Failure is a word that apparently means different things to different people. Most entrepreneurs have experienced failure at some point in their lives; it is the successful ones that have the resilience required to bounce back.
There are two amazing stories of resilience that come to my mind. The first is a story of Tim Westergren, the founder of Pandora Radio in California. Pandora was started with an initial cash injection of $2 million in 2000, but it went bankrupt in 2001.
Incredibly, the 50 employees at Pandora stayed with the radio station, after Westergren asked them to continue without a salary. For two years, Westergren met 347 prospective investors who did not support him.
A ray of light eventually shone on Westergren as he presented his business to the 348th potential investor who gave him $4 million. It was not the business model that caught the interest of the funder, but resilience and ability to convince people to commit to an idea without financial rewards. Today, Pandora is prosperous and listed on the New York Stock Exchange with a hefty market capitalization.
The next resilient entrepreneur is someone most would be familiar with: Walt Disney. He was fired by the Kansas City Star newspaper editor because “he lacked imagination and had no good ideas”.
Disney formed his first animation company, Laugh-O-Gram Films, which did not succeed after an important distribution partner had to shut down.
He went bankrupt several times before he built Disneyland. Actually, the proposed park was rejected by the city of Anaheim on the grounds that it would only attract riffraff. The movies and the theme park in the United States are now hugely popular and profitable.
Failure can be either humiliating or a catalyst to set you on a path of improvement. It is well known that Silicon Valley embraces failure. In what is probably the most innovative part of the world, it is thought that in order to succeed quickly, you need to double your failure rate.
It couldn’t be further than the attitudes you can encounter in Africa. On our continent, when you fail, it is as if you are cursed and business associates desert you. This is the reason many African entrepreneurs go back to being employees instead of trying again. If failure is not embraced by those around you, simply change your outlook. Only your view of failure can determine your approach to it.
Africa needs to embrace those who tried and failed. They need to be given a second, third and fourth chance until they get it right. If they know they won’t be punished for trying, Africa’s pool of successful entrepreneurs will start to overflow.
Nelson Mandela once said, ‘It always seems impossible until it’s done’. We know that it can be done, because entrepreneurs have been bankrupt, only to return smarter and stronger.
There is one point, however, that is important to note. We need to be committed to building successful companies rather than being committed to an idea. Entrepreneurs can be blinded by their love of an idea, even if the market says otherwise.
If your goal is to succeed and change the world, you will move on to a business that works. It might mean that you have to change your business model, like American Express did when it switched from freight delivery to finance.
The failure of a company is not necessarily the failure of its founder, as they may succeed in something else. We need to stop confusing an experience with identity.
There is something about people who have repeatedly experienced failure. Once they get things right, their drive and vigilance make them remarkable. Steve Jobs, Arianna Huffington and Donald Trump are all examples of this.
An attitude of doing whatever it takes to be successful is crucial. Remember, barriers are only things you see when you take your eyes off your goal.

conquer the fear  of failure

“And the Oscar goes to&#8230;”.
Five little words that caused writer and director Bryan Buckley to draw a deep breath:
“When you hear those words&#8230; and you happen to be one of the five guys it could possibly go to, it is, in itself, a crazy thought. It simply just doesn’t seem real. All the films could have easily won that night. And mentally you know this going into the evening. If I didn’t think we had put everything we had into our film, perhaps I would have been disappointed in myself and thought about what we didn’t nail in the film when the winner [Curfew] was announced. But I knew this wasn’t the case. It just wasn’t our night,” says Buckley.
<div id="attachment_1690" style="width: 209px" class="wp-caption alignleft"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1690" class="size-medium wp-image-1690" src="/wp-content/uploads/2017/04/162620158-199x300.jpg" alt="" width="199" height="300" />Bryan Buckley and Mino Jarjoura with Harun and Ali Mohamed, on the red carpet</div>
He was in Los Angeles, California, at the 85th Academy Awards, where he was nominated for best live action short for ASAD—a tale of refugees, in Somalia. Sitting nervously by his side were the two leads, 14-year-old Harun Mohamed and his 12-year-old brother Ali. The day had flown by, moments before they were walking the red carpet alongside the A-listers—including Ben Affleck, Daniel Day-Lewis and Ang Lee—and doing interviews.
“The BBC was the first to interview the boys. Harun stepped forward to the microphone and began to talk about his journey in English. How far he had come, had never been so apparent. He and Ali were constantly asked what celeb they wanted to meet the most at the ceremony. And without question Harun would say Jackie Chan and Ali would say Jean-Claude Van Damme,” says Buckley.
It was a journey that began with the filming of ASAD in Africa.
Buckley is the last person you would expect to make a film about Somalia. His business is big-budget Super Bowl (American football) commercials for a quarter of a billion dollars with an audience of more than a million. Conversations with Somali refugees motivated him to create the short film with little commercial value or audience.
It all started in Kakuma Refugee Camp in Kenya, in 2010, where Buckley was shooting a documentary called No Autographs for the UN Human Right’s Council. He left with that feeling of hope in the face of despair. A year later he wrote ASAD.
The film was set in Somalia and shot in Cape Town. It tells the story of a young boy who must choose between life as a pirate or that of a humble fisherman. The entire cast was made up of refugees who had fled to South Africa.
Buckley says the biggest problem in producing the 18-minute short-film was overcoming the language barrier as both leads, Harun and Ali, were illiterate.
“We knew language, with the whole cast, was going to be a barrier by virtue that we were doing the entire film in Somali and I didn’t speak a single word of it. Right off the bat we enlisted in two Somali translators [who helped the boys memorize the script]&#8230; Both the boys are exceedingly bright. They picked up on things so quickly it was crazy. And then I’d act out some stuff and they would study it and follow. Always bringing their own twist. of course, like any Hollywood star would.”
The filming was taxing and Buckley struggled to shoot scenes with the rebels.
“There was just so much emotion there between them [the rebels] and the boys. It was quite clear this wasn’t the first time these refugees had handled guns. I kept thinking what horrible ghosts were haunting them after every take. And how bizarre [it was that] our cameras were recording every second of this nightmare.”
The international acclaim came with praise from Somali musician K’naan.
“He is truly a man who has supported Somalia and its people’s plight more than anyone I know. He said, ‘ASAD is an important film. It makes human the inaccurate caricature of Somalia, showing real people, a community and life beyond a land of pirates and warlords,’” he says.
The film won numerous awards at various international film festivals, including the Tribeca Film Festival and San Jose Film Festival. The Academy Awards nomination was the cherry on top but the leads almost didn’t make their big moment in Hollywood.
“The fact that they [Harun and Ali] didn’t have travel documents and that they were Somali refugees did not help matters. ASAD’s producer Mino Jarjoura worked around the clock with [South African producer] Rafiq Samsodien to get the kids there. It took government officials from both the US and South Africa, along with UNHCR to pull off the task. And they did so, in dramatic and perfect timing.”
Regardless of the outcome the team celebrated making it to the Oscars with a toast. After the ceremony they attended the prestigious Governor’s Ball.
Buckley may have walked away empty-handed but he and his two young leads stood tall for one of Africa’s untold stories.

Tag: California

FORBES AFRICA SOCIAL MEDIA

conquer the fear of failure

From Mogadishu to Hollywood