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09 Jun 09
Too small to fail: How startups can grow in recessions
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In a small, focussed market, you can delight customers one by one. You can develop fans and cheerleaders who will buy anything and everything you make and spread the word to everyone else in the community. You can quickly amass testimonials for your website that sell your services and products better than any brochure possibly could. It's easier than you think; just be yourself.
05 May 09
Seth's Blog: Thinking about business models
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The idea of connecting people, of building tribes, of the natural monopoly provided by online communities means that the internet is the best friend of people focusing on the third element, insulation from competition. Once you build a network, it's extremely difficult for someone else to disrupt it.
10 Mar 09
Economic Revitalization for Performing Artists
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While I'm sure his produce is incredible, Pete's charisma is clearly part of what drives members back year after year. He supports the community, going to birthday parties and subscribing to the local arts organizations, and they come out in droves to support him. He is a keen businessman who gets the most fundamental rule of business: it's an arrangement between real living breathing individuals.
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Billiam's trisected his orchard into three revenue streams: whole sale, u-pick, and lease a tree. Of course, it's the latter program that was immediately exciting to Aviva and me. People from the surrounding area, NYC, and even Vermont lease one or more trees from Billiam. They then own all the fruit that comes off the tree that season and can pick it as frequently as they want.
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The Field
NYC organization
05 Aug 08
Fractured Atlas Blog › What You Want, Need, and Desire: Universal Demands
Results of a survey of artists.
04 Jun 08
I, Homunculus: Closer
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Experiencing a story in a place like that is different not only in the proximity to the performers, but also in the context of the conversation between artist and audience. There's a real feeling that this story is being told for YOU and not for the culture at large. This is different than sitting at the Goodman or CST or even the new Biograph. At these larger places, there's more distance that invites the sentiment I can only decribe as "prove it to me." Prove that this work belongs in the pantheon. Is there a different expectation audience's have of the give and take in those big houses? Is it the ticket price? The size of the audience? The reputation that precedes and sits on top of each production? Are we less forgiving in these rooms? Should we be?"
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And here, again, we see the old problem: one man's Selling Out is another man's Making a Living. I don't think anyone's found a way to make storefront-style theatre (with the features the commenter values: intimate houses of less than 100 seats and low-cost tickets) while still paying everyone a working wage. Our storefronts run on the goodwill and selflessness (or idealistic stupidity, depending on your point of view) of the people who make it, but that's not sustainable. My love gives you such a thrill, but my love won't pay my health insurance.
13 May 08
I, Homunculus: Advice to the Players, 2008: Staying Alive
More of the portrait of what to expect -- good for the argument about why things aren't working the way they are currently laid out/
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if things are going well, you will be working two jobs – a day job and a theatre job. If you’re like me, 8 hours at work will be immediately followed, most nights, by 5 hours of rehearsal – and that’s not including tech week when you can add in 2 more hours a night and 12 hours both days of the weekend. You have to keep your day job, but your theatre career is your real career - so you need to be on your A Game as much as possible. As you get further and further from those halcyon days of college, you’ll quickly discover that you can no longer drink until 4 am every night, eat tinfoil and still get up in time to get to work, squeeze errands into your free moments between assignments, get home, get dinner, get to your friend’s show and get off book before Saturday. So hit the gym, champ.
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But if you want to make this a career you have to realize that, while you need to prepare and stay on your toes, there is a point at which you have no control over your fate.
12 May 08
Parabasis: General Operating Expenses
Taking advantage of artists by paying them less than they're worth.
11 Apr 08
Guardian Unlimited: Arts blog - theatre: Another late night at the theatre
- This is interesting as far as a tribe is concerned. How might performance start times be different, perhaps even to allow more performances to take place? - walt828 on 2008-04-11
09 Apr 08
Business-like arts a failure, says entrepreneur - Arts - Entertainment
- This is the real takeaway for this article, and very much to-the-point. The current model isn't working -- let's try something new. - walt828 on 2008-04-09
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But he did not believe that simply including more artists on
boards was a solution. What was needed was a way for artists and
their boards to work more collaboratively and a rethink of the way
arts companies were structured."Are we so limited in our thinking that we can come up with no
better way of doing business than a company limited by guarantee
with a board of seven and an uneasy diarchy of general manager and
artistic director?" he said.
07 Feb 08
The Writing Life x3: My Fantasy World (Part 2): My Ideal Theatre
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150 seats.
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space should be flexible
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