How does somebody who wants to write about the arts get an audience? In the old days you found a small local publication to write for while you learned your craft, and graduated to bigger publications and larger readership. Readership, and often influence, depended on the reach of your venue.
 

The New Museum promotes its "New York in 1993" exhibit with 5,000 pay phones that dispense location-specific history from the people who lived it.

The cult hit, Bill & Ted’s Excellent Adventure, imagined a future where phone booths served as time machines. Although it doesn’t appear society has yet mastered the flux capacitor, the boothless pay phones of New York currently are in fact serving as time portals--back to the year 1993.
 

An estimated 10,000 Baby Boomers will turn 65 every day for at least the next 17 years, according to data from the Pew Research Center. And while many of them might choose to work beyond the traditional retirement age of 65, leaders everywhere are facing the same daunting issue: A great tsunami of Baby Boomer retirement is coming.

Though it’s likely to reshape the workplace for years to come, many organizations say they aren’t prepared for such an unprecedented brain drain. The projections of younger workers entering the workforce are even more shocking.
 

@NonprofitOrgs only follows nonprofit organizations, nonprofit staff, nonprofit service providers, and activists on Twitter. Each morning I browse those that have followed @NonprofitOrgs in the previous 24-hour period and if they are a nonprofit organization, a nonprofit staff member, a nonprofit service provider, or an activist, I follow them back. Many of these folks are new to Twitter and thus I get to see the Twitter debut of many nonprofits and there are eight very common mistakes that newbies make that unknowingly diminish their Twitter ROI from day one. Most of these mistakes can be avoided by simply spending 10 minutes setting up your Twitter Profile or by getting some Twitter training.

New York Times best-selling author Seth Godin is a fan. So is novelist Bret Easton Ellis. Ben Folds embraced it to bankroll his new album. Amanda Palmer has used it to raise over a million dollars and game studio Ouya just cashed in to the tune of $5.4M and counting. No longer the domain of the struggling indie artist relying on populist largesse, crowdfunding has gone high-profile. In the last year alone, Kickstarter has had seven projects that topped $1M. But when celebrity or corporate content creators move in, do they squeeze the little guy out? Are we seeing the gentrification of grassroots creative funding?

I have been reflecting on diversity and orchestras lately, prompted by some work we are doing at the League of American Orchestras and my recent participation in SphinxCon 2013 in Detroit, which examined diversity, inclusion and equity in the arts. Many of you are likely familiar with Aaron Dworkin, the gifted violinist, founder and executive director of the sponsoring non-profit Sphinx Organization. Aaron is one of the important voices in our field today and a colleague who serves as a board member of the League. In a concentrated and cut-to-the-chase fashion, the conference focused on a broad range of current issues, lessons learned, and best practices aimed at transforming the arts in a truly meaningful and measurable way.

Naked Angels, the theater company that has developed plays including Broadway vet “Next Fall,” has partnered with Gotham’s New School for Drama to become the academic institution’s producing partner for its M.F.A. and soon-to-launch B.F.A. programs in theater.

The two sides anticipate a mutually beneficial arrangement that will help the New School professionalize its legit training programs, while at the same time aid in stabilizing Naked Angels and its producing initiatives in a tough time for fundraising.