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"content": "Emeril began filming How to Boil Water in Reid’s Nashville studio soon after—Emeril, Reid, and a couple of cameramen (Emeril used to shout “Bam!” to keep the cameramen awake, Emeril says). I’ve seen clips from some of these early shows. Emeril is stiff and awkward. He’s stiff and awkward on the next show too, Emeril and Friends. Neither show did well. What on earth had Reid seen in this guy that made him so good?<br><br>“What you see now,” Reid responded from his offices in New York. Emeril being Emeril, a chef filled with energy and enthusiasm. The Food Network had made a mistake in forcing him into the role of host of a show on how to boil water and cook grilled-cheese sandwiches. Even here, Reid said he was told to tone Emeril down, that Emeril had too much energy, so rein him in. The shows were so lackluster it amazes Reid today that anyone agreed to do a third show with Emeril, but that’s what did it. In The Essence of Emeril, the New Orleans chef could be himself and cook the food that he loved.<br><br>It, along with a handful of other chef-driven shows, did fine. And then better. Ratings began to rise. Emeril continued to commute to New York to do shows at three hundred bucks apiece. He could do seven in a day, a staggering number. Soon his ratings were twice that of any other Food Network show.<br><br>With that show succeeding, Emeril said to his producers, he recalls, “Somebody should do a Leno-style food show that was entertaining, that had music—music is certainly a connection that I had in my heart and soul—but it’s real cooking. They said ‘You’re nuts.’”<br><br>Now the first thing you have to understand about Emeril to begin to see how he got to be Emeril is that the man is a savvy marketer. Or as his buddy, celeb chef and restaurateur Mario Batali, says, “He’s not just a good marketing guy, he’s an amazing marketing guy.”<br><br>Yes, Emeril was savvy and aggressive in pursuing partnerships with good companies: All-Clad (pots and pans), Wüsthof (knives), Water-ford Wedgwood (glasses and plates), Pride of San Juan (produce), B&G Foods (grocery-store-shelf foods, “shelf-stable” in industry parlance, seventy of them, spices, sauces, et cetera), William Morrow/HarperCollins (more than 4 million books sold), New Orleans Fish House (shrimp), Monogram Foods (coffee), Sanita Clogs (kitchen clogs), Sara Lee Foods (sausage). He licenses his name, rents it to them, so they can sell a product that he’s involved with, and he takes part of the sales. “The consumer wanted something representing Emeril,” he says. “You either give it to him or they’re gonna get it somewhere else.”<br><br>But marketing is more than putting your name on products. Batali’s talking about a sensibility.<br><br>Here’s the perfect example I learned from Alain Joseph, Emeril’s culinary assistant and writer, who began as a cook at Emeril’s: It was a pretty normal restaurant kitchen, and Emeril was a normal chef, which suprised Alain (he was by then on the Food Network and considered a celebrity). The next thing that surprised Alain was a detail. Big kitchens often have big table-mounted can openers that make the work very quick and easy. This kitchen had none. In fact, this kitchen didn’t have any can openers at all. Alain eventually understood that Emeril didn’t want them to be seen in the open kitchen by the customer—if the customer sees can openers that means not fresh; if they see can openers, that means the kitchen is opening a lot of cans. It wasn’t that they didn’t open any cans (Alain remembers all the cooks had to bring in their own hand-held openers from home in order to open cans), it was the impression they gave to the customer.<br><br>That, my friends, is marketing. That describes a chef who is thinking about the detail, thinking about the customer, thinking about the impression of appearances. But—that is not the secret element that turned Emeril into Emeril.",
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"content": "Emeril began filming How to Boil Water in Reid’s Nashville studio soon after—Emeril, Reid, and a couple of cameramen (Emeril used to shout “Bam!” to keep the cameramen awake, Emeril says). I’ve seen clips from some of these early shows. Emeril is stiff and awkward. He’s stiff and awkward on the next show too, Emeril and Friends. Neither show did well. What on earth had Reid seen in this guy that made him so good?\n\n“What you see now,” Reid responded from his offices in New York. Emeril being Emeril, a chef filled with energy and enthusiasm. The Food Network had made a mistake in forcing him into the role of host of a show on how to boil water and cook grilled-cheese sandwiches. Even here, Reid said he was told to tone Emeril down, that Emeril had too much energy, so rein him in. The shows were so lackluster it amazes Reid today that anyone agreed to do a third show with Emeril, but that’s what did it. In The Essence of Emeril, the New Orleans chef could be himself and cook the food that he loved.\n\nIt, along with a handful of other chef-driven shows, did fine. And then better. Ratings began to rise. Emeril continued to commute to New York to do shows at three hundred bucks apiece. He could do seven in a day, a staggering number. Soon his ratings were twice that of any other Food Network show.\n\nWith that show succeeding, Emeril said to his producers, he recalls, “Somebody should do a Leno-style food show that was entertaining, that had music—music is certainly a connection that I had in my heart and soul—but it’s real cooking. They said ‘You’re nuts.’”\n\nNow the first thing you have to understand about Emeril to begin to see how he got to be Emeril is that the man is a savvy marketer. Or as his buddy, celeb chef and restaurateur Mario Batali, says, “He’s not just a good marketing guy, he’s an amazing marketing guy.”\n\nYes, Emeril was savvy and aggressive in pursuing partnerships with good companies: All-Clad (pots and pans), Wüsthof (knives), Water-ford Wedgwood (glasses and plates), Pride of San Juan (produce), B&G Foods (grocery-store-shelf foods, “shelf-stable” in industry parlance, seventy of them, spices, sauces, et cetera), William Morrow/HarperCollins (more than 4 million books sold), New Orleans Fish House (shrimp), Monogram Foods (coffee), Sanita Clogs (kitchen clogs), Sara Lee Foods (sausage). He licenses his name, rents it to them, so they can sell a product that he’s involved with, and he takes part of the sales. “The consumer wanted something representing Emeril,” he says. “You either give it to him or they’re gonna get it somewhere else.”\n\nBut marketing is more than putting your name on products. Batali’s talking about a sensibility.\n\nHere’s the perfect example I learned from Alain Joseph, Emeril’s culinary assistant and writer, who began as a cook at Emeril’s: It was a pretty normal restaurant kitchen, and Emeril was a normal chef, which suprised Alain (he was by then on the Food Network and considered a celebrity). The next thing that surprised Alain was a detail. Big kitchens often have big table-mounted can openers that make the work very quick and easy. This kitchen had none. In fact, this kitchen didn’t have any can openers at all. Alain eventually understood that Emeril didn’t want them to be seen in the open kitchen by the customer—if the customer sees can openers that means not fresh; if they see can openers, that means the kitchen is opening a lot of cans. It wasn’t that they didn’t open any cans (Alain remembers all the cooks had to bring in their own hand-held openers from home in order to open cans), it was the impression they gave to the customer.\n\nThat, my friends, is marketing. That describes a chef who is thinking about the detail, thinking about the customer, thinking about the impression of appearances. But—that is not the secret element that turned Emeril into Emeril.",
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