World Series Reflections: 2025 Edition

You might have noticed I’ve published fewer blog posts this year. The political climate has made it hard to write about things that seem trivial in comparison. I’ve found it difficult to comment on news of the day without adding divisiveness to the national dialogue, yet unsettling to try to ignore it with distanced topics. I suspect I’ll resume my regular cadence at some point. I’m not sure when, but I will remain at the keyboard infrequently as my DNA requires.

You might also have noticed that the Los Angeles Dodgers just won the World Series for the second year in a row. That is another infrequent happening, and while perhaps not life-changing, joyously worth a few comments from a devoted fan.

The entire MLB postseason this year was filled with unpredictability. The World Series was a fitting final act to that rollercoaster, with an 18-inning marathon Game 3 and a fought-to-the-finish Game 7 that went down to the last swing of the bat. I won’t recap the play-by-play, others have done that with endless detail, but I will say it was a game that turned on both the performances of superstars and journeymen.

That’s one of the things we love about baseball. Any team can beat any other team on any given day, no matter how good or bad. Chance is always at play. A ball can literally get stuck in a wall crevice and change the outcome of a game (it happened in Game 6). A series MVP like pitcher Yoshinobu Yamamoto can demonstrate consistent excellence on the mound in the clear sight of Sandy Koufax, or a little-known infielder with heart like Miguel Rojas can come off the bench and tie a game that seems all but lost.

Impact can happen at any moment from any player. The game can seldom be predicted.

What does this innocent children’s game played by highly trained adults teach us? We learn from the applied metaphor of baseball that you always play hard to the end. Resilience is your heartbeat. It pays to be indefatigable. You never give up. Never.

Baseball is so many things in the mirror of life. It is the ultimate combination of athleticism and strategy, training and statistics, physical readiness and endless number crunching. It is a game of mistakes — the only sport that counts them on the scoreboard. It is a game of overcoming failure, where a player who gets a hit 2 out of 10 times at bat usually gets dumped, and a player who hits 3 out of 10 often will be paid millions of dollars — crazy many millions of dollars. Unless you are a pro, you’ll never see a 100 mph fastball whip by inches from your body. In fact, the pros can’t see it either, but sometimes they time their swing right, make contact, and put it in the outfield stands.

I had hoped to see the Dodgers win the World Series at home for the first time since 1963. Not only didn’t that happen, but we lost both games I attended with my brother, who was quite the ballplayer in high school and college. So was my dad, who couldn’t attend this year, but texted me at every key moment with his coaching suggestions. I never had the talent, but curiously, I was pretty good with the numbers.

When we lost both those games, I thought of a marketing idea for the front office: how about they give us a 5% rebate for every run we lose by? So if we lose 6 to 1, we get 25% of our ticket price refunded. This would just be for the wildly overpriced World Series tickets. I’ll be sharing that concept free of charge on my annual season ticket feedback form. I don’t expect a response.

The two games we lost at home were more than offset by the final two games we won on the road. The drama of those two games would make for an Academy Award winning movie no matter who won. Note to Kevin Costner, Redford is unavailable — do you have one more baseball epic in you? And who would you like to play?

Hats off to the Toronto Blue Jays, who have waited since 1993 to get back to this big stage. Their ball club oozes talent, from the future Hall of Famer Vladimir Guerrero Jr to the wild ascent of pitcher Trey Yesavage from Single A minor league ball to triumph in the World Series seven months later.

The Dodgers magical starting lineup — Ohtani, Betts, Freeman, Smith, Muncy, Edman, Teoscar Hernandez, Kike Hernandez, Pages — will live in our imagination with most returning for another season. We also witnessed the impossible elegance of an unknown reliever in Game 3 named Will Klein, and in that same game the single inning bridge of the departing great Clayton Kershaw. Manager Dave Roberts made a number of gutsy, counterintuitive moves throughout the series that could have gone either way, but at last the risks played in his favor.

Maybe it will be enough for Costner to make a cameo, a lot of good picks there. AI can help with the aging thing.

It’s all one for the storybooks, but I’ll close with a quiet moment that summed it up for me. When I arrived at the entrance gate for Game 5, I said to the friendly parking attendant I see all the time, ”I’ll bet you’re sad it’s the last day of the season here at Dodger Stadium.”

”What do you mean it’s the last day?” he replied. “We have a parade next week. We’ll all be here for that.”

We had lost the game the night before and the series was tied at 2-2. There was no question in his mind there was going to be a parade. No question whatsoever.

Resilience to the end. Hope in the face of adversity. Optimism facing inescapable, ceaseless competitive resistance.

As Bart Giamatti wrote so eloquently about the game long ago, “It is designed to break your heart.”

Not this time.

Win or lose, this is the game we love.

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Photo: TORONTO, ONTARIO – NOVEMBER 2: World Series Game 7 between the Los Angeles Dodgers and Toronto Blue Jays at Rogers Centre on Sunday, November 2, 2025 in Toronto, Ontario. (Jon SooHoo/Los Angeles Dodgers)

The Big Short: A Remarkable Winner

The Big Short

The Big Short won the Academy Award for Best Adapted Screenplay. That’s tremendously cool, and a well-earned honor for screenwriters Adam McKay and Charles Randolph. This film almost deserves a special Oscar for the studio executives who green-lit the production. Imagine the pitch:

“Okay, we’ve got a 300-page ultra-detailed nonfiction book that explains number for number what caused the Great Recession brought on by the real estate mortgage crisis that temporarily wiped out about half the value of equity in American homes and half the value of global stock trading in practically every segment of the market.

“Wait, wait, now it gets good! The protagoniststhe guys who winare quirky, real-life speculators who make an outrageous fortune betting against the economy of their own nation, and when they are proven right and the market collapses, they make an unconscionable amount of money when 99.5% of the population gets financially wiped out!

“Wait, waitand they’re heroes because they saw it coming and no one would listen to them when they tried to tell a few important people that the collapse was inevitable, but since none of the important people would listen to them, after the crash they all go on to be celebrities who receive honorary degrees and big consulting fees from anyone who can get them to answer their phones.

“No, no, waitand because this movie is an absolute downer and cannot possibly be construed as commercial in any mainstream way, let’s double down on the budget and get the biggest movie stars we can to play the quirky few who saw it coming and their equally surreal foils, I mean, really, really, really big names like Christian Bale, Brad Pitt, Ryan Gosling, Steve Carell, Marisa Tomei, Melissa Leo, Margot Robbie, and Selena Gomez. And I’m not saying get one of them or a few of themGET ALL OF THEM! Hell, if we’re going out in style, let’s go crazy nuts wild freaky insanethis can be a way bigger disaster than Ishtar, Heaven’s Gate, The Lone Ranger, or John Carter. If it fails it’ll be a legendary bomb!”

And you know what? The darn thing worked. It worked on every level. Gutsy, imaginative, informative, authentic, honest, funny, creepy, haunting, accusatory, indictinga perfect motion picture for our time for the movie lovers who maybe have had enough Marvel superheroes for a while yet can’t quite push themselves to go to the theater and read translated subtitles.

The Big Short is a mainstream movie of immense intelligence, integrity, and craftsmanship. It’s the kind of movie like All The President’s Men and Silkwood that we just don’t see anymore. How about that? They put something thought-provoking with movie stars on the screen and we paid the price of admission! Maybe we were desperate for good dialogue, maybe we were desperate for an explanation of what happened, or maybe there still is a market for smart flicks that educate while they entertain without being preachy, polemic, or polarizing.

Credit the immense genius of Michael Lewis, forever one of my literary heroes, who wrote the brilliant book upon which the screenplay is based. Lewis has been knocking out spectacular investigative nonfiction in the style of narrative fiction since his debut almost three decades ago with Liar’s Poker. I don’t think Lewis is capable of writing a bad book. He’s that good! Maybe the studio execs rolled the dice because of the monster success of Lewis’s Moneyball and The Blind Side, two more incredibly unlikely adaptations for the screen that brought big ideas into the hearts and minds of popcorn lovers everywhere. We like to say all great drama begins on the page. Lewis proves it empirically, one platform removed, again and again and again.

Lewis teaches, Lewis engages, Lewis forces us to think while never threatening us, embarrassing us, or chastising us. He sees real-life people as characters whose stories are on par with fiction because of the layering in their motivations. We see arcs in the lives of people we come to know for their strengths, weaknesses, curiosities, and aspirations. We grow as they grow. We fail as they fail. We are redeemed as they are redeemed. That is great storytelling in any form of media. In The Big Short, we celebrate the art of illuminationseeing what we all should have seen but only a few of us actually did. Now in hindsight we see it together, and with any luck we bond together to prevent the evil from returning.

The very act of successfully adapting this literary work to a visual medium is worthy of celebrationbut wait, there’s more! We are also fond of saying “the eyes are the window to the soul.” When you watch The Big Short on the big screen for two or so hours, you see an unending array of eyes but almost no souls of any kind. That is very, very hard to do. We watch our speculators conniving in complex equations that will expose our undoing, and yet no matter how many times the camera grabs a close-up, all we see are lust, greed, ego, and hubris. How are actors capable of pulling off that detachment in shot after abstract shot, initially unedited, created out-of-order, and only theoretically connected by singular motivation to be correct? They are human, but beyond the bounds of humanity, except in knowing they haven’t done anything badthey’ve simply take the spoils of opportunism, milking something bad. That’s unique to film, seeing the eyes over and over again but not penetrating what isn’t there, until the ultimate redemption, when reality unlocks public pain in one full swing of the broadsword. Gasp.

Are we strong enough and knowledgable enough to take action from a cautionary tale? Lewis thinks we are. I think so too. I’m guessing a lot of moviegoers would agree, transformed as they were from the dark to the light, from confusion to enlightenment when the house lights came up and the real world welcomed their demand for reform.

Bravo, Mr. Lewis. Bravo, studio executives. Encore! Please, encore!

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This article originally appeared on The Good Men Project.

Photo: Paramount Pictures.

Wings: Remastered and Revisited

Wings_coverA few decades back, before I became a software and media executive and long before I returned to writing, I wrote the “screenplay” for a succesful computer game called Wings.  That “interactive movie” — as it was marketed — was a World War I flight simulation that followed the lives of the very first fighter pilots, trying to make combat sense of fragile biplanes curiously equipped with machine guns.  It was published by an early innovator in gaming known as Cinemaware, which set out to make games look, feel, and tell stories more like movies.  Recently the Cinemaware brand was resurrected via a Kickstarter campaign to fund a mobile version of Wings, that if successful will contain the entirety of the many pages of story and dialogue, plus a lot of new material.  I have no financial interest in the new Wings, but it does bring back fantastic memories, a slice of life from an earlier time.  The new team asked me to do a text interview to support their campaign, which I decided for nostalgia to publish here as well.  Enjoy!

Please provide a brief bio of yourself.

At the moment I’m a first time novelist, my book This is Rage: A Novel of Silicon Valley and Other Madness just released last month to good reviews.  I’m also an investor, a start-up board member, an executive coach instructor, a blogger, and former corporate executive.  I was CEO of SHOP.COM, Executive VP of Disney Online, and VP Entertainment and Education at Broderbund Software.  I read a lot, follow the L.A. Dodgers, study wine, and am active in children’s welfare issues as well as local government.  If that’s not brief enough, cut everything except the part about reading and the Dodgers.

How did you originally join Cinemaware and get to work on Wings?

I met some of the Cinemaware team at a UCLA conference called The Future of Television in the late 1980s.  They told me they were creating interactive movies.  I had just written a spec screenplay called Miniatures about radio controlled model aircraft that sort of predicted the U.S. drone program.  It was the first thing I had written on a computer, a monochrome XT.  They asked me if I ever thought about working on a computer game.  I said No.  They showed me Rocket Ranger and It Came from the Desert on the Amiga.  Then I said Yes.  Quickly.

How was it working with the Wings team on the Amiga?  What do you remember most about that time?

It was a magical time, a time of possibilities.  I had experienced five years in traditional media of hearing why we couldn’t do certain things, how everything had to be done a rigid way, and how little respect there seemed to be for the writer.  Everything at Cinemaware was, yeah, let’s try that and see if we can make it work, why not?  I also remember writing on a Mac SE/30 for the first time, and I couldn’t believe why anyone would use anything other than that — so much for my XT.  And I remember when our competitor, Origin Systems, leaked a demo of their outer space saga Wing Commander, and our team was like, hmm, that’s a pretty compelling 3D engine, but our story is way better, so back to the drawing board, and they completely rewrote our flight simulator in about 2 weeks to be more state of the art.  Oh, and I remember when someone brought in the first Amiga with a 20MB hard drive and we could install both floppy disks without having to play with disk swapping or a slow seeking second external floppy drive, and that just seemed like the best possible gaming experience you could ever have — until we heard rumor about something coming called a CD-ROM.

How did you go about doing research for the game?

John Cutter, the game’s visionary designer, and I got ourselves invited backstage at the Air & Space Archives in San Diego, where we discovered a lot of the old U.S. Army Air Corp files were stashed.  We were blown away by how welcomed we were there, the military librarians spent hours with us digging out old files, it was a smorgasbord of history, and they couldn’t have been more helpful.  They kept bringing out boxes and boxes of dusty old papers and black & white photographs and let us have at it.  It was a super find and let us dig deep into a very special time of innovation, courage, and pain.  We devoured stacks of books on World War I (we even included a bibliography in the Aviator’s Briefing Manual, I’m guessing the first bibliography for a computer game).  We watched the 1927 silent movie Wings — winner of the first Academy Award for Best Picture — and The Dawn Patrol (1930) so many times on VHS by our QA release date I think we could recite the storylines in realtime without anything on the monitor — then we chose to borrow only the atmosphere: the title, the sets, the costumes, font styles from the text cards, but none of the stories or characters.

What do you think makes Wings such a special gaming experience?

I think it really was the first computer game to try to tell an epic story that was more theater than shoot ’em up, but we kept plenty of shoot ’em up.  We tried extremely hard to make the character role-playing real, to get inside the head of a 19-year-old kid who probably had about as much chance coming home alive as he did surviving enough sorties to live long enough to become squadron commander.  We obsessed on details of the period, used every pixel wisely, created a true sense of responsiveness in the story, something that would set off endless discussions about the true nature of interactivity.  We also kept the game controls immensely simple.  It wasn’t a super complex gravity based simulation where you had to be an engineer to takeoff and land the plane or fight virtual physics to keep the contraption airborne.  We simply “cut to” you in the air and said Just Fly and Shoot.  We brought in a lot of non-gamers with that simplicity, but funny enough, the hard-core gamers praised us for it as well.

Can you tell us what the team wanted to implement in the game, but didn’t have the time or resources to do?  Any special hidden gems or trivia for Cinemaware fans?

First you have to remember what we were dealing with getting the game to ship on two 512K floppy disks, as if any big blockbuster developer today could comprehend how little data that is.  Our programmers were masters of compression, and kept squeezing and squeezing.  The music  was astonishingly intelligent, but the short redundant loops made our composers crazy, so I’m sure they will be delighted with the enhanced score on the remastered version.  Every screen shot was a big hit to storage, and I remember the artists begging to include more storyboards, but that wasn’t possible.  Luckily for me text was as economical to store then as it is now, so I didn’t feel the same thrashing.  I do remember the branching tree logic making me nuts and having to write multiple outcomes for every mission, wondering if it was humanly possible to cover every fork in the story and how many people would care that on a given pass through the game they would only see fractions of the screenplay (we positioned this as a customer benefit, creating replay value).  I remember when the marketing folks “requested” we cut from three floppy disks in beta down to two in order to improve gross margin on wholesale, which almost created a revolution in the hallways.  Our indefatigable producer, Jerry Albright, reminded us it was OK for them to ask, and that we had to respect them for trying, then emphatically told them not a chance.  Then somehow our miracle programmers pulled it off and we shipped the master on Reel 1 and Reel 2.  I also remember a few brainstorms we had after we realized what a unique product we had developed, one for a CD-ROM version with recorded spoken dialogue that of course never happened, and one for a Wings sequel that would have been set in WWII, and who knows where that would have taken us.

If Cinemaware had a chance to expand on Wings, what do you think could be better developed or explored?

That’s sort of like asking the creative team who made the original movie version of Wings how they would have made it a talkie.  The remastered version being funded on Kickstarter is doing all the right things — improved graphics, enhanced music, more missions, improved physics in the engine — all of that brings out the best in what we did so long ago.  The important thing is that we gave the game heart, layered grounding in reality staying true to the source material, emotional resonance woven through a role-playing experience.  As long as you remain true to heart, the polished production values will fully bring out the best.

Ken, you also pledged for this campaign, thank you so much for the support.  What made you do it?

It is a very small sum of money to let an entirely new generation of gamers see where we started as an industry, and maybe a few grown-up parents will get to share the experience with their kids.  Really, it’s not much money for a lot of game, and it is a fun game, part of what got us here.  It’s kind of like the silent movie version of Wings we watched over and over — what if someone hadn’t bothered to preserve it, can you imagine having lost a gem like that?  I can’t, no way.  We all come from somewhere, it’s important to remember that and even more important to share the memories.

Pilot Shot

Edutainment No More

About a year ago I wrote the following article at the request of ACM Computers in Entertainment for the debut of their redesigned site, which launched last week.  It is a bit longer than my usual posts, but for those interested in the topic, hopefully it will inspire good thoughts and discussion.  Here is a link to that article on the ACM site, which can also be found in the CIR Library, with the full text below:

“Why Did Edutainment Become a Bad Word?” by Ken Goldstein (ACM Computers in Entertainment: May 1, 2012)

“What have we here, laddie?  Mysterious scribblings?  A secret code?  No!  Poems, no less!  Poems, everybody!  The laddie reckons himself a poet… Absolute rubbish, laddie.”
— Pink Floyd – The Wall

Last year Amy Chua caused quite a stir with her polemic, Battle Hymn of the Tiger Mother.  The excerpt, “Why Chinese Mothers Are Superior,” published in the Wall Street Journal is said to have drawn the most individual responses to any article published to date on WSJ.com. The fact that a number of teens and tweens actually read and responded to a genuine WSJ article speaks to the silver lining in all free speech—that an idea expressed however outrageous is better than an idea suppressed for the very argument it inspires. John Stuart Mill was right, the marketplace of ideas only works when it is fully open for business; we rely on these sorts of diatribes as poorly considered advice that can be danced upon.

Here in my mind is the problem—we continue for some reason to want to draw a line between education and entertainment, between learning and playing, between rote study and inspired imagination. I don’t get it. We worry that the U.S. is falling behind the rest of the modern planet in math and science, we have a national epidemic on our hand with high school drop out rates, we live and work in a society where basic labor continues to be automated and the post industrial information economy is increasingly preeminent, and we are coming to accept the notion expressed by Thomas Friedman that The World is Flat. Largely for electorate exploitation, we continue to tout an ordained notion of exceptionalism, yet with refrains of “We’re No. 1” more often appropriate at football halftime shows than college commencement exercises. We have come to understand such grandeur is more a political mantra than shared aspiration. Budgets are under pressure at the state and federal levels, teachers are underpaid and exhausted, the Internet allows more information than ever to be readily available, yet we elect our candidates based on name recognition and image. What does all this mean? We are not as smart as we should be.

If we don’t think we are doing something wrong, perhaps we deserve what we get. That would be fatalistic, so maybe we should try it a different way. We know change occurs when the pain of change is less than the pain of staying the same. If we aren’t in enough pain now, then change is quite unlikely ever to be an option. We need to “Think Different” about education, and we need to do it now.

Professor Chua may have come to the conclusion that the elimination of play dates, disallowing her children to have a role in school theatrical productions, and psychological downgrading when a wrong note escapes the piano are the correct paths to discipline. Were we to take that path to its logical conclusion, what kind of society might we have? Certainly we might experience a landscape of accomplishment, complete with bragging rights, but would it be a place our children would want to live, either as kids or adults? It would likely lack rebellion, imagination, and most of all, fun. As I look around at kids on the playground, kids in the computer lab, kids on their iPhones, kids in garage bands, I don’t think those kids would call it fun. When the fun stops, the learning stops.

Tooling around Facebook recently I bumped into an old friend, Carmen Sandiego. I will tell you upfront, I have a deep and profound connection with the master thief; she and I shared a good many hours for a good many years. She also once pervaded just about every young classroom in this nation, and a fair number of households in the way back days before we all took connectivity for granted. I played a round of “Where in the World is Carmen Sandiego?” on Facebook and easily won my first case, the gimme we always intended it to be for encouragement and engagement, and then got blasted on my second case. Seems I could not quite remember my cities and landmarks as encoded memory was supposed to ensure, so I did the only thing any logical Aeron potato would do—I searched the locales on Wikipedia to get back on track. In the old days we used an almanac to do this, now that same almanac is about as relevant as the Yellow Pages we use as a booster seat for visiting nieces. The point is, the game was still fun, and it got me thinking. It did not replace the study of geography, nor was it a waste of time. It was a catalyst to make me want to do something—reinforce my weakened memory, by running some queries in a public database—that I am reasonably sure I would not have done otherwise. The game also made me chuckle, the puns were still clever and the animation cheerful, however dated. Years ago we built a business around this called “edutainment,” and while controversial at times with some leading academics, it was a good business that we enjoyed. When we sat with kids in the classroom and tested new versions, they seemed to enjoy the games as well; the games they didn’t enjoy, we mostly cancelled.

Did their test scores go up? I doubt it. Did a lot of them grow up to be detectives or geographers? Statistically speaking, I am guessing not more than usual. Was the introduction of computers to them at a young age a path to wanting to understand how the program code worked and how they could rip it apart? That I can promise you was my experience. A lot of those young folks grew up to be programmers and worked for me. Did we tell them anywhere, anyway, anyhow that we expected them to take apart the computer code? No, actually we begged them not to do this for copyright reasons. Yet here is a secret: When kids enjoy something, they often take it apart all on their own. I did it as a kid with music, poetry, written fiction, theatrical performance, cardboard models, solid fuel rockets, even my first bank account. Inquiry is natural when it is interesting, that’s how a lot of us are wired. Think about your work—when you are engaged, the time flies by and you complain a lot less about how terribly busy you are. When you are performing rote tasks for financial reward, the clock ticks by slowly…oh, so slowly.

My definition of fun is engagement. My definition of entertainment is engagement. My definition of learning is engagement. You don’t need a Ph.D. in advanced mathematics to see the transitive nature of the implied equation.

There needs to be more fun in learning, not less. There needs to be more entertainment in education, not less. If we want kids to stop dropping out of school, they need to want to be in school. If we want kids to do their homework, we have to make their homework worth doing. Somewhere along the way, a vast conspiracy of otherworldly forces decided that school was about getting a job to make money. Suppose it is. Is that fun, getting a job so you can make money, so kids can look into our eyes and say, yeah, I am gonna play by the rules so I can have what you have? And we wonder why kids are having a hard time with this?

Cut back to when you were toddler, where every day was a miracle, where the distinction between learning and playing did not exist. When you explored the world as your own adventure, every living second was learning, and the last thing you wanted to do was crawl back into the crib. Kids practically beg us to go to preschool, then kindergarten, even first and second and maybe third grade. Why? Because it is fun. It is social. Learning and playing are one and the same. The magic of math is one big puzzle to unravel. The cipher that is language is practically super-power in letting us open new doors, whole universes. The unraveling of science gives the knowledge once restricted to society elders to a five-year-old, as we come to grasp the physical riddles of fire, gravity, why our little teeth drop out of our mouths and are replaced without asking by big teeth. Every day we see our friends and share with them. We sing with them, we learn to play soccer together; we come to embrace simple rules of order and etiquette so that we can get along, even if it just means being polite when cookies and juice are served. We are in a peer group of our own, with an authority figure who temporarily replaces mom or dad called a teacher, and we know intuitively every day we are getting smarter because we are having more fun.

Then they start to measure our performance, and the jig is up. No more fun. Grades. Test scores. College prep. So we can learn something valuable enough to get a job and make money. Oh yeah, that sure is fun.

In his 2011 State of the Union address, President Obama said, “We need to teach our kids that it’s not just the winner of the Super Bowl who deserves to be celebrated, but the winner of the science fair.” If this is just rhetoric than we are bipartisan doomed. We absolutely must embrace the nerds just as much as we applaud the athletes, not because they will all grow up to be Bill Gates and Steve Jobs and Mark Zuckerberg, but because they probably will not. Unless it is cool just to be smart and “be in the band,” then why on earth should anyone stick with education? I buy that with every fiber of my conviction, probably because I was one of the nerds and an embarrassingly awful athlete—but I was never an outcast, because I knew learning qua learning is what mattered most and I was always on the inside with someone who shared that core value and called it fun.

Now let’s dig a little deeper into President Obama’s meaning. My personal sense is that he was saying until education returns to being a core value, we will remain a divided land. That division is what I suggest our well-intentioned but unedited antagonist, Professor Chua, is unintentionally supporting, not the least of which is by drawing ethnic association into a social landscape that continues to evolve appropriately to multiculturalism, tolerance, and shared embrace. If some of us are forced to learn in over structured traditions of education, then whether we like it or not, we probably will get through college and end up with a job that allows sustenance. Whether that is fulfilling and happy for us is not the point, we will participate in the economy and not be a burden to other taxpayers. What then do we do with the rest of us, is it just, oh well, we will get by the best we can? I don’t think so, because the currency of the new economy is not instilled knowledge, it is creativity. In President Obama’s own words: “The first step in winning the future is encouraging American innovation.” Innovation is a direct reflection of creativity, not recitation.  Larry Summers said as much in his response to Professor Chua, citing great minds that did not follow traditional paths, but embraced creativity and started companies instead. And here is another secret that almost no one seems to get—they started those companies not to make money, but to have fun. They chose to work hard at building those companies because they found it enjoyable. There was no separation of work and play, education and entertainment in their minds. They did what they wanted to do, they did it well, and they enjoyed more days than they did not. The fuel of innovation is creativity, and the fuel of creativity is fun.

Sound familiar? Like professional sports perhaps? Or young people who want to become musicians, actors, writers, or fashion designers? Well, we all know the bad news on statistics, we aren’t all going to be at the top of our game if our game is economically limited to a celebrity few. A tiny few of us will start companies that become empires, accidental or otherwise. Yet can we borrow from the motivations of the people who do make these inroads? Instead of fantasizing about playing in the Super Bowl or collecting an Academy Award, how about looking into the sheer drive that brought those “players” to the top of the top. Leave the frosting, eat the cake—the lesson is that the journey is the reward, so start learning the way you want to learn such that you learn what matters to you, and put it to work for intrinsic rather than extrinsic reasons. When you do that, education and entertainment are one and the same, it’s your world. Why don’t we get smart and start teaching kids that way?

If the currency of the new economy is creativity, then we need to celebrate creativity. If kids love entertainment, then we need entertainment to be the fabric of learning. Am I suggesting we do away with drills, practice, focused preparation, and the like? Does the football coach do away with drills, practice, focused preparation and the like? And does the football coach tell his players the reason they are running drills, practice, focused preparation, and the like is because he wants them to understand that this is how football will reward them with riches? The football coach is a teacher, and his game is one of learning. If you haven’t had the pleasure, check out the TV series “Friday Night Lights” and see how much heart it takes to escape the ordinary: “Clear Eyes, Full Hearts, Can’t Lose.” Let’s learn from that.

Luckily, my teachers took a different tack, keenly advising that I walk in the shoes of the masters so that when the time came to rebel, I would know precisely what I was rebelling against. I was one of the lucky ones; I had guidance first, instruction only as a conduit. There was plenty of welcomed discipline, unending study, invited volumes of dusty old books; all I wanted was more, because it was clear to me that a war chest of fully digested material was armor for the long and winding road. Most athletes don’t really like push-ups, but they do as many as they can, as often as they can. Most students don’t really like Hegel in the vernacular or translation, but oh, dialectic synthesis can sure come in handy when a modern Sophist plays fast and loose with history. We each only get one vote, the same value, but we both know if we earned it. In developing our own voices, we are able to see clearly that laughing is always part of learning. When we learn and laugh well, how can we not call it fun?