Sunday, March 09, 2014
Saturday, March 08, 2014
Sunday, March 02, 2014
Vote For Comment of the Week
As usual, voting closes Friday at noon.
Student #1 has left a new comment on your post "Broadway Bots: Robots Take Lead Roles in Drama, St...":
I have mixed feelings about the concept of robots on stage.Student #2 has left a new comment on your post "Reviewing Student Theater is an Invisible Taboo: C...":
On one hand, I attend a world class drama school where we train actors to use their whole self to embody a character. How can we expect a robot to ever come close to this level of technique? We can't, and it's sad to think that people are trying. Robotic technology is not advanced enough to type in the numbers for the Captcha below this blog's post window, let alone emotionally embody a character.
On the other hand, I attend a university with the best robotics program on the planet. If anybody could do this, it would be here.
So where does this leave actors in the equation? I'm not sure.
Perhaps this could open a up a whole new field in the performing arts. Trained performers who also possess programming knowledge could be valuable in programming robots to be performers. Using the skills and techniques learned though performance classes, they pass that knowledge along to there performance robots to help them become amazing performers.
Where does this leave performer though? Automobile factories, warehouses, and even banks are cutting jobs in favor of robotic alternatives now. When robots can sing and dance, where does this leave actors?
Luckily, it doesn't hurt actors at all. There is a special quality that only a live performer has. It's a special ability that can't be programmed into even the most complex robots. And luckily, most patrons of the performing arts attend performances just to experience that quality. That quality is emotion, and emotion (at least until the Cylons rise) is something that only a live human performer can ever have.
I come from a suburb of Boston, MA, and found this article to be exceptionally true. Where I'm from, criticism is taken harshly, although we are encouraged to be constructive and help others. Student theatre was a realm untouched, however, and because I was so a part of my high school's theatre program, I quickly began to recognize it. I demanded real critique for my work. And no one would give it. Of course, it made me feel worse than it was intended to. I believed that no one had the heart to tell me I was horrible, even if I truly wasn't.Student #3 has left a new comment on your post "10 Lessons for Theater, from TEDxBroadway 2014":
That being said, there is a time and there is a place. If someone asks me what I thought of their work, I will tell them. If they do not ask, there's no point in me criticizing them because 1.) That's rude and 2.) They'll immediately tune out and blacklist me from their advice list.
Student theatre is a tricky subject, but what's important to remember is that these are students. They are there to learn. And if they ask, sincerely ask, help them to continue their learning and enhance their craft.
Based on the other comments, it looks like the piece about cell phones really stuck out; it did for me too. While I think new ways of engaging the audience are interesting, I have mixed feelings about what the article presented. A show doesn't need audiences up on stage or a web chat with the director to engage the audience. But for some shows, I can see how this can have a place. But like my class mates, I see no use for cell phone use by the audience in a show. Inside a theatre is one of the only places one can hope to see cell phones put away. I used to think restaurants were like that too, but now cell phone use during meals feels like it's been completely integrated into the practice. My former high school now allows cell phone use in the classrooms. I know it may be unprogressive to not embrace technology head first, but I think keeping theatre clear of the distractions of cell phones will keep audiences more engaged.Student #4 has left a new comment on your post "We’re Just Making Movies":
This article brings up many important yet possibly taboo discussions about the structure of entertainment production. First, the idea that someone else should have said something is tricky. In theatre and film there are many many moving parts that all have to fall together at the right time in the right place. This orchestration happens in meetings and in private moments and the idea is that this analysis and discussion will prevent issues from arising too late. But what happens when something falls through the cracks or isn't actually communicated clearly until it has been realized.Student #5 has left a new comment on your post "Ensembles: Making and Paying for the Art":
With regards to hierarchy and not feeling able to speak-up: fortunately the crew heads and designers here are usually very eager to discuss aspects of their work or take suggestions which is great. I do however believe that in the real world this line of communication is not as open and speaking up may be discouraged. I think theatre artists may be more apt at collaborating and accepting ideas from all levels of positions but I would assume the same may not be as true with film. From our PTM lecture, the idea of "exploiting everyone's talents" but utilizing people who know more than you and listening to what they have to say is an amazing philosophy it may just be harder to organize. Potentially, tearing down the inhibition of people of less authority to contribute could prevent things like this that people that are in the moment and may not have as much to steal their attention could notice beforehand.
Theater, and art in general, is such a tricky business. It's difficult to walk the line between creative integrity and staying true to the art, and making enough money to make art in the first place. After school, we will all have to choose what sort of theater we want to work for, that is if we choose to stay with theater. This article drew a pretty clear distinction between traditional and non-traditional theaters. Personally, it seems more exciting to be a part of a non-traditional theater company, as the concepts and goals are always growing and developing. However, the job stability and lack of variability of a traditional theater is probably very nice too. It makes me even more interested and excited to see where all of our careers will take us!
Worth a Look
Here are a few articles from last week's Greenpage that might be worth your time...
We’re Just Making Movies
We Have Embarked – The Online Home of Filmmaker Zachary Goldberg: There are things more important than getting that shot.
This wasn’t what I was planning on writing about this week. Then again, one can’t exactly plan for tragedy.
A young woman, Sarah Jones, 27, was killed on set of “Midnight Rider,” a Greg Allman biopic that’s been shooting in Georgia, after being struck by a freight train.
God dammit.
Artistic Directors Show the World Their White-Guy Blinders, Twitter Explodes in Their Faces
Slog: Last night, Washington Post theater critic Peter Marks hosted a panel discussion (the first of a three-part series) with artistic directors at Arena Stage in Washington, D.C.
A few folks, including Strand Theater artistic director Elissa Goetschius, dutifully tweeted the proceedings which began about as drearily as you'd expect: ".@petermarksdrama acknowledges how the relationship between ADs and critics is frequently strained, but expresses his admiration." (Yawn.)
The thread showed a glimmer of feistiness after playwright Steve Spotswood tweeted a photo of the stage
Reviewing Student Theater is an Invisible Taboo: Conspiracy
HowlRound: This report begins a survey of University theater in greater Boston and Cambridge. Higher learning has significant footholds in Massachusetts Bay, and in aiming to treat the local theater scene broadly and accurately, it seems appropriate to make mention of some of these academic productions and their successes.
10 Lessons for Theater, from TEDxBroadway 2014
HowlRound: “How do you make the magic?” students from a middle school in the Bronx asked after seeing their first Broadway show. Their attendance was an outgrowth of a conference begun in 2012 called TEDxBroadway, and highlighted again Monday at TEDxBroadway 2014.
Carnegie Mellon University School of Drama celebrates a great 100 years
TribLIVE: As Carnegie Mellon University's School of Drama celebrates its centennial, it's a time for looking back and to the future.
Founded in 1914, the school is the oldest conservatory training and the first degree-granting drama institution in the United States.
Tuesday, February 25, 2014
Vote for Comment of the Week
As usual, voting closes Friday at noon.
Student #1 has left a new comment on your post "Carrie Cracknell Adds a 21st-Century Flavor to Ibs...":
I wish this article had been more explicit about what the director plans on doing to connect the feminist issues in the play to today's audiences. I agree that the themes in "A Doll's House" are still very relevant today, but that Nora leaving her husband and children doesn't quite have the same impact nowadays. Even if Cracknell directs the play with those thoughts in mind, how different can it really be? The article mentions Nora using her sexuality to influence the men around her and the hyper-sexualized tarantella scene, but both of those elements are already very much present in the text itself. I would definitely like to see this production to know how the director approached her goal of making "A Doll's House" more relevant to today's women.Student #2 has left a new comment on your post "Did a Studio Lengthen Margot Robbie’s Legs for The...":
I don't think I'm as strongly opposed to this as many people on the blog. In something like a magazine shoot or an interview, I do feel opposed to the amount of photoshopping used, especially when it's at the point of completely distorting someone's body. But The Wolf of Wall Street isn't meant to be showing the audience Margot Robbie, its showing us a character. Lena Dunham talks all the time about techniques she uses when filming Girls to distort herself and make herself look heavier and her body more awkward. This isn't about the woman's body, its about the character. The film is meant to capture a very specific world and honestly, as an audience member its unlikely that her legs looking microscopically longer than they already do is going to impact your own body image. In situations where media is aiming to capture real women, I do think there should be more of an effort towards actually having women look like themselves. But this is for a piece of art, and the standards are therefore different.Student #3 has left a new comment on your post "Can art ever compete with football?":
While I think this is an interesting point to bring up, the tone of the article comes across, to me at least, as an arts writer whining about the perks of being a sports writer. Some of the comments in the article point out the differences between the NFL, which is a 501(c)(6) organization, and a 501(c)(3) arts organization, namely the latter being able to solicit tax-deductible donations and the former is ineligible for foundation grant-type things.Student #4 has left a new comment on your post "If portrait video is wrong, these artists don't wa...":
Rather than a productive, "What are we as an industry going to DO about the ubiquitousness of football compared to the relative jargon-sounding arts world", the article feels to me as if it's saying, "Why does everyone like football instead of the arts! I want to write about a popular thing and have it also be arts related and look at these bone-headed editors who don't UNDERSTAND ART AND CULTURE!."
I understand how frustrating inequity can be, but perhaps we as an industry should look to football and other professional sports for ideas about self-promotion. Sports fans seem to dig a good underdog story, and there seems to be enough meat here to spin this as one.
I really appreciate how though out the artists have been in developing their project. They have found exquisite venues, adapted a projection system to fit their needs, and they even thought to let the front rows have pillows so they don’t have to “crane their necks”. It sounds like a really cool project and I would love to see it in person. I like that they make it clear they aren’t trying to change the world of cinema but rather provide a new opportunity or paradigm. I also love the images of the project; the scale is overwhelming and the color is so vibrant. I was also surprised at first that they are using a film projector rather than a digital projector but it’s really impressive that they have committed to that format.Student #5 has left a new comment on your post "Legalized Impairment and What Employers Can Do Abo...":
While marijuana is legal in Washington and Colorado, and the legal ramifications of showing up to work high is a grey area, I believe that it's a respect thing. Being high while doing your job isn't just disrespectful to your profession, but it's dangerous. Studies have shown that driving under the influence of marijuana is dangerous to both yourself driving and the other motorists on the road. That being said, if you really value your job, you shouldn't show up stoned. Furthermore, while I support marijuana being recreationally legal, I also support it just being that: recreational. Something you can do in your free time, and not while you're working. You can't smoke cigarettes while you're working (albeit because of different reasons), but it's on the same lines. You're not getting paid to be stoned.
Sunday, February 23, 2014
Worth a Look
Here are a few articles from last week's Greenpage that might be worth your time:
If portrait video is wrong, these artists don't want to be right
The Verge: Portrait videos are a touchy subject. As the logic goes, our eyes are side by side, not stacked on top of one another, making tall and skinny videos something subconsciously unsettling. In a very popular YouTube video two years ago, puppet comedy group Glove and Boots went so far as to call anything shot vertically "crap," while referring to frequent portrait shooters as sufferers of "vertical video syndrome."
“Happy Birthday” copyright defense: Those “words” and “text” are ours
Ars Technica: There may be no song more widely sung in America than "Happy Birthday," but it isn't free to sing. Warner/Chappell music licensing, which has long claimed copyright to the words, typically dings filmmakers and TV producers a few thousand bucks for a "synchronization license" any time the song is used in video. Warner reported that by the 1990s the "Happy Birthday" licensing enterprise was pulling in upwards of $2 million annually.
Legalized Impairment and What Employers Can Do About It
Occupational Health & Safety: Nov. 6, 2012 may someday become known as the day the drug war went up in smoke. Why? That's the day voters in Colorado and Washington state decided to legalize marijuana use, and not just for medicinal purposes. They voted to legalize marijuana for so-called recreational use. The pro-legalization of marijuana movement signaled that at least four more states (Alaska, Arizona, California, and Oregon) may pass similar legislation this year, and as 2013 came to a close, 20 states plus the District of Columbia already had legalized medical marijuana. New York's governor welcomed the new year by announcing that he intended to legalize the use of marijuana for medicinal purposes by executive order, thus bypassing voters and legislators.
A New Approach to Othello: Shakespeare's Dark Lady
HowlRound: In March 2014, Amberley Publishing is releasing Shakespeare’s Dark Lady, my biography of the feminist poet Amelia Bassano Lanier, in which I claim that she was not only the “dark lady” of Shakespeare’s sonnets but a major co-author of his plays. Five years younger than Shakespeare, she came from a family of Venetian Jews who worked as Queen Elizabeth’s recorder troupe; for a decade was mistress to Lord Hunsdon, the man in charge of the English theater, who later became Patron of the Chamberlain’s Men. She became the first woman in England to publish a book of original poetry with the publication in 1611 of her collection Salve Deus, a religious satire that has odd resemblances to the Shakespearean romances. What is unusual is that this radical research is being supported by a number of Shakespeare and theater scholars.
Feminist of the Day: Olivia Wilde
Women and Hollywood: Need a reminder of the awesome and awful power of Hollywood?
In a panel called the "State of Female Justice," actress Olivia Wilde shares a story about being recognized while "on a camel in Senegal" by "the guy who was helping me not fall off my camel." "You're Doctor Thirteen [Wilde's character] on House," she recalls him saying.
That moment led her to realize that "We have to do a better job of representing different lifestyles and women in empowered roles because literally everyone is seeing this stuff that we [in Hollywood] put out. So we have to be more responsible for what we do put out."
Monday, February 17, 2014
Sunday, February 16, 2014
Vote for Comment of the Week
Voting closes Friday at noon.
Student #1 has left a new comment on your post "Inside The Video Game Industry's Culture Of Crunch...":
I know people say this sounds familiar and are referring to theater. But, as far as I know, in most theaters crunch time is just tech week and no one moves a shows opening up. That is one thing that I never like, when management thinks they are making a good decision because it'll make more money and that their employees will be fine. If the video game industry had crunch time just a week or two before manufacturing, then I wouldn't say anything as long as the devs knew what they were getting into. But planning and thinking its ok to do with your employees all them time, just no. That is what causes burn out. People need to rest and relax. They need a life. They are not mindless machines. Like Sarah said, this is about budgeting. Plan time accordingly. That means when the devs tell the execs their timeline, that is their timeline. They aren't just goofing off and taking extra time!Student #2 has left a new comment on your post "Fears of the Artist Sustain a Dysfunctional System...":
This was an interesting article to read in tandem with the one about the Minnesota Dance Theater's board. It seems there's a growing discontent with both sides of the NFP art world. I agree wholeheartedly with the sentiment that theater artists need to stop feeling beholden to producers and artistic directors, but, given that the author also wants to empower the artist class by changing the way poverty is glamorized if you're an artist, I wonder if he has any thoughts on how that can be achieved. There isn't room in the arts world for every artist to be self-producing all of their own work. Indeed, that would have a lot of one-person shows, which I feel would end up limiting the power of artists even more. Perhaps there's a way to create some kind of confederation or co-op of producing artists. That introduces a whole other host of managerial issues, but there must be a way for disenfranchised artists to organize in some meaningful way. I look forward to seeing how this conversation continues.Student #3 has left a new comment on your post "RE/P Files:The Coming Of Age For The Once-Maverick...":
I think that this article is incredibly awesome. For me the idea of how the audio business has changed since the 80s. I think the years of the Grateful Dead Wall of Sound are totally insane. I always say that I think I was born in the wrong decade, the only way I'll ever experience the sound of these systems and their beauty is through crappy youtube videos and DVDs. That makes me sad. BUT there will be a day where I have the opportunity to design a super awesome rock show designed to sound like an 80s concert and I can guarantee that I will use some of the vintage equipment as long as I can get my hands on it, its a long shot but a man can pray you know.Student #4 has left a new comment on your post "How LED Streetlights Will Change Cinema (And Make ...":
I am pleased to find Geoff Manaugh hits on a few interesting points in his article, from both pro and con sides of Los Angeles switching from high-pressure sodium streetlights to blue-tinted LEDs. I would argue the switch to blue-tinted LEDs would not necessarily make cities look better, but simply different. At least not Los Angeles, or more correctly, my memories of the many years I spent in Los Angeles, a number of those years living downtown close to where the comparison photos were taken. Based on the photo comps in the article, the sodium lights pick up more of the general haze of the city, while the LEDs give a crisp and clear look. Now, hard to say for sure, as the photos were obviously not taken at the same time, and there could have been more smog and/or cloud cover in the sodium light photo. But let us assume they were taken at the same time and compare as such. I quite like the sodium blur, unlike any city I have yet to experience. The LED look is antiseptic. Of course this is merely my opinion, admittedly based on romantic nostalgia. And truth be told, I would have to vote for the LEDs, as they are more environmentally friendly. However, why can they not be tinted yellow??? I love Manaugh’s ponder that city lighting schemes could be subject to historic preservation laws. He also brings up an interesting point with blue leading to disrupted circadian rhythms. This all makes me wonder if I would have fallen in love with Los Angeles if the city had been blue when we first met.Student #5 has left a new comment on your post "What Makes an Artist Qualified to Tell a Story?":
I am actually impressed by this article because it has changed my views and understanding of a qualified artistic perspective. Growing up, I have heard many times that white people are just unable to understand the suffering of black people. And if I presented this article to many of my family members, they would still sneer.
The way that the article presents perspective is really interesting because I would assume that I a person would need to go through a historical experience or at least have some contact with it. But, they way that she presents it shows that someone can relate even if that haven't and has the right to create what they have experienced like any other person who has experienced it first hand.
Worth a Look
Here are a few posts from last week's Greenpage that might be worth your time...
Move Over Product Design, UX Is The Future
Co.Design | business + design: For decades, the most successful businesses thrived on product innovation as the natural strategy to increase revenues, market share, and loyalty. Fast forward to 2014: today’s product innovations, and the growth they create, are often incremental, narrow, and fleeting. Take TVs or PCs--every competitor quickly matches the latest features, speed, brightness. As a result, companies are finding that returns from product efforts are harder to rely on. Among the Global Innovation 1000, R&D spending rose 5.8% last year, yet revenue for those companies increased less than 1%. Global competition and technological diffusion mean that competitors quickly catch up with most improvements, while the transparency of digital and social media also prompts consumers to quickly switch allegiance with each new alluring offer.
Enter: the experience.
What Makes an Artist Qualified to Tell a Story?
HowlRound: When I was a little girl, I was obsessed with mythology. Greek, Roman, Indian, Norse, you name it…I loved them all, more so than your standard fairy tales. I loved the epic nature of the stories that were so magical but also so obviously written (or orally shared through time) to speak to universal truths about the human condition. They were remarkably similar from culture to culture, and transcended the boundaries of time. In the seventh grade, we were assigned the task of writing a myth, and I wrote one with the Norse gods, explaining how Norway got its jagged coast. I have it to this day, with the red A+ prominently displayed at the top, not as a reminder of my twelve-year-old genius (note heavy sarcasm), but a reminder that no matter where you’re from, you can tell a story about another person if you focus on the universality of the tale and their experience, and not the specificity of their race. I believe my teacher assigned this task to teach us just that…no matter the color, gender, or year that a character belongs to, their humanity makes their story equally worthy of being told.
A Message From Flea
RHCP News: When we were asked by the NFL and Bruno to play our song Give It Away at the Super Bowl, it was made clear to us that the vocals would be live, but the bass, drums, and guitar would be pre-recorded. I understand the NFL's stance on this, given they only have a few minutes to set up the stage, there a zillion things that could go wrong and ruin the sound for the folks watching in the stadium and the t.v. viewers. There was not any room for argument on this, the NFL does not want to risk their show being botched by bad sound, period.The Show Goes On
St. Louis Magazine - January 2014 - St. Louis, Missouri: Ron Himes stands next to a photographer at the back of Harris-Stowe State University’s Emerson Performance Center. A social-media consultant and Harris-Stowe’s facilities manager look on as the photographer snaps pictures. The venue is significantly smaller than the 470-seat Grandel Theatre, where his theater company, The Black Rep, performed for two decades. Here, shows are scheduled around basketball games and other events, so the photographer tries to work quickly.
How 82,529 Hats Became a Video Screen For Super Bowl XLVIII
Show content from Live Design Magazine: On Sunday, 82,529 fans descended on MetLife Stadium in Rutherford, NJ, for what would be the most watched television event in history, to the tune of 111.5 million viewers. As the fans took their seats before the Super Bowl began, they were given a bag of goodies to help combat the expected cold temperatures, despite the balmy 49 degree kick-off temperature. In the bag of goodies, under the gloves, hand warmers, tissues, lip balm, and scarf, was a small black beanie in a bag with a warning label on the package telling fans not to open the bag until instructed to do so by the stadium announcer. Most fans followed instructions, but I had an idea what was in the bag and couldn’t resist opening it early. Most fans didn’t notice, at first, the three small LEDs and the infrared receiver mounted to the front of that hat, cleverly hidden within the logo of the Pepsi Halftime Show. Most fans didn’t realize that they would soon be a part of the largest human video screen ever created.
Monday, February 10, 2014
Vote for Comment of the Week
voting closes Friday at noon.
Student #1 has left a new comment on your post "Is A Ticket A Contract?":
I think a ticket is a contract. But I think that it is a contract on both sides. The theatre, by selling someone a ticket, agrees to hold a seat for an audience member. That is their end of the contract. The audience member is expected to conform to the rules of the theatre and to not disturb other patrons, or they will be asked to leave. That is the agreement they make when they desire to go to the theatre. The no-refund policy is a little more vague. It is true that the audience doesn't agree to that until after buying the ticket. But most often the box office will inform them of this before they buy a ticket. And it is pretty much common knowledge that you will not receive a refund if you buy a ticket. So even though it is not an official contract, a ticket really is one. Because the audience expects something of the theatre, and the theatre expects something of the audience. And by buying that ticket an agreement is made.Student #2 has left a new comment on your post "You’re Reading Romeo & Juliet Wrong. You’re Suppos...":
I like the fact that people are thinking critically about Romeo and Juliet, but I have to point out that the prologue says that they are "A pair of star-cross'd lovers." Shakespeare himself says that they are lovers at the very beginning of the play before any characters are even introduced; and you can't argue with the exact wording of the script when you are interpreting it.Student #3 has left a new comment on your post "Permission to Fail":
I also don't think that we are supposed to think about the relationship between Romeo and Juliet much anyway. The play is really about the consequences of having family feuds. The audience is supposed to see the tragedy that these two kids had to kill themselves to stay together because of the fighting going on between their families. Paris's whole monologue at the end is talking about how they must never fight again in remembrance of what these kids had to do. Their relationship is irrelevant; and both houses are out of heirs.
I think this would be a great article for anyone in our Basic Design class to read. This line in particular resonates with what I think one of the main intentions of our Basic Design class may be:Student #4 has left a new comment on your post "Life-size Titanic replica planned for Chinese them...":
"the purpose of the contemporary art school is not so much to teach students how to make art as to show them how to be artists." Throughout the year, I know that some of us have at times felt frustrated with design projects. Sometimes, it can be hard to understand what the purpose of our projects are which can make working on them confusing and challenging. But going into this semester, I have been better able to understand that this class is not so much about practical techniques as it is about teaching us how to think in order to prepare us for learning to be designers.
This article is actually kind of disturbing to me. I feel like people sometimes forget that the sinking of the Titanic was a horrible tragedy where 1,500 people died, not just a James Cameron film. I feel like this really speaks to the effect that movies can have on our collective understanding of events. Because of this movie, the first thing people think of when they think of the Titanic is romance, not tragedy. They think of two people falling in love, not 1,500 dying in freezing water. This seems like a perfect example of this- the fact that someone thought this would be an appropriate theme park attraction seems incredibly disrespectful and disturbing. It would be like someone 100 years from now making a theme park attraction imitating 9/11- the event will no longer have the same terrible emotional connection to the people at that time, but that doesn't mean it will ever be appropriate to make light of those people's deaths.Student #5 has left a new comment on your post "Climate Science’s Challenge to Artists":
A noble gesture. It looks like the drive to change public opinion about the climate's endangerment is becoming more resourceful in its employment of idea-changers. Malpede suggests that a conceivable way to educate the public about the severity of the climate crisis is through art– to tug at the heartstrings of the public and inspire a movement to change climate policy. What I would add to that discussion, and would tell Ms. Malpede herself, is not to insult the intelligence of the theatre-going community. She cites the Greek tragedians enough, and their use of drama to create a forum for social and political change, but they did so through metaphorical drama, not literal interpretation. It is apparent that the general public is fed up on global warming, being shouted at by the truth-tellers and feeling manipulated by those who would have us remain ignorant. Who is going to want to go to the theatre to watch a play about climate control? I haven't seen these plays, but from the sound of it, something tells me Sniffley is unnecessary. And stupid. An audience can sympathize and digest information without it being spelled out for them. Why does dance affect us so if there are no words spoken? Why can we sit and observe, and feel something, without being told how to feel? My proposal: find a more accessible vehicle. Trust your audience will understand your analogy. If your theatre is inspirational-- not condescending and contrived-- people will want to contribute to your cause. Level with your viewers.
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