How I Crushed My Fast Food Addiction and Launched a Healthy Diet – by Mike Broemmel

How I Crushed My Fast Food Addiction and Launched a Healthy Diet –
What I Did to Lose 80 Pounds in Six Months

by Mike Broemmel

Controlling my weight presented a challenge during much of my adult life. A couple of years ago, I exploded to over 220 pounds, while standing at only 5'6". My poor nutrition resulted in health issues that included dangerously high blood pressure and a diagnosis as being a borderline diabetic.

The primary factor that contributed to my obesity was my fast food habit. On average, I ate at fast food restaurants two and sometimes three times a day, nearly every day of the week. I managed to drop 80 pounds and arrive at a healthy weight within six months by breaking my fast food habit.

Drink Water

The first and most effective step I took to cut my addiction to fast food was drinking a plentiful amount of water each and every day. Without fail, I drank (and continue to consume) a minimum of eight 8-ounce glasses of fresh water each and every day. Indeed, I begin my day by drinking two glasses when I rise in the morning before I do anything else.

Ensuring the proper intake of water not only assists in optimizing digestive functioning but it made me feel fuller throughout the course of the day and rendered me less inclined to munch on fast food throughout the day.

Substitute Healthy Tasty Food Options
 Readily having healthy and yet truly tasty food options readily available was a key component of kicking the fast food habit. I stocked up on fruits and vegetables and lean meats that I enjoyed. I did not burden my diet with those fruits and vegetables I did not care for despite the fact that they might be healthy choices. In the end, replacing fast food with a selection of fresh fruits and vegetables, together with lean meat, was an improvement even if I did not embrace a wide selection of these types of foods.

Stock Easy to Prepare Items

One of my attractions to fast food arose from how convenient it is in a fast paced life. I do maintain a very full schedule and throughout much of my adult life, fast food seemed to be my only reliable dietary option. In order to ensure that I would have a plentiful supply of easy to prepare options, I shopped at markets that carried wholesome food selections and prepared meal options.

I also selected fruits that were ready to eat. For example, I made sure I kept grapes, apples and fruits that did not require what I oftentimes considered a cumbersome peeling ritual before consuming. The act of having to peel an orange, and the time involved, was enough to deter me from selecting this type of fruit. However, such an excuse evaporated when I maintained a selection of truly ready to eat fruits.

Make Dining Out an Event

Rather than making eating out something done in haste, I reoriented my out of home dining experiences to fashion them into events. Rather than something done on the spur of the moment, I made dining out something to be done with friends, something to be done leisurely. The net effect was to force my dining out of the home experiences from fast food joints to sit down restaurants and bistros that offer healthier menu selections.

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Interview with Mike Broemmel Director of Jeffrey

Interview with Mike Broemmel

Director of the Theatrix USA Production of Jeffrey

The Vintage Theater – Aurora, Colorado

June 2014

 

Interviewed by Geoffrey Frank – Torchmark-LGBTQ

 

Geoffrey:        So, why Jeffrey?

 

Mike:              Well, Geoffrey, the time seemed right. Jeffrey was originally produced in the early 1990s at the height of the AIDS crisis – at the point in time AIDS represented a death sentence. Jeffrey tells the story of a gay man – Jeffrey – who fears getting involved with, falling in love with another man. The issue for Jeffrey is not so much a fear of getting AIDS but of losing someone he loves to the disease. With the progress made on the medical front … and with the overall changes and evolution (at least to some degree) of society as a whole in regard to same sex relationships, the timing just seemed perfect.

 

Geoffrey:        So you selected Jeffrey for these reasons?

 

Mike:              Actually, I can’t take credit for that. In fact, we had a director on board for the production who actually selected the play. Unfortunately, this fellow has the professionalism of a cornflake and wasn’t capable of doing the show. In any event, time was short and so forth … I decided to take on the project myself.

 

Geoffrey:        Professionalism of a cornflake?

 

Mike:              Story for another day. In the end, I thought the play was worth bringing back to the stage.

 

Geoffrey:        You’ve mentioned before this interview that it is an adult’s only play …

 

Mike:              It definitely has direct sexual themes. It definitely is an in your face production.

 

Geoffrey:        Drama?

 

Mike:              Well, yes. Jeffrey definitely has dramatic elements. It is a serious subject. But, in the end, it is also terribly funny. In fact, in many ways it is one of the funniest shows I’ve come into contact with in many years. And, in this case, we have an absolutely wonderful cast.

 

Geoffrey:        Why Denver? Theatrix produces shows in other cities.

 

Mike:              Denver has been a challenging market for the production company. But, Theatrix is in Denver to stay. There really was no specific reason why Jeffrey ended up being produced in Denver other than – as I made mention – it was selected by the director I referenced a moment ago and I decided not to abandon the project.

 

Geoffrey:        What other plays have you done in Denver?

 

Mike:              Well, Theatrix initially did an originally play called The Row in 2013. The company also produced Steel Magnolias – worst production experience of my life.

 

Geoffrey:        Why?

 

Mike:              I got us off course.

 

Geoffrey:        Go on …

 

Mike:              Let me just say this … All’s well that ends well. The experience on Steel Magnolias resulted in an original production which is now in development called Six Joan Crawfords. In the end, the theater business can be tough. Things don’t always go as one hopes. The problem is that there also exists in the business the occasional person who has an ego that far outstrips both their talent and professionalism. That makes the business unpleasant from time to time. However, with Jeffrey, I worked with the most amazing, professional and talented cast.

 

Geoffrey:        Have you been involved in theatrical production long?

 

Mike:              It has never been my main gig. But, I have been involved as a producer since 1996.

 

Geoffrey:        Any upcoming productions in Denver?

 

Mike:              Yes. The next Theatrix USA production in Denver is another original work called The Baptism. That production opens in October. We will do three shows in Denver in 2015.

 

Geoffrey:        Will Jeffrey be coming to other cities?

 

Mike:              No plans for that at this time that I know of, at least as far as Theatrix is concerned.

 

Geoffrey:        What other cities will Theatrix be presenting plays?

 

Mike:              In 2015, Theatrix will produce shows in Ft. Lauderdale, Scottsdale, Albuquerque, Des Moines, Kansas City … and the company is staying put in Denver. There will be some other cities added mid-year. Overall, we will be doing original plays that have not been seen on the stage before.

 

Geoffrey:        Thanks, Mike. And I appreciate the little additional dishing as well.

 

Mike:              Always happy to talk about Jeffrey.

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Review by Mike Broemmel of Music as a Metaphor for Change

Review by Mike Broemmel of

Music as a Metaphor for Change

by Saku Mantere, John A.A. Sillince & Virpi Hämäläinen

Journal of Organizational Change Management

 

 

 

 

 

 

Mike Broemmel

Communication Strategies for Effecting Change

March 30, 2014

Introduction to the Premise: Music as a Metaphor for Change

            Music as a Metaphor for Change addresses what the authors consider is a time-honored presumption in classic organizational theory. Specifically, a presumption in organizational theory is that people prefer stability. Because individuals generally prefer stability, the status quo within an organizational setting, change translates into a painful experience.

            In Music as a Metaphor for Change, the researchers maintain that by uncovering and utilizing metaphors associated with music, the underlying presumption that stability trumps change and change is always painful can effectively be challenged. Ultimately, the authors identify five musical metaphors which they contend are suitable for use in guiding a change process within an organization and addressing the reaction of people within the organization to that evolution: form, volume, harmony, rhythm and texture.

The Elephant and Music as a Metaphor for Change

            The article contends that when it comes to the emotional aspect of moving a change process forward in a constructive manner, when it comes to making the change process palatable to the members of the organization, an understanding of the true nature of the attendant emotions must be realized and understood. The authors take exception (to some degree) to the classic construct that change evokes pain in individuals who prefer stability within an organization. Rather, the authors argue that what really happens is that change generates tension.

            Understanding that change generates tension as opposed to pain is a positive reality. In other words, pain is counterproductive. People – by nature, by instinct – avoid pain. Thus, under this classical theory of behavior related to organizational change, people naturally will instinctively run from change.

            In fact, with the emotional element of the organizational change process correctly recognized as tension (which admittedly can be unpleasant, but is not pain in and of itself), a change process can become more palatable to the individuals involved in that evolution. Pain is counterproductive. Tension is productive.

            Pain impedes the process of change. When change is perceived as painful, those who are responsible for facilitating the change itself end up spending an inordinate amount of time addressing what they perceive as the pain of the participants.

            On the other hand, tension causes, and even forces, progress. Pain needs to be tended to while tension needs to be saddled and utilized. But, this can only occur when the stakeholders involved in an organizational change process generally understand the distinction between the two and realize that those subjected or involved in a change process actually are not feeling pain but tension. Ultimate, tension drives the change process.

            In a further attempt to explain the pain versus tension conundrum, the authors discuss cognitive dissonance, but do so in terms of musical dissonance. They surmise that the manner in which a person’s beliefs conflict resembles the emotions that are aroused when an individual hears a dissonant chord in a musical performance. Certainly, on the surface, the physical reaction to a dissonant chord very well could resemble pain. Indeed, if an observer were to witness a person who hears a dissonant chord wince without the knowledge that music was being played, the observer could readily conclude that the listener experienced some sort of sharp pain.

            In fact, a cliché associated with a musical misstep oftentimes is “that was painful to hear.” But, if a person is pressed, a listener does not experience pain in such a situation. Similarly, in the case of organizational change, participants oftentimes remark that “this change is painful.” Nonetheless, as with a bad chord in a musical presentation, if pressed they truly are not experiencing true pain. Rather, in both cases, the dissonance associated with a misplayed note in a song or an element of a change process that disrupts stability really results in tension.

            The authors believe that by accurately understanding the underlying emotions associated with organizational change, a better opportunity exists to involve participants more constructively in the process itself.

The Rider and Music as a Metaphor for Change

            Overall, the authors focus most specifically on dealing with emotional aspects of change – the proverbial Elephant. However, there is information and analysis designed to address the Rider in the change process as well.

The authors further contend that what they call temporal structuring permits control over a change experience, to render the experience both more productive and less stressful (not painful) to the participants. In short, change (as is the case with any seemingly unpleasant experience) is capable of management.

            A prime example used by the researchers in the article centered on a long distance runner. A long distance runner oftentimes breaks up his or her jaunt into individual milestones, based either on time or distance. In this way, a long distance runner sees both the process made and the distance behind him, but has an ability to better control and manage what lies ahead. The experience becomes quantified on some level.

            In the same way a musical piece is broken down in its component parts, so can an overall change process as a means of selling it to participants as being something quantifiable and capable of milestone achievements along the way.

 

 

The Tools Associated with Music as a Metaphor for Change

            As noted at the outset of this review, the authors identify five tools associated with their proposition that music provides a suitable metaphor use within the organizational change process. These are: form, volume, harmony, rhythm and texture.

Form

Using the music as a metaphor for change, form is the arc of that change. A change process includes the same elements of a musical piece: the raising part, initial sparse structure, surprise, repetition and progression to an ultimate ending. Again, tension drives the change process.

Volume

Volume in music readily can be adjusted. In the same way, tension in the change process can be managed in a tangible manner as well. For example, the tension associated with change is rendered more productive when appropriate resources (an appropriate volume) is associated with that process.

Harmony

Harmony is achieved in the change process through a balancing process that involves both consensus and dissent. Consensus is built where possible and dissent is provided an outlet.

Rhythm

In an organizational change process, rhythm includes appropriately structured milestones, timetables and deadlines. In other words, rhythm is the proper use of the classical elements of project or change management.

 

 

 

Texture

            The final tool associated with music as a metaphor for change is texture. Texture represents the bringing together of personalities, institutional positions regarding change and process itself.

Conclusion

            I found the article compelling, at least in regard to the manner in which it provides an analysis of what I perhaps would best describe as the “Elephant” component of the change process. I do think they authors are onto something meaningful when they attempt to move way from the concept of change as a painful process to change as a process that generates tension (which can be marshalled and utilized to move change forward).
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