As some of you may know, I am a campfire guitarist. I have been one for about 30 years. I use that term intentionally. Nobody is going to confuse me with Eric Clapton anytime soon. As a casual player, I often find myself learning songs from my childhood or songs that I have heard a thousand times but never really stopped to think about.
The other day I was playing “For What It’s Worth” by Buffalo Springfield. My kids and wife walked into the room and told me they had never heard the song. I was stunned. I immediately asked myself, “What am I doing as a father if I have failed to teach my children about culture and music?”
This song is part of the fabric of American culture. It is one of the most recognizable songs of its era. I have always liked the melody, especially that unmistakable opening, but after learning the story behind the song, I liked it even more.
Contrary to what many people assume, “For What It’s Worth” was not originally written about the Vietnam War. Stephen Stills wrote it after witnessing the unrest surrounding the Sunset Strip curfew protests in Los Angeles in November 1966. Young people, law enforcement, business owners, and city officials had become locked in an escalating conflict over curfews and access to clubs along the Strip.
Stills happened to be there. He saw what was happening, went home, picked up his guitar, and wrote the song in about 15 minutes. Fifteen minutes. Think about that. Something he witnessed. Something that bothered him. Something that made him think. Within minutes, it became a song that people are still listening to nearly 60 years later.
As the story goes, the song did not even have a title when Stills brought it to his record label. When asked what he had, he essentially offered it with the phrase, “for what it’s worth.” And somehow, the name stuck. A classic by almost any measure. That part of the story is what stayed with me.
Every day in schools, students hand us their own “for what it’s worth” moments. They offer an idea almost apologetically. “For what it’s worth, I think...” They show us a drawing in the corner of a notebook. They write something unexpectedly powerful. They solve a problem differently than we expected. They make a comment that seems random until we stop and realize there is something underneath it. They demonstrate a talent they may not even recognize as a talent yet.
Sometimes genius arrives confidently. But I think more often, especially with children, it arrives quietly. It is genius wrapped in a veil of uncertainty. Our challenge as educators is to notice it.
A student does not always know when an idea is good. They do not always know when they are talented. They do not always understand that the thing that comes naturally to them might be unusual or special. Sometimes they need somebody else to see it first. That may be one of the greatest opportunities we have in education. We get to say, “Wait a minute. There is something here.” We get to encourage the drawing. Ask another question. Read the story. Listen to the idea. Hand them another book. Give them another opportunity. Tell them, “You are good at this.” Who knows what happens after that?
Stephen Stills saw something happening on the Sunset Strip, went home, and turned it into a song that became a masterpiece of music and lyrics. Our students are watching the world too. They are thinking, creating, questioning, and trying to figure out where they fit in it. Pay attention when they hand you something and say, figuratively or literally, “For what it’s worth...” There might be more there than either of you realizes.
Circling back to my wife and kids, they were not impressed. To them, it was just another song Dad plays on his guitar in the playroom. Maybe I just enjoy playing alone. Or maybe I deliberately play music that keeps everyone away. Then again, it could simply be the veil of my genius. I’ll let you decide.