OFF THE CUFF - Part 2

New York, City of the Future | The High line

June 27th, 2011

This week, my tribute goes to the city of New York, and her ability to reinvent herself with respect to the past and devotion to the future. I recently went to New York’s High Line. This hanging garden is already a successful story for New Yorkers and visitors since it opened in 1999.

The reason? The team who designed the High line (James Corner Field Operations and Piet Oudolf), transformed this industrial inheritance into a sanctuary of biodiversity.

In 1929, local authorities of New York State agreed on a 13-mile over-the-city-highline project, running from 34th Street to Spring Street, in order to reduce accidents between freight trains and other traffic on 10th Avenue (also known as “death Avenue”). At that time, this was a big innovation. Trains rolled inside buildings in the sky, making transportation easy without disturbing the traffic on 10th avenue. However, trucks became more important than train freight and one part of the High line was destroyed in the 50’s. The entire High Line was deserted in the early 80’s.

Thanks to the determination of a few people, the High Line is now an incredibly beautiful promenade, showing how nature can reclaim urban infrastructure, for a greater good. This unreal beauty brings a new economic value to the city by becoming a place where artists can show their work, where people can buy a snack and sit on the wild grasses. On the High Line, you can experience amazing views and smells, above the noise of the street below. This hanging park has every reason to be as famous as the Metropolitan Museum of Art and Central Park.

It’s summer my fellow friends, don’t wait to enjoy this beautiful promenade. Even more now that the High Line has been prolonged to 34th street. Here are some photos to tease you.

New York City of the future the High line

Find more photos on the official website of the High Line : http://www.thehighline.org/galleries/images

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Posted in New York Notes

L.A.v.N.Y

June 20th, 2011

In public relations, we’re often confronted by two distinct species of media types: Angelenos and New Yorkers. The t-shirts and scarves and flip-flops of Los Angeles con- trast against the crisp suits and pencil skirts of Manhattan, but both are perfectly at place in their native habitats.

West coast life unspools in balmy Groundhog Days free of conse- quence and doubt, while in the East, daily life confronts us with the immediacy of a punch in the nose.

Here in New York, words are dentalized and hurled with real force from teeth and tongues like staccato bullets. Over there, language is languid, liquid and slow. Los Angeles is arrayed horizontally so there’s plenty of lateral space to move about, whereas in vertical Manhattan one has to continually push to carve out space.

And in the city of angels, of course, no one is quite what he seems. Mercedes SLK’ s pull up to roost in shantytowns. That ruffian loitering outside Bar Marmont is a screen- writer with a trio of Oscars back home. Waves roll in off the Pacific and continue inland, as anonymous armies of crotch rockets zip weightlessly between lanes of still traffic on the 405. Here, though, we concuss against one another, to the soundtrack of horns, shouts, en- gines, dogs and jackhammers, ever reminded of the solidity and mass of objects.

– David

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Posted in Opinions

PR’s “Dear John” Problem

June 13th, 2011

Why So Glum, PR? Got Another Letter Today?

“I’ve got here irrefutable proof that PR is indeed a person! Hundreds and hundreds of letters written directly to him!”

As someone proud to work in the PR profession, I get bummed when I see articles, blog posts, and comments that start with the phrase “Dear PR…” The letters that begin this way might continue “Dear PR hacks,” or, “Dear PR colleagues,” but to me they’re all just reasons to sigh.

I haven’t found another industry that so often receives Dear John letters. It’s not often one encounters something that starts “Dear Scientists,” or “Dear Secretaries,” yet all it takes is googling the phrase “Dear PR” to see how often someone has taken it upon themselves to address our entire industry in a formal letter in order to express regret or disappointment.

These letters come from news outlets and mommy bloggers asking to be pitched a certain way. They come from people on the receiving end of a bad pitch. They come from our colleagues to admonish us to our duties and remind us of how much more work we need to do, and now! Separately each one may make sense in its context but taken together as individual missives in a gigantic mailbag, they begin to weigh heavy.

One reason I think so many (and often times so many unqualified) people want to tell off “The Flack” is because there’s not a broader understanding of what PR does. The average person knows the rudimentaries of how a factory works, or how a law-office is structured, but doesn’t really know the function that PR serves in a larger company’s objectives or the difference between in-house and agency. Much worse, there’s a lack of understanding about who a PR employee actually is when they represent a company with a pitch or Facebook post.

Another major force that drives this very public outpouring is the very public nature of our industry. Defined in so many terms as “driving engagement” or “drawing the attention of key stakeholders,” much of the point of our profession is to say, “look at me!” Spending that much time demanding attention creates the petard on which we’re hoisted when one of us screws up.

I suppose if I had to write my own “Dear PR,” it would say something like: “I know people make fun of you, and say you’re stupid. Let’s face it, sometimes you are stupid. But so is everyone else! You’re out there doing some really neat stuff, and I ain’t mad at ya. Keep doing your thing.”

Of course if I did send that letter to PR he’d probably copy and paste it and send it to everyone he knows, and I’m not sure I want to be on record saying “I ain’t mad at ya.” I’ll probably just keep my letter to myself this time.

– Topher

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Posted in New York Notes, Publicity

Don’t Behave Like a Philistine

June 6th, 2011

The following is an excerpt from “DON’T: The Essential Guide to Publicity in New York City (And Any Other City That Matters)”.

Don't behave like a philistine “I just saw the Pollock retrospective at the Modern, and it was an absolute feast,” your arts and entertainment editor gushes, “have you been yet?”

Maybe you couldn’t tell a Pollock from a halibut. Maybe you think any eight-year-old could do a better picture than these abstract so-called artists. Maybe you’d just as soon be out at the lanes with a pitcher and a pack of Marlboro lights.

Despite the thin film of sweat that appears on your upper lip when anyone mentions a bit of culture you haven’t encountered or can’t comprehend, they generally aren’t trying to make you look dumb. As a rule, they’re actually expressing genuine enthusiasm for the subject, and any eye-rolling, groaning and snorting on your part is guaranteed not only to look like a flimsy cover for your own insecurity, but to slight someone’s feelings a little in the process. And that’s no way to establish a fulfilling and mutually beneficial business relationship.

Rather than mumbling sheepishly, why not try taking an actual interest? What, after all, is it that has made your interlocutor so excited about her experience? If you’ve heard of the painter Jackson Pollock or perhaps even seen ads for the show, you might ask some questions based on that knowledge; if you still aren’t sure why they’ve got fish at an art museum, your questions can be general enough to help you at least figure out what the conversation is about.

Who knows? You might just want to go check it out for yourself by the time you’re done. And honesty: Wow! It’s so refreshing if you have the personal fortitude for it. Respect your and others’ culture: people give of themselves to share it with you. Elan about some aspect of it is never out of place; contempt or disregard, always.

Order DON’T

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Posted in New York Notes

Thanks to Public Relations, Everyday is ‘Friday’

May 31st, 2011

It’s Friday, what tune do you have stuck in your head? You may not be a huge fan of the song (not many are) but there is no denying that even if you have not had the ‘pleasure’ of setting your ears upon the vocal stylings of Rebecca Black, more likely than not, you have heard of her in some context or another in the past few months. Search the name on Facebook and over 25 different fan pages come up. Search on Twitter and someone is saying something about her every few seconds. The official video on YouTube has 148,403,627 views and sits as number 10 on the site’s top 100. In the case of Rebecca Black’s ‘Friday,’ social media proves that talent and performance can be mutually exclusive and that, essentially it was the subtle workings of public relations that made this girl a celebrity.

Social media has added a whole new dimension to the public relations industry, allowing for outreach to groups of people to which you normally wouldn’t have access. Building a brand is about establishing trust and the quick, real-time access of social media gives us the ability to reach out unobtrusively and informally, connecting on a level where everyone is equal.

Social media unites the personal with the professional. Public relations is the business of joining the client with its customer base through use of the media. The case of Rebecca Black is a perfect example. The connectedness provided through social media channels vaulted her to what would otherwise be incomprehensible fame. Rebecca Black did not become famous because she is an unprecedented talent that has taken us all by storm. Her fame was born and is sustained through social networking. One person saw the music video, showed it to a friend who put it on their Facebook page to which hundreds have access and then someone who saw it on their friend’s profile linked it on Twitter, to which thousands more have access and almost instantaneously, Rebecca’s visibility increased exponentially. We were her PR, press, and consumers all rolled into one.

We partake in the PR field every day. I know in my personal experience, when I see something interesting or funny, the first thing that I do is include a link in my status on Facebook. Within as little as 15 minutes any number of my friends will comment or ‘like’ the post. My intentions were nothing more than to share something of interest but by posting the item, I have promoted and generated visibility, making a bigger impact simply because I’m a trusted ‘source’ within my own circle. For PR, social media is a gold mine with connections to thousands of people in as little as 140 characters.

Being as how I’m new to PR, I am fascinated by the potential for impact social media has on a professional level because of how we use it on a personal level. I realize that Rebecca Black is not a celebrity for the same reason that a young songwriter such as Taylor Swift is a celebrity, however it is interesting to examine the role that social media had in her present fame and more importantly, our role (whether willing or not) as her agents.

–Erin

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Posted in Entertainment Industry, Social media

Responsive Communication: Increase the Impact of Traditional Advertising Campaign

May 23rd, 2011

Nowadays, it’s more and more difficult to draw consumers’ attention to advertising and commercials. No one can deny the fact that display advertising on billboards, newspapers, and TV lost impact in the last decade. Consumers are overwhelmed by publicity and don’t pay attention to it anymore. Also, they are increasingly mobile and find everything they want instantaneously by consulting their communities’ news on laptops and mobile phones.

How, then, can a brand draw consumers’ attention and increase the impact of traditional advertising? Well, recent events have highlighted how impactful a marketing campaign can be when using hot news. By linking your ad with a topic everyone is paying attention to, you increase people’s attention toward your company and gain more visibility. And the earned media is higher. For instance, and it’s not a surprise, Osama Bin laden’s death has been used by many brands to gain visibility. Not always with success of course. Being responsive is not just about linking your brand with a recent event. Be at the right place at the right time is essential.

EXAMPLES

#EXAMPLE 1: Osama Bin Laden’s death

In New Zealand, the pizza delivery company called Hell has run a tactical ad that makes reference to Osama Bin laden one day after his death. “Come in, Osama, we’ve been expecting you,” reads the ad copy, which runs beneath an article on the Al Qaeda leader’s death in the New Zealand Herald. The ad was created and media planned by full service agency Barnes. In this case, the success of the campaign is mainly due to the responsive media planning.

#EXAMPLE 2: Carla Bruni’s pregnancy (France First lady)

Two weeks ago, everyone began gossiping about Carla Bruni’s possible pregnancy. It was in every French mind, and the news has crossed European borders. A French textile company, Enviedefraises.com, specialized in clothes for pregnant women, built a smart advertising campaign around the event. It says: «So Carla, sudden urge for a strawberry? » (In France, we say that instead of craving pickles and ice cream). The ad has been released on the front page of « Le Parisien Aujourd’hui en France », the most printed daily newspapers in the country (580 000 editions per day), and spread all over the Internet.

# EXAMPLE 3: Dominique Strauss-Kahn Porsche

The controversial picture of Dominique Strauss-Kahn traveling in a Porsche has been extensively used by his political enemies in France, to denounce how neglectful he is about issues that affect the vast majority of French citizens. But the case has also been beneficial to the luxury car brand Porsche. They used the controversy to make an ad. The new campaign’s slogan says “Porsche is not about politics, just beautiful mechanics. » Beautiful mechanics may indeed be the thing that will definitely stops DSK from running for the French presidency (if he’s not still in prison).

# EXAMPLE 4: Dominique Strauss-Kahn affair

Because staying current can apply everywhere, here is an example of how to use recent events to increase brand awareness on social media. A few weeks ago, Schweppes released a new commercial staring Uma Thurman [http://www.youtube.com/watch?v=3Tc7ZB4ywUI] In this commercial, a journalist interviewing Uma is mixing up Schweppes and Sex. The brand cleverly linked the campaign with the DSK affair by creating a Facebook page called: “It’s a big misunderstanding, the maid asked DSK for Schweppes”. In 4 days, the page has already reached 35,622 fans and the joke, staring Schweppes, has been used by many famous TV shows in France.

By using the popularity of a topic, a brand is more likely to be remembered by consumers because the ad is definitely connected to the news. Therefore, an advertising campaign built around fresh news encounters an efficient word-of-mouth effect and is more likely to be shared on social media. The earned media can be tremendous.

However, there is an obvious black mark for our examples 1, 2 and 3. They didn’t support their traditional campaign with a social media presence. With a good PR strategy on social media and blogs, the visibility would have increased very fast and open new rooms for conversation and experience. Next time, find a good partner.

Geoffroy.

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Posted in New York Notes

Words, Words, Words

May 16th, 2011

Elihu Pearlman, Shakespeare professor at the University of Colorado (he of the shuffling gait, Nosferatu-like bearing and incandescent brilliance) used to love a good shaggy-dog sentence in the Jamesian or Joycean vein, in which a well-tempered argument develops methodically and with a kind of structural certainty, but slowly begins to list off-course, like an un-manned boat at sea, devolving but still buoyant, unspooling and spooling out with haphazard and somewhat irresponsible disregard for the mixing of metaphors (here digressions give way to sub-digressions, to brief bright epiphanies, long indulgent qualifiers and turns of the screw, fits and starts), something like a series of Russian nested dolls stacked one inside the next, all of which for the purposes of this blog is neither here nor there: more germane is Professor Pearlman’s reductive claim that there are only two stories that have ever been told: man leaves town, stranger comes to town.

And that begs the question of plot, which to me has always been the least interesting thing about a book. Or a film, for that matter. Or, perhaps especially, a piece of music. To me it’s not what happens but how it happens that matters. Words tend to become so much flotsam and jetsam, leaving us overstuffed or hollow or tangled in their web of associations, unable to unpack and parse their meaning. They drive us up into our heads and away from our hearts and our instincts, where so much of knowingness and beingness actually lives.

Music, though, or at least the best of the music, lives in that liminal realm of pure being that enjoys freedom from fear and judgment. I like songs where the vocals are sublimated or unintelligible or larded onto the back end of an otherwise perfectly fine instrumental track. Here I’ve selected a few songs from my collection whose vocal arrangements and lyrics are secondary or barely there, and whose music videos have neither story nor movement, nor rising action nor falling action, just a static image one can either look at or not look at as one chooses.

– David

La Ritournelle

Sebastien Tellier

“La Ritournelle” speaks to that suspicion in all of us that we might secretly be Sysiphus, pushing and pushing our massive stone up a hill, and that’s life: forever becoming but never becoming. Mysteriously though, four minutes deep in this not-terribly-unpleasant purgatory, Sébastien Tellier’s voice emerges, and the sky parts, and the stone slips out of our grasp and down the other side of the hill, and we are free. What do the lyrics say? I’m not quite sure, and it doesn’t matter.

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Here Today, Gone Tomorrow

In the same way, “Here Today, Gone Tomorrow” lays out a thorny sonic thicket, a Grimm Brothers fairy tale for the post-industrial age. But as with “La Ritournelle,” a somewhat beset opening gambit gives way to bright and wildly ecstatic breakthroughs, crashing waves of sound, bursting out from terrestrial limits like supernova, with breathy vocals undifferentiated from the song’s many rich layers. It’s the best of several great tracks by the German producer Ulrich Schnauss, a solo artist who in live performance comes across as a harried mad scientist with keyboards and laptops for beakers and test tubes. The revelation at 2:52 is among the great moments in music.

Four Corners

four Corners

Sam Prekop’s Dadaist lyrics, withheld until late into the song, mean nothing as narrative, but everything as soundforms, as perfectly flowing nonsense emblems of American English. Peppier than the other songs in this playlist, the Sea and Cake’s “Four Corners” nonetheless sets out conditions that it honors with great patience of repetition, then with a quarter-turn at 2:31 becomes something at once quite the same and completely different, suggesting that our struggles will pay off, that interminable hard work will be reborn in bliss.

In a Beautiful Place Out In the Country

Influenced by David Koresh of Branch Davidian fame, “In a Beautiful Place Out In the Country,” from the Scottish analogtronica outfit Boards of Canada, repeats a single auto-tuned refrain: “Come out and live in a religious community in a beautiful place out in the country.” It’s the come-on of a disturbed prophet, handled here with such compassion and shimmering beauty that the fiery vision of heatwaves and Armageddon we remember from Waco news reports resolves into silence, like the souls who choose to follow their spiritual leaders beyond the gates of eternity.

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Posted in Opinions

Public Access Programs – Misplaced Masterpieces?

May 6th, 2011

Is watching a TV show on a television set any different than watching it on your laptop? It’s the same program, same basic setup, but after an eye-opening experience watching Charlie Demos’ queer screen project THE DAGGER I’d say that the mere fact of consuming video on a computer as opposed to a television alters how you view it, and changes your experience.

Charlie Demos is a persistent chap, and has been diligently reminding me to review THE DAGGER on another blog I write for (thenewgay.net) for the better part of a month. Though I have deep appreciation for this type of confidence and commitment, I wasn’t able to squeeze in watching the program and writing a review immediately. Ok, that’s the line I used to say “hm, not so sure this is what I want to be spending my time on.” The reasons I had reservations about THE DAGGER were all in the description: “experimental queer programming on MNN late-night.”

MNN (Manhattan Neighborhood Network) is a association of four New York public access channels, and sometimes the stuff on there can get pretty gritty. One evening I kept flipping back and forth from the sadly formulaic crime procedural I was watching to an MNN channel which for an entire two hours showed videos taken from a variety of nightclubs exclusively featuring African American women shaking their asses. Another evening I sat transfixed by a home-shot murder mystery in which a middle-aged gentleman with some sort of mental handicap acted out every one of the characters – it was unsettling and utterly entrancing.

So, despite Demos’ regular reminders, I did not tune in to the first episode of THE DAGGER. Nonetheless, the idea kept squirming in my head, so when Demos sent along the link to his first episode on vimeo, I gave it a peek.

Admittedly, artistic programming like this is not really my thing – I’m sure a more enlightened individual would have much more to say about the type of mood evoked in this first episode and may even appreciate some of the artistic references and choices that I’m sure flew over my uncultured cranium. Nonetheless, as I watched Demos’ carefully crafted visual poetry it struck me how different it would be to watch on television.

In the context of channel surfing, if I were to arrive on MNN and see the deliberately scratchy visuals and hear the looped audio of ragged breaths in the setting of much-maligned public access programming, my first reaction would probably be to flee to the Food Network to see if the Iron Chefs were battling with an interesting ingredient. Online, though, the clean presentation of vimeo formatting combined with web content’s reputation for excellence in amateurism prepared me to give THE DAGGER honest consideration.

Will I be on the couch next week with popcorn bowl in hand eagerly awaiting the first glimpse of THE DAGGER’s next installment? No. But I have plenty of friends who I think would really enjoy experiencing Demos’ compositions, and I’ll be sending them the link rather than the air time/date. Being on TV definitely can provide legitimacy for renegade artists like Charlie Demos, but I think they’ll find their true audience online, and in far greater numbers.

THE DAGGER: Episode One from Mathew Heggem on Vimeo.

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Posted in Entertainment Industry

Aflac Ducks Potential Disaster

May 2nd, 2011

When Gilbert Gottfried was unceremoniously let go a few months ago for tasteless humor following the Japan earthquake on March 11^th 2011, I applauded the quick action of Aflac. That action, however, came so swiftly from higher ups that I doubted whether Aflac had prepared anything (namely, a plan) beyond the decree. The news cycle moves so quickly that moments fade after a week. But when Aflac recently announced the new voice of the duck, Daniel McKeague, their backroom plan quickly revealed itself as a winner. Whether this was planned all along, or frantically cobbled together in the war room, they’ve managed to add a valuable new brand layer – with little cost. (Yes, the power of PR…).

We’ve always associated the duck with Gottfried, but now this little animal has a new persona – one decidedly less cantankerous and cloying. The duck will be watched with increasing curiosity, and I anticipate, be received with affection because Dan is simply a likable guy (see Aflac CEO Dan Amos Welcomes the Duck Voice, Dan McKeague). Not to mention their man (and Aflac’s duck) on every network and morning show last week proudly honking their avian anthem. (Truly, who knew two little animals, a duck and a Gecko, would emerge as such powerful brand ambassadors).

While the interim, before Daniel was ultimately discovered, Aflac still pushed their branding initiatives forward with clever vignettes harkening the days of silent film.

The famous “quack” was cleverly displayed so effectively that I scarcely think consumers even noticed, or cared, about Gottfried’s absence. Aflac played their hand beautifully, as evidenced by their stock value, now trading around $59.00. I think the dividend should go to their communications team. Chapeau.

- – Marco

| Aflac found its new voice |

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Posted in Publicity

The Social Network: A Genius Misunderstood

September 29th, 2010

On Monday, I received a rare opportunity to see an advanced private screening of “The Social Network”, courtesy of Mashable.com. This was my first advanced screening of any film and it happened to be one of the most anticipated films of the year. While I came into the situation as a giddy PR professional pretending to play the role of a seasoned film critic, I took this advanced screening more seriously than my usual movie outings. Readers fret not, there is NO need for a spoiler alert here! Enjoy PUBLIC’s exclusive review on David Fincher’s new film, “The Social Network”.

You have seen the posters, watched the trailers, and read about all of the buzz surrounding David Fincher’s new film The Social Network; but does the film actually live up to the hype? In a time when 50% of the films Hollywood churns out are remakes, while a majority of the remaining movies are reserved for rushed projects; it is difficult to land amongst the small percentage of quality films that live up to the audience’s expectations. In my opinion,The Social Network manages to exceed expectations on multiple levels.

Upon the announcement of the film going into production, many naysayers began to question various elements of the project. Why would Fincher and Sorkin depend on former NSYNC front man Justin Timberlake to deliver a performance acceptable for one of the most anticipated films of the year? Or how is David Fincher (director of Se7ven and Fight Club) going to make the transition from action/suspense to drama? Or my personal favorite reaction, are they really making a movie about Facebook?

The film’s lead man, Jesse Eisenberg (Mark Zuckerberg), seizes his moment in the limelight and compliments the Sorkin written screenplay perfectly. Zuckerberg’s constant confrontation with internal and external conflict lead audiences on a psychological roller coaster, challenging viewers to share a wide spectrum of feelings towards the main character as soon as the film begins. The ongoing struggle for Zuckerberg to find his place in the sun among his overachieving classmates, while simultaneously dealing with his ill feelings towards social status and prestige allow for the audience to relate to the lovable computer geek and sympathize with his situation. On the other hand, the film does not shy away from portraying Zuckerberg as the elitist, socially awkward and outspoken individual that he is (in the first 20 mins of the film he gets dumped for making a snide remark about Boston University and proceeds to insult his ex via his personal blog).

While in certain situations, Zuckerberg’s cut-throat and elitist ways alienate the audience and other characters in the film, these same qualities viewed negatively within specific contexts also makes him lovable in other scenes (wearing pajamas to a corporate meeting, producing a business card that reads “I’m CEO Bitch”). His best buddy in the film Eduardo (played by Andrew Garfield) ,despite obvious flaws in Zuckerberg’s character, remains the loyal sidekick for a majority of the movie and serves as the early CFO of Facebook. While both internally struggle over being outcasts to the exclusive clubs at Harvard, Eduardo serves as the voice of reason to Zuckerberg’s emotional distress and whacky antics. The dynamic Sorkin sets up between the two best friends pays homage to the traditional good cop/bad cop scenario, but in a darker and more complex light.

The level of conflict reaches new depths when Sorkin and Fincher introduce Napster founder and habitual troublemaker Sean Parker (played by Justin Timberlake) to the film. While Parker and Zuckerberg differ on a variety of levels, their desire to shake up the system and ‘stick it to the man’ help the two find a common ground and become friends. The relationship between the two forces a wedge between Zuckerberg and Eduardo, thus muffling Zuckerberg’s lone voice of reason and only true friend. Timberlake follows suit with a brilliant performance like his other co-stars, and manages to capture the essence of Parker’s bad boy image. While watching the film it is obvious how the former pop star embraces his role, and delivers lines effortlessly and unforced, and at times stealing the show from Eisenberg and the rest of the cast. After a performance like this, Timberlake has established himself as a Hollywood mainstay.

Though many will not agree with how much I liked the movie and how I felt about the screenplay, the quality of the film cannot be denied. It is refreshing to see a major Hollywood blockbuster bring substance back to the silver screen; and finally the first film in awhile that doesn’t rely upon violence and special effects to “oooo and awww” it’s way to the winner’s circle. The Social Network is a cinematic gem, that people from all walks of life can appreciate and enjoy, it challenges audiences to think about how they feel about the main character rather than the writers figuring it out for the audience. If you are looking for a simple film, you’re obviously not familiar with Sorkin screenplays and this movie may be too rapid-fire for you. But if you are ready to be entertained start to finish and enjoy films that evoke a wide range of emotion, this film will be for you!

-Aaron

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Posted in Entertainment Industry

New York, City of the Future | The High line

L.A.v.N.Y

PR’s “Dear John” Problem

Don’t Behave Like a Philistine

Words, Words, Words

La Ritournelle

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Here Today, Gone Tomorrow

Four Corners

In a Beautiful Place Out In the Country

Public Access Programs – Misplaced Masterpieces?

Aflac Ducks Potential Disaster

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