Tag: shakespeare

• Fall event roundup

  

  It’s still sunny and beautiful outside, so I don’t mean to be the one who prematurely calls fall. But I would like to get 3 Toronto events on your radar for the coming two months. 

  Full disclosure: These are all events that I support and/or my company supports in some way. 

  If you’re not based in Toronto and you don’t plan to be here this fall, you can stop reading right now and check back tomorrow. I promise to will try to be less Toronto-centric.

  1. EDIT: Expo for Design, Innovation and Technology, September 28 – October 8

  This is a 10-day immersive experience that will showcase how the intersection of design, technology and innovation can change the world. Think exhibits by Bruce Mau and Carlo Ratti; talks by David Suzuki and Scott Dadich (former editor-in-chief of WIRED and creator of the Netflix series The Art of Design); and projects spanning 3D-printed prosthetics to indigenous housing solutions. 70 speakers. 40 workshops. And over 150,000 sf of exhibits. Too much to write about here, but all topics and themes we frequently explore on this blog. Ticketing information here.

  2. NXT City Public Space Symposium, October 13 – 14

  This is a two day symposium about public space on a global stage. Talks. Public space tours. Round table sessions. And an epic after-party. Some of the speakers include Jeff Risom (Partner at Gehl Architects); Enrique Norten (Founder of TEN Arquitectos in Mexico City – and one of my grad school professors); and Mirik Milan (Amsterdam’s Night Mayor and someone who has gotten quite a bit of airtime on this blog). If you click here to grab your tickets, you’ll get 15% off. If for whatever reason that doesn’t work, use the code BDONN15.

  3. lost&gone: Romeo & Juliet, October 19 – 21 and October 27 – 28

  This is, I think, Toronto’s first truly immersive theater experience. For those of you who aren’t familiar, immersive theater is about turning the audience into participants of the production. It eliminates the “fourth wall” that traditionally divides audience and performers. I’ve heard great things about similar productions elsewhere in the world. The venue is a secret, so the show starts today with you having to try and figure out where it is in the core of Toronto. When you buy your tickets, you’ll also have to let them know if you’re a guest of the Capulets (Juliet’s family) or a guest of the Montagues (Romeo’s family). 

  Enjoy 🙂

  Photo by Brxxto on Unsplash

  2017.09.12

• Writing every day

  I often get asked about my daily routine and how I manage to write, every, single, day.

  Oftentimes people will say that I must not sleep. But the reality is that I love sleeping and I generally need a lot of it. I’m not someone who can function on 5 or 6 hours. I’m useless with that amount of sleep. One of the best productivity hacks for me is to simply sleep more and work less.

  In terms of when I write, my preference is to write first thing in the morning – even though I don’t consider myself much of a morning person. I like to wake up, make breakfast and a coffee, and then sit down at my desk to both read and write. I like to do this before diving into email, before thinking about all the stuff that I need to do that day, and before going into the office.

  Some days a post might take me 20 minutes and some days it might take me an hour. Where I struggle the most to write every day is when I’m traveling or when I have to be somewhere super early, which then means I’m writing in the evening. I like my routines.

  I’m thinking about this right now not only because I often get asked this question, but because I’m currently making my way through a book by Adam Grant called Originals. 

  Though talent still matters, one the things he argues is that creative people tend to be creative because they are prolific. They produce a lot of whatever it is they do. And while much of it may be crap – he argues that Shakespeare penned a lot of crappy plays – it is through sheer volume that they end up achieving those creative breakthroughs.

  This goes against the traditional notion of the “creative genius”, but I think there’s a lot of truth to it. It’s why good architects will iterate through many different building designs and it’s (partly) why bloggers like myself see value in showing up every day.

  2016.06.23

• Pay what you want

  In my pricing class this morning we looked at the strategy used by Radiohead with the release of its In Rainbows album. For those of you who aren’t fans, what they did was offer up the new album via their website on the basis that customers could pay whatever they want.

  At first blush this probably sounds ridiculous. But if you break it down, it turns out to be pure brilliance.

  First, it’s important to understand how pricing overall works in the music industry. In the olden days when people still bought CDs, an artist might make 15% of that sale price. So if you buy an album for $14.99, the artist’s royalties would be in and around the range of $2.25. The rest goes to the record label, their overhead and so on.

  With the advent of iTunes, artists still make around 15%. But now a typical album costs $9.99. This is because overhead costs are lower for an online-only store. Still, the artist now only makes $1.50 or so per album sale.

  In case the of Radiohead, their record label contract had expired and so they decided to self release In Rainbows. This obviously means that they were able to cut out a lot of overhead and other expenses. But would it not have been better to just sell the album for a fixed, but discounted, price?

  The thing is, when you give people the option of paying nothing, you maximize your potential distribution. This is good when you’re trying to sell concert tickets, merchandise and other revenue producing items in the future.

  But interestingly enough, when you give people the option you also maintain a business model. In this case, it turns out that, on average, people paid over $3 per album. This may sound irrational, but people do it for a number of reasons: because they’re big fans, because they want to support the artist, etc.

  Whatever the reason, Radiohead actually brought in more per album than if they had gone through a record label and/or sold through iTunes. In fact, In Rainbows netted the group over 8x more than their previous album Hail to the Thief – which was released through a record label. 

  This got me thinking.

  What other markets would be well served by a pricing model such as this? Could you make parking a pay what you want service? I know that Shakespeare in High Park uses the model. So does it only work for artistic markets where people feel an emotional connection? I certainly don’t think we could sell condos using this approach.

  2013.09.30