Kevin Bradley has joined entertainment advertising and marketing agency AKA NYC as cultural business supervisor. Bradley brings more than 15 years of experience in marketing for arts organizations and non-profits, including leadership roles with Sotheby’s, Washington DC’s Signature Theatre and Momentum Worldwide. In his new role, Bradley will focus on developing relationships with performing arts groups, museums and other cultural organizations nationwide.
Bradley’s arrival is part of AKA NYC’s broader effort to diversify beyond its core business in marketing for Broadway shows and other live events. Managing partner Scott Moore said that the firm’s innovative “360 strategy,” an integrated package of advertising, marketing, partnerships, interactive, research and campaign management, can benefit a range of organizations and brands.
“We are seeking to branch out and create new opportunities for our staff to work on projects that are challenging and stimulating,” Moore stated. “We do a lot of work for institutional clients in the theater space and find that very rewarding. Cultural organizations are a natural fit for us; we believe we have a lot to offer such groups.”
AKA’s London office has a long history of working with museums, performing arts groups, non-profits and governmental bodies, including London’s Tate Modern, Royal Opera House and National Theatre.
Bradley most recently led the independent marketing consultancy Stringham Lane Marketing. Previously, he served as sr. brand strategist/head of marketing communications for Sotheby’s, New York. His background also includes director of marketing and communications for Signature Theatre, manager, business leadership for Momentum Worldwide, and business development manager for Plum Benefits.
Bradley’s career highlights include the marketing strategy and content development behind Sotheby’s record-breaking auction of Edvard Munch’s The Scream; the marketing campaign for Signature Theatre’s world premiere of Michael John Lachiusa’s Giant; the advertising launch behind the opening of the Rubin Museum of Art; and off-Broadway advertising campaigns for the Tony Award-winning I Am My Own Wife and Grey Gardens. He has worked with the Chamber Music Society of Lincoln Center, the Martha Graham Dance Company, the American Museum of Natural History, the New York Public Library, the Smithsonian Institution’s Cooper Hewitt Museum and Playwrights Horizons.
Bradley said that cultural institutions are facing increased challenges in funding and audience development. “The media market has fragmented and cultural groups face more competition than ever for people’s time,” he observed. “Organizations need to be more creative and tech savvy in reaching audiences.”
He added, “AKA combines a dynamic creative and aesthetic approach with state-of-the-art analytics. The agency has a great team and an outstanding body of work. It makes it very easy for me to talk to organizations about how we can help them.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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