Facebook is so over. At least, that's what a college-age coworker told me this summer while discussing arts marketing. The mega social network may be waning with a younger demographic, but a recent Facebook acquisition is growing exponentially.
Now thirtysomething, had I aged out of the reality TV demographic? No, I had just been ruined by the cultural arts.
Where Jed Clampett was endearing and comical, the real-life "hillbillies" filling primetime are hard to watch. Not so much because of their uncouth charm, rather the way in which these programs seems somewhat exploitative.
Spotlight on Broadway presents a series of videos that document the history of Broadway's 40 theaters. It is the combined efforts of the mayor's office and the Broadway League that these rich stories can be told in a digitally accessible manner.
After more than a year of scheduling shoots, interviewing, and meticulous editing, I was able to produce 35 profiles, each featuring a different curator or assistant curator at AMNH. These videos were held back from public viewing until after the museum was able to launch its newest website design—a version of that new site launched late last month.
It's that time of year again, the Tony Awards. And like previous years, a glance at the roster of nominees could easily be mistaken for the Academy Awards. “Once,” based on the Oscar-winning indie film is up against “Newsies,” based on the Razzie Awards-winning Disney film, and “Leap of Faith,” based on the Steve Martin Hollywood vehicle.
This year marked an interesting turn of events for my career, beginning with a transition from working as the senior new media specialist at the American Museum of Natural History to a new role at Lincoln Center for the Performing Arts, Inc. Two major non-profit institutions in New York City, each with a unique cultural impact.
While there often tends to be a sense of skepticism when speaking of Broadway’s future, TEDxBroadway was more about thinking positive, and brainstorming for the sake of live theater. Bazadona rattled off a list of needs for the viability of Broadway: incredible original productions, full theaters with diverse audiences, a wider platform to share our greater purpose, and less risk from external factors. “Broadway needs to become an idea factory,” he proclaimed, equating this industry to another—Silicon Valley.
Shortly after starting at Lincoln Center for the Performing Arts, I pitched an idea to create an mobile audio experience for the campus. My idea was to give visitors a chance to hear from artists as they stood in front of a particular venue, like Alan Gilbert discussing his role as the leader of the New York Philharmonic.