice. That sounds like a fun place to visit, so who knows? Maybe it'll turn into a tourist destination after our podcast today.

    So, Ben, I wanna jump into this. You are doing things on the speaker circuit that no one else is doing. You're providing experience that no one else is doing and you're just wowing audiences. So, you founded Moving Performance to bring about this leadership change, to bring about this just way of bringing music to leaders and to companies. Talk to me about why you founded Moving Performance and a little bit about the vision behind it.

    Ben: Yeah, well I wear two hats, if you like. I'm a business person and have worked in the corporate world for all of my corporate career, working career, and I'm also a musician. So, I read music, university, and then went into banking, and I've always been really interested in business and I've always had a huge passion for music.

    Essentially, my experience with the corporate world is a lot of times it is actually quite dry. Whilst people talk about, you know, their company being hugely creative and doing amazing things, actually the experience of most people, I think in businesses, is quite dry. And I just thought how fun it would be to bring music which everyone responds to, everyone loves, and actually do something really different in the corporate workplace to help people think about how they lead, how they work in teams, and how they essentially can become more effective at what they do in the workplace. And we use music as a way to do that, to bring that to life.

    Stephen: Very nice, very nice. So was it hard kind of getting off the ground, I mean, 'cause it sounds like a very, kind of, foreign concept? Was it hard? Was it a hard sell at first?

    Ben: Well it was interesting. I think the idea, I suppose it's very earliest point, happened in my very first interview I had out of university to join a major international bank. And I sat down with the HR director of that bank and he said, "You've just done a music career and you're wanting to join our international graduate fast track scheme?" And they said to me, most people joining this have got B.Comms or they've done economics degrees or math degrees. Why music?

    And I just said, well the reality of my university career is that yes, we've learned a lot about music and we've also spent a lot of time performing music and playing music and that is all about communication. It's all about working in teams. It's all about listening to each other. It's all about balancing what I do with the person next to me and what they're doing and understanding our parts. I think that's what business is about, too, when you break down what business actually does, practically, day to day. I think that's what business is about to do. And the content of business, if you like the theory, the intellectual stuff, I can learn that.

    And the finance director, the HR director of this bank basically said, "Yeah, that kinda works for me." And so I joined Barclay's on their international graduate scheme and had a fantastic ten years with them doing the most cool things. I spent four years of my career at Barclay's working in Africa, working in the African part of the bank and I loved the creativity that that offered.

    But it still was quite dry. And during my time in banking, I thought, how can we just mix it up here a bit? How can we do something a little bit different, a little bit fun, in things like team away days or team meetings or conferences? And so I would just bring a bit of a different edge, doing something musical. Maybe playing a piece of music or getting people to talk about music at it's very basic level.

    But there was one thing Steve and I did in my time in Africa which really, I think, sewed the seed of what it is I do today, and that was ... The top 150 leaders in the African business were at a conference in South Africa and the keynote speaker of the conference was quite a well-known dude from the UK. He asked us halfway through the three day conference to break up into teams of 25 people and go off and write a play about the customer life cycle, and the idea was ...

    Stephen:  Boy, I bet you some interesting plays got written there.

    Ben:  Well, absolutely. The plays were to be about five minutes long and basically the six groups were doing a consecutive message of the customer life cycle. The part of the customer life cycle that the group I was in was given was the change from bad experience to good experience, the key pivot moment, if you like. And I went to my team leader and I said, "Look ... " Oh, yeah, and the other thing to say is it was set up as a competition, as in which group's gonna do the best play.

    I just went up to my team and I said, "Look, we're bankers. They're not actually that creative. And the plays are going to be amusing but probably for the wrong reasons and they're not going to have much impact." And I'm thinking, if we wanna win this, we need to do something with real impact. So I said, "I think rather than doing a play, I think we should all get on stage and sing a song, and that will have real impact."

    And so what we did ... The end put-out was this. Because we were given change, I'm like, what song could we do? We were in Africa and the Africans are pretty religious as you may know and I thought they would probably know, everyone would probably know the tune to Amazing Grace.

    Stephen: Mm-hmm (affirmative)

    Ben: So, we rewrote Amazing Grace. We called it Amazing Change, and the end put-out looked like this. We all huddled up on the stage in a scrum, all kind of bowed over, hands over our head, really like a tight ball. So, we got the whole room dimmed, we had a couple of mics, and in the middle of our huddle, we had this lady from Zimbabwe and she hummed the tune to Amazing Grace in a beautiful African gospel voice. You know ... You could hear a pin drop.

    Then, what happened, a few of us joined in with some harmonies and some finger clicking to get a bit of a beat going and then we started singing four verses of our new song, Amazing Change. All the while, we slowly opened up. We slowly stood up and opened up like a flower on the stage. We got the lighting to come up gradually and at the end of it, we were a 25 strong gospel choir, arms in the air, belting out our wonderful song Amazing Change, the lyrics of which were absolutely to the point of the message we were trying to bring across. They were very relevant. They were witty. They were funny. The crowd went wild.

    It was very interesting seeing what happened immediately after it. The impact on the audience was, a number of them were literally moved to tears to see their colleagues pull that off. It was really moving. The impact on the 25 people in the group was amazing, because when I first mooted the idea, 20% of them were up for it, 20% of them were really not up for it and 60% of people were sitting on the fence.

    Stephen:  Mm-hmm (affirmative).

    Ben: Kind of seeing which way is this thing gonna work out and then we'll join which ship looks like it's gonna sail. I actually think business is like that when businesses set out a challenge. People have a choice when a new idea is presented to them. Usually 20% are up for it, 20% are really not up for it, and 60% of people which is the most people are just on the fence. Let's see where this goes.

    Yet it only happens when people choose the mindset of success and decide, "Let's just go for it," and when we go for it and do it, amazing things can happen. And of course, this is what happen with this group of 25 and they were amazed at what they had achieved. There was no musical accompaniment; it was all a Capella.

    But the impact on me was, I didn't realize I could do that. I knew theoretically you could do that, but I had actually never done that myself, and I just thought, "I love this day and I want to do this as a job." I mean, how much fun is that gonna be?

    Stephen: Yeah, how great? I mean, what else? Yeah, that's great.

    Ben:  So, the long short of it is, I sat on it for five years and then decided to go for it and here we are today. I decided to start the company in 2009, so seven, eight years ago. Our first client was Northern Rock, the British bank which ran out of money at the beginning of the financial crisis. In fact, it was the first bank to have a run on it for 150 years. The UK government bailed them out.

    The new head of the branch network, or kind of all the branches, came to me and he said, "We need to change the mindset of our people because all the managers are looking back on the run on the bank, which was the worst day in British banking history for hundreds of years, and weirdly, they have a sense of pride of how they dealt with all the queues and dealt with all the problems and the customer problems facing them, and yet they were also incredibly angry at the leadership for screwing up the bank and there was a whole mix of emotion."

    They said, well what could you do with music to change their mindset? I said, "Well, have you, as a leader, ever gone to the people and actually asked how they feel?" And he said, "No, that's not what we tend to talk about in business." And actually, they're frightened of what they're going to hear. And I said well, with music, we could write songs where they express the positive emotions and the difficult emotions that they've felt over the last couple years and actually just get it all out there. And just getting it all out there, if you like, gets it off their chest. 

    And then what happened was that as they performed these songs in the conference, the people listening to the songs were of course the organization. So, it became this incredible cathartic transaction where they shared and sung literally from their hearts what they wanted to say and the organization and all the leaders heard it. Then it was like, okay. Now we can put this to bed, draw a line in the sand, and move forward with real positive intent.

    Now that organization is being reprivatized and they attribute this conference as a key part of that journey to change the mindset of their people.

    Stephen: That's an amazing example of a transformative experience. I think so many times, corporations, not for profits, foundations, associations, they want to have these transformative experiences. I mean, I think that what you just laid out is definitely something that everyone wants to have, kind of a cathartic, really kind of "a-ha" moment. That's amazing.

    Now, you mentioned something about leadership listening. Talk to me about the parallels between leaders needing to listen and a symphony orchestra needing to listen.

    Ben: Yeah, so the link here with ... So, I'm and orchestral musician. I play the french horn, and I ...

    Stephen: Time out. Whoa, wait. Ben, hold on. Why the french horn?

    Ben: Why the french horn?

    Stephen: Why the french horn?

    Ben:  Good question. Good question.

    Stephen: I mean, come on. Guitar. Drums, I get. French horn? Really? French horn?

    Ben: French horn. All right, do you really want to know the answer?

    Stephen: Yeah, I'm asking, so yes.

    Ben:  It is quite personal. This is quite a personal question. So, when I was eleven -

    Stephen: Do you need to clear it with your wife first? If you're gonna tell us -

    Ben: No, no, not quite.

    Stephen: I didn't know how personal we were getting, so -

    Ben:  Okay, well it is quite personal. So, between nine and eleven, I played the trumpet, and I didn't like it. I felt my lips were too fat to play the trumpet and I wanted to play a deeper instrument, a lower instrument in the range. So, I wanted to, like, play the tenor horn or the trombone or something. I went to a new school and the music master said, "Why not try the french horn?" I didn't realize that the french horn was the hardest instrument in the world to play, which it is, according to the Guinness Book of World Records.

    Stephen: There you go. Cite it.

    Ben: So, I thought, yeah, okay. Let's go for it. As it was, I picked it up really quickly and really loved it. I'm very pleased to play the french horn. In fact, they say, if you were to ask orchestral musicians, whatever instrument they play ... If you were to ask them, "What instrument would you have most liked to learn other than the one that you play?" The french horn comes out top on that list, because it has such heroic tunes in the orchestra and when you listen to film music and symphonic music it often just has this wonderful and mysterious richness which composers down the centuries have used with great effect. So, yeah. So, I love the french horn.

    Stephen: I'm sold. I'm gonna buy my three year old a french horn this afternoon.

    I'm kidding. There's no way he could pick it up that easy. So, that's good. Sorry, I didn't mean to interrupt you.

    Ben: No, that's fine.

    Stephen: So, back to leadership and listening with the symphony.

    Ben: Yeah, that's right. So, as a french horn player, I've sat at the back of orchestras for years and I've wondered, "How is it that I've experienced moments of great flow and great team spirit and great effectiveness and achievement sat in an orchestra, but actually I feel less like that in the world of work." And why is that and what is going on? Why is it that I'm inspired by some conductors and very uninspired by others. What's that saying to me about how they lead and so on and so forth.

    I would sit there and this is while I'm doing my business career in banking and I'm playing the horn in orchestra and I was thinking, "I'd love to bring my work colleagues into an orchestra for them to really learn how it happens and then let's make some really powerful connections into the world of work." So in 2011, we launched Know the Score school with an orchestral product with the Royal Philharmonic Orchestra in London. The first leadership program in the world to use a professional world-class orchestra, which is branded in names. There are a number of conductors who do things similar with bit part orchestras, but this is the first one to do with a proper branded orchestra.

    The orchestra absolutely love it and the clients dig it big time, because here, you're being immersed in a world-class, high performing team and really learning first-hand how they do it. Listening is absolutely key. It's really interesting because as a musician, you're needing to balance how good you are, you're needing to balance your own contribution, if you like even your own ego, to have the boldness to go for it and to present what you have to offer. You need to balance that with everyone else around you. Your teammates, in your section, in your instrument section such as the french horn section and then the brass section and then the brass and wind section and then of course the whole orchestra. That involves and incredibly attuned sense of listening.

    It's very interesting when you take that parallel straight into the world of work and you think how many times have you sat in a meeting and you realize that actually no one is listening to each other. The reason: balance. Everyone's speaking over each other. They are pushing their agenda. They're not really listening to what others are saying. They're seeking to be understood than to understand and so on and so forth.

    It's very interesting after the orchestra experience, after we bring this to life with music, how more attuned your ears are in the work place and you suddenly hear so much more, and hear so much more noise as opposed to beautiful music, if that makes sense in terms of the purity of the balance. So that's one way that listening has a big power with music and leadership.

    The other thing is, of course, the orchestra can tell when the conductor's not listening, because they are professional enough to know when they're getting things right and when they're not getting things right and they can tell if the conductor's picking up on it or not. I think that's very true for the world of work for leaders. The people that they lead will know whether they're getting it right or wrong and will also know how you address that and how you lead them through the challenges. They will know whether you're listening and you're really on it or not. That's a challenge for leaders as it is indeed for conductors.

    Stephen: So let’s talk about this. So you talked about launching Know the Score in 2011 and obviously you talked as well about rewriting a known song, like Amazing Grace, and I know that you do that as well, too, but you also can go into an organization and organically create and original song out of nowhere. Out of nothing.

    Ben: Yeah.

    Stephen: So basically you just go in and you just get the themes and start to work. Talk to me about that process and how that goes and let’s talk about just some of the transformational moments that have come from that original song experience.

    Ben: So, in my experience, when corporations are having a conference, they're having a conference for the purpose of something, usually to communicate something important to their employees or their leaders, to ask their leaders and their employees to embrace a new challenge, a new objective, or to have a change of direction or whatever it might be. There is a key objective as to why they're doing it.

    I think it's really interesting if you can present and produce and articulate that objective and what it means to the people through music, because then it addresses not only their intellectual thinking, their mind, it's also accessing their hearts and their emotions because that's what music does, and does so effectively. So, when we go into conferences and we do original songwriting, what we're doing is we're saying, "Why don't you communicate to yourselves what this means to you through music? So what is the beat of your vision? Is it reggae? It is hip hop? Is it jazz? Is it rock? What is the rhythm of your organization, of your vision, and what is most important to you in terms of what you're trying to achieve and the direction you're going to go forth?"

    We work with ... I've got an amazing team of musicians and songwriters and together we draw out and facilitate the content. Then we've got a very slick process of turning that content into an original song with original music. Within a relatively short period of time, usually less than an hour, you have completely got an original song which captures the essence of what our clients are wanting to do. Then we spend some time rehearsing that and building it up. We have an amazing professional session player musicians who turn it all into music and we do this all in the middle of a conference.

    So, the gift of this to the client, or certainly the people who are owning the conference, if you'd like ... The gift of this is that hundreds of people in their conference are properly geed up about something which is very relevant to the organization and they go on a real high, but this isn't kum-bay-a. This isn't weird and wacky. There is a benefit. There is a very specific corporate benefit in this and that is that everyone, every participant, has to choose to go for it and of course that is what their organizations are wanting them to do. They're wanting their leaders to have courage and step out and go for it. Singing is many people's worst nightmare, especially in public, and yet, everyone can do it.

    Stephen: Ben, sorry. So, how do you get those people that are on the fence to buy in? Because it seems like this could scare a lot of people, this whole get in front of everyone and sing ... I mean, how does that buy in process work?

    Ben: Well, I think, it works in a number of phases. First of all, we demonstrate it ourselves. So, I will talk about it. I will talk about the need to go for it either through singing or french horn. There's a huge parallel between singing and leadership. So, actually, let me say this. The reason people find singing so challenging in public is that they are exposing something which is unique to themselves. That's their voice, and that is incredibly personal. You are sharing something and you're worried that people are going to judge you, that they're gonna make an opinion about you.

    Now, that is exactly the same challenge that leaders have, because the best leaders in the world are those who are truly authentic to who they are and are willing to go there, to share it, to share something of themselves. Therefore, they're risking being judged and being analyzed and that feels exposing. That feels risky. So, people can immediately see the parallel there between singing and leadership. Then we say, "So here is a safe opportunity for you to go for it now with your singing and learn something about leadership in the process."

    So we'll demonstrate that through singing or playing a musical instrument. We then go through a series of icebreakers to help them lose their inhibitions and realize that collectively they can do some pretty cool stuff. We never tell them up front that they're going to write a song. Of course, the conference organizers will know this, but participants don't.

    Stephen: They know, but no one else knows.

    Ben: Exactly. Then, they just let down this past and when they realize that this is what they need to do, there is a a-ha moment in terms of, "Okay, now I need to make a choice." I've never seen a group not go for it, ever. In a group, I promise you, I reckon it's 98.5% of people go for it. The 1.5% of people who don't are those sort of individuals who just don't go to anything. Do you know what I mean?

    Stephen: Yup. Mm-hmm (affirmative).

    Ben: That is the pattern we see, and people love it. They really enjoy it, and they surprise themselves. We do this conference, actually through your good selves in South America last December and at the end of the session, I got some spot feedback from the room in terms of, "So, how that was for you?" One guy, one leader, he stood up and he said, "Ben, when you first mentioned we had to sing a song, I was very much in the 20% of people who wanted to get out of the room as quickly as possible. I realized I had to make a leadership choice there and I decided to go for it." He said, "I've amazed myself and I've had a lot of fun, but I've also learned something about needing to go for it in the work place and have the courage to step up and go for it."

    For me, that's a brilliant take-out. I mean, if people are going to have the courage to go for it more in the work place, then that's how we start to transform work places.

    Stephen: Very cool. That's cool. Now, Ben, one of the things you talked about ... You talked about authentic leadership. How do you see humility playing into authentic leadership?

    Ben: Yeah, it's a great question. I think humility is so key, because someone who's humble is someone who's real. They're very real to what they are challenged with, to what they are gifted in, to what they are good at. They are open to learn. They have courage to learn. It takes humility and courage to learn, and for me, leaders who are open to learning, to listening, demonstrate both that, the humility to listen and then the courage to act on it. For me, that's what is very inspiring about leaders. When you look at great, famous leaders out there in the world, you can tell the ones who listen and they are always inspired.

    So, I think the angle of humility and courage is really key. Of course, in the orchestra, going back to that point about listening. You have to balance your ego with the need to blend and almost sacrifice it for the common good, and I think that takes quite a lot of humility. So, what you see in world-class musicians is actually a deep humility to give of themselves and balance themselves for the greater good. The more business leaders and people who do that, I'm sure that's gonna make a real change in the work place.

    Stephen: Very good answer. All right, Bob, hit the music!

    All right, it is time to play a new game here on Executive Speakers on Speakers. So, as you know, Ben is from outside London and I am from south Louisiana, which Lafayette is the gateway to Acadiana, and I have family there. Both places are known for their wonderful slang terms, so this is what we're gonna attempt to do today.

    I'm gonna read Ben three slang terms from Lafayette, Louisiana. Ben is gonna read me three slang terms from London and we're gonna try and guess what each of them mean. Only difference is I have a buzzer and Ben does not have a buzzer.

    Ben, are you ready to try this craziness?

    Ben: I am. I don't know quite what you're leading me into, but let's go for it. I used to live in London, but I'm not a Cockney.

    Stephen: Like I said, I understand that. Like I said, we're gonna try this. If it's terrible -

    Ben: We're just gonna play it. Yeah.

    Stephen: Yeah, yeah, yeah. Or not. Okay, I'm gonna go first. I'm gonna throw you a softball question. So what I'm gonna do ... I'm gonna read this and then you'll have a certain amount of time to see if you can come close to guessing what it means.

    Ben: What is that? Is softball part of the slang? I mean, what -

    Stephen: No, no, no, okay, sorry. Sorry.

    Ben: Is it to do with softball or is that actually part of slang?

    Stephen: No, no. Sorry. Softball is like I'm gonna give you a -

    Ben: As opposed to hard ball, right?

    Stephen: I'm gonna try to give you an easy one first.

    Ben: Okay. Oh, that's good. Okay.

    Stephen: Okay. First one is "Laissez les bons temps rouler." I'll read it again. "Laissez les bons temps rouler." What does that mean? Ben, this is the easy one.

    Ben: I know, this is the problem. "How are you doing today?"

    Stephen: Oh, Ben, I'm sorry. It actually means "Let the good times roll." You were wrong. Incorrect.

    Ben: Oh, "laissez."

    Stephen: Oh, yeah!

    Ben: It's French, isn't it?

    Stephen: Oh, yeah, yeah. A little French in there. There we go, French lesson.

    Ben: Okay, you do have a buzzer.

    Stephen: Yeah, I do.

    Ben: Do I ask you one now, or do you ask me another?

    Stephen: You go. You read me one.

    Ben: Okay. "All right, my old China."

    Stephen: "All right, my old China." I'm gonna say, "Everything is good, Grandfather."

    Ben: Bzzzz. That's my buzzer.

    Stephen: Okay.

    Ben: What that means is, "How are you, mate?" or "How are you, friend?"

    Stephen: Oh, okay.

    Ben: So, "my old China," is "my old China plate" which rhymes with "mate."

    Stephen: Oh.

    Ben: So, "All right, my old mate." That was my easy one. They're harder.

    Stephen: Oh gosh. All right, all right.

    Ben: Okay, let's go for it.

    Stephen: All right, here's number two. "T-Bob got a lagniappe at the candy store. T-Bob got a lagniappe at the candy store."

    Ben: Okay, so I think that is, someone got a long, stringy piece of candy at the candy store, a lanyard being a string.

    Stephen: Oh, sorry.

    Ben: Oh, no, that didn't work.

    Stephen: All right, so what that means is Bob Jr. ... T-Bob means little person

    Ben: Okay

    Stephen: ... So, like, your son would be T-Ben.

    Ben: Oh, T-Bob, yes. Little Bob, okay. Yes.

    Stephen: Yeah, yeah. Yep. So it would be T-Bob got an extra piece of candy for free at the candy store. A lagniappe is a little something extra for free. So, it's like if you go to the doughnut store -

    Ben: Ohhhh.

    Stephen: And they give you a baker's dozen, that extra doughnut would be considered a lagniappe.

    Ben: Baker's dozen. Fantastic. Okay, all right.

    Stephen: All right, your turn.

    Ben: Here we go. Here's your second one.

    Stephen: All right.

    Ben: "How's your old trouble and strife?"

    Stephen: I'm gonna go with, "How is your wife?"

    Ben: Yeah!

    Stephen: There we go. There we go.

    Ben: Very good. Wooo!

    Stephen: I'm winning right now.

    Ben: You are beating me. That's not good.

    Stephen: All right, number three.

    Ben: Okay, we've gotta equalize this. Yeah.

    Stephen: Number three. "Boudreaux took his pirogue to his Parran's fais-do-do. Boudreaux took his pirogue to his Parran's fais-do-do."

    Ben: Oh, my goodness. Say that again.

    Stephen: Okay, "Boudreaux took his pirogue to his Parran's fais-do-do." Now, Boudreaux is just a name.

    Ben: Okay, I was gonna say. Okay.

    Stephen: Don't worry about Boudreaux. Boudreaux's just a name. So, "took his pirogue to his Parran's fais-do-do."

    Ben: I think do-do ... Is that someone who is going to bed?

    Stephen: It is close. It is close. I'm impressed. Do you want me to tell you?

    Ben: Okay, yeah, go for it.

    Stephen: Okay. So, what this means is, "Boudreaux took his small boat to his Godfathers Cajun dance." Pirogue is a small boat, used in the swamps and in the backwater canals.

    Ben: Okay, yep.

    Stephen: Parran is Godfather. Parran is Cajun for Godfather and fais-do-do is a Cajun dance, but fais-do-do actually means "to go to bed." So, basically, you're gonna have so much fun that the party's gonna put you to bed. So, I'll give him two rings, 'cause -

    Ben: You'll give me a ring. Aww, you're a man.

    Stephen: Yeah, yeah, there you go.

    Ben: You're a man.

    Stephen: There you go. All right.

    Ben: Okay. All right.

    Stephen: All right. Number three for me, let's see if I can get this.

    Ben: So, one of three -

    Stephen: I gotta get this.

    Ben: "The one thing I haven't done is play my french horn in front of the baked bean."

    Stephen: "The one thing I haven't done is play my french horn in front of the baked bean." All right, I'm just gonna go with it. You haven't played your french horn in front of the Queen.

    Ben: You've got it.

    Stephen: Wow, there we go! So, all right -

    Ben: All right.

    Stephen: Baked bean and Queen?

    Ben: I've got a bonus question for you.

    Stephen: Wait, no, no, no. Hold on! The Queen of England, Her Majesty, the Queen? Baked bean? I don't understand that.

    Ben: Yeah. Baked bean. Queen. It's all about rhyming, you see. It's easier [inaudible 00:33:55] than this Cajun slang thing.

    Stephen: Oh got you.

    Ben: Yours is way more, way more, way more random. 'Cause you're kinda mixing up French, right?

    Stephen: Yeah, yeah. That's, yeah.

    Ben: Yeah. That's pretty cool.

    Stephen: Okay, okay, okay. Bonus question.

    Ben: I've got -

    Stephen: I'm ready for bonus question.

    Ben: Okay. "The great thing about working with you, Stephen, is you know your brass tacks."

    Stephen: "The great thing about working with you, Stephen, is you know your brass tacks. The great thing with working about you is you know your brass tacks." You know your facts and your figures? Is that what that means?

    Ben: You've got it! You've got it!

    Stephen: There we go! Wow, look at this!

    Ben: Fantastic!

    Stephen: Wow, I guess I won. First time we've played and we win.

    Ben: I got caned. I got actually [inaudible 00:34:38].

    Stephen: "I got caned." Oh.

    Ben: But, you know, I'm humble, Stephen, so it's fine.

    Stephen: Well, like I said, I'm glad you can demonstrate humility. Listen, Ben, thank you so much for being with us. If you are listening, go check out Ben Hines' video on our website, It has examples of this original song. It has examples of him working with people. What he is doing is truly transformative and an amazing experience. It's, Ben Hines. Just take a look at it, just does amazing things.

    Ben, thank you so much for taking time out of your evening to join with us and talk and thanks so much. We'll look forward to having you again!

    Ben: You're welcome, Stephen. Take care now! Cheers.

    Stephen: I'd like to thank my guest, Ben Hines, for being a good sport in our game as well as just being an overall gentleman. To learn more about Ben, go to our website, You can find his bio, speech topics, as well as his amazing video which we referenced in the show.

    As always, thanks to Chatterbox Studios, producer Bob Arnold, Ryan Sheeler and Podington Bear for providing our music. We'll see you next time!

    Ben Hines founded Moving Performance in 2009 bringing together his two passions: people development and music. He uniquely combines his 13 years of commercial experience in the financial and legal sectors with his own musical abilities as a semi-professional orchestral French horn player.

    "Ben has an amazing ability to bond teams around a cause through music. It really needs to be experienced to be believed and understood. It is beautiful, uplifting and long-lasting. Ben has a very special gift that he is generous enough to share.”RENE CARAYOL, MBE*

    Working with some of the world's leading companies, Ben has used music to help both executive boards and emerging leaders to reflect on their strengths and those of others, to move toward more collaborative and productive outcomes. He works across the world facilitating leadership programmes and as a conference keynote speaker.

    - See more at:

    Ben Hines founded Moving Performance in 2009 bringing together his two passions: people development and music. He uniquely combines his 13 years of commercial experience in the financial and legal sectors with his own musical abilities as a semi-professional orchestral French horn player.

    "Ben has an amazing ability to bond teams around a cause through music. It really needs to be experienced to be believed and understood. It is beautiful, uplifting and long-lasting. Ben has a very special gift that he is generous enough to share.”RENE CARAYOL, MBE*

    Working with some of the world's leading companies, Ben has used music to help both executive boards and emerging leaders to reflect on their strengths and those of others, to move toward more collaborative and productive outcomes. He works across the world facilitating leadership programmes and as a conference keynote speaker.

    - See more at:



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