The future will be built on the big ideas we dare to conjure up today. We know that the most groundbreaking ideas often seemed ludicrous or simply impossible when first dreamed up, from the telephone, to human flight, to artificial intelligence. The key was a willingness to be creative and test the limits.
While many of us might not consider ourselves creative people, Duncan Wardle assures us that we can take our ideas and brainstorms to the next level, no matter who we are or what we do. Today on Faster, Please! — The Podcast, Wardle and I explore some concrete tools for breaking down our own barriers to innovation and accessing the genius within all of us.
Wardle is the former Head of Innovation and Creativity at Disney and founder of ID8. He has delivered multipl eTED Talks and teaches innovation Master Classes at Yale,Harvard, and the University of Edinburgh. His interactive book, The Imagination Emporium: Creative Recipes for Innovation has just been released.
In This Episode
Creativity is learnable (1:37)
Building a career of creativity (8:09)
Tools for unlocking innovation (13:50)
Expansionist vs. reductionist tools (18:39)
Gamifying learning (25:20)
Below is a lightly edited transcript of our conversation.
Creativity is learnable (1:37)
I believe we're all born creative with an imagination. We're all born curious. We're all born with intuition. We're all born with empathy. They may not have been the most employable skill of our entire careers. They are now.
Pethokoukis: One of my favorite economists, Paul Romer, loves to use recipes as a metaphor to explain how innovation works in an economy. Like cooking recipes, innovation and ideas can be used repeatedly without being used up, you can combine different ideas as ingredients and create something new. I love that idea, and I love the way you present the book as kind of a recipe book you can sort of dip in and out of to help you be more creative and innovative.
How should someone use this book, and who is it broadly for?
Wardle: Me. Seriously. When I say me, I mean the busy, normal, hardworking person who says 10 times a day, “I don't have time to think.” And often considered the number one barrier to innovation and creativity: “I don't have time to think.” And I thought, “Okay, when you walk into a business office and you will look around, where's the book?” It's on the bookshelf, it's on the coffee table — nobody reads them. I thought, “Well, that's a waste of their money.” So I thought, “What book have I ever read — nonfiction — that I could read one page, know exactly what I need to do, and don't have to read the rest of the book today?” I thought, “My mom's cookbook! You want shepherd's pie? You go to page 67.” So I've designed the contents page the same way. It says, “Have you ever been to a brainstorm where nothing ever happened? Go to page 14. Fed up with your boss, shooting your ideas down? Go to page 12.”
So it is designed to be hop in and hop out, but I also designed the principles around: take the intimidation out of innovation, make creativity tangible for people who are uncomfortable with ambiguity and gray, far more importantly, make it fun, give people tools they choose to use when you and I are not around. I also designed it around this principle and I'll see if this works: Close your eyes for me for a second. How many days are there in September?
31?
Well, we'll pretend it's 30.
Or 30! That's the one thing I always confuse, which is the 30 and the 31.
Close your eyes for a second. Just think about how you might have known there were 30 days in September. How might you have remembered? What might you have learned or what can you see with your eyes closed?
Well, if I was a more melodic, musical person, loved a good rhyme, I might've used that very famous rhyme, which apparently I don't know very
Well, that's okay, neither do I, but I'll attempt it. About 30 percent of people go, “30 days has September, blah, blah, blah, and November.” They've just told me they're an auditory learner. That's their preferred learning style. They probably read a lot. How do I know that? Because when they learned it, they were six. When I asked the question, they learned it because they'd heard it.
I'm sure you've seen somebody at some point in your life count their knuckles: January, February, March, April, May, June, July, et cetera. You may not remember this because you might not be a kinesthetic learner. Those are the people who learn by doing. Again, how do we know this? They learned it when they were six. How did they remember it? By doing it.
And then 40 percent of an audience would just go, “No, no, I could just see a calendar with a number 30.” They're your visual learners. So I've designed the book to appeal to all three learning styles. It has a QR code in each chapter with a Spotify playlist for the auditory learners, animated videos where Duncan is now an animated character (who knew?) who pops out with a bunch of characters to tell you how to use the tools. And then hopefully, as of next Tuesday, the QR code on the back for kinesthetic learners will allow you to engage with the book and learn kinesthetically through artificial intelligence and ChatGPT and actually ask the book questions.
The fundamental conceit of the book, though, is that being innovative, being creative, that can be learned. You can get better at it. Some people say, “I'm not a math person,” which I also don't believe. They'll say, “I'm not a super creative person. I'm not super innovative.” One, I'm assuming you think that's wrong; and two, you mentioned AI, if people are worried about robots doing more repetitive kinds of tasks, then having the tools to bring out or enhance that imagination seem more important now than ever.
There's one thing I firmly believe in: We were all born a human, shockingly enough, and when you were given a gift for a holiday, perhaps, it came in an enormous box and it took you ages of time to take the toy out of the box because the box was the same height as you were. What do you spend the rest of the week playing with?
I love a good box.
Right? It was your castle, it was your rocket.
Love a good box. Oh man, that box can be a time machine, anything.
It was anything you wanted it to be until you went to the number one killer of creativity in imagination: western education, and the first thing you were told to do was, “Don't forget the color in between the lines.” Children are very curious. They ask, “Why, why, why, why?” Again, because they're after the insight for innovation. The insight for innovation comes on the sixth or seventh, why not the first one?
If I were to survey you and ask you, “Why do you go to Disney on holiday?” People would say they go for the new attractions. But that's not strictly true, is it?
So if you say, “Well, why do you go for the new attractions?”
“Well, no, I like the classics.”
“Well, why do you like the classics?” Why?
“I like It's a Small World.”
“Well, why do you like It’s a Small World?”
“I remember the music.”
“Why the music?”
“Well, that's my mom's favorite ride. We used to go every summer.”
“Why is that important to you 25 years later?”
“Oh, I take my daughter now.”
There's your insight for innovation. It has nothing to do with the capital investment strategy whatsoever and everything to do with that person's personal memory and nostalgia. But then we go to the number one killer of curiosity: western education. And the next thing our teacher tells us to do is stop asking “why,” because there's only one right answer.
We know when somebody is staring at the back of our head. When you've stared at the back of the head of somebody that you think is really hot, a stranger, they turn around and look at you. You have to look away really quickly. It's okay, we've all done it. We have 120 billion neurons in our first brain and 120 million neurons in our second brain, the brain with which we say we make lots of our decisions, when we say “with our gut.” We are all empathetic.
I believe we're all born creative with an imagination. We're all born curious. We're all born with intuition. We're all born with empathy. They may not have been the most employable skill of our entire careers. They are now. Why? Because I've been working with Google on DeepMind with their chief programmer — this is the AI program — and I asked her, “How the hell am I going to compete with this? How will any of us compete with this?” She said, “Well, by developing the things which will be the hardest for her to program into AI.” And I asked her what they were. She said, “The ones with which you were born: creativity, imagination, curiosity, empathy, and intuition.”
Will they be programmed one day? Interestingly enough, she said intuition will go first. I was like, oh, that hurt. So I said, “Why intuition?” She said, “It's built on experience and we could build an algorithm that will give them experience.” I'm like, oh, so will they be programed one day? Perhaps. Anytime in the short term? No.
Building a career of creativity (8:09)
Your subconscious brain is 87 percent of the capacity. Every innovation you've ever seen, every creative problem you've ever solved, is back here to work as unrelated stimulus, but when the door is shut, you can't access it. So what do I do? I'm playful. I'm deliberately playful.
In a moment, I want to briefly roll through the book, but first I want to ask about your job as the former head of innovation and creativity at Disney, which sounds like a fake job. It sounds like the kind of job someone would dream up and they wish there was such a job. It sounds like a dream job, but that was a real job. And what did you do there? Because it sounds fairly awesome.
I finished as Head of Innovation — I didn't start that way. I started as a coffee boy in the London office. In 1986, I used to go and get my boss six cappuccinos a day from Bar Italia, and about three weeks into the role, I was told I would be the character coordinator, the person that looks after the walk-around characters at the Royal Premier of Who Framed Roger Rabbit in the presence of the Princess of Wales, Diana. I was like, “What do I do?” They said, “Well you just stand at the bottom of the stairs, Roger Rabbit will come down the stairs, the princess will come in on the receiving line, she'll greet him or blow him off and move into the auditorium.” How could you possibly screw that up? Well, I could. That was the day when I found out what a contingency plan was, because I didn't have one.
A contingency plan would tell you, if you're going to bring a very tall rabbit with very long feet down a very large staircase towards the Princess of Wales, one might want to measure the width of the steps first before Roger trips on the top stair, is now hurdling like a bullet, head over feet at torpedo speed directly down the stairs towards Diana's head, whereupon he was taken out by two royal protection officers. There’s a very famous picture of Roger being taken out on the stairs and a 21-year-old PR guy in the background from Disney. “Oh shit, I'm fired.” I got a call from somebody called a CMO — didn't know who that was, I thought I was going to tell me I'm fired. He goes, “That was great publicity.” I was like, “Wow, I can make a career out of this.”
So for the first 20 years I had some of the more mad, audacious, outrageous ideas for Disney, and then Disney purchased Pixar, then they purchased Marvel, then they purchased Lucasfilm, and we found that we all had different definition of creativity and different innovation models. I tried four models of innovation.
Number one, I hired an outside consultant and said, “Make me look good.” They were very good at what they did, but they weren't around for execution and they weren't going to show us how they did what they did. They were worried we wouldn't hire them again.
Model number two, innovation team. Duncan will be in charge. What could possibly go wrong? Well, when you have a legal team, nobody outside of legal does legal. When you have a sales team . . . So when you have an innovation team, the subliminal message you've sent to the rest of the organization is: You are off the hook, we've got an innovation team.
Third model was an accelerator program where we were bringing some young tech startups and take a 50-50 stake in their business. They could help us bring it to market much quicker than we could. We could help them scale it. But we had failed in the overall goal that Bob Iger had set for us: How might we embed a culture of innovation and creativity into everybody's DNA? So I set out to create a toolkit. A toolkit that takes the intimidation out of innovation, makes creativity tangible, and the process fun. And essentially, that's what the book is. It's not a book, it's a toolkit. Why? Because I want you to use it. It's broken up into creative behaviors, which I think if you don't get the creative behaviors right, the tools won't matter. They'll just be oblivious. I think the creative behaviors are the engine, and I'll explain what I mean by that.
Let me ask you a question. Close your eyes if you would?
I've done very poorly on the questions. Very poorly, but I will continue to answer them.
Where are you usually, and what are you doing when you get your best ideas?
I would say either on walks or, I think a lot of people say, in the shower, one of the two.
There we go. Alright. But here's the thing. I've done it with 20,000 people in the audience. Do you know how many people say at work? Nobody ever says at work. Why do we never have our best ideas at work?
Well, think about that last argument you were in. You turn to walk away from that argument, now you're still a bit angry, but you're beginning to relax, you're 10 seconds away, 20 seconds, and what pops into your brain? The killer one liner, that one perfect line you wish you'd used during but you didn't, did you? No. Why? Because when you are in an argument, your brain is moving at a thousand miles an hour defending yourself.
When you're in the office, you're doing emails, reports, quarterly results, and meetings. And I hear myself say, “I don't have time to think.” When you don't have time to think, the door between your conscious and subconscious brain is firmly closed. You're in the brain state called beta, and you're only working with your conscious brain. 90 percent of your working day — you can look this up — your conscious brain is 13 percent of the capacity of your brain. Your subconscious brain is 87 percent of the capacity. Every innovation you've ever seen, every creative problem you've ever solved, is back here to work as unrelated stimulus, but when the door is shut, you can't access it. So what do I do? I'm playful. I'm deliberately playful. There's a chapter of energizers in the book. They’re 60-second exercises. What are they for? To make you laugh, laughter with purpose.
What's an example of one of those?
Okay, I'll tell you what then, you are the world's leading designer of parachutes for elephants. I will now interview you about your job. So question, “How did you get into this industry in the first place?”
I was actually interviewing for a different job, I walked in the wrong door, and I ended up interviewing for that job.
Okay, and do you have to use different material for the parachutes? What are the parachutes made of? How big are they? Do you have to make bigger ones for elephants with smaller ears and smaller ones for elephants with big ears, the African and Indian elephants?
Thankfully the kind of material is changing all the time. A lot of advances: graphene, nanotechnology materials. So the kind of material is changing, which actually gives us a lot more flexibility for the kind of material and the sizes, depending, of course, on the size of the elephants and perhaps even their ears, and tails, and tusks.
So we'll stop there. You do that in a room full of people and you'll hear laughter. And the moment I hear laughter, I've opened the door between your conscious subconscious brain and placed you metaphorically back in the shower where you are when you have your best idea. I don't expect people to be playful every minute of every day. I do expect, particularly leaders, to be playful when they're trying to get other people to open up their brains and have big ideas.
Tools for unlocking innovation (13:50)
If you like breaking rules, this tool is for you. It's about breaking rules metaphorically. So step one, you list the rules of your challenge. Step two, you take one and ask the most audacious question. Step three, you land a big idea.
In the book, you sort of create these three animated characters representing . . . there's Spark who represents creative behaviors; Nova, innovation tools; and then Zing for these energizing exercises. But you sort of need all three of those?
You do, but you don't have to know them all at the same time, and that's the beauty of the book. But here's the thing: I created a character called Archie. Archie was a direct descendant of Archimedes, because when I ask people where they are when they get the best ideas, they say the shower. Archimedes was in the bath. And my daughter, who’s about 25, walks in the room and she goes, “Dad, he's an old white guy. You are an old white guy. You can't do that shit anymore.” So I created three new characters. Spark is male, introduces creative behaviors; Zing, gender-neutral, introduces the energizers; and Nova, the brains of the organization, introduces innovation tools. The tools are split between what I call expansionist tools and reductionist tools. The more expertise and the more experience we have, the more reasons we know why the new idea won't work.
But here's the challenge: Up until 2020, we pretty much got away with doing what we did, and then came a global pandemic, enormous climate change, generation Z entering the workplace who don't want to work for us, and here comes AI. We don't get to think the way we thought four years ago. So the tools are designed specifically to stop you thinking the way you always do and give you permission to think differently.
I'll give you an example of one, it's called “What If.” A lot of people will say, “Oh, but we work in a very heavily regulated industry.” If you like breaking rules, this tool is for you. It's about breaking rules metaphorically. So step one, you list the rules of your challenge. Step two, you take one and ask the most audacious question. Step three, you land a big idea. So for example, it was created by Walt, but that's in the book, I won't go through the whole Walt Disney story because I want people to understand that this tool can work for them too.
There was a very tiny company in Great Britain in the late ’60s, before the days of mass automation, that used to make glasses that we drink out of, and they found too much breakage and not enough production when the glasses were being packaged and shipped. So they went down to the shop floor, observed the process for eight hours, and just wrote down the rules. Don't think about them, because then you'll think of all the reasons you can't break them, just write them down. So they wrote them down. 26 employees convey about cardboard box, six glasses on the top, six on the bottom, separated by corrugated cardboard, glasses wrapped in newspaper, employees’ reading newspaper. So somebody asked these somewhat provocative “what if” question, “What if we poke their eyes out?” Well, that's against the law and it's not very nice, but because they had the courage to ask the most audacious “what if” question of all, the lady sitting next to them immediately got out of her river of thinking — her expertise and experience — and said, “Well, hang on a minute, why don't we just hire blind people?” So they did. Production up 26 percent, breakage down 42 percent, and the British government gave them a 50 percent salary subsidy for hiring people with disabilities. Simple, powerful, fun.
You just mentioned briefly this notion of the river of thinking, which is sort of your thoughts and the assumptions that really come from your lifetime of experience. People obviously really, when evaluating ideas, they really value their own personal experience. You could have a hundred studies saying this will work, but if something about their personal experience says it won't, they won't listen to it. Now, I believe experience is important, it helps you make judgments, but sometimes I think you're right, that it's an absolute trap that leads us to say no when we should say yes, and yes when we should say no.
So that was one of the expansionist tools. One of the reductive tools is ideas. Ideas are the most subjective thing on the planet. You like pink, I like green, our boss likes yellow, there's a very good chance we're going to be doing the yellow idea. Well, wait a minute, was that the right one targeted for our consumer? Was it aligned with our brand? So there's a tool called stargazer. I borrowed it with pride from Richard Branson of Virgin. Virgin is the most elastic brand on the planet, right? They've done condoms, they've done space travel, and everything in between. Disney is a non-elastic brand. They do family magical experiences. So how does Virgin decide, of all these ideas they get pitched, how do they decide which ones to bring to market?
They have a tool, I call it stargazer, it looks like a starfish, it's got five prongs on it, you'll see it in the book, and each one has three criteria, and you can make up your own criteria at the beginning of the project. Let's say, is this a strategic brand fit? Is this aligned with who we stand for as a brand? Is this embedded in consumer truth? Is it relevant to our consumer? Can I get this into the market the next 18 to 24 months? Is it going to hit my financial goals? And is it socially engaging? Is it going to get people excited? And all you do with all of your ideas at the end is go around those five criteria and ask, does this do a poor job, a good job, or an outstanding job of being aligned with our brand, a poor job, a good job, or an outstanding job of being targeted at our consumer, relevant to our consumer? And then guess what? With different colors for each idea, you join the dots just as you did when you were a kid. And one idea will rise to the top as to meeting your criteria, objectives, the most, not the one you like the best.
Expansionist vs. reductionist tools (18:39)
I define creativity as the ability to have an idea. We all have hundreds a day. I define innovation is the ability to get it done. That's the hard part, and that's what the tools are designed and helping you with.
Do you think that the book and your approach is most helpful in helping people be more creative and come up with ideas or helping other people judge ideas as being good ideas and being open to ideas and closed to the wrong ideas?
I think people use confusing terms just to make themselves more intelligent. The amount of times I've been in a meeting and somebody used an acronym, nobody knows what it is, but nobody's going to put their hand up. I call it expansionist and reductionist, the official name is divergent and convergent, who cares? Expansionist tools are the ones that help you get out of your river of thinking and help you think differently, and the reductionist tools are okay, now we've got all of these ideas, which one goes to market, how do we take it to market, how do we actually get it done?
A lot of people say, as you said at the beginning, “I'm not creative.” Well, if you define yourself as a musician or an artist, then guess what? I'm not creative either. I define creativity as the ability to have an idea. We all have hundreds a day. I define innovation is the ability to get it done. That's the hard part, and that's what the tools are designed and helping you with.
If you're running a business and you're like, “I want to implement this,” how do you . . . I'm sure you would love this, buy everybody the book, buy everybody three copies of the book. How do you implement it? I mean, I'm just curious how you do that job.
How do I do the job? Or how does the business?
How would someone do that job if they're like, I'm trying to make my workforce more creative, I'm trying to make sure that we are open to good ideas. How do you institute that at an existing business?
Here's a tool that can change a culture overnight: Now you and I have been tasked with coming up with an idea for a birthday party. We've been given a $100,000, which is a reasonable budget for a birthday party. The theme could be Star Wars or Harry Potter. What would you like it to be?
I'd probably go with Star Wars.
Okay, so I'm going to come at you some amazing ideas for a Star Wars birthday. I'd like you to start each and every response with the words “No, because.” They'll be the first two words you use in each response, and then you'll tell me why not.
So I was thinking of coming to your house, painting your kitchen dark, turn it into the Death Star canteen, and we'll have a food and wine festival from Hoth and Naboo and Tatooine.
No, no, no. We can't do that because I like the way it looks now, I'm worried about repainting it and matching those colors. That's too significant of a change.
What if, then, we just turn the lights out, we do a glow-in-the dark lightsaber fight full of our favorite alcoholic liquid?
Well, that sounds like a better idea. Am I still supposed to say “no, because?”
“No, because.” Stay on the “no, because.”
No, can't do it. Listen, I worry about those lightsabers breaking, I'll be honest with you, and that alcohol flying over the place. Also, there are going to be kids there, and I just worry about the alcohol aspect. Because I’m an American, and we're very tight.
So perhaps if there's kids there, we could do a cosplay party, and all the tall people could come as Vader and all the little people could come as ewoks.
No, because I think some of the tall people would like to be the good guy, and I think some of the people who are not quite as tall might feel we were infantilizing them by turning them into ewoks.
I’ll tell you what, then, we'll do a movie marathon and we’ll show all seven films back-to-back with some popcorn and coke. What do you say?
No, because that would be a really long event. I think people would be super sick of even watching their favorite movies after about two movies, so can't do it.
Alright, so we'll stop there. When somebody's constantly saying “no, because” to you, how does that make you feel?
Like I really don't feel like coming up with any more ideas and like they will just not get to “yes.”
And we started there with a food and wine festival and we ended up with showing the movies. Would you say the idea was getting bigger as we were going, or was it getting smaller? Which direction was it?
It was getting progressively smaller and less imaginative.
So let's try that again. Can we do Harry Potter?
Well, I don't know as much, but I'll do my best.
Okay, so have you seen a couple of the films?
Kind of?
You pick the theme, then. What do you want?
Marvel. A beautifully licensed property. Yes, Marvel.
I'm going to come at you with some ideas for a Marvel party. I'd like you to start each and every response this time with the words, “yes, and,” and we'll just build it together, okay?
I tell you what, we could do a Spider-Man party where everybody gets those little web things that they could shoot out of their hands, but are actually made out of cotton candy, so we could eat it, we could eat the webs.
Oh yes, and perhaps we could have villain-themed targets the shoot at?
Oh, yes, and we could have a room full of superheroes and a room full of villains, and we have cosplay party and there'll even be a make-your-own Iron Man suit!
Yes, we can have an Iron Man suit, obviously, and we can have the other costumes, and perhaps some of their other tools, like Thor’s hammer, those could somehow also be candy-related.
Oh yes, and we could actually invite the stars of the film, we could have Chris Hemsworth, Robert Downey, Jr., and Chris Pratt, and Rocket, and Groot.
Yes. Love the idea. And perhaps if that's not quite possible —
— That was a “no, because!”
Oh that sounded like a “no.”
Come on, come on.
We've reached the limits of my creativity.
We'll stop there. A couple of observations: a lot more laughter, a lot more energy.
Bigger or smaller?
We're taking our steps into an ever-wider world!
We work in big organizations, we work in small organizations, we have colleagues, we have constituencies, we have bosses, we have local regulators, et cetera, to bring on board with our ideas. By the time we just finished building that idea together, whose idea was it by the time we'd finished?
That is lost to the fog of history. It is now a collaborative idea that we both can take credit for when it's a huge success.
Ours. Two very simple words from the world of improv that have the power to turn a small idea into a big one really quickly. You can always value-engineer a big idea back down again, but you can't turn a small idea into a big idea. Far more importantly, it transfers the power of “my idea,” which we know never goes anywhere outside an organization, to “our idea” and accelerate its opportunity to get done.
For people listening today, I'll give you one word of advice to take away: Don't let the words “no, because” be the first two words you use when somebody comes bouncing into your office with an idea you are not thinking of. They may have genius two seconds from now, two weeks from now — they ain't coming back.
Just remind yourselves: I know you have responsibilities, I know you've got deadlines, I know you've got quarterly results. We are not green-lighting this idea for execution today, we are mainly green-housing it together using “yes, and.”
Gamifying learning (25:20)
Gaming is the future of education, there's no question.
So now I have one more question I think that's super valuable advice, actually. As you were talking about western education squashing the creativity. . . Do you have you any thoughts about how to change that, keeping the best of what we do?
Gamify. Gamify everything. Gaming is the future of education, there's no question. Universities will fall, but why will universities fall? That's a fairly outrageous statement. Well, let me think. Blue-collar workers, the white collar workers laughed at them because they didn't go to university. Let me think — people who use their hands, artificial intelligence, probably not taking them out anytime soon. White collar workers, not so much. Goodbye. Not quite, that's a slight exaggeration, but universities are teaching the same thing that we learned.
So I walk into a classroom, a professor says, “In the year 3 AD, Brutus stabbed Julius Caesar in the back on the steps of the Senate of Rome.” Okay, well I'm asleep already. However, if I could walk into the Senate in Rome, in virtual reality, or in Apple Vision Pro — hello, thank you very much — walk right up to Julius Caesar and Brutus debating with the senators and say, “Hey Julius, look behind you!”
I tell you for why: My son sat down at the breakfast table many years ago, he was probably about 13 or 14 at the time, and he said, “Do you know the Doge’s Palace in Venice was built in 14 . . .” And he went on this whole diatribe. I was like, where the hell did you learn that? He goes, “Oh, Assassin's Creed.” Gaming will annihilate.
See, when you say online training, the first words out of somebody's mouth are, “Boring!” So, what I aim to develop within a year from today is to gamify the Imagination Emporium and actually help people, train them how to be more imaginative using gaming.
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Micro Reads
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AI and the Future of Work: Opportunity or Threat? - St. Louis Fed
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AI Pioneer Fei-Fei Li Has a Vision for Computer Vision - IEEE
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The long shot - Science
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What has four stomachs and could change the world? - The Economist
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The Changing US Labor Market - Conversable Economist
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