How I Built This with Guy Raz - Kickstarter: Perry Chen

Episode Date: July 31, 2017

In the early 2000s, Perry Chen was trying to put on a concert in New Orleans when he thought, what if fans could fund this in advance? His idea didn't work at the time, but he and his co-founders spent the next eight years refining the concept of crowd-funding creative projects. Today Kickstarter has funded over 125,000 projects worldwide. PLUS in our postscript "How You Built That," how Kristel Gordon invented a solution for easily stuffing a duvet into its cover – it's called Duvaid. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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visiting museums, and just soaking up the history of one of the most beautiful cities in the world. And one of the things that made the trip so special was the whole. home we booked on Airbnb. It had tall windows, beautiful old details, and plenty of space for all of us. And being in that home on Airbnb, right in the middle of Vienna, walking distance from so much of the city made it feel less like a visit and more like we were actually living there. Plus, taking a trip is the perfect time to host your space on Airbnb. Your place, with all of its personal touches and its amazing location, could make someone else's vacation even better. Your home might be worth more than you think. Find out how much

at Airbnb.c a host. Hey, it's Guy here. I know a lot of you have been asking about our live shows happening this summer. We have one more happening in Seattle in mid-September. And tickets for that event will go on sale soon. We will let you know when they do go on sale. You can follow us at how I built this or at Guy Raz to find out when and when they're available. You can and buy them at nprpresents.org. Okay, here's the show. Weren't you getting stressed out that somebody else is going to beat you to the punch and do the same thing? I think that certainly comes to mind, but I think there's also like we couldn't have tried to go any faster.

There was just not that much was in our control. We didn't have a lot of money. We didn't have a lot of influence. We didn't have a lot of connections. So we're moving as fast as we could, and that's kind of as that's as much as you can do. From NPR, it's How I Built This, a show about innovators, entrepreneurs, idealists, and the stories behind the movements they built. I'm Guy Raz, and on today's show, how Perry Chen built Kickstarter,

and with it, a culture of crowdfunding ideas that might have never gotten off the ground. You know, there's a kind of mythical narrative around startups, especially if we're talking about tech startups. And it goes something like this. Founder has an idea, then Founder recruits some friends, then friends sit in a room and start writing code, and then they try to get the app or the website out to the world as fast as possible, and then it just explodes, it blows up, millions of customers sign up, and investors start beating down the door. But today, we have a somewhat different story.

This is the story of Kickstarter, and it did, of course, start with an idea. but it took eight years before that idea became a reality. The three co-founders did build a website, but none of them knew how to code. And they spent years refining the concept before anything even went live. And they were working with a very small amount of money. It's a path less traveled. It is much less likely to succeed. It's not how I would recommend anybody attempt to do this.

This is Perry Chen, one of the co-founders of Kickstarter. Perry grew up in New York City, but he went to college in New Orleans where he was really into the local music and art scene. And after he graduated, he came back home to New York. And like a lot of college graduates, he really didn't know what he wanted to do. But he knew one thing he needed to find work. I came back to New York and at the time I had been DJing a bunch of New Orleans and I had started to work on my own music. I applied some record labels like, you know, send my resume to whatever the worst job they have. is where you're just stacking CDs

on a shelf. Yeah. Like you're opening boxes and you're stacking CDs. Yeah. And you know, of course I never heard back. And so that that just didn't happen. I don't think I had any idea. And then I heard from somebody that they said that a guy we knew at school was looking for warm bodies. To do what?

To, of all things, day trade. Did you know anything about the stock market? Nothing. Nothing. Nothing. He just needed people to, what, to show up and to like click buttons? Yeah, you know, I think at this time in early 99, it was kind of wild times in the stock market. And so I went down. I talked to him for 10 minutes. He had like an office in Manhattan. It was like a large room. You know, it was like an open floor. People were dressed in like jeans and t-shirts, you know, mostly guys, mostly under 40.

And, you know, he talked to me. And he's like, okay, fine. You know, he's like, you come in. you know, we'll train you for five days. Then you just go trade. We'll put a small amount of money in your account. You just trade. You know, there's no clients. You're not selling anybody anything. It's just this guy's money.

Wow. He's like, if you do well, you know, you'll get some of it. And if you don't, just don't worry about it. And then, you know, that's it. Yeah. You know, they were like you'll get, it was something quite modest, like $2,500 a month, you know. I mean, listen, it was, you know, beggars, can be choosers. I was like, sure.

And what? What happens? Well, literally, you just get set down in front of a computer, and you're just sitting there by yourself, and you can just buy or sell stuff. And you were basing your decisions on, like, what? I'm reading the Wall Street Journal? No, not at all. I mean, you're buying and selling something in a minute or, you know, or five minutes you're holding it. You might not necessarily know the name of the company.

It was like a combination of Mario Brothers and Surf It, which I've never done. But you're kind of looking out in the ocean, I assume, and I see a wave coming. so you're like, okay, it's simple, it's a little instinctual, and I did it for maybe a little less than two years or so. And did you walk away from it with some cash? Yeah, with a little bit. I mean, nothing crazy, but definitely decent for somebody in their 20s. But, you know, after a while, I mean, I was kind of like, what am I doing?

You know, I'm not doing anything. I'm not helping anything. I mean, at best, what I'm doing is neutral. I mean, I'm not selling somebody on anything, so the traders like to think that they're providing liquidity, like some great service. But, you know, you're doing nothing. You're shuffling some numbers from one computer to another. So, yeah, I decided to go back to New Orleans. It's much cheaper than New York. My intent was to just kind of really focus on working on music, to get better as a producer, as a composer, and kind of pick up jobs here and there if I needed it.

Did the idea of Kickstarter come to you at that time? I think so. I think it was, I always say late 2001, early 2002, because to be honest, you know, I can't remember. But, you know, in New Orleans, there's jazz festival. It's kind of one of the two big moments of the year, you know, other than Mardi Gras. So I wanted to throw a show where I was going to bring in these two electronic artists from Austria, Kruger and Dorfmeister. So you thought you'd fly them from... Vienna to New Orleans and have them do a gig.

Sure. I mean, you know, the hope is that though they would just happen to be in Mississippi. Oh, right. But, yes, I mean, I was not an event promoter, so this is all just kind of on the fly. But it didn't happen. And it just kind of bothered me. You know, why is it that I would need to come up with the money and make this decision that this thing would have enough people come? I thought, what if the people that, would want to come to the show could have a say in that

and if enough people could do that before a certain point then the show could happen and if not then it doesn't so that was it that was the beginning and what I remember most is that like I would get ideas all the time

and you know but within a little thinking you kind of find the fatal flaw yeah right and so what struck me most about it was like that I couldn't find that so it's stuck with me And so I kind of had this feeling. I was like, this may be something.

Now, after that feeling, I was like, okay, cool. And back to regular life. Music and being in New Orleans and, you know, riding my bike. And, you know, it's a good life. Do you ever, like, see your friends from high school or college, you know, go off and start, like, careers and, like, whatever, like, law or finance and think, yeah, you know, maybe I should go into a career. No, I mean, you know, what I felt was I'm living in New Orleans, I'm working on music. This is why people work for 35 years and retire, so they can move to New Orleans and work on music. So am I jealous of my friend who works 70 hours a week?

No. All right, so you are, so you're in New Orleans, you're doing different things. You had this idea that sort of comes and goes. and I guess around 2005 you move back to New York, right? Yes, exactly. In May of 2005. What was the reason why you moved back? I think it was a lot of things.

I mean, I think that partially because I was moving away from music a little bit, I was kind of fighting with it. You know, I think a lot of times when you have an idea, right, and you kind of put it on the shelf of your brain, somebody will say something at certain points and it'll remind you. Yeah. So I think that's kind of what happened. As I was getting close to probably in the final year,

of New Orleans as I was getting close to coming back to New York, maybe even a year and a half. I think it kind of came back in a more practical way. I knew that I was going to pursue Kickstarter. You knew that you were going to pursue this idea, that it had come back to you? Yeah. Part of the reason being, too, is that in New Orleans, it would have been pointless at the time. You know, I don't know of any tech community that was there in the early 2000s. It might have been, but certainly I wasn't connected to any of it.

So, yeah, it was my plan A when I went back to New York. How did you meet the guy who would eventually become one of your co-founders, Yancey Strickler? Well, I got a job working at a restaurant in Brooklyn that I actually used to love. You were a waiter there? I was a waiter there, yeah. And, you know, I met Yancey after I'd been at the restaurant for a little bit. He was working at e-music at the time. He would come in.

We chatted a bit, and we were like talking about music and baseball. And then we just hung out a few times and probably pretty. early on when we hung out, maybe the second time or third time, I kind of shared with him that I was working on this idea. What was his reaction when he told him? Did he say, this is a brilliant idea? Well, it's funny that that was not the reaction. I mean, it wasn't the extreme opposite, but he was, you know, he's like, I'm not sure.

So I don't know if my thought at the time was that we would be working together, but I thought it would be worthwhile to talk to him. And, you know, as we started talking more and more about it, and simultaneously, becoming better and better friends, I think we, it just kind of naturally came together and decided to work together. Did either of you guys know anything about coding or about how to build a website or anything like that? Well, I certainly didn't from any technical sense. I cannot code and I couldn't code. But I think I had a sense of what it should feel like. I know what I I like. I know what I think feels good when I'm on a site. But from the deep technical stuff,

no, that was not my background at all. Yancey probably had been closer, but he's not a coder at all either. So what did you start to do at that point? I mean, you dove in headfirst into this idea and what were you doing during the day? Yeah, it was headfirst. I mean, I was reading blogs on the internet by people who had started internet companies. I was reading about it and maybe finding a friend or a friend of a friend and playing a game of telephone and talk to somebody. And I did a ton of that. And it was slow going. But, you know, you can learn a lot by just kind of Googling stuff.

How did you get connected to, you have a third co-founder, Charles Adler? Charles Adler, yeah, our other co-founder. We need somebody who is a designer or user experience person to help kind of mock up the site. and an old college roommate of mine for my freshman year. He was like, oh, my friend Charles moved to New York and he's doing freelance work. Put us in touch. Charles and I emailed. He came over to my house in bedstay the next day.

And we worked together kind of like almost every day or every weekday for a couple of months. You were hand drawing, like what the site would look like? Yeah, there was some hand drawing or Charles would go into Photoshop or illustrator and kind of like, you know, do some rough mockups of stuff. And you're getting into detail, like, here's a button, here's a video, here's, this is what happens when you click this. So, you know, real in-depth, I think at the end, we produced a document over 100 pages about how this site would function with zero code written, mind you. And what was it, what were you doing, who were you making this for?

Were you making this for potential investors or were you just, it was just something that you guys would have? This was to make it. This was not for investors. Yeah. This was just, you know, what we would use when we had the money to hire a development. developers to build it. But this is critical. You know, you've got to know what you, you know, this is the blueprint. So when did you guys go to investors for money? It was in 2006. I had a friend of mine and her cousin is

David Cross, the comedian from Arrested Development and many other Mr. Show and great stuff. And so she connected us and we went and had a drink at a bar and I talked to him about the idea. And a few months later, he invested a little bit of money. And that was our first investor. And, you know, it was only two and a half more years before he was able to launch the website. And how much money did you have, like, from him and from your other early investors in 2006? It took us a year and a half. So from that point, probably from there to early 2008, we raised maybe $120,000 in a year and a half. So that was all of the money you had to basically pay for. server space or whatever you needed to do to find a developer, a coder, all these people?

That was it. Was it already called Kickstarter at that point? I think, you know, at first, like, the working title for years in my mind was critical mass. Because it was very much the mechanism of, like, you know, when you reach a critical mass of support, then the thing can happen. Yeah. But, you know, I think, obviously, there's critical mass used in a lot of things. There's the bicycle organization. and just it's really mechanical in a way.

So I think, you know, spent that grueling process, which is trying to see what domain you can get. And, yeah, and came out with this and was able to get the domain for pretty cheap. So tell me what the business model was from the outset. The idea was exactly as you see it today, which is to charge a small fee if and only if the project was funded. So, you know, if projects didn't get funded,

you know, there's no listing fee. so we would get nothing. So you would have this platform. People would put their projects up. If it's funded, you guys get a cut. What's a percentage cut? Five percent. So Kickstarter, we get five percent.

If it's not funded, you would get nothing. We would get nothing, yeah. So what's interesting about your story, which is very different from a lot of other tech companies, is you didn't just like get to a minimally viable product like in six months and have it up and running. like this was like at least three years. Yeah, I mean, yeah, two and a half three years, but very different from more classical stories where it's like a couple of friends who've worked in the industry who may have connections or they can build it themselves.

I don't think any of us had a sense of where the end of the road was or where the goal was. But when the three of you, like when Yancey and Charles and you would sort of talk to other people and they'd say, oh, what's going on in your life? And you would say, I'm working on this and I'm trying to do this website. would see them again six months later, and they'd say, oh, how does the website go? And you'd be like, yeah, it's coming along. Do you think people were skeptical? Yeah, you learn what it feels like to be a documentary filmmaker, basically. Or a writer. You know, it's like, you're still working on the book? I'm sure people thought that. And I wouldn't blame them. I mean, it was long in the tooth for us, certainly too.

Weren't you getting stressed out that somebody else is going to beat you to the punch and do the same thing? I think that certainly comes to mind, but I think there's also like we couldn't have tried to go any faster. There was just not that much was in our control. We didn't have a lot of money. We didn't have a lot of influence. We didn't have a lot of connections. So we're moving as fast as we could, and that's kind of as that's as much as you can do. So I mean, why do you think you guys stuck with it?

Because I think, you know, people would normally lose patience, right? So was it just the connection between the three of you guys liked each other? Was it the idea or was it just luck that you just stuck it out? I think it was the idea. You know, so many things don't have access to funds. There aren't industries or investors or whatever set up around to fund things because the market might not be sizable enough. And then even the things the market might be sizable enough that the deal you have to make to do that, you might have to contort your idea into something that starts to not feel like your idea anymore.

Yeah. Or you just happen to have money. Like those can't be the only way that ideas can get off the ground. I think we saw it. You know, sometimes you just see it. I guess you're not always right, but just seeing it is really critical. And so, and the web was changing over these years. These were huge years for the web, you know, talking about 2005, 2006, 2007, 2008.

It only made us see that what we're building made more sense, not less sense, that it was more needed, not less, that people would engage with it more easily, with the rise of social media, with the rise of you. YouTube, not less. And of course, there's luck involved that that was rising as we were taking our sweet time, getting it going. When we come back, the opportunities Kickstarter had to grow into a much bigger company and why Perry Chen decided not to pursue any of them. I'm Guy Raz, and you're listening to How I Built This from NPR. Hey, welcome back to How I Built This from NPR. I'm Guy Raz.

So as Perry and his co-founders continued to make slow progress on Kickstarter, competitors began to appear. In fact, 18 months before Kickstarter went live, Indiegogo, another crowdfunding site was launched. I'm just wondering how you were able to kind of withstand the uncertainty of it all. I mean, your recollection makes it sound like you were just sort of like, yeah, you know, whatever. Well, this is my thing. I don't have a plan B. and I want to do this, but I mean, most people, I think, wouldn't feel that way. They would feel anxiety about the uncertainty.

I mean, do you think that you're just wired differently? I mean, I felt a tremendous amount of anxiety. But it wasn't that anxiety was driving me to give up. And I think it normalized a little bit over time. One of the things I noticed not just as we're trying to launch, but after we had launched, is that those years were so trying. that I kind of had to learn to adjust to kind of like stay in the middle.

You know, not to get too high or too low because I think that both happened. Like somebody might invest a small amount of money and we'd be like super psyched, you know. Or, hey, we found a developer who wants to work with us or whatever, these little things that get super excited and you're like, okay, it's all going to happen, blah, blah, blah. And then something happens where that doesn't come

and you're like down. And I think that happened so many times, the ups and the downs. That I think it just kind of, I just made, maybe my defense mechanisms kicked in and I forced me to stay a bit more in the middle either way, right? When something that seemed amazing happened or when maybe something that seemed dire was about to occur. So what was a thing? I mean, it was almost three years on the time that you formed the company to the time that the website actually launched. What was the turning point?

What enabled you to actually make this thing go live and become a reality? Well, I think that in some ways we made every mistake in the book. So kind of we did that. We did one lap that way. Classic stuff like people with experience telling us, you know, you shouldn't do something this way and us being like, well, we appreciate that, but like, you know, it'll be different for us. And then, of course, it's like exactly what they said happened. And we're like, duh. And so I think we got a little experience after a few years. But then there was just people. You know, we found amazing people. One of the people we met was Andy Bayo, who really helped us kind of figure out what kind of technology we should be using and helped us interview the developers that we would hire,

and he eventually became a first CTO. That was tremendously helpful because none of us could review the code that we were, that developers were on the right track. So that was really critical. Those things kind of coming together. Yeah. So when you launched, the day you launched, how did you get the word out? How did people even find out about Kickstarter? Well, I think, you know, leading up to when we actually knew we were going to launch or believed, we had been talking to people about it, telling people, you know, honestly we had to try to build up projects to launch on the site as well. So there was that outreach leading up to the launch to try to get people to fund their album, to fund their, whatever their projects were. And I think we launched with, you know, maybe five or ten projects that first week. Huh. Do you remember what any of those projects were?

Well, I think the first one might have been drawing for dollars, which may be raised $10 or $15. You would just contribute to that Kickstarter campaign and that person would just draw whatever? You know, I can't recall whether it was that they were making a specific drawing, but as part of a reward, maybe if you gave a $5 or $10, they would also make one for you. But it was great. I mean, it's amazing to see anything. I backed that project. And me and Yancey launched one with our friend Claudia that first day as well, which was called New York Makes a Book. which was trying to get people to give $30,

and everybody who did would get a book and a page in the book to submit whatever material they wanted put it on their page. And did Kickstarter make money right away, like with the fees from these projects? For the first six months, I think, it was free. You know, people don't even know what this is, you know, how much can you ask them to pay money for it?

Was it, did people notice it right away? Did you guys right away realize that it was successful, or was it still kind of underground and in the shadows the beginning? It was a very, slow is probably the wrong word, steady. And I say that in the sense of that with things on the Internet, I think we sometimes have this feeling of, oh, my God, one day, just 10 million people started using it.

It wasn't like that. It was like the first week, there was 10 projects. And the second week, there was 20. And the third week, there was 30. You know, it wasn't this exponential thing. But it was really nice and steady. And people got it. We didn't have to go through a long period where like nobody gets this.

We have to like change a whole bunch of things. But it wasn't also like, oh my God, we have to hire 20 people tomorrow. I think we're very fortunate in that. You know, we were able to hire like one person a month maybe, maybe even less than that. So we could kind of build a culture because it's not one day you come in and the company's triple the size. Yeah. Which is it's hard to maintain something in this cases. So as you guys in that first year, as you started to kind of open up and allow anybody to raise money for their projects, what kind of projects were you getting?

I mean, it's, you know, it's amazing depth of the human imagination, you know, like tattooing as well. You know, anything you could think of. Films, school plays, albums, concerts, people who wanting to fund their residences, books, a lot of people doing projects who probably weren't. We weren't doing projects but had ideas and this was an outlet for them, like a format for them. A lot of really whimsical stuff, podcasts, you know, all kinds of things. So it was amazing to see. It was really heartwarming. I just loved it.

I loved it in every way. You guys, I guess, after the launch, went out and sought money from some big names in the venture capital world like Chris Saka and others. How did you, what were the terms that you gave them? Was there any, I mean, because once you do that, you start to lose control. And those investors, they want an exit strategy. They want to know how quickly they're going to make money off this thing. So how were you able to attract investors and avoid that trap? I think going into it, we knew that we weren't building this to sell this and we weren't trying to create a public company.

And when we went out for investment, this was one of the first things we discussed with people. And first of all, with Chris Laca, it was angel money. It was their personal money. Right. And that was kind of very purposeful. You know, I think that they can say, hey, cool, you guys want to do your thing, and you're not going to try to eat the world, and we're down with that, and it's our own money, and it's not that much.

So it's very different, I think, than a lot of venture funding. We did have one actual venture capital investor. Again, not that much money. You needed to raise money to presumably hire people and to expand Kickstarter, right? Yeah. And to, you know, actually get a salary, even a modest, even a tiny modest one. But until that point, you were not getting a salary at all? No, you know, I think that there was, you know, some sort of irregular, you know,

$3,000 a month here or there for me and maybe me or Charles. But, you know, again, we weren't even charging money at this point. So there was no guarantee of that continuing for very long. In your first year after launch, what was your salary? It was either 60 or 65. $1,000. Yeah. So at what point did Kickstarter become profitable?

I think, you know, the first six months, not at all, no revenue. I think within a year after that, so probably within the first 18 months, we got in the black. Wow. And you were the CEO? I was the CEO. And how did you, I guess, you know, as Kickstarter became more and more popular, a lot of companies. companies that were making sort of gadgets and tech things were using Kickstarter as a way to kind of prototype their thing that was out there. Some of companies raised millions of dollars. I guess that at a certain point, you guys just said, enough, we're not doing this anymore. And you, I think the quote that I read that you gave was, we're not a store. You kind of stopped allowing Kickstarter to be used as a platform for these kinds of things, right? Well, it's not entirely accurate. I mean, basically what happened was that we created kind of additional process for product design projects. And they had more of a review process and other projects maybe in more classical creative areas like an album didn't. And that was really because, you know, we saw that there was a danger of people kind of approaching Kickstarter and things that were being put.

up there like a new product as I'm buying this, like I'm buying something on Amazon, like, oh, it's going to come exactly in the date that they're saying. And we felt that that needed to be understood. That Kickstarter is not a store. Listen, if you support a short film, you don't expect this short film to be the best short film you ever saw. Right. But when people buy like a gadget, people can have more of a consumer expectation. So we said, hey, you need to show where your prototype is at. You need to add the risks and challenges of the project as you see them. In the checkout process, we had Kickstarter is not a store and we linked to some of our policies to let people know what did a product need to do to get here, what we

might know and what we might not know. And we want to let people be able to then make the judgment on their own, but with a little bit of context from us. Let's say a company came to a Kickstarter and said, hey, you know, we've got this cool new product like headphones or something. And and we want to partner with Kickstarter to raise money. Kickstarter will do some promotion for us, feature the headphones on the homepage, drive traffic to it, and then in exchange, you know, we'll give Kickstarter a bigger cut, like 10%.

Could you imagine doing something like that? Yeah, it just, no, I don't think so. And I probably had a request like that in the past. Listen, the site is open. You log on, you create a password, you know, you post your project. I think a lot of times big companies they want to do a partnership,

they want to sign a contract. We're like, listen, if you want to go do it, you go log on the site. But if you want some special stuff from us or whatever, I mean, that's just not what we do. It's a relatively open door, but you're not any better than some young creator who's

working on their first idea. This platform is built to do what you say you want to do, so, you know, go for it. How much money has, in total, Do you think have Kickstarter projects raised? Recently, we passed the $3 billion pledge mark. Wow.

So, yeah, it's a huge milestone. Yeah, and again, I'm most excited about the money that's gone to projects that really had very little funding sources or really constrained funding sources or funding sources that would really force the creator to contort their project in a way that they might not recognize it anymore and force them to kind of make compromises that a lot of creative people have to do, but that are really hard. That's definitely what I'm most proud of and continue to be excited about.

I've seen Kickstarter describe it as like the People's National Endowment for the Arts. Some people have even described it as like the modern-day House of Medici, which is pretty complimentary. I mean, that's a pretty incredible thing to say about the site that you created. Do you identify with those descriptions? Not really. I mean, listen, I'm proud. but, you know, the Medici's were giving out large amounts of money and it was a small group

in a way we're trying to provide a clear alternative to that. We know that Whitman had funded some first editions by having subscribers that he wrote their names in the first edition who gave smaller amounts. And Mozart had funded a concerto in the same way. The Statue of Liberty, the base was funded. They actually, they would sell miniatures for a dollar or larger ones for $5 of the statue. And that funded the base. So a lot of stuff that you see on the web has maybe existed in another form.

Nothing new under the sun. Pretty much. You know, with Kickstarter, I think if I was telling a friend that I was working on an album and it was going to cost me some money to go into a studio to mix it down, they're not going to hand me $5, right, in a coffee shop. But if I put it up on Kickstarter and I'm trying to raise $2,000 to go do my mix down for my album, that same friend may give me $5. There was just this friction.

There was this social friction before that existed, and the model has been able to eliminate that or even put it in a way that's socially positive. So it's the sentiment that people have. People want to help each other bring good and interesting ideas to life. We have nothing to do with that. We are enabling that. What we think is a good way to do that. The idea, the model of Kickstarter, is just seems like a no-brainer now, right? We think about companies like Uber or Airbnb or companies that connect people with other people.

And in some ways, Kickstarter does the same thing. And you guys only take 5%, which is a pretty small amount of money. I mean, you could take lots more money. Did you ever think about going down that path? I mean, if you're going to try to make a lot of money, you know, that's almost changing the fee. is probably not where people would talk about. They would talk about raising hundreds of millions of dollars in venture capital, quadrupling the size of the company and the international footprint,

doing major marketing campaigns, or selling the company and making a ton of money in one shot. But I think there's also like, there's got to be a way that it doesn't have to become this kind of vehicle only for maximizing profit. You know, there was a quote, I wish I could find the attribution, but it was basically that if a corporation was a person, it would be a sociopath. And when you create something, you know, you wanted to share your values. That's kind of why ever since the beginning, we wanted to make sure to hold on to control so that outside forces couldn't drive it that way.

And then two years ago, we became a public benefit corporation, which is still a for-profit company, but it means that the, obligations of the board and the executives and the company is to balance the shareholder interest with greater stakeholders, including the environment and your various communities. And that's it. That makes it, again, something more a representation of people. But really, if underneath the mandate is, at the end of the day, make the most money for shareholders, it's a really, it's not really a good fit for humans. And I don't think it's, it portends very well for society if this is what we accept as the only way to do it. You, you are no longer the CEO, right?

No, now I'm a chair. And what was the story behind that? Did you just feel like, okay, you know, it's gotten to a place where I don't kind of need to run it on a day-to-day basis anymore? Yeah. I mean, I think that once we were out there and, things were working. I started to see that, especially since we don't want to sell, where does this go? If things continue to succeed, then it just continues. That's what we wanted. We want it to just continue. But does that mean I do this until I can't do this? Or I do this for 30 years? And then I write a book on

leadership and hit the speaking circuit. It's like, you know, so I was like, and I also didn't have time to work on other ideas I had. in the arts, not new companies. And so I think we reach a certain point, I just started to see a window. I started to see, hey, a gust of wind isn't going to blow us down. We've got a great team here. And so this might be a good moment. Did you ever get to see Kruder Dorf Meister after all? No, I've never.

I have not. I've never seen those guys. I haven't heard much. I'm sure they're still out there making music, but I haven't caught up on much right. Well, now you could do it. Now you could kickstart that show. Now I could kickstart that show. Yeah. It's true. Perry Chen is the co-founder of Kickstarter.

These days, he spends most of his time at his studio in Greenpoint, New York, working on his own projects. By the way, if you've listened to the segment at the end of our show, how you built that, we actually looked back at all the companies we featured, and at least one-third of those companies got off the ground with money raised. on Kickstarter. Hey, thanks for sticking around because it's time now for how you built that. And let me just say that our team actually got into an argument about this next product because the problem it's meant to solve? Well, some people didn't even know this problem existed.

Like, in your bedroom, right? If you just throw a quilt over your bed to make it, then you may not get this. But if you have a duvet or a comforter, then you know the extreme. frustration of trying to stuff it back into the duvet cover. It's as if you're taking a big pillow and trying to fit it into its pillowcase, but it's bigger than you are. This is Crystal Gordon from San Diego. You have to get on top of the bed, shake it so that it all fits properly and neatly, and it's not all crumpled inside of its cover. And if you've ever had to do this, you know exactly what Crystal is talking about.

It is an enormous pain, and it's something she had to do when she was a kid. Anyway, now that Crystal is a mom herself, she's always looking for ways to save time. And so one day, about a year ago, she thought, hey, why don't I design something that makes it easier to put the duvet back into the cover? It needed to be absolutely simple. That is stand-alone. You don't have to hook up any wires or any hooks and doesn't require assembly or any of that. Crystal actually has a background in aerospace engineering. But when it came to designing something to help you make a bed,

I had no idea how to invent something. So I started toying with things. I read a book on basically inventing things and bought some stuff from Home Depot. She bought really basic stuff there, like rope, some clothespins, and a kitchen sponge, which she literally stapled together into a kind of clamping device. That was my ultimate first raw prototype to just tell you. my theory of having this cushion underneath the mattress to work as an anchor and then seeing... And what Crystal eventually came up with is a flexible clamp, actually two of them,

that you can use at the top two corners of the bed. The clamps are kind of liken it to the hands of somebody else. They're your helping hand. The clamps are shaped kind of like a spatula with this little plastic gate in the middle that can hold the duvet cover in place as you push the duvet. duvet into it. And you can do this task alone in a few seconds with very minimal pain and time. A few months after she settled on her final prototype, Crystal found a manufacturer in Turkey to make it.

She calls her invention the duvade. There's nothing like it that exists. We have no competition. Crystal's biggest challenge right now? Getting the duvade into brick and mortar stores. She's been selling some of them online, just a few hundred dollars. So for now, she's keeping her day job at a solar energy company. And whenever she can...

I've got my list of stores that I've been trying to call with nobody picking up the phone. And, you know, I need to start getting more creative, sending them like chocolates, a box of chocolates or something with my card in it. If you want to read more about duvade on our Facebook page, just search how. I built this on Facebook. And, of course, if you want to tell us your story, go to build.npr.org. And thanks for listening to the show this week. If you want to find out more or hear previous episodes, go to How I Built This.NPR.org. You can also write us. It's H-I-B-T-NPR.org.

And if you want to send a tweet, it's at How I Built This. Our show is produced this week by Casey Herman with original music composed by Ramtin Arablui. Thanks also to Neva Grant, Sanaz Meshkampur, Claire Breen, and Jeff Rogers. Our intern is Lawrence Wu. I'm Guy Raz, and you've been listening to DeVille. how I built this from NPR. Hey y'all, Sam Sanders here. My new podcast is called It's Been a Minute.

That's another way of saying, let's catch up. Every Friday, I'll sit down with two guests, smart talkers from inside and outside NPR, to catch up on the week of news and culture, everything. If you can't stop watching the news, but you're also exhausted by doing that, this show is for you. Don't miss out.

Find It's Been a Minute now on the NPR One app or wherever you get your podcast. Thanks.