You must read this book. It's about Mo Burg who was sort of a third
string catcher, professional catcher, but was a Princeton graduate. And
he was traveling around professional baseball teams in Japan in the 30's
and he visited a hospital there and took early videos or early movies of
the Tokyo Harbor that eventually got into out war plans. But read the
book, wonderful, wonderful book. But MacKinnon was doing this, gathering
data. And so he came back after there and set-up the OSS, and they were
using assessment devices to assess he would say participants in
irregular warfare or soldiers in irregular warfare. That was his
description. And I have, if you ever want to see, I have all
Page 22these early slides. He gave me his photographs. He
brought in his photograph album of all the assessment experience they
did in Washington and he said, "You see this young person here?" Well,
that's Mo Stein. And Mo Stein was the 70's psychologist. See this guy
here? This is so and so. So I said, "Don, do you mind if I take
pictures? I'll give them back." He said, "No, no, no." So I got slides
made of the photographs. And one of the things I was able to do with
that was Mo Stein, when he retired from NYU, I gave him a set of those.
He couldn't believe it. He had not seen—did not know they existed or
didn't remember they existed. And he's going through this weeping,
watching himself as a kid. So MacKinnon was here. MacKinnon had talked
about his OSS experience. When the war was over, he got a Carnegie grant
and he went from Bryn Mawr up to Berkeley to set-up the Institute For
Personality Assessment Research and then brought in people to study
creativity. And why creativity? I said, "Don, why creativity?" He said,
"Well, you know of all the people I've assessed, leaders, scientists,
there was one common trait that went across their—the effective people,
there was one common trait, and that's creativity." New applied
perspective on creativity. So thanks, Don. I'll file that one away, too.
So he had part of the assessed poets, the assessed writers. He did
architects. MacKinnon's was architects. He said the architect was really
the creative person because they had real world constraints. You had to
be creative in those real world constraints. So he did all that set-up
in the 50's, 60's, retired from there, and then came here in the early
70's. And he was here for a year. My personal turbulence was going on.
And I brought him back several times as we ran these creativity weeks
symposia that we did for ten years. And he would come back, and I got to
know Mary his wife, a sweetie. And whenever they would come here, I
would have—this is before liquor by the drink—I knew that every night at
5:30, they had a vodka martini. So whenever I would check them into the
hotel, he would look at me and I'd say, "Check the cabinet." He'd smile.
A little vodka and a little vermouth and the olives. 70's, you know,
they were wonderful people. He was Harvard trained, Harvard educated. I
think he went to Bowdoin College as an undergraduate and then went off.
So he was just a great human who influenced my life and my career
greatly around creativity, around helping with my personal divorce and
then also saying go back to college. In his phrase, "Go back and do
Ph.D." He said, "I know you're great, because I've worked with you. I
know you're good, you can make a contribution. David Campbell knows you
can make a contribution, but other people don't. If you open up the
trunk, we know that. But you've got to get that trunk into certain
places and the way it's going to get you there..." He used the analogy
of the
Page 23baggage tag. And that baggage tag has to say
Ph.D. So with his encouragement and David and Ken Clark giving me the
time off, I went back and did the Ph.D. And MacKinnon came over to visit
me in London.