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When a company understands the jobs that arise in people’s lives, and then develops products and the accompanying experiences required in purchasing and using the product to do the job perfectly, it causes customers to instinctively “pull” the product into their lives whenever the job arises.

How Will You Measure Your Life?

Clayton M. Christensen, James Allworth, and Karen Dillon

As far as we know, Shakespeare worked always for money, giving the best of his intellect to support his trade as an actor. In our own century what literary names stand higher than those of Byron, Tennyson, Scott, Dickens, Macaulay, and Carlyle? And I think I may say that none of those great men neglected the pecuniary result of their labors…. It is a mistake to suppose that a man is a better man because he despises money. Few do so, and those few in doing so suffer a defeat. Who does not desire to be hospitable to his friends, generous to the poor, liberal to all, munificent to his children, and to be himself free from the carking fear which poverty creates? The subject will not stand an argument;—and yet authors are told that they should disregard payment for their work, and be content to devote their unbought brains to the welfare of the public. Brains that are unbought will never serve the public much. Take away from English authors their copyrights, and you would very soon take away from England her authors.

How to Write

Richard Rhodes

“kick in the teeth may be the best thing in the world for you,” he had been kicked in the teeth for years now, and the kicks were not abating. “When he came back to animation after the war,” Frank Thomas observed, “Walt never had the same enthusiasm…. It was never like it was on the early pictures, where he knew every frame of the film.” Moreover, the layoffs in 1946 and attrition had shrunk the workforce; despite Walt’s promises to stockholders that the studio was on the rebound, only an emergency loan of $1 million from RKO late in 1946 rescued the company from insolvency. When Woolie Reitherman returned to Burbank in 1947, he recalled that “there was quite a lot of down feeling at the studio.” He would see Walt eating at the Penthouse Club, and Walt “always seemed to be a little worried.” One animator remembered a story conference where Walt was clearly distracted. The man who had been pitching the story was forlorn at Walt’s lack of interest. “Walt looked at him and said, ‘You haven’t anything to worry about. It’s me. I’m the one that has to worry. Goddamn, I’ve got to stay up all night thinking about things for you guys to do.’”

Walt Disney

Neal Gabler

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