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From YouTube: CEOs for Cities #3: Keynote Speaker Peter Sims - 6/11/15
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A
Welcome
to
Pittsburgh
everybody.
This
is
a
great
pleasure.
Actually
Lee
lied
to
you,
I'm,
going
to
introduce
Peter
he's
going
to
introduce
another
person
and
we're
going
to
keep
this
up
all
through
the
afternoon.
No
I
did
want
to
take
a
couple
of
minutes
to
introduce
Peter
and
to
set
some
context.
Peter
is
actually
somebody
who
has
had
a
profound
impact
on
my
professional
practice
in
a
way
that,
maybe
even
he
doesn't
appreciate
but
I.
A
But
here's
the
here's,
the
the
truth
about
this
moment
in
which
we
find
ourselves,
and
it
is
that
these
opportunities
that
we
face
and
the
challenges
that
we
face,
the
challenges
are
always
going
to
be
with
us,
but
the
opportunities,
the
window
that
we
see
to
act
on
them
is
a
relatively
narrow
window.
So,
if
you
think
about
a
global
issue
like
climate
change
or
your
personal
challenge
of
manifestation
of
the
challenge
of
social
inclusion
in
your
community
on
every
that
we're
working,
we
have
tremendous
opportunities
to
make
a
difference.
A
We
have
a
new
generation
of
thinkers
who
are
coming
along
to
try
and
drive
a
revolution
in
how
we
approach
those
challenges,
and
we
have
a
few
years
in
which
to
define
a
new
paradigm.
I
I'm
a
big
believer
in
in
countdowns
and
the
fact
that
time
is
real
every
year
in
which
we
don't
act
on
an
issue
like
school
reform
is
a
year
in
which
we
lose
another
group
of
kids
every
year
in
which
we
don't
complete.
A
A
great
vision
is
a
year
in
which
we
risk
it
never
being
completed,
and
so
the
excitement
and
the
momentum
that
you
feel
in
your
communities
and
that
we
feel
in
Pittsburgh
needs
you
to
rise
up
to
the
best
of
your
potential
to
take
time
seriously
and
get
to
work.
So
that's
what
I
believe
about
about
our
work
here
now
this
the
difficult
part
is
that
old
power
institutions,
like
foundations,
are
not
terribly
well
equipped
to
deal
with
that.
You
know.
A
We've
been,
we've
been
courting
a
social,
prominent
social
entrepreneur
and
commercial
entrepreneur
from
boulder
in
the
past
few
months
and
we're
trying
to
get
him
to
come
here
and
do
some
really
exciting
work
on
the
food
system,
and
you
know
he's
interested
in
being
here
and
I.
Remember
talking
with
the
one
point
saying
I'm
going
to
introduce
you
to
all
the
foundation
leaders
in
Pittsburgh
and
his
face
looked
like
you
know
he
was
polite
about
it,
but
his
it
was
like
oh
yay,
foundations,
yay
and,
and
the
reason
was-
and
we
talked
about,
okay,
why?
A
You
know
what,
as
I
began
wrestling
with
this
challenge
of
social
change
in
our
community
and
how
an
institution
like
a
foundation
can
be
relevant
in
the
context
of
dramatic
change,
which
I
think
is
as
important
for
mayors
and
corporate
leaders
and
anybody
in
this
room,
who
is
from
a
university
or
a
foundation
or
from
government
you're
part
of
an
institutional
structure
that
is
not
configured
to
operate
in
that
same
way,
and
so,
as
I
began.
To
think
about.
How
do
we
deal
with
us
in
our
community?
A
I
came
across
this
book
called
little
bets
by
Peter
Sims,
and
what
Peter
did
for
me
was
introduced
me
to
the
concept
of
human
centered
design,
which
begins
with
the
Khans,
the
old-fashioned
concept
of.
Maybe
you
should
start
trying
to
help
people
by
listening
to
them.
So
this
idea
of
empathy
and
and
the
notion
that
the
first
iteration
of
anything
is
only
the
first
iteration
of
anything
and
that
we
should
iterate
over
way
and
innovate
our
way
to
our
solutions,
rather
than
trying
to
outguess
destiny
and
plan
for
them
all
ahead.
A
That
completely
changed
my
practice.
It's
a
gospel
I've
been
bringing
to
every
task
I've
had
since
it
is,
I
think
I've
sold
more
copies
of
peter's
book
than
peter.
Has
I've
never
gotten
a
commission
by
the
way,
but
but
what
he?
The
mantra
he
preaches,
I
think,
is
huge,
so
he's
he
describes
himself.
Ironically
enough.
As
an
accidental
author,
peter
is
the
author
of
two
books,
so
he
wrote
this
book
called
little
bets.
He
also
co-authored
a
very
important
book
on
leadership
called
true
north,
which
is
about
leading
from
your
principles.
A
An
initiative
called
few
score,
which
is
trying
to
bring
disruptive,
innovative
leaders
into
city-based
context
and
he's
launched
a
thing
called
black
sheep,
which
is
all
about
creating
mashups
like
this,
where
people
from
all
different
walks
of
life
interested
in
innovation,
get
to
sit
around
a
table
and
figure
out
what
that
looks
like
for
their
community
and
he's
about
to
have
a
baby
and
I.
Don't
think
he
has
enough
to
do
he's
clearly
underemployed,
so
if
you
want
them
to
come
and
talk
in
your
community,
I'm
sure
he'd
be
willing
to
do
that.
B
Thank
you
so
much
for
that.
Humbling,
introduction
and
I
am
truly
honored
to
be
here
today
with
a
group
of
people.
I
had
dinner
with
last
night
and
all
of
you
to
share
a
bit
about
this
book
little
bets
and
and
maybe
a
few
other
things
that
that
we
have
going
around
the
country.
But
as
I,
as
I
mentioned
to
some
folks,
I
had
dinner
with
last
night.
B
My
uncle
is
a
logger
and
my
cousin
had
a
very
serious
bout
of
addiction
with
with
math,
and
he
talks
very
openly
about
this
now
so
he's
comfortable
me
talking
about.
But
if
you
look
at
what's
going
on
in
rural
America
or
if
you
look
what's
going
on
in
parts
of
urban
America
that
have
been
not
brought
under
the
same
tent,
it's
a
crisis
time.
B
People
are
dying
because
of
these
challenges
and
it's
really
incumbent
upon
us
to
rethink
how
we're
going
about
social
problem
solving,
how
we're
going
about
reinventing
and
bringing
new
jobs
into
into
a
come
into
the
national
economy.
And
the
actual
answer
in
my
travels
is
not
Barack
Obama,
it's
not
another
bush
or
Clinton.
The
answer
is
actually
surprisingly
simple:
it's
it's!
Actually
you
and
and
me,
and
us,
and
so
anyway,
I
want
to
share
a
bit
about
some
work.
B
B
The
answer
to
America's
reinvention
from
a
mindset
standpoint
is
not
Silicon
Valley,
it's
Pittsburgh,
it's
Detroit,
it's
the
places
where
people
are
putting
place
above
self.
It
doesn't
happen
in
my
neck
of
the
woods.
I
want
more
people
to
understand
what
the
challenges
that
my
Uncle
Joe
was
a
logger
experiencing
to
get
out
of
their
bubbles.
So
anyway,
those
are
a
few.
B
The
themes
I
want
to
share
about
and
we'll
leave
plenty
of
time
for
questions
and
hopefully
have
some
fun
and
laughter
because
clearly,
at
some
point,
I'll
have
to
introduce
six
people
to
join
me
up
here,
which
was
not
the
plan,
but
I'm
very
happy
to
engage
in
any
type
of
improvised
experiment
that
we
want
here.
So
this
book
little
bets
came
about
because
I
don't
know
how
many
of
you
think
of
yourselves
have
thought
of
yourselves
as
creative.
B
You
just
say:
I'm
a
creative,
so
well,
okay,
so
forty
percent
of
the
room,
I
gotta,
see
an
art
in
my
seventh-grade
class
I,
never
thought
of
myself
as
creative
for
many
years
until
I
got
exposed
to
some
new
ways
of
thinking
and
ended
up
just
feeling
passionate
to
write
this
book,
because
it
was
sort
of
a
mindset
that
I
learned
from
some
teachers
that
that
changed.
All
that.
So
I'll
just
tell
you
briefly
about
about
this.
The
origins
of
this
book
and
here
we're
on
a
slide.
B
That's
how
I
became
an
accidental
author,
as
grant
mentioned
when
I
met
a
person
named
Bill
George,
who
is
a
former
CEO
who
wanted
to
write
about
authentic
leadership
and
wrote
a
book
called
authentic
leadership
and
while
I
was
in
my
late,
20s
I
was
wrestling
with
how
to
connect
my
values
with
what
I
did
for
work
and
and
so
that
work
of
becoming
authentic
lead.
You
know,
authenticity
and
leadership
was
really
appealing.
B
These
interviews
was
that
first
of
all,
life
and
leadership
are
not
linear
right.
So
when
we're
young,
we
think
oh
there's
just
going
to
be
this
I'm
going
to
go,
do
the
best
work.
I
can
and
get
a
good
grade
and
keep
progressing
up
and
up
and
up
and
life,
of
course,
is
completely
opposite
from
that.
It's
full
of
twists
and
turns,
and
ups
and
downs.
So
the
earlier,
our
20s
are
typically
trying
some
different
jobs.
B
New
experiences
see
what
we
like,
what
we
don't
like,
seeing
what
our
interests
are,
seeing,
what
we're
good
at
trying
a
lot
of
different
things,
which
we
call
that
stage
rubbing
up
against
the
world
which
came
from
one
of
our
interviewees
and
and
what
we
found
is
that
for
people
who
are
above
the
age
of
40,
who
we
interviewed
every
one
of
them,
except
for
two
or
three
had
a
dramatic.
We
call
crucible
experience
now.
B
This
term
crucible
comes
from
a
leadership
scholar,
Warren
Bennis,
who
says
that
you
really
learn
what
you're
made
of
as
a
leader
and
develop
self-awareness
when
you
go
through
the
harshest
challenges
in
life,
the
loss
of
a
job,
the
death
of
a
loved
one.
You
know
a
moment
in
time
when
all
of
your
beliefs
are
challenged
and
your
your
left
kind
of
reeling
by
an
experience,
so
it
can
be
severe.
It
can
also
be
less
than
dramatic.
It
can
be
just
a
job
that
doesn't
suit
you.
B
Well
that
forces
you
to
to
come
to
a
much
clearer
sense
of
what
your
values
are.
So
the
crucibles
tended
to
be
the
experiences
that
that
shape
people,
the
most,
which
is
kind
of
ironic,
because
there
were
periods
in
their
careers
or
their
lives
where
there
was
a
very
steep
decline
and
as
if
all
was
lost.
B
But
then,
after
that,
as
people
gain
more
self-awareness
through
those
crucibles,
they
tend
to
be
much
more
effective
at
connecting
with
other
people,
because
it's
less
them
focusing
on
themselves
and
their
own
egoic
needs
and
much
more
just
a
sense
of
comfort
in
their
own
skin.
So
do
people
think
of
crucibles.
Has
that
term?
Does
that
connect
with
some
of
the
experiences
in
your
lives
great?
So,
at
the
end,
we'll
leave
time
for
questions.
B
We
want
to
talk
about
this,
but
we
just
found
that
that
crucibles
kind
of
shaped
this
shift
that
people
went
through
from
being
really
I
focused
to
we
focus.
So
that
was
a
key
insight
from
from
our
learnings
there
and
that
we're
all
shaped
by
our
stories
in
life,
so
Howard
Schultz
of
our
bucks,
grew
up
in
the
projects
of
Brooklyn
and
his
father
lost
his
job
and
all
of
his
insurance
when
he
was
around
seven
years
old
and
Howard
had
to
answer
the
phone
at
night
to
tell
the
bill
collectors
to
go
away.
B
Young
kid
imagine
the
burden
on
his
shoulders,
but
when
he
was
at
starbucks
and
in
a
position
to
give
health
care
benefits
to
employees
that
was
important
to
him
as
a
result.
So
our
stories
really
inform
how
we
are
motivated
and
how
we
lead
so
not
going
to
go
into
more
detail
on
True
North.
What
happened
to
answer
any
questions?
This
is
the
D
school
at
Stanford.
B
This
is
the
design
school
at
Stanford,
where
this
guy
George
Kimball
taught
me
how
to
think
in
terms
of
prototypes
and
how
to
think
in
terms
of
lots
and
lots
of
small
bets
rather
than
trying
to
plan
things
out
in
life
I
had
before
that
bin,
maybe
some
of
you
can
relate.
You
know
very
comfortable
solving
known
problems,
but
not
so
comfortable
figuring
out
how
to
solve
problems
that
I
didn't
even
know
existed
right.
So
how
do
you
create
data
to
solve
new
problems
and
find
problems
before
you
even
solve
them?
It's
it's.
B
It's
creating
something
from
scratch,
and
this
is
what
design
teaches
so
they
say
around
there.
There's
no
mistake:
it's
you.
Just
constantly
are
learning
through
this
iterative
process
and
what's
more,
it's
grant
mentioned.
Empathy
is
at
the
core
of
design
thinking.
How
do
you
truly
truly
understand
the
needs
of
the
people
you're
trying
to
serve
whether
it's
with
a
social
venture
or
a
company?
And
there
are
a
number
of
principles
to
teach
how
to
do
that?
B
And
ultimately,
this
book
is
all
about
how
to
share
that
mindset
with
others
to
unlock
their
their
creativity,
because
I
think
our
educational
system
robs
us
of
this
sense
that
you
can
go
out
and
try
a
lot
of
things
and
fail
and
be
imperfect
and
actually
that's
a
good
thing,
because
that's
how
invention
happens-
and
you
need
only
look
at
companies
in
Silicon
Valley
to
see
where
this
happens
every
day.
So
this
is
the
first
version
of
YouTube,
which
was
started
as
a
dating
website.
B
You
may
not
know
that,
starting
as
a
dating
video
sharing
site-
and
it
was
started
by
two
people
who
had
worked
for
paypal,
so
they
had
to
figure
out
that
that
wasn't
going
to
work
and
happen
fairly
quickly,
but
they
had
to
try.
First,
google
began
as
a
project
by
larry
page
and
sergey
brin
to
figure
out
how
to
search
for
and
prioritize
library
books
when
you
typed
in
a
term
for
a
topic.
Let's
say
you
typed
in
a
term
for
Heights.
B
B
This
is
the
first
Starbucks
logo
that
Howard
Schultz
used
for
the
company
was
called
ill
zernow.
He
had
gone
to
Europe
and
he
had
experienced
these
coffee
houses
in
Milan
that
were
communal
and
people
were
engaged
around.
This
conversation
set
of
conversations
with
coffee
at
the
center
of
it
and
he
said
I
really
want
to
bring
that
back
to
the
United
States.
B
So
he
brought
this
truly
Italian
brand
back
to
the
the
US
and
the
first
store
had
non-stop
opera
music
playing
like
it
would
have
been
Italy
and,
and
it
had
the
baristas
all
wearing
bow
ties
which
they
they
hated,
and
there
were
a
couple
of
things
when
was
the
menus
were
all
in
Italian
and
no
chairs
no
chairs,
as
the
other,
so
imagine
that
so,
as
Howard
says,
had
to
make
a
lot
of
mistakes
to
figure
out
what
would
work.
This
is
the
entrepreneurial
process.
Right
I
mean
there
are
a
number
of
entrepreneurs
here
right.
B
B
You
know
historians
can
debate
that,
but
Galen
ssin
says
this.
Guy
was
what
he
would
call
a
conceptual
innovator.
He
could
put
it
all
in
his
mind
before
putting
it
on
paper
and
have
it
be
pretty
conceptually
clear
and
consistent
these
types
of
innovators.
These
conceptual
innovators
tend
to
be
doing
their
best
work
when
they're
young.
B
You
imagine
him
just
frustrated
at
night
working
on
these
things
and
he
was
constantly
experimenting
with
his
work,
trying
different
things
out,
but
he
got
to
obviously
pretty
remarkable
products,
so
the
key
to
experimental
innovation,
most
people,
the
swag
Anson,
finds
much
much
more
interesting
than
conceptual
visit.
You
have
to
be
willing
to
persist
and
develop
that
resilience
to
go
through
the
creative
process.
So
again,
that's
at
odds
with
this
education
that
we
have
been
given
right.
B
So
how
do
we
develop
that
mindset
when
we're
not
used
to
having
to
be
imperfect
to
get
to
a
solution?
And
that's
where
really
started
to
get
into
trying
to
understand
like
another
set
of
problems?
So
this
is
planning
right.
This
is
a
PowerPoint
slide.
Just
I
wanted
to
find
some
way
of
describing
the
problem
with
some
of
the
problems
we
have
in
our
organizations
today
and
PowerPoint
cultures
are
so
big
right.
B
I
mean
how
many
people
in
here
work
in
an
organization
where
you
have
to
have
a
perfect
powerpoint
before
you
can
move
forward
with
an
idea
I
mean
it
has
to
be
just
perfect
or
a
perfect
plan,
a
perfect
none,
so
you
guys
are
all
really
reach
the
promised
land.
Okay,
that's
great!
Well!
This
this
slide
is
from
actually
taken
from
a
presentation
that
was
given
to
Stanley
McChrystal
when
he
was
leading
the
Afghanistan
war
effort
and
it
was
put
together
by
his
staff.
B
So
this
is
typical
kind
of
army
stuff
right
here,
right
all
of
the
inputs
and
all
the
factors
that
can
determine
success
in
how
to
win
the
war
in
Afghanistan
put
onto
one
PowerPoint
slide
right.
So
this
this
is
an
example
of
completely
in
Jon.
Stewart
had
a
field
day
with
this
when
he
said
you
know,
that's
all
right
here,
okay,
so
you
want
your
answer.
It's
all
right
here,
it's
so
confusing!
It
is
I
can't
even
I
can't
even
understand
some
of
the
major
categories
are
talking
about
there
be.
B
This
is
deductive
logic.
This
is,
we
think
we
can
deduce
variables
into
predictable
ways
of
planning
around
that
and
the
reality
is
when
you're
doing
something
new
or
in
a
chaotic
environment
such
as
warfare,
or
you
know,
a
new
initiative.
You
can't
plan
it.
So
what's
the
right?
What's
a
different
mindset?
What's
I
say
this
experimentation
versus
planning
the
first
HP
calculator,
which
came
out
in
1972,
the
HP
35,
was
now
how
many
people
in
here
recognize
that
calculator?
Okay,
it's
okay!
B
They
bayonne
the
first
one.
Now
that's
courage,
that's
great
valedictorian!
In
your
college
class,
your
was
it
a
grad
school
class.
Was
it
a
undergraduate
okay?
Now,
that's
that
person's,
probably
running
the
world.
These
days,
the
the
calculator
was
priced
at
395
dollars,
then
at
72.
So
today's
terms
about
two
thousand
dollars
and
the
this
substitute
was
a
slide
rule.
Now
many
people
in
this
room
may
not
know
what
a
slide
rule
is.
Many
people
met
right,
so
there's
a
slight
generational
gap
there,
but
I've
never
used
or
seen
a
slide
rule.
B
This
was
not
the
type
of
idea
that,
if
you
put
into
a
plan
or
a
spreadsheet,
would
seem
to
be
well
positioned
for
success
right,
so
HP
hired
s
RI
they
went
out
and
did
the
research
they
came
back
and
they
said
this
thing
can't
sell
it's
too
expensive
the
slide
rules.
The
alternative
can't
sell
now
Bill
Hewlett,
who
was
of
Hewlett
and
Packard
Bill
hela,
was
known
as
the
more
kind
of
creative
entrepreneurial
type
of
the
two
David
packer
was
a
phenomenal
leader
in
a
phenomenal
operator.
B
But
Hewlett
worked
with
the
R&D
team
at
HP.
He
had
been
on
a
plane
with
the
prototype
for
this
thing
and
he
just
talked
with
a
guy,
a
random
person
and
the
guy
said
he
would
buy
one.
So
one
data
point
and
Hewlett
gets
back,
he
hears
somebody
would
buy
it
and
he
says
so.
Let's
just
build
a
thousand
and
see
what
happens.
B
I,
don't
care
what
s
are
I
said,
let's
just
build
a
thousands
would
happen,
and
of
course,
we
know
that
this
was
a
success,
but
it
was
a
huge
success
and,
and
nearly
immediately
I
mean
they
were
Sun
a
thousand
these
a
day
within
a
few
months,
it
almost
actually
should
be
told
almost
put
fuel
at
Packard
out
of
business
from
a
working
capital
standpoint
because
it
was
growing
so
quickly.
None
of
this
could
have
been
predicted
because
the
data
didn't
exist.
B
So
this
is
an
example
of
an
experimental
mindset
versus
the
planning
mindset,
and
so
when
we're,
when
you
dig
into
the
research
on
how
different
types
of
people
make
decisions,
it
should
come
as
no
surprise
that
for
those
of
us
who
have
been
educated
to
think
in
terms
of
determining
what
we
can
gain
from
an
idea
before
we
start
return
on
investment
irr.
What
have
you
we
tend
to
have
this?
B
This
planning
mindset
where
we
always
think
about
what
we
can
expect
to
gain
the
great
researcher
from
University
of
Virginia
says
the
expert
entrepreneurs
don't
think
about
what
they
can
expect
to
gain
when
they're
doing
something
new.
They
use
a
completely
different
mindset.
They
think
about
what
they
can
afford
to
lose.
Hewlett
could
afford
to
lose
a
thousand
calculators
for
the
potential
reward
that
would
come
after.
B
This
is
the
basis
for
this
concept,
which
is
at
the
center
of
this
book,
which
is
little
bets,
which
is
to
say,
when
you're
doing
something
new
think
about
what
you
can
afford
to
lose.
Can
you
lose
an
hour?
Can
you
lose
a
hundred
dollars?
Can
you
lose
a
thousand
dollars
on
an
idea
in
order
to
learn
what
the
problems
are,
because
when
you're
in
the
unknown
or
the
opportunities
are
you
can't
predict
that?
B
B
B
How
many
people
here
would
say
that
on
a
daily
basis,
they
make
small
bats
again,
it's
pretty
pretty
good.
Pretty
good
number
so
are
most
of
you.
Entrepreneurial
types
I
mean
I,
want
to
know
like
what,
because
entrepreneurs
have
to
be
doing
that
on
a
daily
basis.
How
many
people
work
in
an
established
big
institution,
make
small
bets
on
a
regular
basis.
Okay,
you're
on
the
panel
we're
going
to
get
you
guys
up
here,
no,
okay,
so
that's
and
which,
which
institution
is
it,
sir,
okay
and
the
culture?
There
is
permissive
of
that.
B
B
B
That's
okay,
go
buckeyes
comedians
face
this
challenge
actually
every
day,
so
how
many
people
here
have
seen
how
a
stand-up
comedian
develops
a
new
Act?
Is
this
something
that
you've
seen
just
one?
Okay,
that's!
So
when
Chris
Rock
is
working
on
a
new
Act,
he
goes
to
a
comedy
club,
that's
right
next
to
his
house
in
New
Jersey,
and
he
shows
up
very
casually
dressed
he's
in
jeans
and
the
hat
and
he's
almost
unrecognizable.
B
He
walks
in
and
people's
oh
that's
Chris
Rock,
maybe
50
or
60
people
there
and
he
asks
if
he
can
get
on
stage,
and
he
is
given
that
usually
the
next
spot
or
the
couple
spots
down
when
he
gets
up
and
he
sits
on
a
stool
and
he's
not
the
Chris
Rock
we're
used
to
on
HBO.
But
he's
he's
there
riffing
on
very
rough
ideas
that
he's
written
down
on
his
his
knee
and
one
of
the
first
things
he
tells
people
is
put
away.
B
Your
cell
phones
don't
record
this
because
I
don't
want
this
on
youtube
because
it's
going
to
be
ugly.
So,
fortunately
there
is
a
great
documentary.
That's
called
the
comedian,
and
the
comedian
follows
Jerry
Seinfeld,
as
he
is
trying
to
develop
a
new
stand-up
act
after
he's
already
worldfamous
and
a
hundred
million
air
plus
a
few
years
back,
and
this
is
a
scene
that
we're
going
to
show
from
one
of
his
early
performances
as
part
of
that
development
process
to
get
to
over
again,
the
goal
is
just
to
get
to
one
hour
worth
of
good
material.
D
E
A
E
D
B
So
pretty
awkward
right
surprising,
this
is
the
comedy.
This
is
what
all
stand
up.
Comedians
have
to
do,
and
so
am
ones
point
in
that
documentary
again
called
the
comedian.
If
you
want
to
see
it,
Seinfeld
says
for
the
average
person
to
understand
what
my
job
is
like
every
day,
they
would
have
to
go
to
work
in
their
underwear.
He's
that
vulnerable
he's.
B
Just
that
stripped
of
you
know
it's
it's
it's
a
very
humbling
position
to
be
in,
but
it
gets
better
as
the
process
goes
on
and
then,
after
six
months
to
a
year,
he'll
have
an
hour.
That's
so
perfect!
He
can
go
anywhere
in
America
and
know
that
it's
going
to
work
he's
tried
in
all
different
types
of
clubs,
all
around
different
regions,
and
it's
just
constantly
getting
better
with
each
time.
B
He
gets
up
he's
looking
for
a
little
germ
of
an
idea
that
can
be
iterated
on
and
he
looks
at
certain
people
in
the
audience
even
to
know
who
are
the
kind
of
lead
adopters,
the
most
active
comedy
Watchers
to
see
their
reactions
and
knobs
picks
up
on
that
and
keeps
working
it
and
working
it
night.
After
night
after
night
again,
this
is
not
where
we're
not
really
taught
to
do
this.
B
This
is
learned
through
experiences,
but
we
do
have
statistics
on
the
number
of
tries
that
the
onion
has
to
go
through
to
come
up
with
18
headlines
every
week,
and
so
the
headline
works
for
you.
It's
yeah
I
got
a
kick
out
of
that
too
again.
Very
low
success
rate,
three
percent
right,
so
sometimes
I
get
asked
well
how
many?
What
percentage
of
my
time
should
I
be
thinking
about?
Making
these
small
bets
and
I
always
come
up
with
an
answer?
That's
roughly
five
to
ten
percent
right.
You!
B
So
again,
for
my
experience,
when
I
was
growing
up,
my
parents
stressed
getting
good
achievements,
getting
good
grades
doing
well
in
sports,
and
it
turns
out
the
research
on
where
creativity
comes
from
and
where
the
willingness
there's
research
on
mindset
by
carol
black
out
of
stanford,
that
some
of
you
may
be
familiar
with,
because
she's
become
quite
well
known
for
her
work
in
education
circles
shows
it
from
a
young
age.
We
tend
to
get
a
type
of
mindset
which
will
affect
our
response
to
failure
and
setback.
B
So
if
we
are
only
given
praise
for
our
achievements
and
for
things
we
do
well
like
grades,
we
tend
to
have
more
of
a
fixed
mindset
praising
the
result.
Fixed
mindset,
you're
attached
to
the
result.
You
think
your
kid,
you
think
you're
going
to
be
loved
because
your
parents
are
praising
or
your
parents,
your
teachers,
your
coaches
are
praising
results,
and
so
what
has
found?
Is
it
certain
kids
when
they
didn't
do
well
on
a
test
and
their
third
graders?
If
they
don't
do
want
to
test
their
fixed
mindset?
B
And
so
you
know
somebody
who
was
praised
for
achievement.
I
think
I
had
a
great
aversion
to
failure.
I
think
that's
quite
common
in
our
culture,
and
so
what
do
I
kiss
found
is
that
anybody
can
move
on
the
spectrum
from
fix
to
growth
mindset
and
the
ways
that
that
happens
are
threefold.
One.
Is
you
look
at
role
models
who
had
to
go
through
a
lot
to
get
stronger
capacity?
The
second
thing
is
to
think
about
experiences.
B
You've
had
where
you
had
to
overcome
significant
odds
to
to
be
able
to
grow
your
abilities,
and
then
the
third
thing
is
to
try
a
lot
of
little
things
that
won't
be
perfect,
but
that
will
strengthen
that
muscle
of
being
willing
to
take
setbacks
and
use
them
to
learn
to
get
to
the
next
stage.
So
any
of
us
can
develop
a
growth
mindset.
Seinfeld
has
a
growth
mindset,
but
it's
terribly
hard
for
him
to
put
himself
out
there
night
after
night.
It
just
gets
easier,
as
his
creative
process
goes
on.
B
B
They
scribble
them
on
to
these
note
cards
and
they
come
up
with
dialogue
that
they
then
act
out
with
a
pointer
stick
in
front
of
their
colleagues,
and
they
do
this
until
they
come
up
with
enough
to
be
able
to
show
the
comic
book
version
of
of
the
movie,
which
is
just
taking
all
these
storyboards
and
putting
them
together
in
a
film.
That's
a
very
rough
film
that
they
show
to
their
team
and
when
they're.
In
that
context,
they
use
one
principle:
that's
the
most
important
principle.
B
It's
called
plussing,
and
so
plussing
is
when
you
take
an
idea-
and
actually
this
is
a
quote
that
I
want
to
share
first,
so
the
founder
of
Pixar,
the
co-founder
picks
our
egg
commo
says
that
you
know
we
always
go
from
suck
to
non
suck
in
our
movies,
which
is
an
elegant
way
of
putting
it.
He
just
basically
making
the
point
that
their
movies
are
bad,
at
least
for
the
first
couple
years.
Always
they
always
are
full
of
problems.
They
don't
make
sense,
but
they
just
keep
pushing
and
the
way
they
keep
pushing
is
through.
B
This
technique
called
plussing,
which
I
was
alluding
to,
and
so
this
is
a
storyboard
from
the
first
toy
story
and
it's
a
it's
a
it's
a
storyboard
with
the
kick
main
character,
woody
and
a
dog,
as
you
can
see-
and
you
can
also
see
that
woody
in
this
storyboard
is-
is
somewhat
angry
or
he's
frowning,
and
so
for
a
long
time
as
they
were
developing
the
first
movie
woody
was
a
an
angry
character.
He
was
he
was.
It
was
not
a
nice
guy
and
it
turns
out
that
was
not
working.
It
just
wasn't
working.
B
That
was
a
big
problem
that
they
had
to
fix,
and
so
the
way
they
would
fix
a
problem
like
this
on
a
storyboard
using
plussing,
as
they
would
say
something
like
I,
like
the
dog,
licking
Woody's
foot,
and
what,
if
woody,
were
a
friendly
character.
It's
very
simple
example,
but
I'm
just
sharing
it
with
you,
because
it's
such
a
simple,
simple
idea:
plussing
is
just
taking
principles
from
improvisation
instead
of
using
judgmental
language
to
just
assault,
something
you
say
yes
and
and
what?
B
If
we
did
this
and
I
tell
you,
I've
spent
a
lot
of
time
at
Pixar.
This
is
how
it
works
there.
They
just
are
constantly
plussing
each
other's
ideas,
and
it's
not
that
they're,
not
laser,
focused
on
making
an
idea
better.
It's
just
that
they're
not
assaulting
each
other
they're
not
saying
but
and
they're
not
yeah
I
like,
but
you
know
it's
not
a
really
good
idea.
It's
no!
It's
it's!
It's!
B
It's
built
on
this
belief
that
an
improvisation
you
can
use
a
positive
set
of
words
to
build
creative
ideas
and
at
the
early
stages
of
developing
ideas.
That
makes
a
big
difference
now
who
works
an
environment
where
that
is
not
the
case
where
there
is
a
lot
of
there's
a
lot
of
criticism,
and
no
idea
is
a
good
idea,
because
I
know
that
there
are
some
people
in
here
who
work
in
that
type
of
environment.
So
there's
an
eye
there's
another
term
that
I'll
share
that
you
might
enjoy.
It's
called
the
hippo
phenomenon.
B
This
comes
from
google.
The
hippo
phenomenon
is
when
the
highest
paid
person's
opinion.
Hippo
is
the
only
one
that
matters
right,
so
you
can
team.
Can
spend
as
much
time
as
it
once
on
something,
but
the
hippo
comes
along
and
makes
that
the
final
decision,
so
are
there
any
hippos
in
the
room
we
can
see
on
these
questions?
Oh
bill
you're,
a
hippo
I
would
never
have
guessed
that
such
an
enlightened
person
anyway.
This
is
a
set
of
mindsets
that
can
allow
for
more
Creek
collaborative
problem-solving
and
when
you're
dealing
with
creativity.
B
So
this
is
the
true
story
of
how
Pixar
came
to
be,
and
you
may
or
may
not
know
this
story,
but
I'm
going
to
share
with
you,
because
it
gets
into
a
lot
of
other
ideas
that
this
book
describes
and
then
we
can
and
take
some
your
your
questions
after
we
go
through
this
and
a
couple
other
finishing
thoughts,
but
Pixar
began
as
a
hardware
company,
so
in
the
1980s
guy
by
the
name
of
Ed.
Catmull
wanted
to
make
a
full-length
digital
film,
and
there
was
no
technology
to
support
that
dream.
B
So
he
was
a
technologist
and
he
went
to
work
for
this
company
Pixar,
which
was
part
of
Lucasfilm,
so
George
Lucas
had
made
Star
Wars.
He
was,
you
know,
Empire
Strikes
Back.
He
was
an
innovator
when
it
came
to
digital
special
effects
and
he
thought
they
should
have
the
capacity
inside
of
the
company
to
do
this.
And
so
these
are
the
machines
they
use
now.
B
In
order
to
demonstrate
the
value
of
these
machines,
ed
catmull
decided
the
way
that
one
of
the
ways
they
could
do
that
was
to
make
a
short
film,
a
short
animated,
film,
no
dialogue,
very
short
film,
and
he
hired
somebody
to
work
with
him
on
that
film.
Who
was
John
Lasseter
guy,
who
had
been
fired
from
Disney
as
an
animator
from
Disney,
because,
like
you,
sir,
he
was
too
much
of
a
rebel
rouser.
B
He
was
fired
from
Disney
great
mistake
in
the
history
of
Disney
and
he
was
hired
by
this
hardware
company,
and
so
he
helps
make
this
short
film
and,
as
you
can
see,
the
animation
is
not
very
precise,
is
just
using
the
geometric
basic
geometric
shapes
no
dialogue
and
they
go
to
show
this
film
to
a
group.
That's
called
Sita,
which
is
kind
of
like
this
group.
It's
it's
an
industry
convening
group
and
the
people
at
sea
to
think
it's
cool.
It
demonstrates
the
value
of
what
Pixar's
doing
on
the
hardware
side.
B
Then
something
happens.
George
Lucas
goes
through
a
divorce.
He
needs
money.
So
he
goes
to
a
lot
of
people
to
try
to
sell
this
company.
He
goes
to
GM.
He
goes
to
ross
perot.
He
goes
to
Silicon
Valley
and
makes
the
rounds
and
at
the
end
of
that
process,
there's
only
one
person
standing
to
buy
the
company.
We
don't
know
who
that
was
jobs,
Steve,
Jobs
and
so
Steve
Jobs
buys
Pixar.
He
buys
Pixar
45
million
dollars,
five
million
dollars
for
the
company.
B
It
goes
to
George
Lucas
five
million
dollars
in
working
capital
to
support
this
hardware
company
and
when
Steve
Jobs
bought
Pixar,
Ed,
Catmull
and
John
Lasseter
were
so
passionate
about
animation
that
one
of
the
first
things
they
did
was
go
to
him
and
say:
can
we
make
another
short
animated?
Film
and
jobs
gave
his
permission
because
George
Lucas
had
told
him
I
just
want
you
to
know
Steve.
B
These
guys
are
hell-bent
on
on
digital
animation,
and
he
says
he
understands
that
he
appreciates
their
passion,
but
Steve
Jobs
never
anticipated
that
Pixar
would
be
a
film
company
when
he
bought
it.
He
thought
Pixar
was
going
to
be
the
next
great
hardware
company
he
thought
picture
was
going
to
be
the
next
hewlett-packard
Steve
Jobs,
the
visionary
of
our
times,
about
that
they
make
this
film
luxo
jr.
it's
about
two
lamps,
interacting
with
each
other
over
a
popped
beach
ball.
B
B
The
young,
the
baby
lamp,
gets
distracted
by
something
else
and
hops
away
before
too
long,
and
that's
basically
the
end
of
the
short.
So
anyway,
you
had
to
be
there
I
guess
so.
I
always
wonder
if
I
should
put
that
link
instead
of
describing
it
but
I
kind
of
like
the
description
and
but
here's
the
thing
the
whole.
You
know
they're
people
in
the
audience
who
were
just
crying
watching
this
thing,
I
mean
it's
like
just
two
lamps
right
and
they're
crying
watching
these
things.
B
You
should
I
definitely
didn't
cry
when
I
watch
it,
but
the
point
was
in
jobs
was
sitting
in
the
back
watching
all
this.
They
thought
they
thought
the
lamps
were
human,
so
somehow
they
had
tapped
into
something
really
interesting,
and
so
jobs
have
seen
their
back
watching
this
and
saying
you
know
we're
trying
to
sell
this
hardware
we're
going
everywhere
to
try,
sell
this
hardware,
but
these
lamps
people
are
crying
in
this
conference
because
of
the
two
lamps
and
so
they're
onto
something
interesting.
So
they
know
they're
onto
something
interesting.
B
It's
it's
a
small
bet
in
the
scheme
of
Pixar
as
a
hardware
company
to
make
these
short
films
and
as
egg
capital
says,
Steve
Jobs
was
their
protector.
He
was
the
one
who
funded
doing
these
short
films.
They
did
another
the
next
year.
Now
they
also
had
to
make
the
hardware
they.
The
hardware
was
their
hardware.
B
Steve
Jobs
stood
up
in
front
of
oil
company
in
about
nineteen
eighty
seven,
he
said
we're
gonna
be
the
grid
next
great
software
company,
and
he
really
believed
that
Pixar
was
onto
something
with
the
software
that
could
really
sell
is
very
tough
going.
They
had
to
fire
50
people
around
Silicon
Valley.
B
There
was
all
this
questioning
with
Steve
Jobs,
just
another
one
hit
wonder
it
was
really
tense
time
for
the
company
and
all
the
while,
catmull
and
Laster
are
emotionally
invested
in
these
short
films,
because
they're
getting
better
and
better
at
this
digital
animation
in
this
digital
storytelling,
and
so
they
go
to
jobs
and
they
pitch
him
on
another
short
film
in
that
would
be
in
1988.
At
a
time
when
Jobs
is
actually
trying
to
sell
the
company
he's
calling
Larry
Ellison
of
Oracle
and
Bill
Gates
and
ross
perot
again
is.
B
Could
you
know
really
interesting
technologists
we're
on
to
something
with
all
this
animation,
but
I
need
to
sell.
He
had
messed
in
50
million
dollars
as
the
huge
protector
of
pixar
and
nobody
would
buy
it
so,
and
I
always
wish
I
could
be
pixar
for
this
one
moment
in
time
when
Lassiter
and
and
cat
mole
are
pitching.
This
idea
for
the
short
film
in
1988
and
there's
all
this
tension
in
the
room
and
Steve
Jobs,
is
being
told
these
crazy
to
keep
supporting
these
short
films
because
it
makes
no
money
for
the
business.
B
Getting
pressure
from
different
parts
of
the
company
and
jobs
gives
permission
to
make
this
film
called
tin
toy
five
minutes
ten
seconds
long.
This
short
film
won
the
Academy
Award
for
short
films
that
year
it
was
a
huge
story,
and
after
that
Steve
Jobs
said
we're
gonna
be
the
next
great
film
company
and
they
went
to
hey
March
to
Disney
and
use
this
short
film
as
the
pitch
for
what
would
become
a
much
larger
film
toy
story.
So
that
was
how
they
figured
out
how
to
get
to
be
a
big
get
to
the
big
screen.
B
It
all
happened
through
these
small
incremental
steps
where
they
had
to
learn
each
piece
of
the
puzzle,
and
they
were
convinced
that
this
is
what
they
wanted
to
do.
They
had
a
lot
of
what
you
might
think
of
as
small
wins
right.
So
what
small
wins?
Are
you
able
to
piece
together
to
work
towards
a
larger
dream?
But
you
have
to
dream
big
and
that's
why
I
love
this
story
is
that
who
would
have
ever
expected?
This
would
have
been
possible.
B
Everybody
said
it
was
insane
and
crazy,
and
so
they
in
very
kind
of
low-risk
way,
were
able
to
develop
out
all
the
different
pieces
until
they
could
finally
bet
on
something
big.
So
for
that
they
have
my
endless
respect
and
around
Pixar
a
director
there,
Brad
Bird
when
he
came
to
the
company
Pixar
had
already
made
two
films
that
were
both
blockbuster
films
and
at
the
time
Catmull
and
John
Lasseter
and
Steve
Jobs
told
Brad
Bird.
Their
biggest
concern
was
that
Pixar
was
going
to
become
complacent
and
by
the
way
this
is
still
cat.
B
I
want
the
people
who
are
the
artists,
who
are
thinking
differently
to
help
rethink,
how
we
do
things
like
set
design
and
how
we
can
replicate.
You
know
background
characters
and
19
they
ended
up
making.
The
movie
was
called
The
Incredibles
and
they
made
it
for
less
money
per
minute
than
finding
nemo
because
they
use
so
many
new
techniques
and
approaches,
and
to
this
day,
Brad
Bird
is
constantly
seeking
out
the
black
sheep
at
Pixar.
Sars
always
looking
for
people
inside
pics
are
who
can
challenge
the
status
quo.
B
So
that
to
me,
is
a
sign
of
a
great
organization
and
I
know
that
there
are
many
people
in
this
room
who
are
black
sheep.
So
this
idea
of
black
sheep
has
resonated
across
the
country
and
and
increasingly
across
the
where
we
start
out
making
t-shirts
and
hats
just
out
of
admiration
for
this,
and
it
has
since
grown
into
I.
Don't
know
what
you
would
call
it.
It's
a
it's!
B
And
you
know
we
took
this
route
over
a
20-day
period
and
we
had
a
film
team
and
we
had
a
photographers
and
writers
and
we're
producing
a
book
and
documentary
about
all
this,
so
that
we
can
bridge
the
empathy
gap
in
America,
but
here's
a
building
in
Detroit,
where
it's
called
the
Russell
industrial
center,
where
there
used
to
be
publishing
firms
occupying
all
these
floors.
And
today,
when
you
go
in,
there
looks
like
it's
out
of
like
the
Middle
East
or
something
there
you
go
in
there.
B
There
are
people
like
this
guy
Alan
conyers,
who
is
I've,
come
to
know
a
craftsman
of
the
highest
order,
and
he
for
many
years,
was
renovating
kitchens
in
living
rooms,
with
furniture
throughout
Detroit
and,
of
course,
that
whole
economy
has
that
whole
bit
line
of
opportunities
gone
away,
and
so
what
he
has
done
is
to
try
to
make
really
high-end
furniture.
So
that
chair
that
you
see
him
back,
is
an
example
of
his
work.
B
And
it's
just
beautiful
and
what's
even
more
inspiring
to
me
about
about
alan-
is
that
he
is
one
of
two
people
who
have
been
in
this
Russell
building
the
longest
and
the
Russell
building
is
today
full
of
artists
and
entrepreneurs
across
race
across
any
type
of
background
who
he
is
helping
to
mentor
and
helping
to
support.
He
teaches
at
the
local
university
and
he
doesn't
make
a
huge
killing
doing
it.
B
But
I
asked
him
I
said:
what's
your
mission
and
he
said
my
mission
is
to
stay
in
business
and
he
actually
is
is
really
starting
to
thrive
with
this
furniture.
So
we
want
to
hear
stories
like
those,
and
we
also
want
to
think
about
how
we
can
with
this
very
fortunate
group
of
people.
That's
that's
gathered
around
the
black
sheep,
whether
they
be
foundation,
heads
or
business
executives,
people
who
identify
as
having
a
big
creative
side.
B
How
can
we
help
support
the
reinvention
of
this
of
America
I
mean
it's
just
crucial
to
be
able
to
support
that
so
anyway,
these
are
some
of
the
black
sheep
values
which
are
just
general
set
of
creative
values,
and
this
is
the
desert.
This
is
our
team,
but
that's
a
mayor
of
Louisville
and
the
guy
pictured
in
the
center.
There
is
Harold
O'neil,
the
guy
with
the
mayor
and
he's
a
pianist.
B
He
got
his
picture
taken
with
every
mayor
was
a
big
highlight
for
him,
so
Harold
in
the
mayor,
but
here
is
where
I'm
from
just
to
wrap
things
up,
and
this
is
the
Bay
Area
San
Francisco.
The
traffic
is
like
la
now.
It's
it's,
it's
a
nightmare
that
the
economy
is
booming
technology
descending
into
San
Francisco.
And
it's
just
this.
You
know
I
sit
around
a
dinner
party
and
people
are
all
talking
about.
Are
you
know
robotics
and
like
the
future,
where
you
don't
have
to
work?
B
It
sounds
like
you
know,
just
this
ridiculous
dream
world.
You
know
and
at
the
same
time
my
uncle
is
sitting
just
two
hours
away
in
his
logging
truck,
which
he
says,
there's
the
best
corner
office
in
the
world
and
he
loves.
He
loves
the
nature
and
everything.
But
you
know
in
these
times
you
know
this
is
not
an
easy
economy
for
her
Uncle,
Joe
and
I'm.
B
Sure
many
of
you
have
Uncle
Joe
or
aunt
Liz
or
cousin
Nick
in
your
lives,
and
it's
when
I
think
we
need
to
get
out
of
our
bubbles
and
and
really
get
to
the
other
sides
of
America
to
bring
our
networks
our
resources,
our
talents,
to
try
to
help
really
rethink
how
we're
going
about
things.
So
this
group
here
has
a
whole
set
of
ideas
that
came
out
of
conversations.
B
They've
been
having
a
long
period
over
a
long
period
of
time
about
bringing
together
the
business
community
into
into
a
lot
of
these
conversations
that
you're
having
and
we,
the
black
sheep,
want
to
support
that,
and
we
want
to
try
to
help
bring
a
few
score
fellow
to
work
between
the
mayor's
office
and
the
business
community
to
really
rethink.
How
can
we
think
about
a
long-term
plan
here
to
bring
more
people
in
jobs
into
the
economy?
So
that's
where
that's
again
back
to
the
beginning
theme,
that's
where
the
change
is
happening.
B
It's
right
here,
its
local.
The
power
is
in
your
hands
in
our
hands.
It's
not
somebody
who's
going
to
come,
give
it
to
us
on
a
white
horse.
So
I
hope
that
you
think
about
how
Allen
case
says
the
best
way
to
predict
the
future
is
to
invent
it
and
that
we
are
all
the
inventors
of
the
future
and
it
starts
really
small.
It's
really
simple
with
these
small
bets,
so
that's
thank
you
for
listening
to
all
that
meandering
a
little
bit
there.
But
listen.
B
It's
really
a
treat
and
privilege
to
be
here
and
if
I
can
answer
any
questions
that
you
might
have
about
what
I've
shared
I
would
love
to
be
able
to
over
the
next
I
guess,
maybe
I
don't
know
10
10
minutes
or
people
with
ten
minutes.
We
got
you
know
in
this
city
and
I'm
going
to
get
to
your
city
difference
in
food.
Thank
you.
Thank
you.
Thank
you.
D
C
My
name
is
daniel
regan,
with
kambar
properties
from
Tulsa,
Oklahoma
I'm,
also,
the
son
of
a
metal
sculptor
and
so
thinking
of
creatives
in
our
community,
and
one
thing
that
has
been
my
experience.
Knowing
a
lot
of
artists
is
there's
a
disconnect
between
both
sides
of
the
brain.
So
if
you're
really
good
and
really
creative,
it's
often
hard
to
implement
that
from
an
operational
perspective,
and
you
know
he
will
it
and
Packard
or
great
example
of
that
in
your
presentation.
C
B
Question
so
artists-
and
you
know,
artists
tend
to
hang
out
with
artists
right
and
then
foundation.
Heads
hanging
out
with
foundation,
so
I
think
this
idea
of
silos
is
a
huge
big
problem.
A
lot
of
people
in
this
room
are
thinking
about
right,
and
how
do
you
break
that
break
that
apart
and
create
a
common?
So
so
will
we
do
with
black
sheep?
Is
we
try
to
create
a
common
sense
of
place
right,
we'd,
say
whether
you're
Rick
Kirkland
and
mackynzie
or
Harold
O'neill,
the
pianist
you're
part
of
this
community
and
your
black
sheep
right?
B
You,
you
share
something
Rick
once
he's
in
a
band
at
night,
and
so
he
has
a
creative
side.
That
needs
to
be
nourished
and
there
are
a
lot
of
people
who
for
whom
that
applies,
and
then
there
are
a
lot
of
artists
who
just
need
to
understand
the
business
side,
and
so
he
needs
to
be
learning
with
Rick
and
Rick
needs
that
plug
him
into
certain
advisors.
So
I
think
it
takes
a
community
approach
in
many
of
these
cases
to
for
artists
to
find
patrons
right
and
patrons
to
find
the
artists.
B
So
so
that's
one
of
the
things
that
comes
to
mind
and
then
yeah
we're
in
any
company.
What
I
found
in
the
organizational
research
is
that
you
have
to
be
able
to
maintain
a
balance
between
really
really
effective
execution
and
operations
and
the
willingness
to
be
experimental
and
creative
and
so
Hewlett
and
Packard
had
that
Steve
Jobs
had
that
with
Tim
Cook.
B
You
know
you,
you
look
at
these
great
partnerships
that
form
a
GE
GF
ml
tis.
The
execution
guide,
his
colleague
beth
comstock
is
the
creative
innovative
force.
So
we
have
to
find
those
partnerships,
I
think
and
in
friendships
and
the
event
last
night,
I
don't
know
if
folks
went
to
that,
but
that
event
last
night
was
bringing
people
together
across
all
those
boundaries.
So
what
Co
for
cities
is
doing
with
the
Arts
Council
here
and
the
technology
council
hears
is,
is
very
innovative
in
that
way.
C
D
B
Example
of
City
dividends
or
people
familiar
with
City
dividends.
That's
an
example
of
this
small
bet,
approach
that
you
know
you
guys
have
have
developed
and
put
forward
in
it.
It
seems
to
be
that
a
lot
of
times
in
the
institutional
world
there's
always
an
ass
for,
like
a
theory
of
change
right
or
what's
the
you
know,
how
can
we
see
all
the
impact
measuring
out
and
that
that
that
tends
to
come?
B
You
know
that's
a
very
strong
mindset,
and
so
my
theory
of
change
is
just
to
get
done
right,
so
it's
just
like
how
can
you
make
things
happen
as
quickly
as
possible
and
the
way
to
do
that
I
think
is
with
a
lot
of
small
incremental
steps.
So
that's
not
what
city
dividends
is
about
that
is
you
got
it
awesome?
Okay,.