Author: Kelli Richards

Sexy vs Cash Projects

For those of us who work for ourselves (and for those who aspire to), there’s a phenomenon that people don’t often talk about because it’s assumed that we’re intended to be performing and achieving high levels of success at all times. However, sometimes there are periods of feast and famine in our businesses, especially for those of us in creative professions. My colleague Rich Litvin has shared his observations on this with a nod to Hugh McLeod’s “Sex and Cash Theory of Creative Work” — and I really resonate with this. The basic notion is that the creative person has two kinds of jobs — the first being the fun, sexy kind (those projects and clients we love to work with), and the second one is ensuring that we have enough cash flows that the bills get paid each month. Sometimes the task at hand covers both bases, but not all the time. So there can be a tense duality between the need to make a living and the need to follow one’s passions. You can’t run a successful, thriving business if you have no money and your only thought is “I NEED money!”. …

Guy Kawasaki, Evangelist, Author, Speaker


Guy Kawasaki is the chief evangelist of Canva, an online graphic design tool. He is on the board of trustees of the Wikimedia Foundation, a brand ambassador for Mercedes Benz USA, and an executive fellow of the Haas School of Business (UC Berkeley). He was also the chief evangelist of Apple. Guy is the author of The Art of the Start 2.0, The Art of Social Media, Enchantment, and nine other books.

 

Listen to the entire podcast here: https://allaccessradio.libsyn.com/kelli-richards-interviews-guy-kawasaki

The Quiet Passing of a Giant

The music industry has experienced whBeatles_and_George_Martin_in_studio_1966at seems like an unprecedented string of losses since the year began. Add to that list, a legend in Sir George Martin who passed a few days ago at the age of 90, and was considered by many to be “The Fifth Beatle”. Sir George was perhaps among the most talented record producers, music arrangers, and A&R men of all time. He was a true master at his craft — he pioneered all mann
er of unique things artists could do in the studio — and truly co-created with the artists he worked with to amazing results.Unusual things like running the tape backwards to create new sounds as in “Tomorrow Never Knows” or adding in unique instrumentation like strings over “Eleanor Rigby” and “Yesterday” or weaving a mellotron into “Being for the Benefit of Mr. Kite”. And as gifted as he was and a master at his art, equally important is how well-loved and respected he was by all who had the chance to meet and work with him. I’ve never heard a bad word said about George by anyone throughout his career which is telling; quite the contrary. …

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