Capturing and Captivating a Mostly Distance-Learning Audience: Exploring the Synergistic Dance of Substance and Style – Part II

Part I of “Capturing and Captivating a Mostly Distance-Learning Audience” closed with a parting recognition: the exploration of manner and method of delivery, means we are circling the interplay of “Substance and Style.” And Part II will more specifically examine this partnership by illustrating “S & S” terms, especially “substance.” The Stress Doc’s proposition: both “substance and style” are necessary components for a presenter, especially when addressing hybrid, mostly distance-learning audiences. And while each has its own purposeful part to play, substance and style may fluidly interchange when engaging both a seen and an unseen audience. Substance may need to lay the ground for style; style may need to bring to life the bedrock substance. And there will be times when substance morphs into style and style becomes the yin to substantive yang. The “take home” purpose and concept of this essay is to challenge the reader to evolve “substance and style” as communicator, educator, and leader. Toward this end, two performance arenas have been analyzed regarding “substance and style.” Using the three components of substance – essential nature, underlying reality, and practical importance – the essay illustrates how substance and style evolve broadly in the performance arena and more specifically when the Stress Doc morphs into a Shrink Rapper ?! It is clear, the synergistic dance of substance and style – the flowing interconnection between the two – can yield a compelling and captivating whole greater than the sum of its parts.

P.S. Don't miss the outrageous "en-rap-tured" pic of an audience member below

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As a speaker, whether one-on-one or with a group, whether in the classroom, board room, or bedroom, have you ever reflected on your communication aptitude, attitude, and approach? Does the social context (that is, work or home) and your personal or professional role affect your “substance and style”? Most likely. For example, what’s the difference in presentation motivation, method, and manner when you are a leader versus being a team member?

 Communication Self-Inventory: The Blend of Substance and Style

 In general, or temperamentally, are you logical or emotional; are you more serious or playful; are you low key or larger than life; do you ask questions or tend to make pronouncements? Do you choose your words carefully or have a rapid-fire delivery? Or do you purposefully choose words for their surprising or unsettling effect; is spontaneous wit your trademark? Are you fairly organized or fly by the seat of your pants? Do you embellish your words with pace, rhythm and/or rhyme, accent and tone, as well as flourishing facial and other nonverbal gestures? Would you judge yourself as more substance than style, or is style your driver; or perhaps a mask or even an impostor’s cover? Conversely, might a so-called lack of style, maybe a minimalist style, make a powerful statement? Strong silent type, anyone? (Hopefully not, “for me to be strong… you must be silent!”)

Digging Deeper into Substance and Style

Might we be ahead of ourselves? When it comes to communication – personal and professional – what comes to mind regarding “substance” and “style”? Is substance mostly “form” while style “flair” or the “aesthetic,” the “purpose” vs. the “polish,” “content” in contrast to “manner” of expression?

Let’s briefly go outside the human communication realm to seek clarification. For a writer friend, the structure of a bridge captures both: it has substantive function – linking and transporting –while possessing aesthetic or architectural style, that is, form. (Hmm… “form,” as noted above, is seen as substance in contrast with “flair” yet “form” is analogous to style in contrast with “function.” The semantic if not social context may influence the substance/style identity divide. (And speaking of form and function, for a bridge or structural span, form seems to dictate function and function seems to determine form.)

With this communicational and contextual complexity, if not cacophony, not surprisingly uncertainty may creep up: what is “substance,” what “style?” Can the two always be readily distinguished? Might either one be “form” the other “function”? Or, in the right hands, might substance and style, have a momentary identity, akin to function and form, but then merge and morph imperceptibly, in a yin/yang-like flow? 

When judging yourself regarding presentational substance and style, is one dominant, the other secondary? For example, in a presentation, are you into substantive “data” more than stylish “delivery” or vice versa? (And does “design” bridge the two)?  Are you ever uncommonly ambidextrous? That is, are you aware of the synergistic possibilities when substance and style are kaleidoscopic partners, illuminating and infusing each other? The dance of substance and style – the flowing interconnection between the two – can yield a whole greater than the sum of its parts.

What Happens When Style Has Substance and Substance Has Style?

Let me continue this analysis of “Substance and Style” with two favorite self-generated mantras. Both are pithy and purposeful reflections, having a Marxist tone… though more the irreverent humorist than the revolutionary philosopher. The one-liners project a clever, alliterative, yet slightly outrageous oppositional essence, while capturing two of my ultimate goals in life: 

To be my fullest self… without being full of myself.

And even more to the point…

 To be a wise man and a wise guy! (And, naturally, “wise man” is said slowly and thoughtfully; “wise guy” has a quick, sneaky if not slightly snarky tone.)

For me, “substance and style” permeate these one-liners in yin/yang-like fashion, imperceptibly flowing into and infusing each component of the aphorism. Though if pushed to identify the two phrases, “wise man,” for example, would connote “substance” while “wise guy” exudes style. But it’s the contrast and synthesis that gives the line punch, while revealing the quip’s paradoxical – contradictory yet higher truth – nature. Ideally, we may want to strive for light, strength, and compassion, but it usually requires recognizing if not embracing our dark – unpredictable if not out of control – shadow side. One truly understands and exercises courage only from a place of fear and vulnerability!

Packing a Punchline

 But let’s get back to the two mantras:

 To be my fullest self… without being full of myself.

To be a wise man and a wise guy!

By separating each saying into opening and closing segments another classification of the latter phrase comes to mind. The rejoinders “without being full of myself” and “and a wise guy!” do pack a clever if not humorous punch. Punchlines purposefully yet surprisingly spring from and stylishly flesh out the substance of the maxim.

Speaking of “punch,” I’ve just associated to an oft-quoted one-liner of the world-renowned boxing great, Mohammad Ali. His poetic quip – both self-descriptive and ominous – perhaps captures the fine (and possibly shifting) line between substance and style: Float like a butterfly and sting like a bee! In my mind, a sharply distinct yin/yang like “s & s” pairing. (Which substance, which style? For example, is butterfly more style and the bee more substance? Might floating seem to “playfully” tease the opponent or lull him into a false sense of security; then, pow, the unexpected whiplash sting?) One thing is clear, substance and style – floating and stinging, wise man and wise guy – are necessary components of a complementary unity… with a potential knockout effect.

In addition, a “floating butterfly” and a “stinging bee” have some comparative semantic properties with a “wise man” and a “wise guy.” While Ali uses natural, poetic imagery to convey type of motion and tension, e.g., balletic grace and bullet-like danger, the Stress Doc relies on alliteration and sharp attitude deviation to capture his double-edged essence. In contrast to Ali’s fairly specific, visual imagery, “wise man” and “wise guy” are pun-like abstractions that leave room for individual imagination and interpretation.

 Exercise Challenge. Let me pose a challenge: with the above sayings as a reference, can you come up with a personal paradoxical pairing that begins to capture aspects of your polar nature or double-edged essence? And the sharper the difference of images and concepts the more surprising or startling the effect!

The Substance Trinity

Okay, time to come down to earth. According to Merriam-Webster/online dictionary, there are three main definitions of substance; each has relevance for “Capturing and Captivating a Mostly Distance-Learning Audience.”

Three Basic Definitions of Substance

 1. essence or essential nature; a fundamental or characteristic part or quality

2. ultimate reality underlying all outward manifestations and change

3. practical importance, that is, meaning, usefulness, and significance

And some illuminating synonyms: concreteness, tangibility, shape, and structure.

Let’s flesh out these definitions by bringing them to life conceptually in the context of a “hybrid” – small in-room/considerably larger distance learning – program/audience. I shall make the case that weaving all three components into a presentation is vital for generating compelling (information/insight-driven, i.e., head-focused) and captivating (imagination/innovation-driven, i.e., heart-flowing) hybrid presentations.

For my “hybrid audience” analytic purposes, the performance arena has four basic components – presenter and audience, subject and setting. (And setting includes not just the physical location and seating structure – theatre style, ballroom circular tables, boardroom rectangular table, etc. – but also conference theme, time of (and for) the program and, of course, the digital platform.)

Now let’s pose some substantial questions about the performance arena:

1. What is the essential nature (fundamental or characteristic part or quality) of presenter and audience, subject and setting? (One or more of the four performance arena components will be highlighted.)

Illustrating the concept. By way of example, let’s contemplate an engineering audience anticipating one of my Stress Management Programs. For engineers, their cognitive strength is analytic thinking. As a group, dealing with “soft” feelings in a workshop may not be their default position. Engineers tend to have a different essential nature (or temperament) and a different receptivity-motivation threshold for “people skills” than, let’s say, more emotionally aware or sensitive mental health professionals. I suspect the Myers-Briggs scores for these two groups would reveal meaningful statistical difference.

Applying the concept. I opened the “Stress” program with these engineers by acknowledging that their preference may not be for “soft” skills. And then unleashed my inner provocateur, my “Wise Guy”: “Have no worry, I’m a Type A New Yorka… My programs are a lot more ‘touchy punchy than touchy feely!’” Definitely got a laugh and broke the ice. And they rock and rolled with the group exercises, especially an aggressive/competitive power struggle mini-role play!

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2. What is the ultimate reality (underlying all outward manifestations and change) of presenter and audience, subject and setting?

Illustrating the concept. First, one component of underlying reality is a presenter’s level of experience and comfort with a particular audience, for example, one of a “hybrid” nature.  And within this arena-platform, knowledge and confidence with the subject matter, the program setting, time constraints, etc. will also impact the ultimate outcome. Next, how diversified is the presenter’s bag of tools and tricks? Program success often depends on a presenter’s ability to go “off script” or improvise. But, finally, when it comes to generating interpersonal connection, the underlying foundation may well be the ability to create a safe space, shared and/or engaging symbols, and emotional empathy. In other words, what is the underlying “Emotional Intelligence” of the presenter?

And finally, I am not one of those people who believe that communication impact is decidedly more nonverbal than verbal. Words matter, a lot! However, there are settings and social contexts where images, facial and bodily gestures, along with vocal intonations (especially for a non-video distance audience) have a major impact on the process of communication.

Applying the concept. Years back, just about to embark on one of my stress programs for a company of international travel agents, I was approached by a company manager. She warned me that many of the participants were not fluent in English. The diverse group of agents typically experience some difficulty generating discussion at these team meetings. It appeared that the manager did not want me to take their degree of participation personally. While considering her words, I always liked to assess an audience first hand. Fortunately, I had some cool small group “warm up” exercises that could be tweaked to incorporate both verbal and nonverbal expression, e.g., The Three ‘B’ Stress Barometer Exercise”: How does your Brain, Body, and Behavior let you know when you are more stressed than usual? With just a little encouragement people were scratching, yawning, making anxious and angry faces, simulating drinking, etc.

This was eventually followed by a group art therapy-like exercise where each team discussed sources of stress and conflict in their everyday operations… and then came up with a group picture that visualized the discussion points. Not only are the drawings on target (an army commander appreciated how the drawings revealed some oft-hidden issues); they also are a bit out-rage-ous. They often generate group and community knowing laughter. This occurs both while the team is drawing and during the “art gallery” and “show and tell” parts of the program. The exercise art-iculates thorny issues without it feeling like a gripe session. And perhaps the best sign of its effectiveness with a group not typically extrovertish in English: the manager said she was “amazed”; she had “never before seen such open (verbal) sharing” from her staff.

Moral Take Home. Starting with a meaningful problem or issue, we had created a safe and fun atmosphere for self-expression and collaboration, that could be addressed with imaginative images not just verbal language. When you facilitate the cross-cultural, nonverbal channels of communication, the verbal ventilation gates just may open. And a feeling of camaraderie and greater trust will likely permeate the community.

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3. How does practical importance (that is, meaning, usefulness, and significance) manifest in the performance arena, that is, at the synergistic nexus of presenter and audience, subject and setting?

The concept. Likely in the first day of my Social Work Graduate Studies, the foundational quote of the profession was articulated: Start where the client is!  For most students, these five words helped guide the opening connection with an individual or a family. You want to truly hear the client’s presenting problem or concerns, especially sources of emotional stress, before eventually making an initial bio-psycho-social-ecological assessment of the client. And, at least early on, unless presented with a critical crisis, the proposed intervention – beginning with goal setting, evolving toward a treatment plan – should emerge from real problem-solving dialogue between client and helper. Grasp what the client is ready and willing to face honestly and work on at this particular moment in time. Go with their experience and energy, their pain, purpose, and passion. The client is encouraged to be an active participant, not a passive recipient! Otherwise you have a client who does not feel seen or heard; who will be understandably “resistant”; who will quickly tune out or drop out. Not surprisingly, this injunction – start where the client is – has relevance for engaging all kinds of social systems, including a hybrid, mostly-distance audience. 

Learning Point. One audience may prefer a mixture of cognitive bullet points and “hands on” group exercises that differs from the mix preferred by another audience. Also, time length and the time of the program may come into play. I’m often the closing speaker of a conference. Why? When attendees have spent most of the day or week in predominantly technical classes, the coordinators want the conference to close on an energizing, “high” note. They are more interested in “motivating and en-light-ening the troops” and fostering team- or community-spirit than cognitive skill-building. (Of course, there are other programs and time slots when hi-task take home tools take precedence over hi-touch ones.) Actually, by the end of the day, most attendees, to paraphrase Cyndi Lauper, “just want to have (some) fun!” Recognize where the client is.

The Evolution of Performance Concept “Substance and Style”: From Twilight “Aha!” to Out of the Rapper Closet

Let me illustrate how the discovery and performance application of a new concept can lead to a mobius strip-like fluid flow of form and function, substance and style. In the early ‘90s, after having written a theme song for a Black Beauty Pageant (don’t ask; or if still curious about “The Electrifying Lady,” email [email protected])... one morning in bed, in a dream-like state – neither sleeping nor awake – I start musing: “Mark, you’re a therapist, you’ve been a Social Work university professor…what are you doing trying to write rap lyrics?” And it suddenly hit me: “Of course, you’re into Shrink Rap.” And with this potent and provocative concept, a number of works quickly followed, with a Shrink Rapper twist. After hearing the original “Stress Doc’s Stress Rap” ?, an African-American lawyer-friend noted: “Oh, so you’re into ‘Aristocratic Rap.’”

(Here’s a link to me doing a Shrink Rap, in costume, alas, without my tambourine: https://www.youtube.com/channel/UC84t8Xz9r-Gz70GEW_X-aLQ

 Click on the top video box. There’s a brief Stress Doc intro which flows into the Shrink Rap. Total time about 2 minutes. Worth the look see! ?? )

 And while it took some “trial and terror” to finally lose all inhibition and sense of proportion, I added a Blues Brothers hat, black sunglasses, and a black tambourine and started performing during my “Practice Safe Stress” speaking programs and workshops. To this day, with a tad more method than madness, I don my ensemble, one by one, while slyly acknowledging a secret identity. (Naturally, I share the suspicion that the audience might prefer my keeping this secret in the closet.) “Alas, too late… The hat’s out of the bag. I'm pioneering the field of psychologically humorous rap music and as a therapist calling it, of course, 'Shrink Rap' ? Productions." Predictably, there's an audible groan from the audience. And my response: "Groan now. We'll see who has the last groan." 

 “Buckle Up Your Straightjackets”

I then explain that “This is my Charlie Chaplin Maneuver. (Alas, after I'm through you may need the Heimlich Maneuver.") Consider this observation of the pioneering comedic film genius: The paradoxical thing about making comedy is that it is precisely the tragic which arouses the funny. We have to laugh due to our helplessness in the face of natural forces and in order not to go crazy. Naturally, I note that, “What you are about to see and hear will give new meaning to the word 'tragic.' And as for not going 'crazy,' it's way too late for that. So, buckle up your straightjackets…It's The Stress Doc's Stress Rap." And not only am I belting out the words but I'm prancing around the room while banging on the tambourine. Here are some sample lyrics:

When it comes to feelings do you stuff them inside?

Is tough John Wayne your emotional guide?

And it's not just men so proud and tight-lipped.

For every Rambo there seems to be a Rambette!...

Well the boss makes demands but gives little control

So you prey on chocolate and wish life were dull.

But office's desk's a mess, often skipping meals

Inside your car looks like a pocketbook on wheels!

 ? Mark Gorkin 1992

Shrink Rap Productions

At the onset of my "performance," some people seem embarrassed for me; others are just sitting there wide-eyed with their mouths agape. (Clearly, I'm perpetuating a stereotype, notwithstanding Elvis Presley, John Travolta, and Justin Timberlake: the rhythmically-challenged status of the white male!) However, my bravery if not my witticisms win them over. Often the group begins clapping their hands to my self-styled beat. Once the lyrics are completed the room typically erupts in applause. I suspect folks are admiring my courage as much as resonating with the message.

[The “En-Rap-turing” Effect of Shrink Rap ? at Ft. Hood, TX; photo by Laurie Dunlop]

 After waving off the feedback, my immediate response: "I've been doing this long enough…I know when an audience is applauding out of relief!" And then, "All this shows after twenty years off and on of all kinds of therapy – from Jungian analysis to primal scream – I have one singular accomplishment. Just one: Absolutely no appropriate sense of shame!"

Finally, as the laughter subsides, an audience member invariably ventures a comment, likely on other's minds: "Don't quit your day job!"

And my rejoinder is fairly predictable: "It's too late…This is my day job!"

 A Sharing and Teaching Opportunity

Now I seize the moment: "You know I'm just up here having a ball. I'm not worried about what others are thinking, or whether they are judging me. I take real pride in having overcome early performance fears. And now, I'm just doing it cause I love doing it…and feel good about the quality of the lyrics."

We are now at the heart of the “Stress Resiliency” take home message: Finding that courageous voice, releasing your passion, both being a bit feisty and drawing on self-effacing humor, not being afraid to fail or flail, and doing what you love to do. First, I underscore the real satisfaction in being able to laugh at my own flaws and foibles, especially when vividly recalling the many years being much more awkward and less self-assured as a speaker. Of course, it wasn't easy overcoming my self-consciousness rapping in public. More to the point, "It took a while to feel comfortable making a fool of myself." There was at least as much blood, sweat, and tears as there was joy while winding along the path of mastery as a speaker and "Shrink Rapper." However, unquestionably, the journey has been worth it.

Shrink Rap Overt Analysis of Substance and Covert Analysis of Style

To claim the only “substance” of the Shrink Rap is the “Stress Resilience” lyrics feels like assessing an iceberg solely by the visible 20%. Now my Shrink Rap/Blues Brothers costumery adds a certain panache, though maybe absurdity is more to the point. And prancing around and banging on the tambourine while “singing” the lyrics also adds a stylish if not outrageous element. But to fully analyze this event, let’s turn to some basic definitions of “Substance” and of “Style.”

Definitions of Substance and Style

For sake of brevity, I have decided not to analyze the key elements of style. Nonetheless, I suspect as you read my illustrative analysis of the “substantial components” of Shrink

Rap, it’s stylistic elements will jump off the screen. See if you don’t agree.

Three Basic Elements of Style:

1) a distinctive manner of expression (as in writing or speech); specifically, a distinctive manner of putting ideas into words

2) a distinctive manner or custom of behaving or conducting oneself

3) a particular manner or technique by which something is done, created, or performed.

 Three Basic Definitions of Substance:

1. essence or essential nature; a fundamental or characteristic part or quality

2. ultimate reality underlying all outward manifestations and change

3. practical importance, that is, meaning, usefulness, and significance

And while I will illustrate each of the “substantial” components, the interrelationships amongst the three quickly become evident. (As does the yin/yang-like flow between substance and style.) The weave of essential nature, underlying reality, and practical importance yields a uniquely startling performance experience. Audience and Shrink Rapper ? have created a truly synergistic and memorable whole!

1. What is the essence or essential nature of a Shrink Rap? The essential nature of a “Shrink Rap” ? is poking fun and laughing at my own absurdity. It’s capturing the spirit of Halloween and Mardi Gras: dressing up in costume and being a little (or a lot) outrageous. It’s also surprising, if not shocking, the audience as they witness a learned presenter transform into a Shrink Rapper. And while the lyrics are secondary to the performance gestalt, they definitely capture an element of style – a distinct manner of expression, that is, putting ideas into words with the poetic flair of a “Psychohumorist.” (And, of course, there’s also music and movement.) The pithy and witty message is meant to: a) hold up a mirror and thought-provokingly tweak the audience and, simultaneously, b) playfully identify the behaviors and circumstances that we often try to cover up from embarrassment. An essential function of Shrink Rap is emotional liberation; to help us laugh at and better accept our flaws and foibles while encouraging some helpful change.

 So, you give up sleep, become wired and spent

Escape lonely frustration as a mall-content.

It’s time to look at your style of stress

You can’t just dress or undress for success.

 

Deadlines, deadlines all that aggravation

Whew, you only have time for procrastination.

Now I made you feel guilty, you want to confess

Better you should practice the art of Safe Stress!

? Mark Gorkin 1992

Shrink Rap Productions

Also, see above for additional lyrics from “The Stress Doc’s Stress Rap.”

The Shrink Rap is meant to end my presentation on a wildly memorable note. Hopefully, it’s the ultimate cherry on a compelling and captivating program that has revealed and unleashed that “Wise Man/Wise Guy” persona. In one final burst of manic-like energy, a Shrink Rap brings to life my goal of being a “Five ‘P’ Passion Power Presenter.” 

As previously noted, the “Passion Power” Model was basically designed when a professional association asked me to speak on “How to Give Dynamic Presentations.” The model – a “2 x 2” matrix – examines the core aspects of my reflective and expressive personality – a performance mindset and moodset – that I strive to bring to the stage (or screen) as a speaker: The matrix illustrates the Yin/Yang (or “oppositional”) interaction of Mindset (Cognitive/Head and Affective/Heart) and Moodset (Gravitas/Serious and Comedia/Humorous). Eventually, Four “P”s evolved into “The Five ‘P’s of Passion Power”:

Cognitive-Gravitas     =  Purposeful

Cognitive-Comedia    =  Provocative

Affective-Gravitas      =  Passionate

Affective-Comedia     =  Playful

The interplay, integration, and communication of the Four “P”s yields a synergistic Fifth “P” – the Philosophical

My desire is to radiate a kaleidoscopic stage presence, flexibly flowing into an array of Mindset (Cognitive/Head and Affective/Heart) and Moodset (Gravitas/Serious and Comedia/Humorous) performance states: Purposeful-Provocative-Passionate-Playful-Philosophical. Performing a Shrink Rap is truly “substance and style” synergy in motion, various parts sing and dance to make an unforgettable whole!

2. What is the ultimate reality underlying a Shrink Rap? When we momentarily shed the cloak of role-based propriety, subterranean, primal aspects of our personality have the opportunity to take center stage. When I put on my Blues Brothers hat, don my black sunglasses, and grasp my black tambourine, I have transformed my identity right before the audience’s eyes. Who is this masked man – Bruce Wayne to Batman? And while most folks believe they couldn’t do such a transformational performance in public, my experience suggests otherwise. Actually, I was a repressed, frightened kid in many areas of my young life, often retiring from the spotlight, especially in academic matters. With the help of therapy, being a university instructor, then workshop leader and public speaker, as well as a budding lyricist, the opportunity to show my meddle, to assert my unique voice, to wow others, proved irresistible. This Shrink Rapper metamorphosis occurred in my mid-40s. Initially, colleagues had to badger me to get up and perform the rap. Old fears and self-consciousness were holding me back. But once seeing the possibility of a costume, unconsciously or not, the perception was that the Stress Doc, not Mark Gorkin, would become the wild and crazy guy. Now, inner and outer selves have merged: The Stress Doc and Mark Gorkin are one and the same.

Also, in yin/yang fashion, the performance of a Shrink Rap highlights how “Substance and Style” truly meld and morph together and infuse each other: substance (courageous) prances with style while outrageous style sends a substantial message. (And note the “rageous” in courageous and outrageous.) Substance and style are inextricable partners. The underlying message: with courage and practice, blending our authentic and uncommon substance and style, we can break free from who and what we are supposed to be!

3. What is the practical importance of a Shrink Rap? The meaning and usefulness of a “Shrink Rap” is that the Stress Doc is being a role model for taking risks, being a little outrageous, and not being worried about how others may judge him. The rap performance imparts some stress resilience wisdom with witty lyrics, a silly costume, and carefree movement and expression. The Stress Doc is projecting a persona that defies expectation. It captures the incongruity of someone acting silly, seemingly “making a fool of himself,” yet joyfully, no, exuberantly laughing and prancing while doing so. It reveals the energy released when playful aggression along with clever and bold, if not over-the-top art-iculation, is allowed to burst forth from the head and heart. And it has an impact. After a program, I can’t tell you how many times people come up to me and say, “You have such great energy.” And what are they really communicating… How do I get some of that energy? New possibilities loom on the horizon.

As noted above, one vital objective of my performing a Shrink Rap is to help one and all laugh at and better accept flaws and foibles while encouraging some helpful change. Remember, people are less defensive and more open to a serious message gift-wrapped with humor. Amen and women, to that!

Closing Summary

?The “take home” purpose and concept of this essay has been to challenge the reader to evolve “substance and style” as communicator, educator, and leader. Toward this end, two performance arenas have been analyzed regarding “substance and style.” Using the three components of substance – essential nature, underlying reality, and practical importance – the essay illustrates how substance and style evolve as they are applied broadly in the performance arena and more specifically when the Stress Doc morphs into a Shrink Rapper ?! It is clear, the synergistic dance of substance and style – the flowing interconnection between the two – can yield a compelling and captivating whole greater than the sum of its parts.

Mark Gorkin, MSW, LICSW, "The Stress Doc" ?, a nationally acclaimed speaker, popular webinar educator, writer, and "Motivational Psychohumorist" ?. Mark is a founding partner and Stress Resilience and Trauma Debriefing Consultant for the Nepali Diaspora Behavioral Health & Wellness Initiative and is a Cross-Cultural Diversity Training Speaker & Consultant for numerous Federal Agencies. The Doc is also a Leadership and Life Coach as well as a Clinical Therapist for Inner City Family Services, Washington, DC. A former Stress and Violence Prevention Consultant for the US Postal Service, he has led numerous Pre-Deployment Stress Resilience-Humor-Team Building Retreats for the US Army. Presently, Mark does Cross Cultural Facilitation and Presentations for organizational/corporate clients of HR Consulting Firm PRM. The Doc is the author of Practice Safe Stress, The Four Faces of Anger, and Preserving Human Touch in a High-Tech World. Mark’s award-winning, USA Today Online "HotSite" – www.stressdoc.com – was called a "workplace resource" by National Public Radio (NPR). For more info, email: [email protected].