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Online Marketing 8 Killer Online Marketing Campaigns What makes one online campaign memorable and another a huge waste of marketing dollars? Eight young entrepreneurs weigh in on their favorite campaigns–and why they work. We asked some of the founders from the Young Entrepreneur Council to share which ad campaigns have inspired them the most so far in New York Fashion Week’s Interactive Catwalks From Adidas to Topshop, some of the neatest online ad initiatives I’ve seen so far this year have revolved around augmented reality and interactivity, with offline events.
New York Fashion Week in February had brands meshing the online and offline worlds to really immerse the consumer with a degree fashion experience. Warby Parker’s Year in Review Far from being just an ad campaign, this little review of the year gone by brings existing customers into the fold and helps the company spread the word about their human-ness and likability. Zoosk’s Heart Friend The best online ad campaign I’ve seen in so far is the Heart Friend initiative launched by the dating website Zoosk.
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Read on to find out: Broaden your vocabulary beyond a few repetitive expletives No drunkenness. Being stoned or wasted only gets a laugh from your yobbo mates at your expense Act like a lady or gentleman.
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It shows the likelihood that a someone on AYI. To the left, means the sender was 10 years younger, on the right, the sender was 10 years older, with zero indicating that the sender and the recipient are the same age. Here are the two plots for men responding to messages from women blue and women responding to messages from men red. Not exactly Nobel-quality findings here, but it’s definitely interesting to see the exact levels of response.
But for folks in the dating game, how is this information actually usable? Well, let’s find out how many messages the average man will have to send to a woman his own age in order to guarantee various levels of response, and vice versa. We can’t guarantee a response, per se, but we can say how confident we are that these average bachelors and bachelorettes will receive at least one response given the number of messages they send. We know, from the chart above, that a woman who sends a message to a man her own age has a Extrapolating from there, here’s how confident men and women can be that they will receive a response given the number of messages they send en masse: A man will have to send 58 messages.
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It has a lot in common with Neil Simon comedies about growing older, staying relevant in a changing world, surviving a broken relationship and coping with friends and family. The play seeks to be edgy, modern and dangerous, but its debt to old-fashioned relationship comedies is clear. A divorced woman in Iowa named Sharon has a spacious house and no one to share it with, so she advertises for a roommate. In comes Robyn, a hard-bitten New Yorker hiding a few secrets and perhaps just hiding out.
She smokes cigarettes on the sly.
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Take a behind-the-scenes ride through this hilarious musical comedy about the intimate and gut-wrenching quest for love while millions of viewers watch. Writing team Gaby Alter and Itamar Moses have created this hilarious, smart and romantic musical about the quest for love—while millions of people watch. Horizon is fortunate to be one of the first theatres in the country to have the chance to stage the show outside of New York City. Gaby and Itamar have been in residence at Horizon during our rehearsal period working on a new draft of the play to get it ready for wider distribution across the country.
Gaby and Itamar have known each other most of their lives, having grown up together in Berkeley, CA where their professor parents were friends. They both attended the same high school and NYU grad school for theatre at different times and ended up living not far from each other in NYC. Musical theater is a long journey from idea to hit production.
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Menu Block A Block A is for playwrights who have written in class or in their kitchens, maybe had a short piece produced. And for theatre artists who have thought of themselves primarily as actors or as stage managers or directors, but have the itch to write for performance. Each Block A cohort of six writers meets for ten weeks with a senior playwright mentor. The content and flow of Block A depends on the varied interests of the writers and the senior playwright mentor, who integrates their own practices and inspirations into the sessions.
The writers discuss the fundamentals of writing for performance in a variety of styles, and explore imagination-stimulating writing exercises to expand their craft. They learn from each other and get a sense of the collaborative nature of theatre making.
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We aim to make work that can be and should be experienced by everyone. As a company, by revealing our hopes, fears, obsessions, anxieties and secrets, we strive to make work about the people we care about and the issues we want to scream about. In keeping with our company style, minimal tech requirements and a reduced audience capacity will create an intimate experience for individuals as well as the collective group. The original inspiration for the show sprung from the question: With the rise of online dating, self-help books and the emergence of the Instagram filter, now feels an important time to look one another in the face.
We hope to champion the forming of friendships as much as romantic relationships and to challenge who our significant other might be, and to create a shared audience experience celebrating similarities not differences. We have also been going speed dating… a lot. Our associate artists have been involved in the development phase of the process, which is a really collaborative and fulfilling way of working.
Having worked alongside other emerging companies through the Pleasance Charlie Hartill tryouts , we were delighted to be offered this opportunity to continue to learn from and support our peers. We love how The Bunker encourages shows and companies they work with to take risks and push the boundaries of conventional theatre.
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The Iliad and the Odyssey were presented using puppetry. The roots of European puppetry probably extend back to the Greek plays with puppets played to the “common people” in the 5th century BC. These dolls had articulated arms and legs, and in some cases an iron rod extending up from the tops of their heads.
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Granted, some arose because of a misfortune at the time, but most reveal that this production has real weaknesses in concept and execution. Neither seemed to inhabit their roles, never becoming people we can respond to; we were just listening to famous lines being recited. Thick Scottish accents rendered some of the dialogue unintelligible, and the speeches I always wait for fell flat. The costumes designed by Moritz Junge made no sense to me. Everyone is wearing clothes that are ripped and dirty.
People in the audience actually laughed. The set designed by Rae Smith was visually confusing as well as ugly. Why is the lighting designed by James Farncombe so dim — way beyond anything that could be called atmospheric — that just peering into the play becomes exhausting? For example, the entire play takes place outdoors and at night, so there is no contrast between the civilized world and the battlefield and the forest where the witches swing doll-babies from strings and climb poles, shrieking.
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But is such a thing possible when humans are their own worst enemy? Better known as the author of Lysistrata and The Frogs, Aristophanes brings us his most caustic social satire and Bousel brings it into the 21st century while retaining all its perverse and subversive glory. Lauren Andrei Garcia Hymenia is an emerging Bay Area based artist born to a viraginous, Filipina woman and a green-thumbed Mexican man.
She is a part time professor of nursing, full time multidisciplinary storyteller. Her poetry book Shipwreck Smiles delves into the misery of losing her mixed race underwear and was recently nominated for an Elgin Award. Steven Westdahl Blepyrus is an Oakland-based actor, writer, artist, and producer. Brittany would like to thank her family and friends for all their love and support and is thrilled to be working with the EXIT Theatre!
He’s always open to working with new theater companies when he is not playing games, reading art books, and sketching whatever comes into his head. He has directed a number of plays for Custom Made, including M. He co-wrote the John C. He adapted the novel Giant Bones, by Peter S. More information about his work can be found at http: Toni is from South Louisiana and received her B.