{"id":650,"date":"2015-03-20T22:23:35","date_gmt":"2015-03-21T02:23:35","guid":{"rendered":"http:\/\/marketingtrw.com\/blog\/?p=650"},"modified":"2015-03-20T22:34:18","modified_gmt":"2015-03-21T02:34:18","slug":"make-art-make-money-by-elizabeth-hyde-stevens-book-review-highlights","status":"publish","type":"post","link":"https:\/\/marketingtrw.com\/blog\/make-art-make-money-by-elizabeth-hyde-stevens-book-review-highlights\/","title":{"rendered":"Make Art Make Money by Elizabeth Hyde Stevens Book Review &#038; Highlights"},"content":{"rendered":"<h2><a href=\"http:\/\/www.amazon.com\/gp\/product\/1477817387\/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1477817387&amp;linkCode=as2&amp;tag=whdeit-20&amp;linkId=D26G3MIXJ6URWFEH\" target=\"_blank\">Make Art Make Money<\/a><\/h2>\n<p><a href=\"http:\/\/elizabethhydestevens.com\/\" target=\"_blank\">Elizabeth Hyde Stevens<\/a>\u00a0| ISBN: 1477817387 &amp;\u00a0978-1477817384\u00a0| Finished: 1\/2015 | Rating: 9\/10<\/p>\n<h2>Make Art Make Money Summary<\/h2>\n<p><a href=\"http:\/\/www.amazon.com\/gp\/product\/1477817387\/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1477817387&amp;linkCode=as2&amp;tag=whdeit-20&amp;linkId=D26G3MIXJ6URWFEH\" target=\"_blank\">Make Art Make Money<\/a> by <a href=\"http:\/\/elizabethhydestevens.com\/\" target=\"_blank\">Elizabeth Hyde Stevens<\/a> is a gem of a book. Before reading Elizabeth&#8217;s book I didn&#8217;t know much about Jim Henson&#8217;s life and career. After reading it I feel like I went along on his journey. I followed his transformation from humble beginnings to one of the most well known artists of the modern era. If you are an artist or creative trying to make a living off your art it is a must read. This wonderful biography will change your mind about what is possible for creatives.<\/p>\n<p>Here are\u00a0some things I found especially interesting in the book.<\/p>\n<p><!--more--><\/p>\n<h2>1. Success takes hard work<\/h2>\n<div id=\"attachment_653\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Hard-Work.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-653\" class=\"size-full wp-image-653\" src=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Hard-Work.jpg?resize=676%2C450\" alt=\"It takes hard work\" width=\"676\" height=\"450\" srcset=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Hard-Work.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Hard-Work.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Hard-Work.jpg?resize=676%2C450&amp;ssl=1 676w\" sizes=\"auto, (max-width: 676px) 100vw, 676px\" \/><\/a><p id=\"caption-attachment-653\" class=\"wp-caption-text\">Photo by <a href=\"http:\/\/bit.ly\/18Qjdwd\" target=\"_blank\">jdhancock<\/a><\/p><\/div>\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Jim_Henson\" target=\"_blank\">Jim Henson<\/a> was not only a great artist he was also a smart businessman. He built an empire with the <a href=\"http:\/\/muppets.disney.com\/\" target=\"_blank\">Muppets<\/a> and <a href=\"http:\/\/www.sesamestreet.org\/\" target=\"_blank\">Sesame Street<\/a>, amassing a net worth of $150 million before his death, and he did it without sacrificing his vision. How did he do it? One thing you must realize is creating great art takes not only a lot of time but some luck as well.<\/p>\n<p>As Stevens says &#8220;[I]f you\u2019re wondering why, as the song goes, you haven\u2019t made it yet, perhaps you just haven\u2019t earned it yet.&#8221; You need to make your time count. You must give &#8220;total self-sacrifice and servitude&#8221; towards your art if you want to succeed.<\/p>\n<p>The problem with most creatives is they want instant success. There is not a single self-made person in this world who has achieved success without putting in the work. Those instant successes are likely the results of years of hard work.<\/p>\n<p>Henson became a puppeteer because a children&#8217;s show came to his high school looking for pupeteers. He won the audition and taught himself how to be a pupeteer. While on the show, producers from another network saw his work and hired him. This may seem like an instant success story, but it neglects all the hard work that went into achieving this success.<\/p>\n<p>Henson honed his craft on the first show he worked on and he was eventually given his own show <a href=\"http:\/\/en.wikipedia.org\/wiki\/Sam_and_Friends\" target=\"_blank\">Sam and Friends<\/a>. Even though the show was only five minutes long, he worked all day to create them. He worked endlessly on his craft and even stepped into the control room to learn from the technicians. Sam and Friends was also the birth place of the world&#8217;s most famous frog, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Kermit_the_Frog\" target=\"_blank\">Kermit<\/a>.<\/p>\n<h2>2. Surround yourself with like minded people<\/h2>\n<div id=\"attachment_654\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Surround-Yourself-Like-Minded-People.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-654\" class=\"size-full wp-image-654\" src=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Surround-Yourself-Like-Minded-People.jpg?resize=676%2C437\" alt=\"Surround yourself with like minded people\" width=\"676\" height=\"437\" srcset=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Surround-Yourself-Like-Minded-People.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Surround-Yourself-Like-Minded-People.jpg?resize=300%2C194&amp;ssl=1 300w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Surround-Yourself-Like-Minded-People.jpg?resize=676%2C437&amp;ssl=1 676w\" sizes=\"auto, (max-width: 676px) 100vw, 676px\" \/><\/a><p id=\"caption-attachment-654\" class=\"wp-caption-text\">Photo by <a href=\"https:\/\/www.flickr.com\/photos\/aalto-cs\/9688267656\/\" target=\"_blank\">aalto-cs<\/a><\/p><\/div>\n<p>Often times artists want to live alone on an island. They believe their best work only comes when they do everything themselves. This is the opposite of Jim Henson.Henson encouraged collaboration and play into his efforts to bring about his best work. He realized that he couldn&#8217;t do it all on his own.<\/p>\n<p>Henson had great power, but it came from generosity. As Stevens described it, &#8220;If you want a job like Henson\u2019s, you need to give someone else a job.&#8221; Henson&#8217;s work required collaboration and as an audience we can feel the joy of his team of people working well together.<\/p>\n<p>During one stint on Sam and Friends, Henson took a six week trip to Europe to get away from all of the work he was putting in. The remarkable thing is, the show didn&#8217;t stop when he left. The reigns were handed over to Jane. Upon coming back from his stay in Europe, he learned he could step back and rely on others. The show was bigger than him, and Jane&#8217;s work proved that to him. He also realized that he was meant to be with Jane\u00a0and they would later get married.<\/p>\n<p>&#8220;Henson\u2019s marriage effectively set the tone for the kind of relationship he would cultivate with his next employees\u2014 that of partnership, family, and brotherhood.&#8221;<\/p>\n<p>The teams Henson created for each of his projects were good because he found the right people. Instead of choosing the best or most qualified candidates, Henson chose people he knew would fit his crew. He even hired people who had never pupeteered before.<\/p>\n<p>For <a href=\"http:\/\/en.wikipedia.org\/wiki\/Fraggle_Rock\" target=\"_blank\">Fraggle Rock<\/a>, Henson hired actors, jugglers, and mime artists to work on the show. He wasn&#8217;t just looking for people who were good puppeteers, he was looking for people with a sense of humor and a spark. According to one account, the auditions felt &#8220;relaxed and low-key.&#8221; They were filled with a lot of laughs. Puppeteering can be taught, having a passion and a love for your work can not.<\/p>\n<p>The people Henson hired also had to be passionate about their work. Every artist&#8217;s goal is to make something good. When you are working day and night &#8220;the line between job and life is indistinguishable.&#8221; Most artists work to create something great, to become a master at their craft. This was especially true for the teams Henson assembled.<\/p>\n<p>The point is, Henson wanted people who could both have fun and be passionate about their work. He wanted to surround himself with people who were like him.<\/p>\n<h2>3. Henson funded his art by making commercials<\/h2>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/ZxLyuw5bdyk\" width=\"100%\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Before Henson struck it big with Sesame Street and the Muppets he needed a way to fund his projects. The art he wanted to create wouldn&#8217;t be able to pay for itself so he turned to where the money was: commercials.<\/p>\n<p>By creating commercials, Henson was able to successfully fund his other projects. Henson was making a lot of money through his commercials and he understood that making money was\u00a0good for his art.<\/p>\n<p>The money Henson made from commercials allowed him to experiment. The only limit to his creativity was his imagination.<\/p>\n<p>It may be hard to imagine Henson creating commercials for the corporate world, but they paid a lot of money. The compromise he made was turning the commercials into spoofs. He used commercials as a way to create skits. In them his puppets would parody the product they were promoting. Companies loved these parodies so much that they started asking Henson to spoof their products.<\/p>\n<p>Although Henson earned a lot of money from making commercials, Sesame Street gave him an excuse to quit his commercial making gig. He made enough money that he was able to\u00a0choose what he wanted to work on. He chose Sesame Street so he could educate young minds.<\/p>\n<p>Henson was able to leverage his success with Sesame Street to make <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Muppet_Show\" target=\"_blank\">The Muppet Show<\/a>, and from there he went on to make movies. Stevens sums it up perfectly:<\/p>\n<p>&#8220;Looking back on Henson\u2019s career, one thing led to another. Sam and Friends led to commercials. Commercials led to Sesame Street. Sesame Street led to licensing. Licensing led to The Muppet Show, and The Muppet Show led to movies. Henson made art make money and then made money make art. And though it was right for Henson to quit ads when he did, they were an important step along the way.&#8221;<\/p>\n<h2><b>4. Innovation and quality were key to his success<\/b><\/h2>\n<div id=\"attachment_70\" style=\"width: 1010px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2014\/05\/change-your-mindset.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-70\" class=\"size-full wp-image-70\" src=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2014\/05\/change-your-mindset.jpg?resize=676%2C451\" alt=\"Innovation and quality were key to his success\" width=\"676\" height=\"451\" srcset=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2014\/05\/change-your-mindset.jpg?w=1000&amp;ssl=1 1000w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2014\/05\/change-your-mindset.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2014\/05\/change-your-mindset.jpg?resize=676%2C451&amp;ssl=1 676w\" sizes=\"auto, (max-width: 676px) 100vw, 676px\" \/><\/a><p id=\"caption-attachment-70\" class=\"wp-caption-text\">Photo by \u00a0<a href=\"http:\/\/www.fotopedia.com\/items\/flickr-6871526743\" target=\"_blank\">p_a_h<\/a><\/p><\/div>\n<p>Jim Henson grew up in a time ripe for innovation and invention. As a child, the televisions was a new medium. Henson used this to his advantage.<\/p>\n<p>What was the key to the success of Henson&#8217;s work? He never settled for good enough. That doesn&#8217;t mean he created a specific vision that everyone followed. According to Stevens, his version of quality &#8220;required not just his own creativity, but the creativity of those around him.&#8221; Instead of following his ideas exactly, he wanted others to co-create those worlds together. Henson knew ideas created together would be better than his vision alone.<\/p>\n<p>Henson wanted to push the envelope and break barriers. He wanted to create to\u00a0surprise and to create something truly new. His brand of innovation required a lot of experimentation. It also cost a lot of money. This is one of the reasons it is so hard to copy Henson&#8217;s work. It takes a lot of money to create such an expensive high quality product.<\/p>\n<p>We may take it for granted now, but Sesame Street at its time was innovative. It was a combination of &#8220;Madison Avenue, Harvard curriculum experts, nonprofit television, and network comedy writers.&#8221; This newness is what drew Henson to Sesame Street. It was something that was never done before. It was another experiment. Stevens describes it like this:<\/p>\n<p>&#8220;When you\u2019re working on the never-before, your employees feel exhilarated and invested in their work, and so do you . Everyone does\u00a0 their best, and in that sense, it is of quality. If you create quality, you create value.&#8221;<\/p>\n<h2>5.\u00a0<b>Never stop pitching<\/b><\/h2>\n<div id=\"attachment_662\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Never-Stop-Pitching.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-662\" class=\"size-full wp-image-662\" src=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Never-Stop-Pitching.jpg?resize=676%2C450\" alt=\"Never stop pitching\" width=\"676\" height=\"450\" srcset=\"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Never-Stop-Pitching.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Never-Stop-Pitching.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Never-Stop-Pitching.jpg?resize=676%2C450&amp;ssl=1 676w\" sizes=\"auto, (max-width: 676px) 100vw, 676px\" \/><\/a><p id=\"caption-attachment-662\" class=\"wp-caption-text\">Photo by <a href=\"https:\/\/www.flickr.com\/photos\/ww4f\/5872833385\/\" target=\"_blank\">ww4f<\/a><\/p><\/div>\n<p>Jim Henson spent his whole life pitching his ideas to others. His imagination and ambition were unmatched. Since his first audition, the puppet show on local TV, Henson spent much of his time pitching his ideas. He did this so he could eventually make what he wanted.<\/p>\n<p>Henson had to pitch in every phase of his career. Here is a list of all the pitches he had to make:<\/p>\n<h3>Sam and Friends<\/h3>\n<p>He had to pitch his own ideas to get his very first show on local TV.<\/p>\n<h3><i>Commercials<\/i><\/h3>\n<p>He pitched all the commercials he made to other companies so they would hire him.<\/p>\n<h3>His Agent<\/h3>\n<p>He had to make a great pitch to eventually land his agent <a href=\"http:\/\/en.wikipedia.org\/wiki\/Bernie_Brillstein\" target=\"_blank\">Bernie Brillstein<\/a>.<\/p>\n<h3>Experimental Films and Toys<\/h3>\n<p>He had to pitch his ideas so people would fund his experimental film and toy ideas.<\/p>\n<h3>Sesame Street<\/h3>\n<p>He had to pitch Sesame Street to win over the press, parents, and teachers. Even while at Sesame Street, Henson continued to pitch so he wouldn&#8217;t be pigeon-holed as a kiddie entertainer. He did this by creating <a href=\"http:\/\/en.wikipedia.org\/wiki\/Category:The_Muppets_television_specials\" target=\"_blank\">Muppet TV specials<\/a>.<\/p>\n<h3>\u00a0Muppet Specials<\/h3>\n<p>He had to pitch his Muppet specials to multiple TV stations, but this still didn&#8217;t get him his own Muppets show. He had to pitch for six years before he landed The Muppet Show. The funds for the show came from angel investor Lew Grade who was convinced to invest because of Henson&#8217;s constant pitching.<\/p>\n<h3>The Muppet Show<\/h3>\n<p>He had to pitch the first season of The Muppet Show to get more funding for the other seasons of the show. The show became such a success that Henson was finally able to work on his next project: movies. His first two movies\u00a0<a href=\"http:\/\/www.imdb.com\/title\/tt0079588\/\" target=\"_blank\">The Muppet Movie<\/a> and <a href=\"http:\/\/www.imdb.com\/title\/tt0082474\/\" target=\"_blank\">The Great Muppet Caper<\/a>\u00a0were both successes.<\/p>\n<h3>\u00a0Movies<\/h3>\n<p>He had to pitch his Muppet movies so he could finally work on his dream project <a href=\"http:\/\/www.imdb.com\/title\/tt0083791\/\" target=\"_blank\">The Dark Crystal<\/a>. Unfortunately The Dark Crystal and his second dream project <a href=\"http:\/\/www.imdb.com\/title\/tt0091369\/?ref_=nv_sr_2\" target=\"_blank\">Labyrinth<\/a> were not commercial successes. This caused Henson to shift his focus from movies. Instead he\u00a0moved his efforts towards creating a great number of shows.<\/p>\n<h3>Show Producer<\/h3>\n<p>He pitched a bunch of shows so he could sell his\u00a0company to Disney. At this point in his career Henson wanted to be bought out so he could get back to creating. He wanted to use Disney&#8217;s money so he could\u00a0create projects without worrying about expenses. Sadly, Henson was not able to see this through because of his untimely death.<\/p>\n<h3>Why Henson Pitched<\/h3>\n<p>If you learn anything from all of Henson&#8217;s pitching, it&#8217;s that artists must pitch to be successful. The only way to get your work in front of more people, and achieve your ultimate goals, is by pitching. No matter how much success Henson saw at each stage of his career, he still continued to pitch.<\/p>\n<p>Stevens describes it like this:<\/p>\n<p>&#8220;In order to have your independence\u2014 your creative freedom\u2014 as an artist, you have to just keep pitching.<\/p>\n<p>You can convince people of anything, as long as you try enough people, and as long as you really believe in it yourself. If you believe in your art, make a pitch for it today. Spend a day at the easel working on a pitch of some kind. Watch Jim Henson\u2019s impressive pitching for inspiration, and then go out and sell, sell, sell!&#8221;<\/p>\n<h2>Conclusion<\/h2>\n<p>Jim Henson was one of the most revered creators of his time. He not only revolutionized the use of puppets in entertainment, he also dramatically changed the possibilities of what you can accomplish on TV and in film.<\/p>\n<p>He accomplished this by working hard, surrounding himself with the right people, innovating, and pitching his work. He was not afraid of\u00a0making\u00a0money from\u00a0commercials or selling out because he knew he could use this money to fund his projects.<\/p>\n<p>There are a lot of lessons\u00a0you can learn by studying Henson&#8217;s life. This review is just a short summary of the treasures found in <a href=\"http:\/\/www.amazon.com\/gp\/product\/1477817387\/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1477817387&amp;linkCode=as2&amp;tag=whdeit-20&amp;linkId=D26G3MIXJ6URWFEH\" target=\"_blank\">Make Art Make Money<\/a>. I could not recommend Elizabeth Hyde Stevens&#8217; book highly enough.<\/p>\n<p><a class=\"more-link\" href=\"http:\/\/www.amazon.com\/gp\/product\/1477817387\/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1477817387&amp;linkCode=as2&amp;tag=whdeit-20&amp;linkId=D26G3MIXJ6URWFEH\" target=\"_blank\">Buy Make Art Make Money<\/a><\/p>\n<h2>Kindle Highlights for\u00a0Make Art Make Money<\/h2>\n<p>Make Art Make Money: Lessons from Jim Henson on Fueling Your Creative Career<br \/>\nElizabeth Hyde Stevens<\/p>\n<p>The idealist is attacked not just by the establishment, but also from within, where greed starts to change one\u2019s motives.<br \/>\nLOCATION: 58<\/p>\n<p>For the most part, money is the enemy of art.<br \/>\nLOCATION: 59<\/p>\n<p>great art wants quality, whereas good business wants profit.<br \/>\nLOCATION: 60<\/p>\n<p>Quality requires many man-hours to produce,<br \/>\nLOCATION: 61<\/p>\n<p>Great artists fight for such expenditures, whereas successful businessmen fight against them.<br \/>\nLOCATION: 62<\/p>\n<p>Trouble arises in societies when a person tries to convert a gift into a commodity.<br \/>\nLOCATION: 68<\/p>\n<p>Gifts, on the other hand, are given in sacrifice with no hope of return,<br \/>\nLOCATION: 73<\/p>\n<p>For art to truly affect us, it needs to be, in a sense, \u201cgiven.\u201d For a commodity to be successful, it needs to be bought and sold.<br \/>\nLOCATION: 76<\/p>\n<p>The gift economy, on the other hand, grows with each transaction, with gratitude and societal bonds being an \u201cincrease\u201d for both the giver and recipient.<br \/>\nLOCATION: 78<\/p>\n<p>we feel \u201cricher\u201d the more we give others,<br \/>\nLOCATION: 79<\/p>\n<p>an artisan working in a gift economy but trying to survive in a market economy.<br \/>\nLOCATION: 87<\/p>\n<p>capitalism does not reward art that is a gift.<br \/>\nLOCATION: 93<\/p>\n<p>We intuitively reject art when the cost to make it is less than the cost to buy it.<br \/>\nLOCATION: 98<\/p>\n<p>But as much as we know and value art\u2014as a society\u2014we expect our best artists to starve.<br \/>\nLOCATION: 101<\/p>\n<p>\u201cThere are three primary ways,\u201d he tells us, \u201cin which modern artists have resolved the problem of their livelihood: they have taken second jobs, they have found patrons to support them, or they have managed to place the work itself on the market and pay the rent with fees and royalties.\u201d[3] At<br \/>\nLOCATION: 105<\/p>\n<p>must develop a more subjective feel for the two economies [gift and market] and his own rituals for both keeping them apart and bringing them together.<br \/>\nLOCATION: 113<\/p>\n<p>be able to disengage from the work and think of it as a commodity.<br \/>\nLOCATION: 114<\/p>\n<p>And he must, on the other hand, be able to forget all that and turn to serve his gifts on their own terms.<br \/>\nLOCATION: 116<\/p>\n<p>we accept the victory of money over art and welcome the artist\u2019s destruction in righteous, sulky pessimism.<br \/>\nLOCATION: 131<\/p>\n<p>One does not rid the temple of the money-chargers by singing alone; one expels them by occupying the space they currently hold and keeping it. It is time for the faithful to reenter the market.<br \/>\nLOCATION: 133<\/p>\n<p>Jim Henson\u2019s idealists fight back and beat the business-heads, but when they do, they turn into capitalists.<br \/>\nLOCATION: 136<\/p>\n<p>It may seem sad to young idealists, but this seemingly contradictory evolution is actually the solution to the artist\u2019s problem.<br \/>\nLOCATION: 138<\/p>\n<p>Henson was a member of the Silent Generation, Americans born in the hardship of depression and raised in war, and yet paradoxically this time produced many of the creative visionaries who would inspire the boomers to mass hippiedom.<br \/>\nLOCATION: 143<\/p>\n<p>Having made hundreds of television ads, Henson was already a capitalist when he made \u201cBusiness, Business.\u201d<br \/>\nLOCATION: 150<\/p>\n<p>Henson freely referred to himself as an \u201cartist,\u201d<br \/>\nLOCATION: 154<\/p>\n<p>He owned a business, but his business rested on the ideas the idealists were shouting\u2014brotherhood, joy, and love.<br \/>\nLOCATION: 156<\/p>\n<p>Though a capitalist, he was also a staunch artist.\u201d<br \/>\nLOCATION: 158<\/p>\n<p>When you think of leaving an artistic legacy of lasting good, I don\u2019t think you can aim much higher than Henson\u2019s\u2014the work he created is beloved by so many, twenty-three years after his death, in more than a hundred different countries.<br \/>\nLOCATION: 174<\/p>\n<p>\u201cBeware of artists. They mix with all classes of society and are therefore the most dangerous.\u201d<br \/>\nLOCATION: 185<\/p>\n<p>In 99 percent of cases, you can tell if a man on the street works in finance or acrylic\u2014not because these are mutually exclusive professions, but because we wear our battle colors to show we have chosen a side.<br \/>\nLOCATION: 191<\/p>\n<p>What is a human being? Complex to the point of absurdity, a whole person is both greedy and generous. It is foolish to think we can\u2019t be both artists and entrepreneurs, especially when Henson was so wildly successful in both categories.<br \/>\nLOCATION: 199<\/p>\n<p>Henson was \u201cnotorious for going over budget,\u201d[13] because he made it a point to hire and retain good artists.<br \/>\nLOCATION: 208<\/p>\n<p>When Henson joined on to the experimental PBS show Sesame Street in 1968, he was underpaid for his services<br \/>\nLOCATION: 212<\/p>\n<p>Yet he spent his free nights in his basement, shooting stop-motion films that taught kids to<br \/>\nLOCATION: 214<\/p>\n<p>He had all the makings of a tragic starving artist. The only difference between him and us is that he made peace with money.<br \/>\nLOCATION: 216<\/p>\n<p>The artist who wishes neither to lose his gift nor to starve his belly reserves a protected gift-sphere in which the work is created, but once the work is made he allows himself some contact with the market.<br \/>\nLOCATION: 220<\/p>\n<p>phase\u2014if he is successful in the marketplace, he converts market wealth into gift wealth: he contributes his earnings to the support of his art.<br \/>\nLOCATION: 221<\/p>\n<p>The dance involves art and money, but not at the same time.<br \/>\nLOCATION: 223<\/p>\n<p>Hyde\u2019s dance steps go a little something like this: Make art. Make art make money. Make money make art.<br \/>\nLOCATION: 225<\/p>\n<p>Truly, for Jim Henson, money was a fuel that fed art.<br \/>\nLOCATION: 227<\/p>\n<p>He viewed money as energy, the energy that makes concrete things happen out of worthy ideas. Money was not an end in itself. It could provide physical infrastructure or it could help him hire other artists and technicians to realize a nascent idea. I don\u2019t ever recall him being the least bit concerned or afraid of money or obsessed by it, which many people are. It just wasn\u2019t what drove him\u2014at all.<br \/>\nLOCATION: 229<\/p>\n<p>Maintaining a balance between art and business has always been a part of what I do. You operate with as much honesty and integrity as you can afford. Success has brought the ability to pick and choose what we do.<br \/>\nLOCATION: 235<\/p>\n<p>sketches\u2014becoming the most successful version of yourself.<br \/>\nLOCATION: 241<\/p>\n<p>the first step to making money is an emotional one\u2014to \u201cmake some peace,\u201d as Hyde says, \u201cwith the market.\u201d<br \/>\nLOCATION: 241<\/p>\n<p>whatever your art, there is some business in which you participate.<br \/>\nLOCATION: 245<\/p>\n<p>By closely examining Jim Henson\u2019s relationship with money, we can derive a philosophy that will serve us in our own careers\u2014no matter what they may be.<br \/>\nLOCATION: 253<\/p>\n<p>In his office, Henson hung a \u201cShrine to the Almighty Dollar\u201d\u2014a comically-large dollar bill with a small pyre at its feet.<br \/>\nLOCATION: 254<\/p>\n<p>The dollar meant something to Henson\u2014it meant more art.<br \/>\nLOCATION: 258<\/p>\n<p>what is a hero but a person upon whom to focus one\u2019s thoughts\u2014to imagine one\u2019s dreams?<br \/>\nLOCATION: 260<\/p>\n<p>LESSON 1 FIND A GOOD REASON TO SELL OUT<br \/>\nLOCATION: 265<\/p>\n<p>Henson became a household name, and through Sesame Street toys, Henson became a millionaire. In short, merchandizing is the \u201csecret\u201d to Henson\u2019s success.<br \/>\nLOCATION: 267<\/p>\n<p>Before he became a mogul, he had to find a good reason to do so.<br \/>\nLOCATION: 269<\/p>\n<p>One of the virtues of the second job is that Hyde says it makes it easy for artists to \u201cmark the boundary between their art and the<br \/>\nLOCATION: 271<\/p>\n<p>for many years Edward Hopper did commercial drafting for magazines before his real work became profitable.<br \/>\nLOCATION: 275<\/p>\n<p>magazine money allowed him to keep painting.<br \/>\nLOCATION: 276<\/p>\n<p>with commercials, there were drawbacks.<br \/>\nLOCATION: 276<\/p>\n<p>some part of Henson\u2019s content was always dictated by the sponsor.<br \/>\nLOCATION: 277<\/p>\n<p>\u201cIt was a pleasure to get out of that world. If you\u2019ve ever worked in commercials, it\u2019s a world of compromise and a world of<br \/>\nLOCATION: 278<\/p>\n<p>self-censorship\u2014commercials were more than a compromise for Henson.<br \/>\nLOCATION: 279<\/p>\n<p>\u201cThe whole process is really not easy on a creative<br \/>\nLOCATION: 281<\/p>\n<p>in 1969, Jim Henson decided to stop making commercials.<br \/>\nLOCATION: 282<\/p>\n<p>Henson no longer had the buffer of commercial pay to keep his projects funded.<br \/>\nLOCATION: 284<\/p>\n<p>To keep funding his high-quality work, Henson needed another option to emerge, and almost like karma, one did\u2014merchandizing.<br \/>\nLOCATION: 287<\/p>\n<p>Like commercials, toy merchandizing offered Henson a way to be his own bankroller, and it would be better than commercials, because there would be no boss above his own creative vision; however, at first, Henson refused.<br \/>\nLOCATION: 290<\/p>\n<p>Jim hated the idea of selling out.\u2026<br \/>\nLOCATION: 299<\/p>\n<p>They always wanted to do things for the right reasons.<br \/>\nLOCATION: 300<\/p>\n<p>[T]he whole idea of merchandising made them feel like sell-outs.<br \/>\nLOCATION: 301<\/p>\n<p>you have every child in America watching this show, and one day it will hopefully be worldwide. You\u2019re educating kids better and more creatively than TV ever has.<br \/>\nLOCATION: 304<\/p>\n<p>You can\u2019t not give it to them.<br \/>\nLOCATION: 306<\/p>\n<p>Henson did, in fact, take great pains to make sure the products that made him rich were not \u201cshit.\u201d<br \/>\nLOCATION: 307<\/p>\n<p>Second, you will have full control of what\u2019s done.<br \/>\nLOCATION: 309<\/p>\n<p>Sesame Street\u2019s mission was to educate poor kids.<br \/>\nLOCATION: 311<\/p>\n<p>Henson did not want to sell kids things that were bad for them<br \/>\nLOCATION: 313<\/p>\n<p>Henson would always control the merchandizing; it would never control him.<br \/>\nLOCATION: 314<\/p>\n<p>\u201cThird, if what I believe will happen with this merchandising happens[,] \u2026 you will make enough money to have artistic freedom for the rest of your life.\u201d<br \/>\nLOCATION: 315<\/p>\n<p>Artistic freedom. Those two words sold him \u2026 for an artist to imagine being able to do as his heart desired without asking anyone for money \u2026<br \/>\nLOCATION: 317<\/p>\n<p>It was the desire to be free from the market that ironically convinced Henson to become one of America\u2019s great merchandisers.<br \/>\nLOCATION: 322<\/p>\n<p>Henson had the veto power. He was the one in complete control of his art,<br \/>\nLOCATION: 330<\/p>\n<p>the toys were more than commodities, that they would be art themselves,<br \/>\nLOCATION: 331<\/p>\n<p>The reason that Sesame Street became so lucrative for Henson was copyright and trademark\u2014intellectual property.<br \/>\nLOCATION: 337<\/p>\n<p>Copyright is a key to making money as an artist, because it allows a work of art to be made once at great cost\u2014making it, in a sense, a gift\u2014and then reproduced relatively cheaply, giving back to the creator infinite profits.<br \/>\nLOCATION: 340<\/p>\n<p>Yet, profit for art is usually a long-term prospect.<br \/>\nLOCATION: 351<\/p>\n<p>but that is a long-term approach to value that requires a steady and separate revenue stream\u2014to continually invest in one\u2019s quality and to give, in the short term, more than one receives.<br \/>\nLOCATION: 352<\/p>\n<p>\u201cWe believe that only if our books and playthings are amusing will they be purchased and used enough to have educational value.\u201d<br \/>\nLOCATION: 385<\/p>\n<p>The fact is, when discussing business, it\u2019s perfectly natural to exploit resources and markets, unless of course what\u2019s being exploited is children and their innocent love and trust in us.<br \/>\nLOCATION: 395<\/p>\n<p>An artist can turn anything into art\u2014even a commodity.<br \/>\nLOCATION: 397<\/p>\n<p>\u201cJim\u2019s staff did the initial design work and prototypes (rather than leaving it to the licensee\u2019s research and development area).\u201d[48] Henson approved every licensed product<br \/>\nLOCATION: 399<\/p>\n<p>\u2018We don\u2019t need the money, just make me beautiful products.\u2019<br \/>\nLOCATION: 406<\/p>\n<p>Art, any artist knows, is inherently affirming, wondrous, and nourishing for the creative mind.<br \/>\nLOCATION: 408<\/p>\n<p>If art works, it speaks to you about life.<br \/>\nLOCATION: 410<\/p>\n<p>he almost let people rip him off if it was good. When people made things that he didn\u2019t feel were up to par, then it upset him.\u2026 [H]e wanted it to be at least complimentary.<br \/>\nLOCATION: 416<\/p>\n<p>Jim Henson countered merchandizing\u2019s grossness by using it as an excuse to make more art.<br \/>\nLOCATION: 433<\/p>\n<p>And most importantly, Henson put the profits back into his art.<br \/>\nLOCATION: 434<\/p>\n<p>As Hyde notes, it is a \u201cnecessary\u201d phase for an artist existing in both a gift economy and a market economy: \u201cIf he is successful in the marketplace, he converts market wealth into gift wealth: he contributes his earnings to the support of his art.<br \/>\nLOCATION: 437<\/p>\n<p>PURE ART DON\u2019T SELL FIND A HANDLE<br \/>\nLOCATION: 452<\/p>\n<p>he\u2019d actually licensed a line of toys four years earlier.<br \/>\nLOCATION: 453<\/p>\n<p>An interesting lesson came out of this foray into toys.<br \/>\nLOCATION: 456<\/p>\n<p>These early \u201cMuppets\u201d were truly Henson\u2019s passion, his art in its purest form.<br \/>\nLOCATION: 462<\/p>\n<p>The toy company, it seemed, knew what Henson didn\u2019t. Whatevers, frackles, and snerfs don\u2019t sell. Animals give people an easy handle.<br \/>\nLOCATION: 463<\/p>\n<p>[Henson:] Yeah, all the characters in those days were abstract because that was part of the principle I was working under.\u2026<br \/>\nLOCATION: 467<\/p>\n<p>I still feel are slightly more pure.<br \/>\nLOCATION: 468<\/p>\n<p>Rowlf, our dog, call him a dog, you immediately give the audience a handle. You\u2019re assisting the audience to understand; you\u2019re giving them a bridge<br \/>\nLOCATION: 469<\/p>\n<p>[I]n terms of going commercial and going broad audience, you want to reach the audience as much as possible, and you need those<br \/>\nLOCATION: 471<\/p>\n<p>the \u201cnice thing\u201d about pure characters is the artistic game played with the audience\u2014closer to approaching art\u2014and the nice thing about the handled characters is their mass market appeal\u2014the money and ratings they can generate.<br \/>\nLOCATION: 474<\/p>\n<p>In order for Henson to get to do what he wanted, he had to change<br \/>\nLOCATION: 479<\/p>\n<p>without this initial \u201chandle,\u201d Henson could never have made The Dark Crystal or Fraggle Rock,<br \/>\nLOCATION: 483<\/p>\n<p>Warming up his characters, what we might call \u201cselling out,\u201d allowed him to innovate, and he learned to accept that.<br \/>\nLOCATION: 484<\/p>\n<p>in show business the \u201cmarket\u201d is often the \u201caudience,\u201d it is a blurry line between selling out and reaching many hearts with your gift.<br \/>\nLOCATION: 491<\/p>\n<p>The market can start to shape the work. Yet, some contact with the market will not entirely destroy a work.<br \/>\nLOCATION: 499<\/p>\n<p>all artists are affected by the market<br \/>\nLOCATION: 500<\/p>\n<p>The Muppet Show was an art that made clear compromises to conform to the market\u2014having<br \/>\nLOCATION: 502<\/p>\n<p>The Muppet Show also raised the bar for what was possible on TV, by bringing more art to it than the medium required.<br \/>\nLOCATION: 503<\/p>\n<p>THERE ARE BAD TOYS WHICH MEANS THERE MUST ALSO BE GOOD TOYS<br \/>\nLOCATION: 504<\/p>\n<p>Henson\u2019s great genius lay in his ability to see the humor, the beauty, the art, in everything.<br \/>\nLOCATION: 505<\/p>\n<p>the economic model of the toy works, because the toys can be mass-produced cheaply using a copyright that was very expensive to make.<br \/>\nLOCATION: 514<\/p>\n<p>he would not fall into the trap of creating a company that broke down into two parts\u2014the creative personnel on one side and the business people on the other.<br \/>\nLOCATION: 528<\/p>\n<p>To avoid that schism, he tried to hire business people who would fit comfortably into the creative family that was already in<br \/>\nLOCATION: 529<\/p>\n<p>Henson had famously waited for Frank Oz to finish high school so that he could hire this irreplaceable puppeteering prodigy, and with this same cautious precision, he hired businesspeople he had already worked with and knew he could trust.<br \/>\nLOCATION: 532<\/p>\n<p>Henson had to make sure that every new person could \u201cfit in comfortably to the creative family.\u201d<br \/>\nLOCATION: 535<\/p>\n<p>by hiring the right people to create his toys, Henson turned a commodity into something we might call \u201cpop art.\u201d<br \/>\nLOCATION: 553<\/p>\n<p>Henson loved the handmade item\u2014he filled his home with crafts while he sold their opposite, the mass-manufactured lunchbox.<br \/>\nLOCATION: 557<\/p>\n<p>Henson\u2019s products often retained a glimmer of that \u201cartsy-craftsy\u201d feeling that made them, because he put more work into them than he had to.<br \/>\nLOCATION: 558<\/p>\n<p>PART OF THE PROBLEM TO BE PART OF THE SOLUTION<br \/>\nLOCATION: 560<\/p>\n<p>Henson used his merchandizing profits to make twenty more years of art\u2014art that tried to teach a worldwide audience to live together in peace. He used it to employ hundreds of artists and to inspire millions more. One could argue the world is a little better\u2014because he sold out.<br \/>\nLOCATION: 584<\/p>\n<p>HOW TO ENACT YOUR SELLOUT<br \/>\nLOCATION: 587<\/p>\n<p>We should never sell out to the extent that it would ruin our art or change our gift into an empty commodity.<br \/>\nLOCATION: 588<\/p>\n<p>By viewing them as \u201ccreative freedom,\u201d and then putting his effort into making them \u201cbeautiful,\u201d Henson seemed to sell out in a way that made us love the art no less, and possibly more.<br \/>\nLOCATION: 589<\/p>\n<p>his view of copyright wasn\u2019t about profit; it was about protecting the work.<br \/>\nLOCATION: 595<\/p>\n<p>Your art may not involve characters or anything merchandisable, but there may yet be some way in which mass production or mass media can benefit you.<br \/>\nLOCATION: 597<\/p>\n<p>Copyright creates a nice loophole for artists in the law that says they must starve. If you can make a work once and profit infinitely\u2014proportional to the amount of times the art is given\u2014then you can beat the system.<br \/>\nLOCATION: 599<\/p>\n<p>Regardless of what your art is, in the larger sense, there may be an option for revenue<br \/>\nLOCATION: 602<\/p>\n<p>The trick is to be open to the possibilities.<br \/>\nLOCATION: 604<\/p>\n<p>What would you never do for money? How could you convince yourself to do it\u2014for art?<br \/>\nLOCATION: 606<\/p>\n<p>However you choose to address the grossness of the problem will resemble the rest of your art<br \/>\nLOCATION: 607<\/p>\n<p>Reconsider selling out as quite possibly buying you time later to be more pure.<br \/>\nLOCATION: 609<\/p>\n<p>you might need a handle for the masses to grasp your idea, but once you have it, your audience will follow you into any strange and darkened corner of your imagination\u2014into places you never thought possible.<br \/>\nLOCATION: 610<\/p>\n<p>the market\u2019s demand can give you the artistic freedom<br \/>\nLOCATION: 612<\/p>\n<p>if you do \u201ccash in\u201d on a big wave, it is \u201cnecessary,\u201d in Hyde\u2019s words, to funnel the profits back into the art.<br \/>\nLOCATION: 614<\/p>\n<p>There is always something bigger and better you want to make but just don\u2019t have the money for.<br \/>\nLOCATION: 615<\/p>\n<p>For myself, the switch from fiction to nonfiction is my sellout,<br \/>\nLOCATION: 619<\/p>\n<p>I was spending hundreds of hours crafting my fiction, but the only place I managed to publish it was a very small press that didn\u2019t pay<br \/>\nLOCATION: 619<\/p>\n<p>I wanted the kind of work Henson had\u2014fun, difficult, rewarding, worthwhile. I started to study his business methods,<br \/>\nLOCATION: 623<\/p>\n<p>cartoonists\u2014Henson\u2019s legacy is clearly one of benevolence, art, and giving, and it is lasting.<br \/>\nLOCATION: 624<\/p>\n<p>For me, writing a prescriptive book is a \u201chandle\u201d to get my ideas across.<br \/>\nLOCATION: 626<\/p>\n<p>I could not have learned so much about business from anyone else besides Jim Henson.<br \/>\nLOCATION: 628<\/p>\n<p>Truly, there is no one alive today who knows the way for you to become a successful artist. To find it, you\u2019ll need to imagine it.<br \/>\nLOCATION: 632<\/p>\n<p>It was the Sesame Street licensing bonanza that made Jim Henson rich, but that stroke of luck didn\u2019t appear overnight.<br \/>\nLOCATION: 695<\/p>\n<p>to get Kermit to the point in 1976 when he was incredibly marketable, it took forty years<br \/>\nLOCATION: 698<\/p>\n<p>art is work.<br \/>\nLOCATION: 700<\/p>\n<p>if you\u2019re wondering why, as the song goes, you haven\u2019t made it yet, perhaps you just haven\u2019t earned it yet.<br \/>\nLOCATION: 700<\/p>\n<p>As artists, we desire nothing more than the freedom to work long hours on our art.<br \/>\nLOCATION: 701<\/p>\n<p>you need to shift that freedom into its opposite form\u2014total self-sacrifice and servitude.<br \/>\nLOCATION: 702<\/p>\n<p>You must give many hours to the work\u2014hours that you do not want to give, but feel you must give.<br \/>\nLOCATION: 703<\/p>\n<p>art is\u2014a sacrifice of one\u2019s time, one\u2019s lifetime, to make others feel something.<br \/>\nLOCATION: 707<\/p>\n<p>A sacrifice, a gift, an object upon which people think in wonder, Did he really give up his life for this?<br \/>\nLOCATION: 709<\/p>\n<p>It is a special kind of work that artists must do, and it is a kind of work that sometimes looks nothing like work at all.<br \/>\nLOCATION: 712<\/p>\n<p>Henson was always working, and because he was always working, he was always playing.<br \/>\nLOCATION: 712<\/p>\n<p>Henson labored in service of his gift, labor that often came to nothing,<br \/>\nLOCATION: 714<\/p>\n<p>Learn to work without hope of reward.<br \/>\nLOCATION: 716<\/p>\n<p>START WITH ANY ROCK AND PUSH DO SOMETHING REPETITIVELY<br \/>\nLOCATION: 717<\/p>\n<p>As the club\u2019s set designer, had never actually puppeteered before, so he taught himself.<br \/>\nLOCATION: 720<\/p>\n<p>Producers from another network saw his work and hired him. In time, they gave him his own show, and years later, he would be remembered as the premier creator of TV puppetry.<br \/>\nLOCATION: 721<\/p>\n<p>the real secret to Henson\u2019s success was hard work.<br \/>\nLOCATION: 723<\/p>\n<p>It was lucky that a director from WRC-TV, a local NBC affiliate, happened to be on set to scout his talent, but he had to work a kiddie show to earn that luck.<br \/>\nLOCATION: 728<\/p>\n<p>But the job was more than money. As he had learned, work was exposure.<br \/>\nLOCATION: 738<\/p>\n<p>the producer Carl Degen saying of Jim, \u2018The kid is positively a genius. He\u2019s absolutely<br \/>\nLOCATION: 740<\/p>\n<p>With a nightly show comes the kind of ball-and-chain the artist needs to evolve.<br \/>\nLOCATION: 746<\/p>\n<p>Being locked in like this forced Henson to continually innovate, but he surely grew weary of it.<br \/>\nLOCATION: 747<\/p>\n<p>It wasn\u2019t just writing the scripts; designing and building the props, sets, and puppets; and recruiting performers. It wasn\u2019t just the daily pressure to come up with new ideas. It was also the years of nurturing his imagination.<br \/>\nLOCATION: 759<\/p>\n<p>In his spare time, he\u2019d be in the control room trying to understand what was going on.<br \/>\nLOCATION: 765<\/p>\n<p>This learning experience is what allowed Henson to develop his own system for performing with puppets on TV<br \/>\nLOCATION: 774<\/p>\n<p>According to Jerry Seinfeld, the only way to learn is on stage.<br \/>\nLOCATION: 778<\/p>\n<p>Though great art can surely be tainted by the marketplace, we must not go so far as to shut our work off from an audience.<br \/>\nLOCATION: 780<\/p>\n<p>Does this mean the artist must conform to what people want?<br \/>\nLOCATION: 781<\/p>\n<p>style grows alongside their reactions to it, either to become recalcitrant and stubborn or to yield and give in\u2014depending<br \/>\nLOCATION: 782<\/p>\n<p>Fortunately for Henson, the network didn\u2019t ask him to rein in his weird ideas\u2014they let him find the limit himself.<br \/>\nLOCATION: 789<\/p>\n<p>Ultimately, this sacrifice\u2014years of giving his life away\u2014is what makes Henson\u2019s characters seem human.<br \/>\nLOCATION: 807<\/p>\n<p>It had to be learned through experience, through experimentation. By doing.<br \/>\nLOCATION: 808<\/p>\n<p>There is something about a character that operates like a black hole\u2014all the work you put into him stays with him.<br \/>\nLOCATION: 811<\/p>\n<p>Practice\u2014it can be grueling, thankless, and unceasing\u2014but in devoting oneself to trial and error, an artist is investing in the worth of one\u2019s name.<br \/>\nLOCATION: 813<\/p>\n<p>Of the twenty-four hours of Henson\u2019s day, all of them went into his art in some way,<br \/>\nLOCATION: 815<\/p>\n<p>artist does not experience his time as leisure. It\u2019s work, and it\u2019s work that\u2019s never done.<br \/>\nLOCATION: 817<\/p>\n<p>When you eat, sleep, and breathe your art, you never get a vacation, yet Henson and Disney chose it\u2014willingly.<br \/>\nLOCATION: 823<\/p>\n<p>there are two types of work in the story. The shoemaker\u2019s work resembles a factory job\u2014there is no art in such robotic tasks\u2014tracing patterns, cutting them out. What the elves do, on the other hand, is more like magic. They are the artists. They sew in such a unique and gifted way as to produce quality\u2014and not everyone can do it.<br \/>\nLOCATION: 834<\/p>\n<p>When artists speak of \u201cpracticing your craft\u201d or \u201cserving your gift,\u201d we might picture this kind of endless robotic toil.<br \/>\nLOCATION: 837<\/p>\n<p>\u201cWork is what we do by the hour,\u201d Hyde says, \u201cit ends at a specific<br \/>\nLOCATION: 840<\/p>\n<p>\u201cLabor has its own schedule. Things get done, but we often have the odd sense that we didn\u2019t do<br \/>\nLOCATION: 841<\/p>\n<p>Henson himself said, \u201c[W]hen I\u2019m working well ideas just appear.\u2026 It\u2019s just a matter of our figuring out how to receive the<br \/>\nLOCATION: 844<\/p>\n<p>\u201cAnd labor,\u201d Hyde notes, \u201cbecause it sets its own pace, is usually accompanied by idleness, leisure, even sleep.\u201d<br \/>\nLOCATION: 850<\/p>\n<p>A labor, Hyde says, is \u201csomething that is often urgent but that nevertheless has its own interior rhythm, something more bound up with feeling, more interior, than work.\u201d<br \/>\nLOCATION: 852<\/p>\n<p>For an artist, there is nothing more fulfilling than making good art.<br \/>\nLOCATION: 869<\/p>\n<p>Henson said, \u201cThe feeling of accomplishment is more real and satisfying than finishing a good meal or looking at one\u2019s accumulated<br \/>\nLOCATION: 869<\/p>\n<p>If you can practice your art enough to observe what your body does, you can learn to do it at will\u2014with your conscious mind.<br \/>\nLOCATION: 873<\/p>\n<p>The part of us that creates is often something we\u2019re ashamed of. Consciously, we ignore it. Society encourages this.<br \/>\nLOCATION: 875<\/p>\n<p>all three are necessary work for every working artist\u2014cutting the leather, selling the shoes, and working the magic.<br \/>\nLOCATION: 887<\/p>\n<p>\u201cYear after year, we watched him push himself beyond what we could possibly imagine. You had to try to keep<br \/>\nLOCATION: 913<\/p>\n<p>\u201cIt\u2019s hard for people to understand the reason Jim worked so hard is [that] he loved<br \/>\nLOCATION: 915<\/p>\n<p>Henson said, \u201cPerhaps one thing that has helped me in achieving my goals is that I sincerely believe in what I do, and get pleasure from it.<br \/>\nLOCATION: 918<\/p>\n<p>For artists, like entrepreneurs, it seems, it\u2019s all or nothing\u2014frequently poverty or riches\u2014but a traditional middle-class life it\u2019s not.<br \/>\nLOCATION: 956<\/p>\n<p>I sincerely believe in what I do, and get pleasure from it. I feel very fortunate because I can do what I love to do.<br \/>\nLOCATION: 958<\/p>\n<p>The thing that makes sacrifice worthwhile is that you believe in it.<br \/>\nLOCATION: 960<\/p>\n<p>Career ambitions and life goals for Henson were one and the same.<br \/>\nLOCATION: 971<\/p>\n<p>It is refreshing to know that even someone as driven and ambitious as Henson had his moments of self-doubt, and to know that when he did, he didn\u2019t try to work against the doubt\u2014he explored it.<br \/>\nLOCATION: 994<\/p>\n<p>To have a certainty in one\u2019s purpose is crucial, to feel that one is doing<br \/>\nLOCATION: 1002<\/p>\n<p>COROLLARY TO LESSON 2 BE LUCKY<br \/>\nLOCATION: 1021<\/p>\n<p>Henson had been learning to be a boss, he had been cultivating an intense work ethic, and he had developed a home-grown aesthetic.<br \/>\nLOCATION: 1071<\/p>\n<p>Henson\u2019s shoestring budget resulted in Kermit being fashioned out of fabric from his mother\u2019s old<br \/>\nLOCATION: 1072<\/p>\n<p>His work in commercials led both to a healthy workshop budget and eventually to Sesame Street,<br \/>\nLOCATION: 1073<\/p>\n<p>Henson may not have chosen his career up until 1958, but he was able to turn burdens into strengths.<br \/>\nLOCATION: 1076<\/p>\n<p>\u201cTake what you got and fly with it,\u201d Henson said.<br \/>\nLOCATION: 1076<\/p>\n<p>look for individuals who turned burdens into advantages with a little art.<br \/>\nLOCATION: 1082<\/p>\n<p>When used correctly, anything can be turned into music\u2014anything can make us dance.<br \/>\nLOCATION: 1086<\/p>\n<p>WHAT HAVE YOU ALREADY PRACTICED? PRACTICE IT MORE<br \/>\nLOCATION: 1092<\/p>\n<p>You don\u2019t have to be at the right place at the right time. You have to know what your time and place is good for.<br \/>\nLOCATION: 1097<\/p>\n<p>Part of the game of art is taking what is, playing with it, and seeing what could be.<br \/>\nLOCATION: 1102<\/p>\n<p>We are all lucky for something. The trick is in knowing how you are uniquely lucky, and in turning that gift into something others can appreciate.<br \/>\nLOCATION: 1112<\/p>\n<p>HOW TO MAKE YOUR OWN LUCK (HAVE A WORKSHOP IN YOUR BASEMENT OR GARAGE)<br \/>\nLOCATION: 1114<\/p>\n<p>Play and experimentation loosens our grip on life and allows for more chance luck to surprise us.<br \/>\nLOCATION: 1115<\/p>\n<p>bring your work home with you, to let your work take over your life,<br \/>\nLOCATION: 1117<\/p>\n<p>Creating a workspace in your home makes a space in your future for breakthroughs and epiphanies to exist<br \/>\nLOCATION: 1121<\/p>\n<p>Behind Henson\u2019s stroke of luck lies a graveyard of TV pilots that were not picked up<br \/>\nLOCATION: 1128<\/p>\n<p>Henson had worked hard for that luck.<br \/>\nLOCATION: 1130<\/p>\n<p>The key to your success may lie in something you already do, but do not yet see as your power,<br \/>\nLOCATION: 1136<\/p>\n<p>If you look back at the successes you\u2019ve had with your art, can you remember how much work they took?<br \/>\nLOCATION: 1145<\/p>\n<p>Really observe the way you work\u2014even the parts you are ashamed to acknowledge.<br \/>\nLOCATION: 1149<\/p>\n<p>There is nothing worse than not working on something you believe in.<br \/>\nLOCATION: 1161<\/p>\n<p>GIVE SOMEONE ELSE A BREAK HIRE SOMEONE<br \/>\nLOCATION: 1239<\/p>\n<p>Sugith Varughese, said of his scripts: You feel like you were channeling something. It wasn\u2019t coming from me, it was coming from this collective funnel of creativity that came through because of the juxtaposition of real specific people like Jerry Juhl and Jim, and I was just lucky to be in the room. And it just passed through<br \/>\nLOCATION: 1241<\/p>\n<p>There is something about collaboration that encourages more play<br \/>\nLOCATION: 1245<\/p>\n<p>Henson had great power, but it came from generosity. If you want a job like Henson\u2019s, you need to give someone else a job.<br \/>\nLOCATION: 1249<\/p>\n<p>Art is often more interesting to the audience when artists collaborate.<br \/>\nLOCATION: 1254<\/p>\n<p>The kind of art Henson wanted to make required collaboration.<br \/>\nLOCATION: 1257<\/p>\n<p>What we feel as an audience is that a lot of people really enjoyed working together, something we don\u2019t get to experience very often in our own careers.<br \/>\nLOCATION: 1263<\/p>\n<p>Through stepping back, Henson learned he could step back, because the show was bigger than just him.<br \/>\nLOCATION: 1294<\/p>\n<p>Henson\u2019s marriage effectively set the tone for the kind of relationship he would cultivate with his next employees\u2014that of partnership, family, and brotherhood.<br \/>\nLOCATION: 1301<\/p>\n<p>When Kermit sings \u201cGetting there is half the fun, come share it with me,\u201d it\u2019s a basic sentiment, but one that was at the heart of the company\u2019s philosophy.<br \/>\nLOCATION: 1348<\/p>\n<p>It ends with the poignant line, \u201cWhen all these people believe in you \u2026 maybe even you can believe in you, too.\u201d<br \/>\nLOCATION: 1351<\/p>\n<p>FIND YOUR PEOPLE WITH A SILLINESS AUDITION<br \/>\nLOCATION: 1355<\/p>\n<p>You need to find the right people, people like you.<br \/>\nLOCATION: 1357<\/p>\n<p>Reading these accounts, it almost seems like the most important thing to display at the interview was an ability to have fun while working together.<br \/>\nLOCATION: 1386<\/p>\n<p>Working together is a crucial skill, because as Dave Goelz said, \u201cAlmost nothing in the Muppets is ever done in isolation. No one ever does anything really by themselves.\u201d[28] Puppeteers attended script meetings, and writers watched the tapings. A songwriter and lyricist played off one another, and off the script, which sometimes took its visual cues out of the song lyrics. As Goelz said, Henson\u2019s organization was \u201cinterdependent,\u201d[29] just like the Rock itself.<br \/>\nLOCATION: 1402<\/p>\n<p>LAUGHTER TENSION\u2019S SWEETER SISTER<br \/>\nLOCATION: 1420<\/p>\n<p>In play, there is room for everyone, because there are infinite roles to play\u2014you can change the game to make room. The conversion of competitive tendencies into play is truly the essence of Henson\u2019s work.<br \/>\nLOCATION: 1455<\/p>\n<p>Henson\u2019s relationships with fellow puppeteers is a model to follow in artistic fields where (1) tension can be channeled to serve to work, and (2) everyone\u2019s work is in its own style.<br \/>\nLOCATION: 1456<\/p>\n<p>A HANDSHAKE MAN NO HR PROFESSIONAL<br \/>\nLOCATION: 1458<\/p>\n<p>separating business and creative conversations is important; it creates a sense of play that is independent from economics.<br \/>\nLOCATION: 1492<\/p>\n<p>For artists, money is often an afterthought, because the primary goal is making something good.<br \/>\nLOCATION: 1494<\/p>\n<p>For people who work day and night, the line between job and life is indistinguishable, and so is the line between coworker and friend.<br \/>\nLOCATION: 1510<\/p>\n<p>ADDENDUM TO LESSON 3 WHY PEOPLE WORK FOR YOU<br \/>\nLOCATION: 1512<\/p>\n<p>what every artist wants\u2014a chance to be loved for the hard work that only he can do. To be rewarded for doing one\u2019s art. Not just a cheap, profitable derivative of one\u2019s art, but the real thing\u2014the whole thing\u2014what he was born to do, and do masterfully.<br \/>\nLOCATION: 1527<\/p>\n<p>Artists work for artists for good reason. It is because they are \u201cpassionate,\u201d in Goelz\u2019s words, about art; they want to \u201cbecome\u201d something, in Prell\u2019s words; to have a \u201cmeaningful career\u201d in Bailey\u2019s.<br \/>\nLOCATION: 1552<\/p>\n<p>QUALIFICATION TO ADDENDUM NOT EVERYONE WANTS TO WORK FOR YOU<br \/>\nLOCATION: 1556<\/p>\n<p>SIDEBAR ON FREELANCERS<br \/>\nLOCATION: 1573<\/p>\n<p>HERE\u2019S ANOTHER OPTION YOU CAN BE A HENSON OR YOU CAN BE A SPINNEY<br \/>\nLOCATION: 1623<\/p>\n<p>If one is too \u201cprecious\u201d about one\u2019s art, one can\u2019t leverage its power as well to the benefit and survival of that art.<br \/>\nLOCATION: 1659<\/p>\n<p>It may be better to be a Spinney. It\u2019s harder to be a Henson.<br \/>\nLOCATION: 1663<\/p>\n<p>You don\u2019t have to be a Henson. But if you\u2019re going to be a Spinney, you need to find a Henson.<br \/>\nLOCATION: 1666<\/p>\n<p>HOW TO START A SNOWBALL<br \/>\nLOCATION: 1671<\/p>\n<p>a great deal of his success came not from him alone but from the snowballing of a lot of creative artists working together.<br \/>\nLOCATION: 1673<\/p>\n<p>when you pay another artist to help you, you give them more than the check; you give them the message that good art is worth paying for.<br \/>\nLOCATION: 1681<\/p>\n<p>oftentimes, without money, collaboration cannot happen.<br \/>\nLOCATION: 1684<\/p>\n<p>Please don\u2019t fall into the trap of becoming professional. Be yourself.<br \/>\nLOCATION: 1688<\/p>\n<p>To him, business was a handshake\u2014an acknowledgment that both parties were on the same page.<br \/>\nLOCATION: 1690<\/p>\n<p>When you find good collaborators, you will do your darnedest to keep them around.<br \/>\nLOCATION: 1691<\/p>\n<p>the first step is very simple: reach out to other artists.<br \/>\nLOCATION: 1694<\/p>\n<p>Imagine yourself as a \u201cfearless leader\u201d of artists, leaving a legacy like his.<br \/>\nLOCATION: 1695<\/p>\n<p>When the right people appear in your life, they will have their own reasons for joining you.<br \/>\nLOCATION: 1699<\/p>\n<p>you, for whatever reason, can help them achieve their dreams.<br \/>\nLOCATION: 1700<\/p>\n<p>Collaboration with other artists lightens the load for you. You don\u2019t have to do it all by yourself. What do you dream of?<br \/>\nLOCATION: 1702<\/p>\n<p>MAKE COMMERCIALS FOR YOU HIJACK THE AD<br \/>\nLOCATION: 1777<\/p>\n<p>Henson\u2019s art relied on keeping a core group of people together.<br \/>\nLOCATION: 1777<\/p>\n<p>Without financial incentive, collaborators tend to move away, get families, get other jobs\u2014ones that do pay.<br \/>\nLOCATION: 1778<\/p>\n<p>Art alone doesn\u2019t usually pay the bills, so what is an artist to do? Go where the money is.<br \/>\nLOCATION: 1779<\/p>\n<p>Effectively, making TV commercials was Henson\u2019s second job to finance the rest of his artistic projects.<br \/>\nLOCATION: 1781<\/p>\n<p>If you\u2019ve ever worked in commercials, it\u2019s a world of compromise<br \/>\nLOCATION: 1787<\/p>\n<p>Henson\u2019s Vonnegutian so-it-goes signoff implies he was happy to leave his past\u2014the frustration of commercial work\u2014in the past. But commercials, as they say, paid the bills.<br \/>\nLOCATION: 1794<\/p>\n<p>Hopper\u2019s work for magazines was a response to a market demand, and the results are commercial art.<br \/>\nLOCATION: 1803<\/p>\n<p>Hopper\u2019s work for magazines should be considered not a part of his art at all but a second job taken to support his true<br \/>\nLOCATION: 1804<\/p>\n<p>Hopper\u2019s career was split in two,<br \/>\nLOCATION: 1805<\/p>\n<p>calls a \u201cprotected gift sphere\u201d for himself, a space for his work to grow on its own terms, free from market demand.<br \/>\nLOCATION: 1806<\/p>\n<p>Commercials protected Henson\u2019s art because they allowed him to do projects based on their merit, not for the money, until, of course, one came along that made its own money\u2014the surprise hit Sesame Street.<br \/>\nLOCATION: 1818<\/p>\n<p>It seems advisable, then, for an ambitious artist to take on a second job like Henson did, in commercials.<br \/>\nLOCATION: 1820<\/p>\n<p>Commercials can be good money, but they are not to be undertaken lightly by artists.<br \/>\nLOCATION: 1823<\/p>\n<p>Television and its ads are a delusional system, and it takes a special kind of mindset to participate in them without losing your way as an artist.<br \/>\nLOCATION: 1832<\/p>\n<p>STRANGE BEDFELLOWS IN BED WITH BAD COMPANY<br \/>\nLOCATION: 1834<\/p>\n<p>We think of Henson as artsy-craftsy, philanthropic, and slightly revolutionary, so it is strange to think of him making commercials for gasoline, banks, or junk food in good conscience. Part of the problem with ads is that when you endorse a for-profit business, you never really know who you\u2019re in bed with.<br \/>\nLOCATION: 1835<\/p>\n<p>But effectively, when you make commercials, you are often helping a for-profit company with a good deal of money, and often the reason that company has so much money is due to exploitation and disregard for humanity.<br \/>\nLOCATION: 1846<\/p>\n<p>Henson seemed to be somewhat selective in the kinds of companies he worked for, and at the time, we perhaps didn\u2019t know how harmful oil dependence or factory farming could be.<br \/>\nLOCATION: 1848<\/p>\n<p>servers. In the arms race of office technology, the company these new tools helped most was IBM. Henson did even more for the growing technology company, creating entertainment for the salesmen themselves to watch for inspiration.<br \/>\nLOCATION: 1858<\/p>\n<p>INTO THE LIAR\u2019S DEN HOW HENSON COULD BRING HIMSELF TO PROMOTE THIS JUNK<br \/>\nLOCATION: 1868<\/p>\n<p>Though it would seem like a hassle to have to read copy about juicy chicken wings, Henson created skits around these lines, often tongue-in-cheek.<br \/>\nLOCATION: 1877<\/p>\n<p>There is a fun, ironic quality to it, almost like it is a spoof of the ad copy itself.<br \/>\nLOCATION: 1884<\/p>\n<p>Henson was co-opting the sponsor spot and using it as his own airtime. If given the choice to cede some of your precious five minutes to a commercial sponsor or to use that time for an extra skit, it\u2019s easy to see why an artist might choose to do promos.<br \/>\nLOCATION: 1884<\/p>\n<p>It seems only natural, then, that upon seeing these Esskay promos, other companies would start to ask Henson to have his puppets spoof their chicken, their coffee, their photocopiers, and so on. A great commercial advertiser, it seems, was born accidentally.<br \/>\nLOCATION: 1888<\/p>\n<p>These ads are<br \/>\nLOCATION: 1904<\/p>\n<p>Yet Henson did have a problem with commercials.<br \/>\nLOCATION: 1905<\/p>\n<p>According to Falk, Henson made \u201cFlapsole Sneakers\u201d to \u201cplay around.\u201d[34] But more than that, the fake ad displays Henson\u2019s obvious disdain for, and discomfort with, the job he was paid to do. \u201cFlapsole Sneakers\u201d is a parody of opportunist advertising, of selling unrealistic desires, and its complicit knowledge that products are not what they seem. At the end, it seems to say, none of these products will ever be enough, so when you\u2019ve bought them all, we\u2019ll sell you imaginary financial \u201cproducts,\u201d which, of course, will make the fund managers rich. At its core, advertising is a game of con-artistry. At its most honest, it tells you where you can throw away your money on fleeting pleasure.<br \/>\nLOCATION: 1910<\/p>\n<p>Ads trick us, making us think they\u2019re our friend, when they\u2019re really working for someone with interests that conflict with<br \/>\nLOCATION: 1916<\/p>\n<p>And here is how Henson the artist managed to survive in the world of commercials for so long. Henson didn\u2019t just parody ads in this for-fun reel. He parodied ads in every one of his for-real commercials.<br \/>\nLOCATION: 1919<\/p>\n<p>PARODY THE AD WHILE STILL PLAYING THE GAME<br \/>\nLOCATION: 1923<\/p>\n<p>He was \u2026 making fun of Madison Avenue and the way things were sold, and yet he was very successful at it. He was much loved by the Madison Avenue executives. Maybe having it come from a puppet character made it<br \/>\nLOCATION: 1925<\/p>\n<p>\u201cTypically, Jim was making fun of the capitalistic ambitions of the people that hired<br \/>\nLOCATION: 1931<\/p>\n<p>And for some reason, when working with puppets, negative emotions seem to be converted into play\u2014into laughter.<br \/>\nLOCATION: 1947<\/p>\n<p>Henson\u2019s strategy seemed to imply that people value laughter more than basically anything else\u2014more, we see here, than their own pride.<br \/>\nLOCATION: 1948<\/p>\n<p>It shows them by making the client laugh. If Henson can make the client laugh, they know he can make their audiences laugh.<br \/>\nLOCATION: 1950<\/p>\n<p>Henson\u2019s ads functioned more like public service spots, alerting the viewer to the motives and tricks of Madison Avenue. It was education, teaching anti-ad-literacy.<br \/>\nLOCATION: 1964<\/p>\n<p>AD VS. ART AD AS ART<br \/>\nLOCATION: 1968<\/p>\n<p>Many of the most famous Muppets were created for ad campaigns: Big Bird is really a variation of a seven foot dragon created by Henson for La Choy commercials; Cookie Monster was a pitchman for Frito Lay; Grover was used in promotional films for IBM.<br \/>\nLOCATION: 1974<\/p>\n<p>Henson did retool his commercial characters in service of education, yet it would be quite wrong to think of Henson as an advertiser-turned-artist. He didn\u2019t get his start doing ads. He got his start doing puppets, and that just so happened to lead him into ads and education, not because he chose those worlds, but because they chose him.<br \/>\nLOCATION: 1976<\/p>\n<p>Jim Henson\u2019s company, called Muppets Incorporated at the time,[50] was not a subsidiary of any advertising company. It was both its own advertising company and its own production company.<br \/>\nLOCATION: 1988<\/p>\n<p>What made Henson different from the Mad Men was that Henson\u2019s enthusiasm in his ads came from an honest belief that he had something to offer viewers.<br \/>\nLOCATION: 1999<\/p>\n<p>Henson pitched his commercials the same way a playwright would pitch his play to a theater\u2014giving it everything to get to make his art.<br \/>\nLOCATION: 2001<\/p>\n<p>That is because a person who makes art and also sells art thinks in a very uncommon way.<br \/>\nLOCATION: 2012<\/p>\n<p>If you want to go from being an artist with a day job to being an artist whose work pays for itself, exposure is the key.<br \/>\nLOCATION: 2013<\/p>\n<p>With enough exposure, an artist can find his market, or perhaps create it. Henson\u2019s commercials were, in a sense, a lot of free exposure. Shifting the lens a bit, they were an ad for his own work.<br \/>\nLOCATION: 2014<\/p>\n<p>There is a simple joy in humanity that runs through all Henson\u2019s projects. The knowing positivity of Henson\u2019s Muppets is just as strong in the ads as it is in The Muppet Movie.<br \/>\nLOCATION: 2017<\/p>\n<p>UNCOMMON ADMAKING WHAT IT LOOKS LIKE<br \/>\nLOCATION: 2027<\/p>\n<p>We hate ads because they are false, because they lie to us.<br \/>\nLOCATION: 2028<\/p>\n<p>To clear up confusion, Henson paid for this ad, giving Brillstein\u2019s start-up some much-needed publicity. When you see ads like this one in the newspaper<br \/>\nLOCATION: 2036<\/p>\n<p>It changes the way you think of advertising. It becomes less like a scam and more like communicating something important to a large number of people.<br \/>\nLOCATION: 2038<\/p>\n<p>Although commercial work may have given Henson some of his ten thousand hours of puppetry, eventually day jobs tend to drain energy away from one\u2019s art. In 1969, Henson quit the ad game, and his move suggests that in the long run, it is a game an artist really can\u2019t win.<br \/>\nLOCATION: 2066<\/p>\n<p>STOP AS SOON AS YOU CAN SAY NO TO ADS WHEN YOU CAN AFFORD TO<br \/>\nLOCATION: 2068<\/p>\n<p>Jim\u2019s rule was simple: Don\u2019t sell [the copyrights to]<br \/>\nLOCATION: 2077<\/p>\n<p>Even early on, when he arguably needed it most, Henson refused some money. If inflation calculators can be trusted, that would look more like $400,000 today.<br \/>\nLOCATION: 2078<\/p>\n<p>Sesame Street gave Henson the excuse he needed to refuse commercials altogether.<br \/>\nLOCATION: 2080<\/p>\n<p>Sesame Street was born of 1960s idealism, and it was revolutionary. Henson signed on to the project before anyone knew that Sesame Street would be a success, because he believed it had a mission worth supporting.<br \/>\nLOCATION: 2084<\/p>\n<p>Sesame Workshop\u2019s mission is \u201cto use the educational power of media to help children everywhere reach their highest<br \/>\nLOCATION: 2086<\/p>\n<p>With Sesame Street came a firm moral reason for Henson to quit his second job.<br \/>\nLOCATION: 2092<\/p>\n<p>Henson couldn\u2019t make commercials and Sesame Street, because he was channeling the power of advertising now for good.<br \/>\nLOCATION: 2100<\/p>\n<p>This is Gladwell\u2019s point when he says Sesame Street grew out of commercials. The creator-producer of Sesame Street, Joan Ganz Cooney, explained in her research: Parents report that their children learn to recite all sorts of advertising slogans, read product names on the screen (and, more remarkably, elsewhere) and to sing commercial<br \/>\nLOCATION: 2103<\/p>\n<p>Sesame Street, on purpose, used what was already transfixing young minds to their TVs. Michael Davis put it best: If the neurotransmitters in their little brains could snap, crackle, and pop for a cereal commercial, couldn\u2019t similar electrical activity be duplicated by teaching children the concepts of over, around, under, and through<br \/>\nLOCATION: 2106<\/p>\n<p>The segments on Sesame Street were ads\u2014ads for literacy, good behavior, number skills, peace, and love.<br \/>\nLOCATION: 2110<\/p>\n<p>If Henson were to continue making commercials, it would be damaging to his credibility as an educator.<br \/>\nLOCATION: 2111<\/p>\n<p>Kermit, the frog, is a Muppet I made over ten years ago and have used on many network shows and commercials. For the past ten or twelve years, approximately half my income has been derived from producing Muppet commercials.\u2026 However, since the advent of Sesame Street, and my own interest and concern for children\u2019s television (I am an enthusiastic member of Action for Children\u2019s Television), I have become a great deal more selective, and have turned down many lucrative offers that seemed to be trying to capitalize on Sesame Street.\u2026 The Children\u2019s Television Workshop is a very dedicated group of people who function with the highest sense of integrity. To mistakenly attribute a motive of exploitation to these people is not only insulting but potentially quite damaging to the job they are doing. As for myself, I don\u2019t intend to leave commercial television. This is where the Muppets and I have worked for many years, and it is the income from commercial TV that makes my participation in educational TV possible. What I will try to do is what I have tried to do on Sesame Street this season, that is, to work<br \/>\nLOCATION: 2128<\/p>\n<p>Yet, for Henson, compromise had actually led him to integrity. In his own words, \u201cit is the income from commercial TV that makes my participation in educational TV possible.\u201d<br \/>\nLOCATION: 2141<\/p>\n<p>When The Muppet Show aired in 1975, Henson could have used the characters\u2014who were in no way educational\u2014in commercials, yet he did so only sparingly. At that point, his business generated enough money on its own that commercials were not necessary, and Henson could afford to be choosy. Throughout the seventies and eighties, Henson only made a handful of commercials, according to archivist Falk, \u201cwhere he felt the situation and product was particularly<br \/>\nLOCATION: 2142<\/p>\n<p>Henson saw commercials for what they are\u2014tools. And tools are neither good nor bad; it\u2019s what you make that is.<br \/>\nLOCATION: 2156<\/p>\n<p>A Muppet protagonist would rather die than be the puppet of an unjust cause.<br \/>\nLOCATION: 2160<\/p>\n<p>Henson made art make money and then made money make art.<br \/>\nLOCATION: 2166<\/p>\n<p>And though it was right for Henson to quit ads when he did, they were an important step along the way.<br \/>\nLOCATION: 2166<\/p>\n<p>THE ONLY WAY TO STOP IS TO (FIRST) START RETHINKING THE AD<br \/>\nLOCATION: 2167<\/p>\n<p>Movies, by nature, are less gift than TV. With TV, fans don\u2019t buy a show\u2014advertisers do.<br \/>\nLOCATION: 2179<\/p>\n<p>Moviegoers don\u2019t get a free lunch. They get the lunch they\u2019ve paid for.<br \/>\nLOCATION: 2180<\/p>\n<p>Ads can be exploitative and obnoxious, but if you\u2019re smart enough to ignore them<br \/>\nLOCATION: 2187<\/p>\n<p>lives\u2014what ads really do is facilitate the consumption of free art.<br \/>\nLOCATION: 2188<\/p>\n<p>Henson\u2019s characters were also a gift\u2014ads\u2019 gift to everyone.<br \/>\nLOCATION: 2200<\/p>\n<p>But ads are themselves tools\u2014exposure\u2014that can be used for various purposes, including good ones.<br \/>\nLOCATION: 2202<\/p>\n<p>Yes, Henson ultimately had to refuse commercials to protect Sesame Street. But without Henson\u2019s participation in commercials, there would be no Sesame Street to protect.<br \/>\nLOCATION: 2207<\/p>\n<p>HOW TO HIJACK YOUR DAY JOB<br \/>\nLOCATION: 2208<\/p>\n<p>Where is the money right now? Where are the thieves? Where is the most potential to impress people with a little art? Where might you come in?<br \/>\nLOCATION: 2229<\/p>\n<p>Refuse anything that is not consistent with your vision. Make money with ads, by all means, but if you do go into advertising, hijack the ad.<br \/>\nLOCATION: 2230<\/p>\n<p>Reserve hours or whole days that are just for art. Don\u2019t let your day job take over your life simply because it has a more immediate payoff.<br \/>\nLOCATION: 2235<\/p>\n<p>Hijack commercials and commercialism. Use it to create ads for you. For your continued creativity. For you to get to keep making art.<br \/>\nLOCATION: 2238<\/p>\n<p>GROUPS AND OUTSIDERS INVITE THE OUTSIDE IN<br \/>\nLOCATION: 2311<\/p>\n<p>The key for those of us who would follow in Henson\u2019s footsteps is not simply how to enter business. It is how to conceptually rethink the relationship between ourselves, our group of likeminded people, and those outside that group.<br \/>\nLOCATION: 2313<\/p>\n<p>Henson didn\u2019t assimilate to advertising culture,<br \/>\nLOCATION: 2319<\/p>\n<p>He wanted them to join him.<br \/>\nLOCATION: 2320<\/p>\n<p>Your world is limitless. If you don\u2019t see eye to eye with someone, invite them into your world.<br \/>\nLOCATION: 2322<\/p>\n<p>This idea that \u201ctime just stopped\u201d would feel familiar to artists who often lose track of time when they work.<br \/>\nLOCATION: 2341<\/p>\n<p>Henson did not want to be stuck working for just one group of people.<br \/>\nLOCATION: 2349<\/p>\n<p>Henson wanted to entertain everyone.<br \/>\nLOCATION: 2350<\/p>\n<p>Henson\u2019s satire\u2014like the gentle mockery of Don Quixote\u2014parodied everyone.<br \/>\nLOCATION: 2360<\/p>\n<p>He parodied all of us for all of us.<br \/>\nLOCATION: 2361<\/p>\n<p>Henson believed that puppetry could help the world overcome cultural conflicts.<br \/>\nLOCATION: 2381<\/p>\n<p>he wasn\u2019t deluded by the thinking of any particular group of people.<br \/>\nLOCATION: 2392<\/p>\n<p>The laughter that his characters inspired was able to break down barriers, proving that even queens, presidents, and all other manner of Pooh-bahs are just people, and their humanity is evident when they share a moment in laughter.<br \/>\nLOCATION: 2399<\/p>\n<p>Shared laughter breaks through barriers of language, culture, and prejudice.<br \/>\nLOCATION: 2406<\/p>\n<p>Many artists today refuse to aim for a broad audience, because they feel it will water down the quality of their work.<br \/>\nLOCATION: 2431<\/p>\n<p>If we are looking for a way to become more successful, more Hensonlike in our own careers and lives, we might start by trying to see beyond our own culture.<br \/>\nLOCATION: 2453<\/p>\n<p>THE PARADOX OF OUTSIDES AND INSIDES<br \/>\nLOCATION: 2458<\/p>\n<p>a recipe for a Hensonlike skit is to put two different worldviews together, and to let the ensuing conflicts turn into comedy.<br \/>\nLOCATION: 2463<\/p>\n<p>Henson seemed to be constantly turning over this problem\u2014the paradox of outsides and insides\u2014in his work. Each of us can see only so much of the world, and others see a different chunk than we do.<br \/>\nLOCATION: 2465<\/p>\n<p>This inclusion\/exclusion feeling holds us back.<br \/>\nLOCATION: 2468<\/p>\n<p>if you want to stop war in the world, well how do you do that? Well, it\u2019s about conflict resolution.<br \/>\nLOCATION: 2471<\/p>\n<p>The paradox of outsides and insides seems to show up thematically in Henson\u2019s work, and always with a sort of lighthearted positivity.<br \/>\nLOCATION: 2485<\/p>\n<p>Henson believed there was a way out of society\u2019s perpetual conflicts.<br \/>\nLOCATION: 2486<\/p>\n<p>ADULTHOOD IS ANOTHER CULT<br \/>\nLOCATION: 2489<\/p>\n<p>By seeing the good people inside all of us, Henson treated his audience as innocents.<br \/>\nLOCATION: 2492<\/p>\n<p>Children, it should be noted, exist almost 100 percent in the gift economy.<br \/>\nLOCATION: 2493<\/p>\n<p>Someone once said that all children are artists, but adulthood avails us of this habit.<br \/>\nLOCATION: 2496<\/p>\n<p>Uniting adults is a very wise thing for a self-supporting adult to do. Trying to be edgy and hard as so many \u201cserious\u201d artists do prevents them from reaping the benefits of a truly universal audience.<br \/>\nLOCATION: 2518<\/p>\n<p>In exposing that everyone, deep down, is childish\u2014is meek, innocent, and goofy, and has a sense of wonder and a capacity for joy\u2014Henson\u2019s Muppet Show, when it finally received funding from London\u2019s ITC, broke down the barrier between adulthood and childhood.<br \/>\nLOCATION: 2519<\/p>\n<p>Universality is rare, which is often why it is misjudged as simplistic or watered down\u2014things that are much more common.<br \/>\nLOCATION: 2558<\/p>\n<p>Rarity in business is quite advantageous\u2014it means there will be less competition for your profits.<br \/>\nLOCATION: 2560<\/p>\n<p>MAKE A JERK LAUGH WHY PUPPETS CAN SAY WHAT WE CAN\u2019T<br \/>\nLOCATION: 2566<\/p>\n<p>Karen Falk wrote that the Meeting Films were designed to counteract \u201cthe stupor of technical language and<br \/>\nLOCATION: 2574<\/p>\n<p>The scenario is ridiculous, but it discloses a fundamental paradox of business ethics. How do you run a business with honor, ethics, and integrity when you\u2019re competing to out-sell, under-sell, and ideally obliterate the competition?<br \/>\nLOCATION: 2577<\/p>\n<p>Puppetry is an art that shows the world to itself, shows it how it moves, and makes that movement (which is terrifying, dangerous, and larger than any of us) small, nonthreatening, and funny.<br \/>\nLOCATION: 2581<\/p>\n<p>puppets are used to speak true feelings.<br \/>\nLOCATION: 2583<\/p>\n<p>With puppets you can deal with subjects in a way that isn\u2019t possible with<br \/>\nLOCATION: 2584<\/p>\n<p>There is an interesting effect when people perform with the Muppets or any puppet\u2014we can\u2019t help but react positively towards them.<br \/>\nLOCATION: 2585<\/p>\n<p>There is something about a small being that is harmless and almost irresistibly lovable.<br \/>\nLOCATION: 2593<\/p>\n<p>Puppets can do what people can\u2019t; they can show a jerk how he\u2019s funny, how he\u2019s human. It is an example of inviting the outside in.<br \/>\nLOCATION: 2599<\/p>\n<p>Puppeteer Dave Goelz said: There\u2019s a philosophy I think Jim started out with\u2014that people are basically good, life is to be enjoyed, take care of other people, there\u2019s enough for everybody.<br \/>\nLOCATION: 2611<\/p>\n<p>Henson didn\u2019t see movie tickets as a scarcity, but rather an abundance, infinitely renewable.<br \/>\nLOCATION: 2626<\/p>\n<p>Because Henson felt magnanimous toward other fantasy filmmakers, he gained allies in Hollywood.<br \/>\nLOCATION: 2628<\/p>\n<p>PARODY AS GIFT GIVE GREED A MIRROR<br \/>\nLOCATION: 2634<\/p>\n<p>For Henson, parody was the gift that could bring disparate groups together.<br \/>\nLOCATION: 2634<\/p>\n<p>In Henson\u2019s worldview, the villains are always given a gift in the attempt to invite them into the Muppets\u2019 way of thinking.<br \/>\nLOCATION: 2645<\/p>\n<p>\u201cMost of us\u2014certainly Jerry and I and I think Jim and Jocelyn\u2014we really didn\u2019t believe in the idea of good and evil as I think sometimes it\u2019s handled in different shows, and the conflicts in the show are usually because of people\u2019s misunderstanding\u2014conflicts of interest rather than one character is good and one character is bad. We just didn\u2019t think that way about the<br \/>\nLOCATION: 2646<\/p>\n<p>The Muppet universe is one of inclusion, with striking echoes of Hyde\u2019s book.<br \/>\nLOCATION: 2661<\/p>\n<p>The Gift,<br \/>\nLOCATION: 2663<\/p>\n<p>In order to turn a stranger into a friend, a gift is given.<br \/>\nLOCATION: 2666<\/p>\n<p>adult conflicts stem from the outside-inside paradox,<br \/>\nLOCATION: 2667<\/p>\n<p>could actually be resolved through the giving of a gift.<br \/>\nLOCATION: 2667<\/p>\n<p>Henson once said, \u201cI try hard not to judge<br \/>\nLOCATION: 2673<\/p>\n<p>the kind of parody Henson gave people who were different from him was the kind of mirror that does not lie, but offers a chance to join \u201cus.\u201d<br \/>\nLOCATION: 2674<\/p>\n<p>successful people in this world who, like Henson, achieve universality, are almost always those who truly want to\u2014who want to talk to everybody and bring everyone together.<br \/>\nLOCATION: 2679<\/p>\n<p>HENSON\u2019S UNIVERSALISM REFUSING TO FALL INTO SUBCATEGORIES OF HUMAN<br \/>\nLOCATION: 2683<\/p>\n<p>Although Henson was very idealistic and positive about humanity, he was very aware of how the world actually worked.<br \/>\nLOCATION: 2701<\/p>\n<p>when you decide how to live your life, numbers shouldn\u2019t really come into it. And that includes money.<br \/>\nLOCATION: 2752<\/p>\n<p>In The Gift, Hyde warns that \u201c[w]ealth ceases to move freely when all things are counted and priced.\u201d<br \/>\nLOCATION: 2752<\/p>\n<p>THE ONLY BOUNDARY YOU NEED CANNOT BE TORN DOWN<br \/>\nLOCATION: 2754<\/p>\n<p>He was a businessman and an artist, and he proves that these roles can coexist in one person.<br \/>\nLOCATION: 2756<\/p>\n<p>When you pass into business, the boundary should be porous, but when you are in the gift-sphere, the boundary should be thick as a wall.<br \/>\nLOCATION: 2761<\/p>\n<p>Jim Henson liked to transcend barriers between groups and invite everyone in.<br \/>\nLOCATION: 2765<\/p>\n<p>So how will you invite them in? Start by noticing the uniqueness of your enemies.<br \/>\nLOCATION: 2765<\/p>\n<p>Study these people, and look for ways in which they are really not all that different from you.<br \/>\nLOCATION: 2767<\/p>\n<p>Never forget that you\u2019re more than any one group.<br \/>\nLOCATION: 2777<\/p>\n<p>Even though we all stick to our little cults, try to see yourself from the outside and to speak from that wisdom.<br \/>\nLOCATION: 2778<\/p>\n<p>If you\u2019ve chosen a life of art, well then, that\u2019s the only boundary you can\u2019t transcend.<br \/>\nLOCATION: 2779<\/p>\n<p>ALWAYS INNOVATE ON TECHNOLOGY AND ART<br \/>\nLOCATION: 2851<\/p>\n<p>The emerging technology of Disney\u2019s day was film,<br \/>\nLOCATION: 2860<\/p>\n<p>Television was where Henson developed his art,<br \/>\nLOCATION: 2865<\/p>\n<p>It is striking that Disney, Henson, and Catmull each used a technology that emerged around the time of his birth and matured at the same time he did\u2014around twenty\u2014when he began toying with it.<br \/>\nLOCATION: 2879<\/p>\n<p>It seems like a pretty good formula for artistic and financial success.<br \/>\nLOCATION: 2881<\/p>\n<p>QUALITY IS NOT PERFECTION<br \/>\nLOCATION: 2887<\/p>\n<p>Henson\u2019s work, which while lifelike, was not realistic. It sought to represent, to suggest reality, but not to copy it.<br \/>\nLOCATION: 2894<\/p>\n<p>For The Dark Crystal, Henson\u2019s artists created new languages, new species, a new map, new plants, new cultures with their own new folk art traditions. In short: a new reality.<br \/>\nLOCATION: 2904<\/p>\n<p>Henson\u2019s work always seemed to delight in how unreal objects<br \/>\nLOCATION: 2906<\/p>\n<p>Crystal\u2014could suggest reality.<br \/>\nLOCATION: 2907<\/p>\n<p>Henson was not a perfectionist in this sense, because his version of \u201cquality\u201d required not just his own creativity, but the creativity of those around him.<br \/>\nLOCATION: 2914<\/p>\n<p>Henson\u2019s conception of \u201cquality\u201d was such that it allowed for others to co-create his worlds, which meant that he did not know in advance what those worlds would look like.<br \/>\nLOCATION: 2917<\/p>\n<p>Henson cared a great deal for quality, but that was defined as the best each person could do, and when the voices came together in harmony, in an organic\u2014but not random\u2014creation, the outcomes of his projects must have been a constant surprise to him.<br \/>\nLOCATION: 2919<\/p>\n<p>Henson knew that allowing others to truly create\u2014not to blindly recreate his ideas but to add to them and imagine their own\u2014would make his projects better than anything he could have imagined alone.<br \/>\nLOCATION: 2923<\/p>\n<p>According to Jerry Nelson: If he could see it happening in his mind\u2019s eye and knew that it would work, he would\u00a0dog it until it worked.\u2026 We always wanted to give Jim exactly what he was looking for. We didn\u2019t always know what that was, but we were willing to try until we found<br \/>\nLOCATION: 2931<\/p>\n<p>Henson was like a perfectionist at times, because he took the time to get something right.<br \/>\nLOCATION: 2936<\/p>\n<p>When asked why Henson made movies, Frank Oz once said: Jim didn\u2019t think of it in hit terms. He got to have control and play. And create whatever he wanted; and that was a joy, and he loved it. He always pushed the envelope. He just loved breaking barriers. He just loved breaking<br \/>\nLOCATION: 2948<\/p>\n<p>Oz repeated it twice for emphasis. Henson just loved breaking barriers. It wasn\u2019t about creating the most perfect example of a thing\u2014because there is no surprise in that. For Henson, it seemed to be about the surprise. Doing something truly new.<br \/>\nLOCATION: 2951<\/p>\n<p>Jim liked to change things around on the show to keep it new. And he liked to change the look of the show,<br \/>\nLOCATION: 2955<\/p>\n<p>In fact, Jim Henson was continually changing small things as well as the overarching style of his work.<br \/>\nLOCATION: 2957<\/p>\n<p>Innovation requires experimentation. But this leads us to a hard reality: playing with your medium costs an enormous amount of money.<br \/>\nLOCATION: 2970<\/p>\n<p>Arts.\u00a0Everyone in the sciences and many people in industry understand the value of R&amp;D, but in the Arts, spending money on \u201cexperimentation\u201d or on something that has no concrete \u201cend user\u201d in sight is often considered wasteful, when it\u2019s absolutely essential to innovation in the arts (just as it is in the sciences or in industry).\u00a0On a deep artistic level, Jim trusted the process of creating art and he had the economic means (derived from other artistic efforts) to support that<br \/>\nLOCATION: 2973<\/p>\n<p>THE (FINANCIAL) TROUBLE WITH QUALITY IT\u2019S PROFIT-LESS<br \/>\nLOCATION: 2980<\/p>\n<p>Innovation is expensive. The way to get it\u2014experimentation\u2014tends to cost more than it has to, making it a kind of gift. But giving gifts, as Lewis Hyde illustrated, does not make artists rich and seldom makes them break even.<br \/>\nLOCATION: 2981<\/p>\n<p>According to Time it was \u201clisted on the books as making no profit, in part because Henson keeps putting money back into the program.\u2026 \u2018The long-range profit for this show is down the road, when it\u2019s syndicated and sold to the stations,\u2019 says Henson.<br \/>\nLOCATION: 2985<\/p>\n<p>Just as toy sales made Henson\u2019s gift of Sesame Street possible, they allowed The Muppet Show to be profitable, even while making no profit.<br \/>\nLOCATION: 2990<\/p>\n<p>This is how thinking long-term can turn an unprofitable business model profitable.<br \/>\nLOCATION: 2996<\/p>\n<p>Its investor was repaid with toy sales, and then, years later \u2026 they hoped its quality would lead to an increase in value.<br \/>\nLOCATION: 2997<\/p>\n<p>work. Profitwise, you\u2019ll never get ahead. However, if you are an innovator who absolutely loves what you do, this is actually the most ideal, satisfying, and self-sustaining business model you can adopt.<br \/>\nLOCATION: 3003<\/p>\n<p>Making something with quality requires a different business model. Innovation requires patience\u2014years with zero dollars on the books, a separate revenue stream if possible, and very often investment of one\u2019s own money.<br \/>\nLOCATION: 3012<\/p>\n<p>Whereas a typical businessman would spare this expense, Henson wanted to create something new.<br \/>\nLOCATION: 3017<\/p>\n<p>one thing the venture capitalists forget is that when you blaze a trail with (expensive) quality, you are unlikely to have much competition.<br \/>\nLOCATION: 3026<\/p>\n<p>One reason the show has not been copied the way everything successful in television is copied, is that it\u2019s so expensive to produce. The Muppet Show has set such a high standard for this kind of work that a cheap version of it would just be<br \/>\nLOCATION: 3028<\/p>\n<p>This same effect is noted with Disney and Pixar. Their quality came from an expense too great for any sane business to undertake.<br \/>\nLOCATION: 3030<\/p>\n<p>Borrow-and-promise had been Disney\u2019s business strategy from the very beginning.<br \/>\nLOCATION: 3037<\/p>\n<p>For innovative companies, it is not surprising to see periods of money-sucking while a masterpiece is in development.<br \/>\nLOCATION: 3042<\/p>\n<p>To get funding, Henson had to convince Grade to share his long patience. Grade was once an artist himself\u2014a dancer\u2014turned mogul. Compared to Disney, Jim Henson started out with more capital of his own\u2014profits from commercials and then Sesame Street toy sales\u2014but in order to make a primetime puppet show and then a full-length puppet movie, Henson needed angel funding from Lord Grade.<br \/>\nLOCATION: 3048<\/p>\n<p>While artistic businesses can get going to a good financial clip, they require more and more funding as time goes on, and bigger and better projects.<br \/>\nLOCATION: 3059<\/p>\n<p>Each of the paths I have described is a way of getting by, not a way of getting rich.\u2026 No matter how the artist chooses, or is forced, to resolve the problem of his livelihood, he is likely to be<br \/>\nLOCATION: 3062<\/p>\n<p>In the final accounting, Hyde seems to say, art will always cost more than it makes. And unlike the investor, it seems the artist can\u2019t ever stop creating, take his profits, and live on vacation for the rest of his life. Yet, Henson\u2019s career shows us that while he was alive and working, an artist\u2014while not technically profiting\u2014can thrive when capital is flowing.<br \/>\nLOCATION: 3064<\/p>\n<p>There seems to be some sleight-of-hand involved in making art pay, almost like the creation of a market bubble whereby the value of your work increases consistently over time because of people\u2019s belief in it. It\u2019s the difference between real dollars and \u201cDisney dollars.\u201d<br \/>\nLOCATION: 3073<\/p>\n<p>Companies like Pixar, Henson, and Disney built their reputation based on quality that they had to borrow to pay for.<br \/>\nLOCATION: 3075<\/p>\n<p>But the value of the reputation demands even greater expenses, and so the bubble grows only as long as there are passionate artists working at its behest.<br \/>\nLOCATION: 3077<\/p>\n<p>cases, Henson didn\u2019t earn money based on the show itself; he earned money after the shows were made\u2014almost karmically because it would have been hard to predict at the time.<br \/>\nLOCATION: 3079<\/p>\n<p>If a show is cheap, it\u2019s not worth watching once, but if it is quality, it can be rewatched, sold, and rented again and again.<br \/>\nLOCATION: 3082<\/p>\n<p>WHAT WAS SO INNOVATIVE ABOUT SESAME STREET? EVERYTHING<br \/>\nLOCATION: 3085<\/p>\n<p>One of the most innovative works in Henson\u2019s career was Sesame Street, a show many of us take for granted.<br \/>\nLOCATION: 3086<\/p>\n<p>Sesame Street was innovative. The never-before, the what-if, the why-not, Sesame Street was more experimental than anything else Henson had done in the sixties, and that was saying a lot.<br \/>\nLOCATION: 3094<\/p>\n<p>Today Sesame Street is an American institution, the longest-running children\u2019s show in history. In order to be part of this moment in history, Henson relaxed his stance against making kids\u2019 TV, and he didn\u2019t negotiate for a big salary.<br \/>\nLOCATION: 3097<\/p>\n<p>Henson clearly did this work not expecting profit.<br \/>\nLOCATION: 3107<\/p>\n<p>But I think any artist will agree: getting to do a project worth doing is actually a very good deal.<br \/>\nLOCATION: 3107<\/p>\n<p>Jim Henson joined Sesame Street because, as Oz said, he loved breaking barriers.<br \/>\nLOCATION: 3108<\/p>\n<p>\u201cNever before had anyone assembled an A-list of advisers to develop a series with stated educational norms and objectives. Never before had anyone viewed a show as a living laboratory, where results would be vigorously and continually tested.\u201d<br \/>\nLOCATION: 3110<\/p>\n<p>Innovation is not the easy path. It\u2019s not the road to short-term financial profit. It\u2019s the never-before. The miracle of creation. The first.<br \/>\nLOCATION: 3112<\/p>\n<p>When you\u2019re working on the never-before, your employees feel exhilarated and invested in their work, and so do you. Everyone does their best, and in that sense, it is of quality. If you create quality, you create value.<br \/>\nLOCATION: 3114<\/p>\n<p>Innovation is not just about using the latest tools; it\u2019s an itchy temperament that is always looking to surprise itself.<br \/>\nLOCATION: 3117<\/p>\n<p>Innovation is experimenting, seeing what is possible, using whatever is at hand.<br \/>\nLOCATION: 3125<\/p>\n<p>TO REMEMBER IS TO MISREMEMBER, THAT IS, TO IMAGINE CHANGE THE PAST<br \/>\nLOCATION: 3126<\/p>\n<p>When we praise Henson with words like \u201cimaginative,\u201d \u201ccreative,\u201d \u201coriginal,\u201d and \u201cinnovative,\u201d we are misrepresenting what it actually means to do something new. Creation does not resemble the fiat \u201cLet there be light\u201d out of darkness.<br \/>\nLOCATION: 3127<\/p>\n<p>\u201cCreating,\u201d for artists, is then a process of making incremental changes to the familiar in order to let us see\u2014to learn\u2014the new.<br \/>\nLOCATION: 3130<\/p>\n<p>Copyright lawyers have conditioned us to think that artists create something out of nothing and then retain full, exclusive rights to that something.<br \/>\nLOCATION: 3142<\/p>\n<p>But the truth is that all artists borrow from the work around them, which often contains someone else\u2019s tweaks.<br \/>\nLOCATION: 3143<\/p>\n<p>Today, companies like Disney have lobbied for copyright to include the author\u2019s lifetime plus seventy years. For that reason, smart artists tend to tweak the uncopyrightable\u2014works like Shakespeare and the Bible that are so old their copyrights have clearly expired\u2014or tropes from the never-copyrighted: folk tales, fairy tales, and legends.<br \/>\nLOCATION: 3151<\/p>\n<p>Folklore allows an artist to play with what\u2019s there without getting sued.<br \/>\nLOCATION: 3156<\/p>\n<p>Doing a new take on an old tale is something Henson did throughout his career, from Hey, Cinderella! to The Storyteller\u2019s \u201cSapsorrow,\u201d from \u201cThe Frog Prince\u201d to \u201cHans My Hedgehog.\u201d<br \/>\nLOCATION: 3167<\/p>\n<p>By copying, the flaws in our copy often alert us to the skills that are uniquely ours.<br \/>\nLOCATION: 3174<\/p>\n<p>Like dreaming, art reassembles the familiar into something new. It is in the misremembering or the reimagining that the actual \u201ccreation\u201d occurs.<br \/>\nLOCATION: 3174<\/p>\n<p>REIMAGINING TELEVISION BECOME BOTH PERFORMER AND AUDIENCE<br \/>\nLOCATION: 3176<\/p>\n<p>We think of originators as sui generis bootstrappers, blazing their own path. A lack of education can be a boon, forcing an artist to make it up as he goes along.<br \/>\nLOCATION: 3181<\/p>\n<p>The ventriloquist is out there facing the audience. The puppeteer works below. In that way, on television, I can watch the monitor and see how my own performance is going. No actor can do that. It\u2019s an eerie feeling but a great one because you become both performer and<br \/>\nLOCATION: 3197<\/p>\n<p>Henson says \u201cyou become both performer and audience,\u201d he is implying that though you yourself are moving your hand, you might be surprised by what you see on screen, being from a different perspective than your own. For this reason, watching the Muppet performers backstage has the funny look to it of dancing while being tethered by the constant eye contact with a TV monitor.<br \/>\nLOCATION: 3202<\/p>\n<p>What this does for the performer is to allow him to become a director of the scene\u2014to position his character in the frame in a deliberate way\u2014and to use the subtlest of head tilts to convey emotion.<br \/>\nLOCATION: 3206<\/p>\n<p>It\u2019s easy to miss how incredible this invention was. Adding a screen into the equation is key. It means the puppeteer is actually performing gestures for himself to delight in. The real innovation is in using TV to watch yourself.<br \/>\nLOCATION: 3212<\/p>\n<p>Henson learned a little bit from many people, but avoided being overly influenced.<br \/>\nLOCATION: 3229<\/p>\n<p>An eternal pluralist, Henson seemed more influenced by artists working for Disney than by the man himself.<br \/>\nLOCATION: 3236<\/p>\n<p>Many of the things I\u2019ve done in my life have basically been self-taught \u2026 if you learn too much of what others have done, you may tend to take the same direction as everybody<br \/>\nLOCATION: 3243<\/p>\n<p>Perhaps the way around the anxiety of influence is to combine as many good things as possible into your style. You cannot help but draw on the past if you wish to innovate.<br \/>\nLOCATION: 3245<\/p>\n<p>All of them invented new technology, yet none of them did so for the sake of technology; they did it for the sake of art. They invented a technology that would help them achieve their narrative needs. They were working on art first.<br \/>\nLOCATION: 3254<\/p>\n<p>For artist-entrepreneurs, tech\u2014when it is innovative\u2014grows in tandem with the needs of the artist. Tech follows ideas.<br \/>\nLOCATION: 3256<\/p>\n<p>HOW TO USE NEW MEDIA WITHOUT LOOKING LIKE A CHUMP<br \/>\nLOCATION: 3257<\/p>\n<p>More than any other genre, futurism dates itself quickly.<br \/>\nLOCATION: 3263<\/p>\n<p>it\u2019s not about the tech you use, but in how you use it.<br \/>\nLOCATION: 3288<\/p>\n<p>Technology lives and dies by its people.<br \/>\nLOCATION: 3292<\/p>\n<p>Eisner\u2019s mistake was that it wasn\u2019t the tech that made Toy Story great\u2014it was the people who could use tech to suit their artistic goal.<br \/>\nLOCATION: 3295<\/p>\n<p>If Disney truly wanted to compete with Pixar, they should have increased funding to their hand-drawn animation studio. But by fetishizing the effects of innovators, Disney defunded innovation.<br \/>\nLOCATION: 3296<\/p>\n<p>it is more important to find good people than to find good ideas.<br \/>\nLOCATION: 3299<\/p>\n<p>All technology is a mechanical embodiment of someone\u2019s dream.<br \/>\nLOCATION: 3303<\/p>\n<p>The machine can be destroyed, taken apart, and used to create something new, but the voice of the inventor is what endures.<br \/>\nLOCATION: 3303<\/p>\n<p>Although Henson loved \u201cto jump into the middle of new technology,\u201d he jumped in to experiment, to play, not to perfect.<br \/>\nLOCATION: 3323<\/p>\n<p>Even Pixar, which has not been without its \u201crepetitive stress injuries,\u201d[76] is run with the philosophy that \u201c[t]echnology inspires art, and art challenges the technology.\u201d<br \/>\nLOCATION: 3326<\/p>\n<p>\u201cWalt Disney understood this. He believed that when \u2026 technology and art are together, magical things<br \/>\nLOCATION: 3328<\/p>\n<p>Art isn\u2019t perfect. It\u2019s human. It\u2019s about expressing something about life, and if it doesn\u2019t do that, it\u2019s not art.<br \/>\nLOCATION: 3332<\/p>\n<p>There is tech that enlivens the soul and tech that dulls it.<br \/>\nLOCATION: 3341<\/p>\n<p>Henson always seemed to be aware that how he used technology would be\u2014or would eventually be\u2014part of the story, part of the act.<br \/>\nLOCATION: 3346<\/p>\n<p>For Henson, it was important to bring together the people, not the technology itself.<br \/>\nLOCATION: 3364<\/p>\n<p>the performance is where the humanity is, where the relationship is and I think that has to stay at the heart of it<br \/>\nLOCATION: 3379<\/p>\n<p>If a technology didn\u2019t express \u201chumanity,\u201d Henson wouldn\u2019t use it.<br \/>\nLOCATION: 3381<\/p>\n<p>THE SCHOOL OF FAILURE THE ONLY WAY TO LEARN WITHOUT COPYING<br \/>\nLOCATION: 3384<\/p>\n<p>While expressions can be copyrighted, no one can own an idea. It was more like a professional courtesy. Innovation tends to lead to differentiation, which is good for the whole guild. It makes room for everyone.<br \/>\nLOCATION: 3387<\/p>\n<p>I had never worked with puppets when I was a kid, and even when I began on television, I really didn\u2019t know what I was doing. I\u2019m sure that this was a good thing, because I learned as I tackled each new<br \/>\nLOCATION: 3390<\/p>\n<p>The best way to educate yourself is not necessarily to enroll in school, but to learn by doing, learn by trying, and often learn by failing.<br \/>\nLOCATION: 3399<\/p>\n<p>Many careers start with a library book, because self-directed learning is the kind that really sticks.<br \/>\nLOCATION: 3409<\/p>\n<p>Business school only hedges you against failure by delaying the inevitable.<br \/>\nLOCATION: 3413<\/p>\n<p>HOW TO INNOVATE FOR THE REST OF YOUR LIFE<br \/>\nLOCATION: 3416<\/p>\n<p>It is the uncommon entrepreneur who can make her own market. Though she may be unready at first, trying and failing is the only way to learn. To be uncommon, avoid being overly influenced by what has come before. Use your influences promiscuously\u2014appreciating what is good about each one.<br \/>\nLOCATION: 3417<\/p>\n<p>Do not fetishize a technology just because it is new. Use whatever works well.<br \/>\nLOCATION: 3419<\/p>\n<p>Quality is asking for one more take, getting everyone to focus and work well together, helping others to co-create and achieve their own personal best.<br \/>\nLOCATION: 3426<\/p>\n<p>Pay attention to the emerging technology of your time, because it will become the newest ingredient to your mix.<br \/>\nLOCATION: 3427<\/p>\n<p>Be on the lookout for all that is uncopyrighted, or uncopyrightable. Folk tales, well-worn comedy set-ups, and very old literature.<br \/>\nLOCATION: 3430<\/p>\n<p>when you try to copy your heroes, do it as a tool for self-exploration. Notice the flaws in the copy. They are uniquely yours, and they may not be flaws at all.<br \/>\nLOCATION: 3431<\/p>\n<p>Think of innovation not simply as doing something new, but as doing something amazing.<br \/>\nLOCATION: 3433<\/p>\n<p>Copyright is merely a legal restatement of the artist\u2019s creed to not copy one another. Think not about how to register your work, but rather how to use the power of innovation to make people trust your name, which is naturally your trademark and no one else\u2019s.<br \/>\nLOCATION: 3434<\/p>\n<p>Notice how technology plays into your work, because we cannot help but be affected by it.<br \/>\nLOCATION: 3440<\/p>\n<p>I still marvel at the old tech that still works like magic: pen and paper.<br \/>\nLOCATION: 3445<\/p>\n<p>Continue to invest in your own R&amp;D, to innovating your art with technology old and new. Henson didn\u2019t wait for a network to fund him; he put his own money into the development of his projects. Innovation costs a lot\u2014not because of technology but because of man-hours. And yet, even if your work doesn\u2019t earn you profit for the time being, its quality is what can earn money down the road\u2014sometimes years later.<br \/>\nLOCATION: 3446<\/p>\n<p>As new technologies are being developed faster than ever, it makes sense to trust that if you make something of quality, it could increase in value.<br \/>\nLOCATION: 3450<\/p>\n<p>As an artist, you probably aren\u2019t thinking of an endgame in which you get to quit art and just enjoy life. And so, the ever-increasing cost of quality should not be depressing to you as long as you can find a way to get money to flow long enough for you to make your quality projects.<br \/>\nLOCATION: 3456<\/p>\n<p>The worth of your company\u2014the final tally\u2014isn\u2019t your ultimate goal. It\u2019s the ability to keep making great art.<br \/>\nLOCATION: 3458<\/p>\n<p>Because in order to leave a lasting legacy, you don\u2019t want to die with the most money in your account; you want to leave behind pieces of work that feel as alive as you once were.<br \/>\nLOCATION: 3460<\/p>\n<p>The work environment for Henson\u2019s projects was one in which artists really cared about what they were doing, and the amazement audiences feel correlates directly to the glee felt by Henson and the people who worked with him.<br \/>\nLOCATION: 3461<\/p>\n<p>BRING TOGETHER A TRIAD SEPARATION OF ROLES<br \/>\nLOCATION: 3546<\/p>\n<p>The real triumvirate that we see at Henson, Disney, and even Pixar contains three necessary ingredients for success: business, tech, and art.<br \/>\nLOCATION: 3571<\/p>\n<p>Artists can\u2019t tell someone else how to do what they do.<br \/>\nLOCATION: 3595<\/p>\n<p>The \u201cart\u201d of engineers is a kind that is meant to be used by others.<br \/>\nLOCATION: 3601<\/p>\n<p>Many artists don\u2019t know how they do what they do, let alone how to teach someone else to do it.<br \/>\nLOCATION: 3606<\/p>\n<p>a tech advance is meant to be used by all; an art advance is meant to be used by the artist.<br \/>\nLOCATION: 3608<\/p>\n<p>These technicians contributed to the quality of the art, and yet the credit seems to go elsewhere.<br \/>\nLOCATION: 3616<\/p>\n<p>This may be less exploitative than symbiotic, as some prefer to work in obscurity and avoid the anxiety of the limelight<br \/>\nLOCATION: 3617<\/p>\n<p>The relationship between art and tech is mutually beneficial. The art that builders make is impersonal\u2014it can be used by others to make their art.<br \/>\nLOCATION: 3622<\/p>\n<p>As Catmull said, \u201ctechnology inspires art, and art challenges the technology.\u201d<br \/>\nLOCATION: 3625<\/p>\n<p>Each of these technologies became art, but notably, each was developed alongside an artistic goal, hugging it like a double helix.<br \/>\nLOCATION: 3631<\/p>\n<p>when technology becomes disjointed from art: it dates itself quickly and it lacks heart.<br \/>\nLOCATION: 3635<\/p>\n<p>The relationship between art and tech is thus one that works best when the two work closely, with constant cross-pollination.<br \/>\nLOCATION: 3635<\/p>\n<p>In his Harvard Business Review article, Pixar\u2019s Catmull notes in a section titled \u201cPower to the Creatives\u201d that the creative power in a film has to reside with the creative leadership, not with the corporate executives.<br \/>\nLOCATION: 3642<\/p>\n<p>So, at Pixar, the development department\u2019s job is not to tell the artists what to do, but to \u201chelp directors refine their own ideas\u201d and \u201cgive them enormous<br \/>\nLOCATION: 3644<\/p>\n<p>Businesspeople often fail to understand how art works.<br \/>\nLOCATION: 3649<\/p>\n<p>Art requires a large investment in money that may not be repaid\u2014essentially a gift.<br \/>\nLOCATION: 3653<\/p>\n<p>when art and money can work together, they tend to create the greatest art the world has ever seen.<br \/>\nLOCATION: 3656<\/p>\n<p>YOUR AGENT WORKS FOR YOU BUT YOU ALSO WORK FOR YOUR AGENT<br \/>\nLOCATION: 3668<\/p>\n<p>The nature of the relationship is such that, in many cases, a person with an agent will earn more than a person without one. He has two people looking out for his financial health.<br \/>\nLOCATION: 3703<\/p>\n<p>If either side can leave, both sides can have a say. But this marriage of equality requires the artist to put his foot down more than he may like.<br \/>\nLOCATION: 3714<\/p>\n<p>an artist can make art without an agent, but an agent needs an artist to make money. There are times when an artist needs to just say no.<br \/>\nLOCATION: 3716<\/p>\n<p>\u201cIf you want to know the real secret of Walt\u2019s success,\u201d longtime animator Ward Kimball would say, \u201cit\u2019s that he never tried to make money. He was always trying to make something that he could have fun with to be proud<br \/>\nLOCATION: 3727<\/p>\n<p>The business partner must truly value the art.<br \/>\nLOCATION: 3741<\/p>\n<p>You can\u2019t have a business partner who doesn\u2019t see your value.<br \/>\nLOCATION: 3742<\/p>\n<p>moneymen intermediaries serve to do something very necessary for successful artists, to \u201cmark the boundary between their art and the<br \/>\nLOCATION: 3759<\/p>\n<p>WHAT THE AGENT KNEW HOW BERNIE KEPT HENSON A HIPPIE<br \/>\nLOCATION: 3764<\/p>\n<p>Henson took \u201cmerchandizing\u201d to mean records and the soon-to-come videos that would themselves be art\u2014not toys.<br \/>\nLOCATION: 3811<\/p>\n<p>As an artist, with few exceptions, Henson took projects that he thought would be interesting, not projects that would make the most money.<br \/>\nLOCATION: 3815<\/p>\n<p>But as much as artists need someone to fight for them, that \u201cfighting\u201d spirit is often detrimental \u201cin the play room.\u201d<br \/>\nLOCATION: 3844<\/p>\n<p>Jobs\u2019s true value to Pixar seemed to lie not in his famously obsessive perfectionism, but in his ability to negotiate with Disney\u2014to be the barrier that protected the artists from money.<br \/>\nLOCATION: 3849<\/p>\n<p>THE VALUE OF SEPARATION LAWYERING THE LAWLESS<br \/>\nLOCATION: 3851<\/p>\n<p>One reason to have a legal department is so that artists don\u2019t have to discuss money with one another.<br \/>\nLOCATION: 3852<\/p>\n<p>What is so uncreative about money? Well, even though money sometimes rewards innovation, it more typically rewards a sure thing\u2014whatever your audience currently pays for.<br \/>\nLOCATION: 3856<\/p>\n<p>Copyright prevents the art\u2014while in a nascent stage\u2014from being traded freely according to laws of supply and demand.<br \/>\nLOCATION: 3862<\/p>\n<p>Lawyers are of great value, not just because they are experts at contracts and legalities, but because their work means that artists don\u2019t have to be.<br \/>\nLOCATION: 3880<\/p>\n<p>It is essential that the lawyers for a creative company understand how to work with artists.<br \/>\nLOCATION: 3896<\/p>\n<p>Perhaps the way for businesspeople to truly appreciate artists is to try to make art themselves, and to see\u2014usually\u2014that artistic talent is actually quite rare, and so it is something worth protecting.<br \/>\nLOCATION: 3912<\/p>\n<p>HIRE A BOSS<br \/>\nLOCATION: 3916<\/p>\n<p>Jim didn\u2019t run his company like a good businessman. He could never fire anybody, couldn\u2019t accept any plan for downsizing that was drawn up for him by his advisers.<br \/>\nLOCATION: 3943<\/p>\n<p>The fact that Henson kept Brillstein (agent), Gottesman (lawyer), and Lazer (producer) all on the payroll rather than having these managers replace one another demonstrates this.<br \/>\nLOCATION: 3946<\/p>\n<p>Henson was a collaborator. In a business where collaboration is more important than minimizing overhead, where hierarchies dissolve, and people often come to work with one another again and again, it does not make sense to burn bridges by firing.<br \/>\nLOCATION: 3948<\/p>\n<p>FIND THE ANGEL FUNDER LORD LEW GRADE<br \/>\nLOCATION: 3953<\/p>\n<p>an angel funder is one who takes on great risk for a start-up for reasons besides pure monetary reward.<br \/>\nLOCATION: 3955<\/p>\n<p>Grade essentially agreed to fund a show which would only make him money if the toys sold well or if they re-syndicated a few years later\u2014making The Muppet Show a wildly expensive project with only a dream\u2019s hope of returning on his investment.<br \/>\nLOCATION: 3994<\/p>\n<p>Grade. In a way, Grade found Henson, yet in another, Henson\u2019s incredible work ethic helped him find Grade by putting enough work out there for Grade to stumble upon.<br \/>\nLOCATION: 4013<\/p>\n<p>HOW TO GET THEM ALL TO WORK TOGETHER<br \/>\nLOCATION: 4018<\/p>\n<p>You must trust your businesspeople, but that does not mean you should trust any businessperson.<br \/>\nLOCATION: 4022<\/p>\n<p>Henson selected his \u201cpeople\u201d well so that they would not damage the spirit of his enterprise.<br \/>\nLOCATION: 4028<\/p>\n<p>The first step was to invite them in\u2014into his world\u2014and make them want to be a part of it, to share his dream.<br \/>\nLOCATION: 4029<\/p>\n<p>Patrons for the arts are often just normal people with money to spare.<br \/>\nLOCATION: 4031<\/p>\n<p>Let your entire body of work be your pitch to your imaginary angel funder.<br \/>\nLOCATION: 4033<\/p>\n<p>While many artists write off all businessmen as heartless suits, Henson understood the debt he owed to them.<br \/>\nLOCATION: 4041<\/p>\n<p>They, too, participate in the gift cycle of art.<br \/>\nLOCATION: 4042<\/p>\n<p>Your masterpiece may be years away still, but it makes sense to start thinking today about how you could combine business, technology, and art to give the world something it\u2019s never seen before.<br \/>\nLOCATION: 4048<\/p>\n<p>PITCH, PITCH, PITCH AND THE INEVITABILITY OF FAILURE<br \/>\nLOCATION: 4120<\/p>\n<p>When you hear the story about how The Muppet Show came to be, it sounds like a deus ex machina. Lew Grade\u2019s ATV studio went looking for Henson and gave him a show. Brillstein\u2019s breezy style certainly makes it appear that it was easy:<br \/>\nLOCATION: 4121<\/p>\n<p>Yet the truth is that Henson had been pitching this show for years prior to Mandell\u2019s offer. This windfall\u2014the angel funder Lord Lew Grade\u2014would never have come had Henson not cultivated his inner preacher, his inner pulpiteer.<br \/>\nLOCATION: 4128<\/p>\n<p>It is something that separates the successful artist from the starving artist, the ability to sell oneself effectively.<br \/>\nLOCATION: 4130<\/p>\n<p>Partly, it must\u2019ve helped to have a manager who could see the steps it would take to get a major network interested. Brillstein urged him to take as many TV appearances as possible, saying, \u201cI feel you need television exposure,\u201d<br \/>\nLOCATION: 4135<\/p>\n<p>The fact that Mandell happened to see Henson\u2019s work on TV was not luck; it was the result of throwing hundreds of darts at the board.<br \/>\nLOCATION: 4138<\/p>\n<p>Henson wanted a network to see. The ABC special The Muppet Show: Sex and Violence clearly outlined the show Henson wanted to make[7] \u2014a quick-moving variety show with an at-the-dance number, the Electric Mayhem band, a backstage section, and even Sam the Eagle. This ABC special was essentially a pitch tape proving that puppets could work in prime time,<br \/>\nLOCATION: 4140<\/p>\n<p>ARE PITCHMEN BORN OR MADE?<br \/>\nLOCATION: 4144<\/p>\n<p>A good artist is likely already skilled at listening, learning, and appreciating. These traits fit well in the gift economy that is art.<br \/>\nLOCATION: 4152<\/p>\n<p>Quite often, financially successful artists resemble con artists.<br \/>\nLOCATION: 4154<\/p>\n<p>However, when kept in check\u2014in the service of the art\u2014channeling one\u2019s inner fanatic can break the artist out of his self-imposed poverty.<br \/>\nLOCATION: 4155<\/p>\n<p>It is hard to say whether pitchmen are born or made. It is my suspicion that they are grown.<br \/>\nLOCATION: 4156<\/p>\n<p>This tendency of enthusiasm to build upon itself suggests that you can teach yourself to pitch; you can work yourself up. The skill can be grown\u2014for the right reasons.<br \/>\nLOCATION: 4173<\/p>\n<p>What is the difference between a salesman and a pitchman? A salesman sells a commodity. A pitchman sells his own future<br \/>\nLOCATION: 4176<\/p>\n<p>Becoming a pitchman was instrumental in getting Henson\u2019s work aired and funded.<br \/>\nLOCATION: 4181<\/p>\n<p>THE CONSTANT PITCHMAN<br \/>\nLOCATION: 4184<\/p>\n<p>At the beginning, pitch like hell<br \/>\nLOCATION: 4187<\/p>\n<p>Even with an agent, Henson still had to hustle. Even if it was Bernie who made initial contact, sussed out deals, or delivered the pitch, it was Henson who had to provide the material to be pitched. He seemed to pitch even more after Brillstein joined him, likely due to the growth of the company.<br \/>\nLOCATION: 4203<\/p>\n<p>It took a great pitch to win over Brillstein\u2014who was not very interested in puppets. And once Brillstein was on board, Henson had to pitch even more, because Brillstein got him more auditions and urged him to get more \u201cexposure\u201d and \u201cmedia momentum.\u201d<br \/>\nLOCATION: 4207<\/p>\n<p>Throwing a lot of darts in all directions, then one big pitch<br \/>\nLOCATION: 4209<\/p>\n<p>This only furthers the idea that there is no good time to stop pitching. Even when Ideal Toys had salesmen to do Henson\u2019s job for him, Henson still needed to prime those salesmen to understand his ethos.<br \/>\nLOCATION: 4233<\/p>\n<p>Even when he became an auteur and \u201cauthored\u201d an art house film, Henson had to hustle.<br \/>\nLOCATION: 4237<\/p>\n<p>For noncommercial works of art, distribution makes all the difference, and often, indie artists have to do the distribution themselves.<br \/>\nLOCATION: 4243<\/p>\n<p>When you\u2019ve put so much of your time, effort, and passion into something, it is hard not to feel like proselytizing.<br \/>\nLOCATION: 4245<\/p>\n<p>And yet, in this 1960s period, Henson promoted both this art film and kiddie toys.<br \/>\nLOCATION: 4246<\/p>\n<p>Brillstein wrote, \u201cIt was as if the guy had two careers: one public and successful, the other personal and noncommercial.<br \/>\nLOCATION: 4250<\/p>\n<p>it is easier to pitch something that is both commercial and good than it is to pitch either alone.<br \/>\nLOCATION: 4252<\/p>\n<p>Bull\u2019s-eye: Pitch to find a home, then pitch to fly the coop<br \/>\nLOCATION: 4255<\/p>\n<p>Part of the beauty of Sesame Street was that it was perfect for Henson\u2014it combined both his commercial, persuasive skills and his philanthropic, artistic skills.<br \/>\nLOCATION: 4258<\/p>\n<p>It is strange to think of anyone needing to \u201cpitch\u201d Sesame Street, and yet that is precisely what happened.<br \/>\nLOCATION: 4260<\/p>\n<p>Even when the show aired, it needed to win over parents and teachers\u2014the guardians who could control whether children watched or not.<br \/>\nLOCATION: 4264<\/p>\n<p>Sesame Street was a new idea, and its premise\u2014using commercial techniques to lure kids into learning\u2014could have backfired. It is in great part due to Henson\u2019s pitching prowess that Sesame Street won the country\u2019s hearts.<br \/>\nLOCATION: 4266<\/p>\n<p>Yet a moment of stability, like every other period of time, is not a good time to stop pitching. When Sesame Street made Henson a household name, he felt that it had \u201cruined [his] life\u201d by barring his career from ever taking an adult route. Since he\u2019d never wanted to relegate himself to the role of children\u2019s entertainer, in this era, Henson pitched all the harder, this time to escape the pigeonhole he\u2019d found himself in.<br \/>\nLOCATION: 4268<\/p>\n<p>His characters already had a home on TV, but it wasn\u2019t his own show\u2014on Sesame Street, he had to answer to curriculum specialists. It wasn\u2019t quite the Muppet series Henson had been dreaming of.<br \/>\nLOCATION: 4277<\/p>\n<p>When used strategically, art can be a pitch.<br \/>\nLOCATION: 4292<\/p>\n<p>Around 1968, \u2026 Jim started to seriously pitch his idea for a regular variety show hosted by the Muppets. Building on ideas from his guest appearances on The Ed Sullivan Show, The Tonight Show and the like, Jim created numerous proposals illustrating his concepts which he circulated to the networks, producers, and via his agent Bernie Brillstein.<br \/>\nLOCATION: 4298<\/p>\n<p>Henson made compromises in order to be on television. His shows from this period included The Muppets Valentine Show with Mia Farrow and an Afterschool Special called Out to Lunch. In these instances, Henson seemed to be giving the networks what they said they wanted\u2014tame kiddie fare\u2014but also gave them what he knew was better\u2014anarchic adult glee.<br \/>\nLOCATION: 4303<\/p>\n<p>Henson pitched and made these shows because the perfect is the enemy of the good.<br \/>\nLOCATION: 4308<\/p>\n<p>Far from a deus ex machina, The Muppet Show had been pitched seriously for about six years before the angel funder came along. And even then, it had to be pitched\u2014to him.<br \/>\nLOCATION: 4323<\/p>\n<p>This deal may seem like a gift from on high\u2014and surely it was\u2014and yet the pitch was ongoing, like a fish on the line that could still be lost at any moment.<br \/>\nLOCATION: 4330<\/p>\n<p>The work itself can be a pitch<br \/>\nLOCATION: 4335<\/p>\n<p>When Henson had finally got his dream\u2014a national nighttime series for the Muppets, he was funded for only a single season. In effect, that made the success of the first season the pitch for next year\u2019s renewal. As<br \/>\nLOCATION: 4335<\/p>\n<p>With a few years of Muppet Show success behind him, Henson started to set his sights on the next target\u2014<br \/>\nLOCATION: 4338<\/p>\n<p>Dave Goelz once said, \u201cI always think of TV as calisthenics and movies as craftsmanship. You get in shape with TV, because you do so much material so fast.\u2026Then you go shoot a film, and you get the luxury of doing it<br \/>\nLOCATION: 4350<\/p>\n<p>The work that is not a pitch<br \/>\nLOCATION: 4353<\/p>\n<p>Luckily, Henson didn\u2019t have to look far to find his funding for The Muppet Movie.<br \/>\nLOCATION: 4354<\/p>\n<p>During Henson\u2019s boom years, pitching seemed easy. And for as long as he was on top, it was.<br \/>\nLOCATION: 4358<\/p>\n<p>Everything Henson had done thus far in movies and television seemed, in a way, to be a pitch for this one great film.<br \/>\nLOCATION: 4363<\/p>\n<p>The Dark Crystal was even more artisanal. It really didn\u2019t seem to be a pitch for anything\u2014it is the thing itself, everything Henson wanted it to be.<br \/>\nLOCATION: 4366<\/p>\n<p>Perhaps this is why The Dark Crystal\u2019s poor reception was such a blow to Henson.<br \/>\nLOCATION: 4367<\/p>\n<p>| Pitching more to get away from pitching so much<br \/>\nLOCATION: 4378<\/p>\n<p>While Henson was making The Dark Crystal, he was also letting his core creative team from The Muppet Show develop the kind of show they\u2019d like to do next, which became Fraggle Rock.<br \/>\nLOCATION: 4378<\/p>\n<p>Yet the perceived failure of The Dark Crystal seemed to cause Henson to reevaluate his strategy. Since masterpiece movies did not return the investment,[46] Henson took a step back and began to throw more darts at the board again.<br \/>\nLOCATION: 4382<\/p>\n<p>Henson had varying degrees of involvement in these shows, but in general, he was not very involved in the day-to-day production of them. It is almost as though Henson the auteur filmmaker had been burned by putting all of his eggs into one basket and here shifted to coming up with great ideas, getting the ball rolling, and letting others take the helm of a fleet of Henson-produced television projects.<br \/>\nLOCATION: 4390<\/p>\n<p>In the 1980s, producerman Henson launched many ships with others at the helm, and let them take their own course.<br \/>\nLOCATION: 4403<\/p>\n<p>At the age of fifty-one, Henson still had to pitch. And his bad-temperedness suggests he was starting to tire of it. The lifestyle of a producerman may have seemed at the start of the eighties like the best way for Henson to keep making art, but at the end of the decade, it seemed like another thing to work away from. Though he pitched more furiously than ever then, it seemed to be in order to escape pitching.<br \/>\nLOCATION: 4414<\/p>\n<p>It has been said that Henson was a man of a million ideas\u2014he was always thinking towards the next project. This could explain his life of constant pitching, and yet I don\u2019t think Henson was happy to merely hand off his ideas to others.<br \/>\nLOCATION: 4419<\/p>\n<p>Henson\u2019s furious pitches in the eighties may have been an attempt to get away from the whole endeavor of pitching altogether.<br \/>\nLOCATION: 4425<\/p>\n<p>Appearing hot in order to cool down<br \/>\nLOCATION: 4426<\/p>\n<p>If Disney were to buy Henson\u2019s Muppet business, they would become his new angel funder\u2014promising to green-light any expensive project he wanted, because he would work exclusively for them.<br \/>\nLOCATION: 4427<\/p>\n<p>proposition\u2014it would mean Henson could spend less time pitching and more time creating.<br \/>\nLOCATION: 4429<\/p>\n<p>All that producerman pitching in the eighties starts to seem like a deliberate strategy to attract Disney\u2019s interest.<br \/>\nLOCATION: 4437<\/p>\n<p>As Brillstein wrote, Henson wanted to \u201cget out from under the organizational albatross that drained his creative energy.\u2026 With Disney\u2019s money and machinery, Jim could be fully creative.\u201d[57] As a funded artist at Disney, Henson could stop being a producerman, and he might not even have to be a pitchman.<br \/>\nLOCATION: 4441<\/p>\n<p>My view of Henson is that, from the start, he cultivated the skill of the pitch in order to achieve artistic aims. And if a shy creator like Henson could do it, anyone can.<br \/>\nLOCATION: 4447<\/p>\n<p>FAIL, FAIL, FAIL PITCHING IS THE EASY PART<br \/>\nLOCATION: 4449<\/p>\n<p>If we try to cultivate our own ability to pitch\u2014to preach\u2014we might start by getting wrapped up in the good things in others\u2019 work, then really working to appreciate and revel in the good things in our work, until we finally get obsessed with convincing others of what could be.<br \/>\nLOCATION: 4449<\/p>\n<p>Expressing enthusiasm for your work is, in fact, the easy part of pitching. The hard part is all the failure.<br \/>\nLOCATION: 4453<\/p>\n<p>Pitching and selling gives you an innocent, childlike high, such that when one is suitably addicted, it offsets the pain of failure.<br \/>\nLOCATION: 4456<\/p>\n<p>everyone successful fails in monstrous proportions matching their success. It\u2019s just that they promote the success louder than the failure.<br \/>\nLOCATION: 4460<\/p>\n<p>Ironically, the road to Henson\u2019s success is a string of failures, and this was as true for Henson as it is for anyone else.<br \/>\nLOCATION: 4462<\/p>\n<p>JOHNNY CARSON AND THE MUPPET MACHINE NEVER MADE<br \/>\nLOCATION: 4464<\/p>\n<p>Picture yourself spending a day in wasted art, because that is what the labor of a successful artist looks like.<br \/>\nLOCATION: 4475<\/p>\n<p>CYCLIA NEVER MADE<br \/>\nLOCATION: 4479<\/p>\n<p>In the descriptions of his nightclub project Cyclia, Jim hoped to match quieter music with filmed depictions of nature<br \/>\nLOCATION: 4484<\/p>\n<p>B\u2019WAY THE DESTINY OF GREAT PUPPETRY, BUT NOT FOR HENSON<br \/>\nLOCATION: 4495<\/p>\n<p>Broadway may have occupied a place in Henson\u2019s mind as the site where critical success and respect would finally be afforded to his work, even if it was only a lowly puppet show.<br \/>\nLOCATION: 4505<\/p>\n<p>It may be true that if Henson had not been so busy working on TV projects\u2014The Muppet Show pitch, SNL, and Sesame Street\u2014he might have made it to Broadway.<br \/>\nLOCATION: 4523<\/p>\n<p>Brillstein wrote, \u201cMy one regret is that I never got him to do An Evening with the Muppets on Broadway. I believe if he had, it would still be running<br \/>\nLOCATION: 4544<\/p>\n<p>B\u2019way was a failure every year of Henson\u2019s career. But it was also a possibility every year of his career\u2014because he refused to close the door on something just because it was difficult to achieve.<br \/>\nLOCATION: 4547<\/p>\n<p>The theme of that song, and that movie, is that artists\u2014like you\u2014need to be able to fail this hard and to be able to get back up and try again.<br \/>\nLOCATION: 4552<\/p>\n<p>Some doors are closed permanently\u2014but if you look at it another way, they\u2019re not really closed\u2014they\u2019re just angled to lead somewhere new.<br \/>\nLOCATION: 4553<\/p>\n<p>REUSE, REPURPOSE, RECYCLE<br \/>\nLOCATION: 4554<\/p>\n<p>The beauty of turning Henson\u2019s Broadway failure into a Hollywood love story is that he was at once accepting defeat in the present and holding onto the possibility of success in the future.<br \/>\nLOCATION: 4563<\/p>\n<p>When NBC caught up and became more experimental, they remembered Henson\u2019s pitch. Had he not subjected himself to failure, he would not have been forefront in their minds.<br \/>\nLOCATION: 4580<\/p>\n<p>Henson\u2019s pitch\u2014though technically a failure\u2014actually primed NBC to be more aware of experimental content and its value to their changing audience.<br \/>\nLOCATION: 4582<\/p>\n<p>In many ways, a life of constant pitching is a life of constant failure.<br \/>\nLOCATION: 4587<\/p>\n<p>When you watch an artist struggle and fail, think to yourself, How can I do that? How can I keep failing and keep pitching?<br \/>\nLOCATION: 4589<\/p>\n<p>RE-SYNDICATE, CO-FUND, RE-PROFIT<br \/>\nLOCATION: 4590<\/p>\n<p>Another benefit to pitching widely is that it tends to create more offers to fund your work.<br \/>\nLOCATION: 4591<\/p>\n<p>With some clever sleight-of-hand, giving the same thing to multiple people yields a higher amount of funding.<br \/>\nLOCATION: 4592<\/p>\n<p>Henson was able to pay the Fraggle Rock writers, performers, and artists well because of the extra money from both CBC and HBO.<br \/>\nLOCATION: 4621<\/p>\n<p>For all the drawbacks that come with relentless pitching, I believe it is the single most important thing that can allow an artist to control his own financial destiny.<br \/>\nLOCATION: 4624<\/p>\n<p>HOW TO CULTIVATE YOUR PITCHIFICATION<br \/>\nLOCATION: 4625<\/p>\n<p>So how can you become a pitchman? Find what it is that you can\u2019t shut up about.<br \/>\nLOCATION: 4626<\/p>\n<p>Henson\u2019s preachification leads me to wonder\u2014is the shyest, most reluctant self-promoter perhaps the best pitchman? If he finds something worth overcoming shyness to preach, perhaps no one can silence him.<br \/>\nLOCATION: 4633<\/p>\n<p>When you make something really great on spec, it can be a risk, but ultimately it gives you the power to control your artistic destiny.<br \/>\nLOCATION: 4638<\/p>\n<p>If you can stomach failure, pitching allows you to say and do what you want, not just what the market wants.<br \/>\nLOCATION: 4639<\/p>\n<p>In order to have your independence\u2014your creative freedom\u2014as an artist, you have to just keep pitching.<br \/>\nLOCATION: 4643<\/p>\n<p>You can convince people of anything, as long as you try enough people, and as long as you really believe in it yourself. If you believe in your art, make a pitch for it today.<br \/>\nLOCATION: 4644<\/p>\n<p>NURTURE TALENT AND GET OUT OF ITS WAY<br \/>\nLOCATION: 4717<\/p>\n<p>Brian Henson has said of his father: He taught me to identify a person\u2019s talent, nurture that talent, and encourage them to look to themselves for a solution.<br \/>\nLOCATION: 4723<\/p>\n<p>A good boss, like a good teacher, empowers his employees.<br \/>\nLOCATION: 4725<\/p>\n<p>Henson\u2019s lessons are so imbedded in our psyches we don\u2019t even notice them.<br \/>\nLOCATION: 4740<\/p>\n<p>Henson\u2019s management style was radically kind, radically gentle, and unlike Jobs, it bore a causal link to the kind of success an artist truly wants.<br \/>\nLOCATION: 4742<\/p>\n<p>The real way to create innovation and collaboration is by setting an example\u2014starting with oneself.<br \/>\nLOCATION: 4748<\/p>\n<p>First, let us distinguish Henson\u2019s approach from those who resemble him most. ALTERNATIVES: WALT<br \/>\nLOCATION: 4759<\/p>\n<p>Starting from the ground up, each created a successful business by making quality popular art that would last for generations.<br \/>\nLOCATION: 4762<\/p>\n<p>Both men owned their own companies yet were capable of getting into the mind of a goofy mutt. By studying the subtle expressions that give a character emotion and depth, each could transform this awareness into lifelike characters.<br \/>\nLOCATION: 4771<\/p>\n<p>Similarly, pranks were common in Henson\u2019s workshops and studios,<br \/>\nLOCATION: 4780<\/p>\n<p>And both Henson and Disney nurtured their talented artists.<br \/>\nLOCATION: 4786<\/p>\n<p>in many ways, being a visionary means protecting your vision.<br \/>\nLOCATION: 4798<\/p>\n<p>Both men asked for great quality from their artists, yet, on closer inspection, Henson and Disney could not appear more different. NOT WALT<br \/>\nLOCATION: 4804<\/p>\n<p>Disney had a vision that was not just strong, but unilateral and absolute.<br \/>\nLOCATION: 4806<\/p>\n<p>\u201cGod help you,\u201d a writer warned, if you took his idea in the wrong direction.<br \/>\nLOCATION: 4810<\/p>\n<p>\u201cHe was a genius at using someone else\u2019s genius.\u201d<br \/>\nLOCATION: 4818<\/p>\n<p>By contrast, Henson\u2019s employees never went on strike, except in nationwide movements,<br \/>\nLOCATION: 4819<\/p>\n<p>Unlike Disney, Henson happily listened to others and incorporated their visions into his own.<br \/>\nLOCATION: 4824<\/p>\n<p>Henson is a good listener and if someone has an idea that is better than his own, he accepts it without hesitation. It is because of this that the others listen to him and accept direction without feeling resentment.<br \/>\nLOCATION: 4826<\/p>\n<p>[H]is total generosity \u2026 a good idea could come from anywhere<br \/>\nLOCATION: 4832<\/p>\n<p>If my suggestion was good, he accepted it without question. If he rejected a suggestion, he would always explain why it wouldn\u2019t work.<br \/>\nLOCATION: 4837<\/p>\n<p>Brillstein wrote, \u201cJim was not the kind to act stubborn.\u2026If I had a counterargument, he always listened and considered it fairly.\u201d<br \/>\nLOCATION: 4838<\/p>\n<p>While Disney seemed to have no problem shutting another artist down, Brillstein said Henson was careful not to stunt another\u2019s creativity:<br \/>\nLOCATION: 4840<\/p>\n<p>Henson put his people first, knowing it would help them make better art.<br \/>\nLOCATION: 4846<\/p>\n<p>In contrast to Disney\u2019s egotism, Henson took the time to give his artists credit in all the ways he could.<br \/>\nLOCATION: 4847<\/p>\n<p>\u201che appreciated everything and it extended to not just the performances, but also to any expertise that anyone<br \/>\nLOCATION: 4848<\/p>\n<p>Though Walt Disney was an unforgettable entrepreneur, Henson\u2019s care for others seemed to supersede his perfectionism, and in that he is decidedly different from Disney.<br \/>\nLOCATION: 4851<\/p>\n<p>To Disney, animation was \u201ca way of \u2026 finding absolute control,\u201d[42] Whereas to Henson, puppetry was \u201ca way of<br \/>\nLOCATION: 4858<\/p>\n<p>Though Henson\u2019s shyness and reluctance to hurt others might sound weak, especially in business, it is a powerful quality that may in fact be the best way to manage talented artists, since self-control allows a person to hold back, do no harm, and to listen more than he talks, to truly appreciate and nurture the talent of others.<br \/>\nLOCATION: 4860<\/p>\n<p>ALTERNATIVES: LORNE<br \/>\nLOCATION: 4863<\/p>\n<p>Since Disney\u2019s management style was more controlling than Henson\u2019s, perhaps a better comparison is to Saturday Night Live producer Lorne Michaels.<br \/>\nLOCATION: 4864<\/p>\n<p>perfectionism was thrown out the window in favor of rawer, human talent and collaboration.<br \/>\nLOCATION: 4865<\/p>\n<p>Lorne just believed in what he was doing and nobody was going to get in his way.\u2026His willpower outlasted everybody else\u2019s. He cared the most about this show. Everyone else cared more about something<br \/>\nLOCATION: 4867<\/p>\n<p>Unlike Disney, he gave his comedians the freedom to innovate, experiment, play\u2014often overly hard, as with John Belushi or Chris Farley.<br \/>\nLOCATION: 4872<\/p>\n<p>Though partying can seem \u201cunprofessional,\u201d it is in fact the essence of collaboration,<br \/>\nLOCATION: 4874<\/p>\n<p>Lorne Michaels was so informal that Will Farrell didn\u2019t even know he\u2019d been hired.<br \/>\nLOCATION: 4880<\/p>\n<p>NOT LORNE<br \/>\nLOCATION: 4889<\/p>\n<p>More than a few of Michaels\u2019s performers thought of him as a father figure, and this makes artistic sense, because if his comedians felt childlike, they could better play<br \/>\nLOCATION: 4889<\/p>\n<p>Yet Michaels seems to be a very specific kind of father. Some described him as \u201cmanipulative\u201d[59] or \u201cinfantilizing.\u201d<br \/>\nLOCATION: 4891<\/p>\n<p>By contrast, Henson seemed to conduct his crew through appreciation,<br \/>\nLOCATION: 4896<\/p>\n<p>While Michaels loved to hear himself talk, Henson loved to listen. And while Michaels was stingy with praise, Henson was reluctant to ever give criticism.<br \/>\nLOCATION: 4905<\/p>\n<p>The whole Muppet thing works best when people are free and open and feel like nobody will criticize you.<br \/>\nLOCATION: 4908<\/p>\n<p>He\u2019d expect you to do the best you can, but he also knew where you came<br \/>\nLOCATION: 4909<\/p>\n<p>He was just very delighted to be a part of it all, and he was\u2014next take was better.<br \/>\nLOCATION: 4914<\/p>\n<p>Henson himself used delight in the positive aspects of his work to make the next one better.<br \/>\nLOCATION: 4916<\/p>\n<p>When he met Caroll Spinney for the first time, Spinney had just bombed on stage<br \/>\nLOCATION: 4918<\/p>\n<p>Jim said, \u201cI really loved what you were trying to do.\u201d And he was absolutely sincere about it.<br \/>\nLOCATION: 4919<\/p>\n<p>An artist has his own internal judge of quality, and it\u2019s not necessary, Henson knew, to point his mistakes out to him.<br \/>\nLOCATION: 4921<\/p>\n<p>if he thought something hadn\u2019t been done well, he would never ever say that, and he\u2019d say, \u201cHey, I wonder if we just should try\u2026\u201d and somehow he would turn the corner and it would be a positive.<br \/>\nLOCATION: 4923<\/p>\n<p>We are tough on ourselves and tough on others. But perhaps a better way to improve is to stop criticizing ourselves and simply appreciate what is good about our work, so that the next take will be better.<br \/>\nLOCATION: 4927<\/p>\n<p>Being gentle in business is certainly an uncommon approach, but one that may suit creative companies the best.<br \/>\nLOCATION: 4930<\/p>\n<p>A COMPASSIONATE MANAGEMENT STYLE CENTER-OUT ORGANIZATION<br \/>\nLOCATION: 4931<\/p>\n<p>What made Henson\u2019s business different was that it didn\u2019t start out with a traditional organizational hierarchy\u2014with an orderly chain of command of unbreakable ranks\u2014and as it grew, Henson Associates remained informal, with inspiration coming from the center, rather than orders coming from above.<br \/>\nLOCATION: 4937<\/p>\n<p>Bad bosses make their work harder for themselves, because the more greedy, fearful, angry, and lazy you are, the harder it becomes to compel others to do good work.<br \/>\nLOCATION: 4939<\/p>\n<p>by being fearless, hardworking, generous, and calm, Henson\u2019s attitude easily spread out in a contagious way to those around him.<br \/>\nLOCATION: 4941<\/p>\n<p>Jim would try all kinds of things, and he was not afraid to try something new, and if he could see it happening in his mind\u2019s eye and knew that it would work, he would dog it until it worked.<br \/>\nLOCATION: 4945<\/p>\n<p>Jim Henson inspired people to do huge amounts of work, but he did so by giving of himself.<br \/>\nLOCATION: 4948<\/p>\n<p>Rank didn\u2019t matter to Henson the way it would to a normal businessman. And for an artist interested in collaborating, it shouldn\u2019t.<br \/>\nLOCATION: 4961<\/p>\n<p>The center-out model is what we typically see in a rock group or gang, with a charismatic center orbited by others.<br \/>\nLOCATION: 4969<\/p>\n<p>Yet if we shift the lens a bit and view things from inside the operation, this is how a troupe of artists works\u2014like a good group of friends.<br \/>\nLOCATION: 4984<\/p>\n<p>To criticize a motorcycle gang or garage band of cronyism would be nonsensical, because it\u2019s not a government, corporation, or any kind of compulsory power structure. It\u2019s more like a utopia\u2014a tiny society formed on its own foundation.<br \/>\nLOCATION: 4985<\/p>\n<p>Working with friends tends to increase the amount of emotional bonds that keep employees dedicated to the project.<br \/>\nLOCATION: 4987<\/p>\n<p>Henson didn\u2019t seem to see things through the typical business lens. He saw the human side of the equation and the benefits it would lend to art.<br \/>\nLOCATION: 4988<\/p>\n<p>What makes Henson so special was not that he was able to create his unique business model once, with Jane and Jerry Juhl, but that he understood the process enough to set up these groups\u2014which could function on their own in his absence\u2014and help them grow.<br \/>\nLOCATION: 4993<\/p>\n<p>SETTING UP STREET GANGS THE CREATURE SHOP AND FRAGGLE ROCK<br \/>\nLOCATION: 4995<\/p>\n<p>Two good examples of satellite Hensonian groups are the London Creature Shop and Toronto\u2019s Fraggle Rock.<br \/>\nLOCATION: 4996<\/p>\n<p>If we look at the similarities between these groups, we can derive a formula for scaling the start-up mentality that artists and innovators need to thrive: instead of growing bigger, Henson\u2019s groups grew more numerous.<br \/>\nLOCATION: 4998<\/p>\n<p>In setting up both of these projects, Henson needed to give the crews two things\u2014the time and space to co-create their worlds.<br \/>\nLOCATION: 4999<\/p>\n<p>Henson said, \u201cBy keeping a group of people together, we are staying closer to what we\u2019ve always done with the Muppets, where we had our own builders. That way you can make it better every time and build on your past<br \/>\nLOCATION: 5006<\/p>\n<p>A 24-hour place is expensive. Ultimately, to \u201ckeep a group of people together,\u201d Henson had to sacrifice part of his artistic vision, having the Creature Shop do work for commercials,<br \/>\nLOCATION: 5011<\/p>\n<p>Giving collaborators time and space is akin to giving them Gladwell\u2019s ten thousand hours, but Henson also gave them something more: ownership of their work.<br \/>\nLOCATION: 5036<\/p>\n<p>For The Dark Crystal, each design team in the Creature Shop oversaw their creature from start to finish, essentially giving engineers the creative authority of artists.<br \/>\nLOCATION: 5037<\/p>\n<p>Giving an artist not just credit but creative control over his work makes managerial sense. It also makes artistic sense.<br \/>\nLOCATION: 5041<\/p>\n<p>When each character has been shepherded to the film by a single builder, the character\u2019s evolution starts to resemble the way real creatures evolve.<br \/>\nLOCATION: 5042<\/p>\n<p>RADICAL KINDNESS NEVER MAD<br \/>\nLOCATION: 5060<\/p>\n<p>He was always really calm about<br \/>\nLOCATION: 5068<\/p>\n<p>Henson held back, which is one of the hardest things for a boss to do.<br \/>\nLOCATION: 5072<\/p>\n<p>When we micromanage the creative work of others, we tend to do more harm than good.<br \/>\nLOCATION: 5081<\/p>\n<p>\u201cJim\u2019s characters \u2026 were all part of him, but none more so than Kermit, who occupied the exact same relationship to the Muppet Show characters as Jim did to his<br \/>\nLOCATION: 5087<\/p>\n<p>It seemed that Henson channeled his frustration into an outlet that ultimately helped his employees rather than stifling them\u2014through successful comedy.<br \/>\nLOCATION: 5091<\/p>\n<p>But shyness can also lead to effective leadership, because an introverted person is one with a massive amount of self-control.<br \/>\nLOCATION: 5106<\/p>\n<p>Givers, takers, and matchers all can\u2014and do\u2014achieve success. But there\u2019s something distinctive that happens when givers succeed: it spreads and cascades.<br \/>\nLOCATION: 5110<\/p>\n<p>when [givers] win, people are rooting for them and supporting them, rather than gunning for them.<br \/>\nLOCATION: 5112<\/p>\n<p>Givers succeed in a way that creates a ripple effect, enhancing the success of people around<br \/>\nLOCATION: 5113<\/p>\n<p>Instead of asking people to work harder, Henson showed them how. Instead of criticizing his employees, Henson criticized no one. Instead of taking credit, he gave it to others.<br \/>\nLOCATION: 5114<\/p>\n<p>He started out with an attitude of compassion and let that inspire the rest of his day.<br \/>\nLOCATION: 5122<\/p>\n<p>With meditation, more than restricting or controlling himself, Henson was able to coach or guide himself to grow better without stigmatizing his present failings.<br \/>\nLOCATION: 5131<\/p>\n<p>LET PEOPLE SURPRISE YOU GET OUT OF THE WAY<br \/>\nLOCATION: 5138<\/p>\n<p>Part of the effect of characters being performed by two people was to push more improvisation.<br \/>\nLOCATION: 5143<\/p>\n<p>This is the ultimate goal of artists\u2014to surprise oneself by one\u2019s own performance\u2014because only by doing this can we surprise our audience.<br \/>\nLOCATION: 5148<\/p>\n<p>Henson was happy to be surprised by his writers. As a boss, he wanted you to explore your vision.<br \/>\nLOCATION: 5157<\/p>\n<p>SYNTHESIS SYMPHONY OF CREATIVES<br \/>\nLOCATION: 5176<\/p>\n<p>Henson\u2019s goal as a leader was, as Steve Whitmire said, \u201cseeing to it that this person does what they need to do<br \/>\nLOCATION: 5177<\/p>\n<p>they also needed to know what exactly they were working towards.<br \/>\nLOCATION: 5179<\/p>\n<p>Fraggle Rock producer Larry Mirkin often said, \u201cwe were all working in service of the best<br \/>\nLOCATION: 5179<\/p>\n<p>Since this trial-and-error process is how many artists already work, as Midener did, it seems like the natural way to coax the best from people.<br \/>\nLOCATION: 5189<\/p>\n<p>Henson appreciated everyone for what they did well. But in order to get everyone doing their best, each artist had to ultimately cede to the best idea, and Henson did not allow every idea to enter his creations.<br \/>\nLOCATION: 5210<\/p>\n<p>Henson understood that best way to talk about weaknesses is to turn them into strengths.<br \/>\nLOCATION: 5216<\/p>\n<p>Ultimately, difference is a positive thing for a symphony of creatives.<br \/>\nLOCATION: 5225<\/p>\n<p>NO BIG BOSSMAN HAVE BEER IN A FRIDGE IN YOUR OFFICE<br \/>\nLOCATION: 5229<\/p>\n<p>\u201cyou don\u2019t work for Jim Henson, you work with Jim Henson\u201d<br \/>\nLOCATION: 5232<\/p>\n<p>It is entirely possible to have a management structure with no \u201ctop dog.\u201d<br \/>\nLOCATION: 5242<\/p>\n<p>When working for Henson, your role seemed to matter more than your rank\u2014contractors,<br \/>\nLOCATION: 5249<\/p>\n<p>In a small start-up where workers could leave and go home, a hierarchy-less system worked.<br \/>\nLOCATION: 5253<\/p>\n<p>The Muppets\u2019 affectionate anarchy might just be the best management model an artist can have.<br \/>\nLOCATION: 5253<\/p>\n<p>Having no boss was something that must\u2019ve had a profoundly freeing psychological effect on Henson. He knew the value of it. With no boss over him, it likely seemed natural to step back and share the freedom he felt with others.<br \/>\nLOCATION: 5264<\/p>\n<p>The first step toward being an uncommon boss is to find a way to have no boss.<br \/>\nLOCATION: 5266<\/p>\n<p>No, we each lead ourselves, and we all lead each other.<br \/>\nLOCATION: 5272<\/p>\n<p>In a hierarchy where pecking order is important, there is much competition and aggression, but in Henson\u2019s business, much of that could be channeled into the work itself.<br \/>\nLOCATION: 5279<\/p>\n<p>Henson\u2019s business seemed more like a family, where dominance is replaced with teaching, training the employees to become their own bosses.<br \/>\nLOCATION: 5293<\/p>\n<p>HOW TO BECOME A RADICAL ENABLER<br \/>\nLOCATION: 5305<\/p>\n<p>The first step to becoming a good boss is to throw off all bosses, if not literally\u2014by starting a business\u2014then emotionally, as much as you can, by thinking of yourself as the only boss of yourself.<br \/>\nLOCATION: 5306<\/p>\n<p>Whenever it is possible to get control of your project, fight for it.<br \/>\nLOCATION: 5309<\/p>\n<p>When you are the boss, you control everything.<br \/>\nLOCATION: 5311<\/p>\n<p>If you are the boss, trust yourself. Banish fear from your thoughts through meditation, and use meditative activities that help you to understand what Henson said: You\u2019re not the victim, but instead you\u2019re the one who\u2019s doing it.\u2026[Y]ou are the person who ha[s] control of your<br \/>\nLOCATION: 5312<\/p>\n<p>Don\u2019t stigmatize your faults or failures\u2014the ways you negatively affect others. Instead, look at what you\u2019re doing well, and then try again.<br \/>\nLOCATION: 5316<\/p>\n<p>Your leadership needs to start with you.<br \/>\nLOCATION: 5318<\/p>\n<p>Even if you don\u2019t have experience doing what your workers do, you need to find a way to learn about it.<br \/>\nLOCATION: 5320<\/p>\n<p>As a boss, Henson was best suited to lead smaller groups, where innovation and creativity thrive. For most artists, this is exactly where we want to be anyway, not at the helm of a corporate behemoth.<br \/>\nLOCATION: 5335<\/p>\n<p>The easiest person to change is yourself, and that is easiest to do when you are your own boss.<br \/>\nLOCATION: 5339<\/p>\n<p>The inner calm that he brought to his leadership stemmed from a fundamental satisfaction with the amount of control he had over his life.<br \/>\nLOCATION: 5340<\/p>\n<p>The way to encourage others to surprise you is to work with them\u2014not above or below them, but with them\u2014and to try to have fun doing it. And most importantly, exercise your appreciation of others.<br \/>\nLOCATION: 5342<\/p>\n<p>YOUR COMPANY IS YOURS ALONE YOU\u2019RE STUCK WITH WHAT YOU\u2019VE MADE<br \/>\nLOCATION: 5480<\/p>\n<p>The real key to making money as an artist is copyright\u2014owning it, investing in it, and licensing it<br \/>\nLOCATION: 5481<\/p>\n<p>Owning one\u2019s work firstly means being able to protect it from being changed or exploited by others. And secondly, it allows the artist to recycle one\u2019s previous works in an organic cycle of growth. When an artist can freely build on his previous successes and failures, he can keep doing what works and use what doesn\u2019t for scrap parts.<br \/>\nLOCATION: 5489<\/p>\n<p>As we saw, Henson\u2019s reaction to failure was not to feel shame, but simply to appreciate what was good about it and to try to make the next take better.<br \/>\nLOCATION: 5494<\/p>\n<p>You should never waste an idea, even if it\u2019s terrible. There\u2019s likely something in there that could work.<br \/>\nLOCATION: 5495<\/p>\n<p>You should always fight to own your own work. Copyright allows artists to build upon what they\u2019ve done.<br \/>\nLOCATION: 5501<\/p>\n<p>STAY PRIVATE THINK TWICE ABOUT GOING PUBLIC<br \/>\nLOCATION: 5506<\/p>\n<p>But the reason Henson could avoid talking money when he wanted to talk art was that legally, he was not required to disclose any of that information\u2014his company wasn\u2019t public.<br \/>\nLOCATION: 5521<\/p>\n<p>For artists, a public company means having many bosses, and less artistic freedom.<br \/>\nLOCATION: 5529<\/p>\n<p>Though he would have to seek funding at times from producer Lew Grade and networks for expensive projects, for the most part, his enterprise was funded by its own products\u2014commercial work and merchandise. To never have to deal with stockholders\u2019 desires<br \/>\nLOCATION: 5541<\/p>\n<p>It allowed him to control the destiny of his own company, answering only to his own artistic standards of excellence.<br \/>\nLOCATION: 5544<\/p>\n<p>OWN EVERYTHING YOU DO PAY UP TO BUY YOURSELF BACK<br \/>\nLOCATION: 5547<\/p>\n<p>Owning your work has clear financial benefits, but it can be incredibly costly.<br \/>\nLOCATION: 5548<\/p>\n<p>Henson made a lot of money this way, firstly by owning the copyright, rather than letting the coffee company keep it, and secondly by buying his contract back from the ad agency. It paid off.<br \/>\nLOCATION: 5558<\/p>\n<p>Jim had broken the one rule they warn you about in Hollywood: Never put your own money in your<br \/>\nLOCATION: 5574<\/p>\n<p>In the long view, Henson\u2019s decision to buy back the film paid off. And yet, in the short term, it was thought a foolish choice by many, and at the very least, it was a risky choice.<br \/>\nLOCATION: 5586<\/p>\n<p>Like children, artworks can be separated from the artist, and yet a parent can never truly \u201clet go.\u201d And in business\u2014when we arrange our fiscal contracts\u2014it makes sense to set up a scenario that conforms to this feeling. As<br \/>\nLOCATION: 5606<\/p>\n<p>THE DISNEY SALE HIS MOTIVES AND THEIRS<br \/>\nLOCATION: 5611<\/p>\n<p>In many ways, the Muppet deal was a classic Disney acquisition. The Muppets were irreplaceable assets, characters that had been created by Henson\u2019s genius and elevated to their current popularity through years of nurturing. They were not the kinds of assets that could be created by forming a new division of Disney or giving an assignment to existing creative personnel.<br \/>\nLOCATION: 5624<\/p>\n<p>Another likely motivation of Disney\u2019s\u2014though hidden\u2014was that Henson was Disney\u2019s competition.<br \/>\nLOCATION: 5636<\/p>\n<p>To Henson, Disney must\u2019ve looked like the ideal angel funder, willing to write a check for his expensive projects.<br \/>\nLOCATION: 5649<\/p>\n<p>\u201cDisney was promising to back any movie project Jim wanted to do. That was huge.\u201d[37] The promise to fund any project was paramount to the barrier-breaking Henson, who was eager to experiment with 3-D movies and theme park rides, which were too costly to produce on his own.<br \/>\nLOCATION: 5650<\/p>\n<p>He was an artist first and foremost, and he needed to concentrate on his work and come up with magnificent ideas like he always had. With Disney\u2019s money and machinery, Jim could be fully creative.<br \/>\nLOCATION: 5661<\/p>\n<p>In his mind, the Disney deal would allow Henson to make more art and have to do less business. Because in fact, he didn\u2019t sell his entire company to Disney, just the branch that made the money\u2014\u201cthe licensing and publishing businesses of Henson Associates,<br \/>\nLOCATION: 5663<\/p>\n<p>Henson was keeping his creative team, his production company, and his Creature Shop and jettisoning the licensing and publishing\u2014the business<br \/>\nLOCATION: 5668<\/p>\n<p>OUR POOR BOY THE SOLDIER PRODUCERMAN AND THE HEARTLESS GIANT<br \/>\nLOCATION: 5679<\/p>\n<p>Henson himself earned a kind of immortality through his art. He was a self-taught artist who collaborated with others like himself, just as the soldier danced and played with the beggar.<br \/>\nLOCATION: 5694<\/p>\n<p>you can\u2019t really sell your company and keep control of your art.<br \/>\nLOCATION: 5729<\/p>\n<p>On the whole, there is nothing wrong with a large corporation, as long as it has a \u201cheart.\u201d<br \/>\nLOCATION: 5750<\/p>\n<p>BECOMING DISNEY SMALL COMPANY, BIG COMPANY<br \/>\nLOCATION: 5784<\/p>\n<p>For an artist\u2013entrepreneur, it makes a lot of sense to keep your business small. The bigger you get, the more time you have to spend on business and the more businesspeople you need to hire.<br \/>\nLOCATION: 5785<\/p>\n<p>I\u2019ve never particularly wanted to have a large organization. The trick is to try to stay small enough to be creative but still be able to do all the projects we want to do\u2014and not get so big where you spend all your time just managing people and trying to keep everybody working<br \/>\nLOCATION: 5792<\/p>\n<p>If a company\u2019s profits depend on quality\u2014as an artist\u2013entrepreneur\u2019s do\u2014then a small company is ideal for maintaining quality control.<br \/>\nLOCATION: 5803<\/p>\n<p>In effect, Henson\u2019s business manager, Brillstein, was advising him to spread himself thin\u2014to produce more shows than he could effectively quality control\u2014to become a bigger company than an artist can sustain.<br \/>\nLOCATION: 5812<\/p>\n<p>as Henson did not want to be a big company, he did want to be Disneylike in one aspect\u2014creating his own theme park attractions.<br \/>\nLOCATION: 5831<\/p>\n<p>Henson essentially wanted the job of an imaginer\u2014the ability to dream big.<br \/>\nLOCATION: 5837<\/p>\n<p>While Henson wanted a small company, he also wanted Disney\u2019s one-of-a-kind playground and the funding that made it possible.<br \/>\nLOCATION: 5849<\/p>\n<p>MERGER PROBLEMS CULTURE CLASH\u2014WHAT WENT WRONG<br \/>\nLOCATION: 5851<\/p>\n<p>\u201cEveryone [in the Henson Company] said it\u2019s been awful. It was clear that they\u2019ve been having a severe culture<br \/>\nLOCATION: 5859<\/p>\n<p>In Hollywood, the Disney name is synonymous with rigid, aggressive corporate control. The Henson atelier is informal and respect for the artist is the first<br \/>\nLOCATION: 5863<\/p>\n<p>Disney wanted to take away both the Muppet performers\u2019 creative ownership of their characters and their financial ownership of toy royalties; this is clearly not an \u201cartist-first\u201d business philosophy.<br \/>\nLOCATION: 5892<\/p>\n<p>Just before the merger, Pixar\u2019s Chief Technical Officer, Ed Catmull, told his employees, \u201cOur number-one priority [is] protecting the culture that we\u2019[ve] built and the way our people work together. A real creative community is a rare<br \/>\nLOCATION: 5914<\/p>\n<p>WE WILL LIVE FOREVER ON THE IMMORTALITY OF KERMIT<br \/>\nLOCATION: 5916<\/p>\n<p>Henson had two objectives when he decided to sell to Disney. He put the Muppets in a sort of Valhalla, where the Disney experts could package and promote them for all time. The deal also allowed Henson to get away from the bureaucracy so he could focus on and fund new<br \/>\nLOCATION: 5963<\/p>\n<p>One gets the sense that it is in this small company, still family-run, that Kermit\u2019s energy was meant to live on\u2014perhaps not in the same copyrightable shape, but in the same spirit of collective creativity.<br \/>\nLOCATION: 5987<\/p>\n<p>HOW TO RETAIN OWNERSHIP<br \/>\nLOCATION: 5989<\/p>\n<p>Henson\u2019s role as an artist\u2013entrepreneur gave him great freedom\u2014artistic freedom\u2014which rested on his copyrights and the shares of stock he owned in his own company.<br \/>\nLOCATION: 5990<\/p>\n<p>for an artist, it is harder to truly cash out, because the things you\u2019ve made are not mere impersonal gadgets or algorithms; they are extensions of your personality. They are more like our children. Protect your art. Hold onto it. Control its destiny.<br \/>\nLOCATION: 5994<\/p>\n<p>MAKE YOUR WORLD IN ITS LIGHT<br \/>\nLOCATION: 6024<\/p>\n<p>What Jim Henson did with his life was amazing. He seemed to approach his career with the idea that he could do anything, so what was worth doing?<br \/>\nLOCATION: 6025<\/p>\n<p>Art helps us explore what we believe through self-exploration, and often we uncover ideas we didn\u2019t know we had.<br \/>\nLOCATION: 6048<\/p>\n<p>I believe that we form our own lives, that we create our own reality, and that everything works out for the best.<br \/>\nLOCATION: 6075<\/p>\n<p>Most people, and particularly kids, don\u2019t realize that they are in control of their lives and they\u2019re the ones that are going to make the decisions and they\u2019re the ones that are going to make it either way.<br \/>\nLOCATION: 6083<\/p>\n<p>To become whole, the artist needs to join with his opposite\u2014the businessman.<br \/>\nLOCATION: 6090<\/p>\n<p>Jim Henson said: \u201cThe feeling of accomplishment is more real and satisfying than finishing a good meal or looking at one\u2019s accumulated wealth.\u201d<br \/>\nLOCATION: 6105<\/p>\n<p>When you make your heart the boss of your life, you can accomplish things that no one can take away from you.<br \/>\nLOCATION: 6107<\/p>\n<p>There are millions of people out there who\u2019ll tell you it can\u2019t be done. They are the naysayers, the been-there-done-thats, the people in the audience who know the ending already. Believe in the never-before. The miracle. The surprise. Because no one knows the future. Even the smartest scientist and the most jaded historian will tell you he has no idea what tomorrow will bring. Jim Henson believed that we create our own reality. Do you?<br \/>\nLOCATION: 6124<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Make Art Make Money Elizabeth Hyde Stevens\u00a0| ISBN: 1477817387 &amp;\u00a0978-1477817384\u00a0| Finished: 1\/2015 | Rating: 9\/10 Make Art Make Money Summary Make Art Make Money by Elizabeth Hyde Stevens is a gem of a book. Before reading Elizabeth&#8217;s book I didn&#8217;t know much about Jim Henson&#8217;s life and career. After reading it I feel like I [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":651,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[40],"tags":[43,96,95,94,47],"class_list":["post-650","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books","tag-book","tag-elizabeth-hyde-stevens","tag-jim-henson","tag-muppets","tag-review","post-preview"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/marketingtrw.com\/blog\/wp-content\/uploads\/2015\/03\/Make-Art-Make-Money-Elizabeth-Hyde-Stevens.jpg?fit=1000%2C1500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4Fe6d-au","jetpack_likes_enabled":false,"_links":{"self":[{"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/posts\/650","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/comments?post=650"}],"version-history":[{"count":17,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/posts\/650\/revisions"}],"predecessor-version":[{"id":1070,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/posts\/650\/revisions\/1070"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/media\/651"}],"wp:attachment":[{"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/media?parent=650"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/categories?post=650"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/marketingtrw.com\/blog\/wp-json\/wp\/v2\/tags?post=650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}