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Prosper organisations announced

Prosper logo

The AMA is one of the partners helping to deliver the Creative United programme, Prosper. Today the cohort of 70 organisations and individuals across the arts, museums and libraries which will benefit from free business support through the programme have been announced. This cohort includes cutting edge artists, innovative library services, enterprising museums and much-loved arts organisations.

Prosper was designed and launched by Creative United with funding from Arts Council England,  Access – the Foundation for Social Investment and the Esmée Fairbairn Foundation, and is delivered in partnership with the Centre for Business in Society at Coventry University and the AMA. It will enable those in the cohort to grow and develop into more resilient organisations, better able to attract income from a variety of sources as well as pursue their creative and social missions.

The application period for the programme ran from 27 March to 31 May 2017. In that time 260 organisations, sole traders, local authorities, charities, enterprises and artist practitioners applied from across England. The selected cohort represents companies of all sizes and types, with specialisms including contemporary dance incorporating VR technology, promotion of sub-cultures, youth theatre, clowning, design for the stage, music education, museums of social history and community libraries.  81% are based outside of London.

Over the next 9 months the cohort will work with a specialist business advisor to tackle areas such as strengthening business plans, empowering their teams with innovation and enterprise skills, identifying new business models and understanding the value of their own assets and intellectual property (IP). They will also have the choice of participating in a range of masterclasses, workshops and webinars designed for all levels – from CEO to project assistants, shop floor workers to trustees.

During this time, the Centre for Business in Society will carry out what promises to be vital research in England and Scotland (thanks for support from Creative Scotland) into the current provision of business support available for arts and culture, and an evaluation on the drivers and journeys of those organisations entering into business development projects with Prosper support.

The AMA is creating an online resource on CultureHive which will not only tell the stories of those going through the Prosper programme, but also link to other business support toolkits and programmes, and share the learning from Prosper with the wider sector.

More information about the selected organisations can be found on the Creative United website.


Shared Ambition – participating organisations announced

Marketers and fundraisers working together in organisations in England applied to take part in an exciting new action research project, Shared Ambition — fundraising and marketing together, managed by the AMA in partnership with Baker Richards as part of the Arts Fundraising and Philanthropy programme.

This action research programme will explore collaboration between fundraisers and marketers to better achieve their organisation’s objectives, including:

why fundraisers and marketers benefit from working together
how this happens now and how it might be further improved across the sector
what effective collaboration looks like
what impact this can have

The programme was over-subscribed with the AMA receiving a number of very strong applications. The 13 organisations that have been selected to take part represent a variety of art forms and are located in various regions across England.

The selected organisations are:

City of Birmingham Symphony Orchestra
Eden Project
Horniman Museum and Gardens
Liverpool Everyman & Playhouse
National Portrait Gallery
National Theatre
Northern Stage
Royal Opera House
Royal Shakespeare Company
Theatre Royal & Royal Concert Hall Nottingham
The Roses Theatre

Cath Hume,
CEO of the AMA, said:
“We are delighted to offer this incredible programme to a diverse group of organisations, all at different stages in their journey to bring fundraising and marketing closer together. The research phase of this programme will help us determine what the challenges of this are, and the organisations will then benefit hugely from a highly-tailored residential training programme. I can’t wait to see the learning outcomes of this programme for these organisations and even more so, for the sector as a whole.”

Participating organisations will be asked to share their stories to help inform and inspire others across the arts, culture and heritage sector. This will include the projects and experiments that come out of the Shared Ambition programme and will be shared via the AMA on CultureHive, as blog posts, case studies or interviews.

Michelle Wright, CEO Cause4 and Programme Director, Arts Fundraising and Philanthropy, said:
“The Arts Fundraising & Philanthropy programme aims to strengthen cultural organisations’ resilience and sustainability by transforming their fundraising knowledge, skills and levels of success. In conjunction with founding partner the AMA, this Shared Ambition project, led by Baker Richards, is an important action research activity to investigate and develop better integrated practice between marketing and fundraising functions. Most importantly, through the diverse range of organisations selected to take part across England, we hope that it will establish some guidance to share sector-wide about the considerable income generation opportunities that can emerge from better collaboration between marketing and fundraising teams within all levels of organisation.”

Find out more about Shared Ambition — fundraising and marketing together.

Follow the participating organisations journeys’ on the AMA Blog and on Twitter @amadigital using #SharedAmbition

Look out and #thrive

Robert Jones is a strategist at the brand consultants Wolff Olins, whose clients include Tate, National Trust and Historic Royal Palaces. He is also one of the trainers on Building Resilience.

We’re living in a new age for museums, arts centres, theatres and many other kinds of cultural organisation. It’s the age of looking out.

You’d imagine from the media that the arts are in crisis. Local authority spending on museums, for example, fell by 31% in 2016. In some areas the impact has been disastrous: Lancashire County Council announced plans last year to withdraw funding for five museums.

But there’s another way of telling the story. A decade of squeezes has actually had some positive effects. According to John Orna-Ornstein, who’s currently moving from Arts Council England to the National Trust, public-sector funders have had to become more strategic, and arts organisations have had to become smarter.

Funding bodies now often have imaginative strategies aimed at wellbeing, liveability or economic regeneration. They’re looking out towards broader social goals, and the money is there for those arts organisations that can contribute to those goals.

Meanwhile, cultural organisations have also learned to look outwards. Museums, for instance, obsess less about their collections, more about their visitors – and find expertise not just from their own curators but also from outsiders like universities. In fact, Orna-Ornstein’s new National Trust role is head of curation and visitor experience – a neat combination of the collection and the customer.

So are these changes a manifestation of a new kind of ‘resilience’? Jo Hunter, who runs 64 Million Artists, thinks there’s more to it. ‘Resilience can feel like doing the same thing, just harder and better. Whereas actually what the arts needs now is the ability to think differently, to be more relevant by listening, connecting, giving away power and ego.’ In other words, by looking out.

And the best organisations are doing just that. They’re now pretty sophisticated about their business models. According to a recent report by the Museums Association, 35% of museums increased their income in 2015/16. Impressively, 42% of museums increased self-generated income through commercial activities such as shops, cafés and events. Creative organisations have become creative about business too.

Many realise that, for their business strategies to succeed, their own internal culture must be right. As the management guru Peter Drucker famously said, ‘Culture eats strategy for breakfast’. This thought should feel natural to the arts world: the health of an organisation, just like the health of an individual or a nation, depends absolutely on culture.

And several organisations have come to believe that culture depends, in turn, on a sense of purpose. As consultant Gaby Porter says, these organisations have worked closely with their own people to define why they exist – why they matter to visitors, users, neighbours and funders. For example, Jon Finch in Preston has been leading a project ‘ReImagining the Harris’. Max Dunbar of the Manchester Jewish Museum – who was part of the AMA’s Future Proof Museums programme – is a great believer in purpose. And Janneke Geene of the People’s History Museum in Manchester has developed the concept of ‘Ideas worth fighting for’.

So business models depend on culture, and culture depends on purpose. This is a formula that’s spread across both the commercial and the arts worlds in the last decade, and at Wolff Olins, we’ve helped dozens of companies to put it to use. And as brand consultants, looking out is second nature – our job is to help organisations see beyond their walls, watch how the world is changing, and observe themselves through customers’ eyes.

That’s why we worked with the AMA to create an online course that shares some practical approaches to business models, culture and purpose, and already 200 arts organisations have benefited from it. We called the course Building Resilience, but our aim is to help people across the sector to be more than just resilient: to be creative, to think differently, to thrive by looking out.

Building Resilience — three online modules to help your organisation thrive — begins on 1 June 2017.

Book your place now.

Be the Change #FutureProofMuseums

Strategic Audience Development Manager at Culture Coventry, Thanh Sinden, tells the AMA what she’s gained since embarking on the  Future Proof Museums Fellowship. 

Thanh Sinden, Culture Coventry

My decision to apply to be a fellow of the Future Proof Museums programme was the best action I could make for my own personal development to be a future leader in the sector. What motivated me to this cause was knowing that I needed to be the change I wanted to see.

I see a sector that needs great leaders to navigate museums through transformational times. Leaders that will change, develop and redefine what a museum is and means. Underpinning this drive for change is the need to remain relevant in a changing world of cultural consumption. When we matter more to more people we will become more relevant to the population at large rather than just existing in the city.

The 3 day residential was an experience I’ve never had before. The intensive training programme gave me so many valuable insights. It expanded my thinking. Provided inspiration to develop my own approach and framework using the skills and tools I had gained to carry out organisational change, where the whole organisation culture adapts to a dynamic, agile and value-driven business way of thinking.

The expertise, care and generosity all the programme trainers and the AMA gave to me as an individual and as a cohort during the residential training was outstanding. The business tools and knowledge I gained will transform the way I do things. From business modelling to optimising team and individual performance, to assessing where we are as an organisation in relation to the Audience Engagement Spectrum. It has equipped me in the best way to act on my purpose and vision for change in my organisation and in the sector as a whole.


I felt like a racing car #FutureProofMuseums

Yasmin Khan, Covalent Creative Partnerships

Cultural consultant, Yasmin Khan speaks with the AMA about her new insights gained since embarking on the AMA’s Future Proof Museums Fellowship.


What motivated you to apply for the AMA’s Future Proof Museums Fellowship?

As a freelancer, I enjoy tremendous autonomy, flexibility and personal satisfaction through working on a diverse range of projects and initiatives. Incessantly ‘living life on the edge’ over the last five years has made me increasingly conscious about ensuring the sustainability of my own work practice and my personal capacity to operate a versatile portfolio which aligns with my values and ethos. My immediate priority is to optimise the long-term stability of my own consultancy so I can ultimately focus the bulk of my time on developing innovative content, solutions and quality services to future clients and be in a stronger position to influence the vibrancy and resilience of the museum sector in the best way I can, whether that’s through strategically empowering more creative projects, offering 1:1 coaching, or driving advocacy initiatives across the cultural sector.


What were your key highlights from the residential?

Amongst the many memorable features that stood out for me was getting a 360-degree MOT of my business plan. I’m so glad I seized the opportunity to book a series of individual surgeries with each of the trainers which proved invaluable in rethinking some aspects of my business strategy. Looking back, I felt like a racing car being expertly dissected and reassembled by a Formula 1 team of mechanics; any tyre punctures detected were dealt with and not a single loose bolt was left untightened.

In terms of group interactions with others on the cohort, it was mutually reinvigorating to hear from a wide mix of different perspectives and professional experience from each participant during the group discussions. Those refreshingly candid conversations with peers from across regional museums will stay with me for a long time. The range and depth of topics covered during the residential sessions were eye-opening, thought-provoking and right on the pulse. Thanks to Mark Wright’s explanation of the FIRO-B psychometric tool we were administered, I’m looking forward to re-watching Shrek with a new perspective on understanding the self in relation to other people’s behaviours – many nuggets of wisdom to be found here!


What next?

The initial stages of my Future Proof Museums Fellowship provided me with the framework and opportunity to study the game-changing business model canvas devised by Alexander Osterwalder which I have used as a template to experiment and produce different iterations of business models. My next steps are to refine and then test my business plan; at the heart of this will involve drafting a manifesto to help articulate my value proposition to different client segments and orientate me towards undertaking fulfilling work that I can deliver best. My experience on the programme has already proved to be a cerebrally rigorous and much-needed tonic that is propelling me to stay focused, keep momentum and look to the future with increased perceptiveness, positivity and vigour.


What advice would you give to others thinking of applying to the programme?
Go for it  I can’t emphasis enough how much the programme will help to sharpen your business acumen, leadership style and emotional intelligence skills.


Yasmin Khan is Director of Covalent Creative Partnerships Ltd. 

Twitter: @Ya5min_khan 


Find out more about Future Proof Museums Fellowships.

Prosper with the AMA

We’re delighted to be a partner on Creative United’s new business support programme, Prosper.

Prosper, the new Arts Council England-funded business support programme for the arts, museums and libraries, will be open for applications on Monday 27 March 2017.

The programme is designed to improve confidence and capabilities with business planning and modelling, sustainability, diverse finance and funding streams and strategy, contributing to increased resilience and investment in the sector as a whole.

It offers the opportunity for around 70 arts and cultural organisations, companies or individual entrepreneurs in England to participate in nine months of free, dynamic and impactful business support activities, such as 1-to-1 business advice, masterclasses, workshops, webinars and meetups.

Alongside this, the Centre for Business in Society will be carrying out vital research into the provision of, and demand for, business support for arts and cultural organisations in England and Scotland. The learning from this, plus business support resources such as templates, toolkits and blogs, will be shared via CultureHive.

Additional funding for the programme is provided by Access – the Foundation for Social Investment, and Creative Scotland (for research activities in Scotland).

Mary-Alice Stack, CEO at Creative United, said:

“Leading on from our successes and learning from the Creative Industry Finance programme, Prosper signals another way that we can drive the growth and development of our cultural and creative sectors, and build a sustainable and resilient creative economy.

“We are delighted to be working in partnership with the Centre for Business in Society and the Arts Marketing Association to deliver this programme, and look forward to revealing new insights into the provision and benefits of business support for the arts, museums and libraries.”

Jane Tarr, Director of Organisational Resilience and Environmental Sustainability at Arts Council England, said:

“Through the programme, we wanted to understand more about the business support our sector needs nationally and to share information about the existing offer more widely. We’re delighted Prosper will be working across the country over the next year with a wide range of cultural organisations. It’s an exciting partnership and will also help us develop future support for creative businesses of all sizes to keep growing.”

The deadline for applications to receive the free business support offered by the Prosper programme is 12 midday on 31 May 2017.

A series of morning briefings have been organised around England for potential applicants to learn more about this national programme and meet the partners:

  • Mon 27 March, London, The Foundling Museum, 9:45am – 11:00am
  • Wed 29 March, Hull, Northern Academy of Performing Arts, 8:45am – 10:00am
  • Fri 31 March, Norwich, Writers’ Centre, 9:45am – 11:00am
  • Mon 3 April, Coventry, TechnoCentre, 9:45am – 11:00am
  • Thu 6 April, Liverpool, Play Space, 9:45am – 11:00am
  • Tue 11 April, Southampton, City Art Gallery, 9:45am – 11:00am
  • Thu 13 April, Newcastle, Arts Centre, 9:45am – 11:00am

Those interested in finding out more about the programme, how to apply, or to register to attend a morning briefing, should go to the Creative United website or contact Genevieve Pace.

The Art of Relevance sneak peek: rock and roll family edition

Picture of Nina Simon

Nina Simon, Executive Director of the Santa Cruz Museum of Art and History, gives us a sneak peek of a chapter of her book The Art of Relevance.

You can join Nina for an informal conversation around the themes, case studies and ideas in her book at our event In Conversation with Nina Simon – uncovering The Art of Relevance online on Thursday 19 January.

This post was first published on Nina’s own blog, Museum 2.0 in August 2016.

Yesterday, the local paper in Santa Cruz published a great article about my new book, The Art of Relevance. I loved the piece… but I wished it could have included more of the conversation reporter Wallace Baine and I had about my father Screamin Scott Simon’s experience as a rock musician in the band ShaNaNa.

I’ve learned so much from my dad about making art, putting on a great show, inviting audience participation, and navigating celebrity. When writing The Art of Relevance, I knew I wanted to share a bit of his story and the ways artists negotiate the relevance of their own work. Here’s that chapter.


Most of us aren’t steering whole institutions and mission statements. We’re working on a smaller scale, with specific content or programs. But the changing tides of relevance that affect institutions affect content too — sometimes even more acutely. While an institution can pivot, presenting different content for different times, the content itself does not change. The painting is what it is.

In the nonprofit arts, administrators maintain a polite silence about the reality that certain artworks, plays, composers, and stories fall in and out of favor at different times. No museum puts up a label that says: “Our last curator thought this painting was lousy and kept it in storage. Our new curator thinks it speaks to contemporary issues and put it front and center.” But we make those decisions and changes all the time. Institutionally, this is a question of moving around assets, elevating some stories and archiving others. But for the artists and objects involved, and for the people who care for them, these shifts can be dislocating. The work is the work. Sometimes it’s hot, sometimes not.

I saw this when we hosted the Princes of Surf exhibition in Santa Cruz. Before the MAH exhibition, those historic surfboards rested deep in the collection storage of the Bishop Museum in Hawaii. As royal boards, they were sufficiently relevant to the Bishop’s mission to be collected—but not compelling enough to warrant exhibition.

The boards were in storage for 90+ years before historians discov- ered they were the boards in the first known record of surfing in the Americas. The boards became rock stars in Santa Cruz. We paid a small fortune to have them conserved and shipped here for exhibition. Our community showed up in droves to honor them.

The surfboards were powerful in our community. They made magic at the MAH. But that power didn’t follow them back across the ocean. After their “blockbuster” run in Santa Cruz, the boards went back in storage at the Bishop Museum, where their relevance warrants preservation but little adoration. We sent them off on the journey home with a blessing and a sigh.

The shifting relevance of these surfboards is emotional. But they’re still just hunks of wood. They don’t have feelings. People do.

What does it feel like to watch your own relevance ebb and flow? I grew up with a front row seat to this shape-shifting as the child of a rock musician. My dad, Scott Simon, joined the band ShaNaNa when he was 21. Forty-five years later, he’s still with the band. It’s the only job he’s ever had.

ShaNaNa was a breakout group at the Woodstock festival, playing ’50s songs at breakneck pace in gold lamé jumpsuits and grungy under- shirts. They went on to build successful careers as “oldies” musicians before the term existed. They were defiantly anti-relevant in the early 1970s, a counter-countercultural throwback barreling through two-minute pop songs in the era of twenty-minute jams. At the end of every show, my dad thumbed his nose at crowds of tens of thousands, yelling: “I’ve got one thing to say to you f***in’ hippies. ROCK AND ROLL IS HERE TO STAY.” And the hippies cheered, they clapped, and they accepted ShaNaNa as part of the rollicking youth culture sweeping North America.

By the 1980s, ShaNaNa was mainstream. They were featured in the movie Grease. They hosted a TV variety show for four seasons. They became massively relevant as cultural icons, but more sanitized, less relevant to the youth culture that drives pop music. I spent school vacations in casino showrooms in Reno downing Shirley Temples while ShaNaNa entertained middle-class, middle-aged couples twice a night. In the 1970s, Bruce Springsteen opened for them. By the 1990s, their opener was an elephant.

Their audience aged with them, and they slid from hot to nostalgic. In the 2000s, ShaNaNa played state fairs. Then county fairs. Pops concerts at symphony halls. At one outdoor venue, their contract ended when the venue owners explained that ShaNaNa was attracting huge crowds of families and baby boomers… but not the 30-somethings who buy beer and generate profits. Their music was relevant to the crowd. Just not the right crowd.

Behind the scenes, ShaNaNa’s relevance splintered and bubbled up in ways no one could have guessed. In the late ’70s and ’80s, heavy metal rockers and punks showed up at ShaNaNa’s door, inspired by their early hard-driving music, anti-glam wardrobe, and street tough attitude. The Beastie Boys name-checked them as influences. They played birthday blowouts and political events and anniversary parties for long-time fans. And perhaps strangest of all, ShaNaNa’s most persistent household relevance seems to be as a crossword puzzle clue (___ Na Na), fitting in a convenient box for hapless puzzle creators.

We can’t fight the reality that relevance shifts over time. But we can empathize with the dislocation, the highs and lows, that comes with those shifts. Spare a thought for a humble artifact in storage. Give respect to a hardworking musician. Their power is always there to be unlocked.

All about agile #AMAiterate

Sara Devine, Manager of Audience Engagement and Interpretive Materials at the Brooklyn Museum will be speaking at our next Digital Marketing Day – Iterate and Innovate. Here she describes what you can expect from her keynote and practical breakout sessions.

I’ve shared my experience with agile planning quite a few times over the last few years and have noticed some trends in people’s reactions to the concept of agile. Namely, many people find agile intimidating. I believe this stems from the misunderstanding that agile is a rigid and unforgivable process when, in fact, the exact opposite is true. Yes, there are procedures to follow that constitute best practice but the very nature of agile planning is nimble and responsive. The whole point of agile is to take things one step at a time: to test a single idea, evaluate, and iterate. That’s a pretty forgivable process. After all, it’s hard to get too far down a wrong path when the planning process relies on incremental steps.

Dispelling this misunderstanding is one of my main goals when I work with the fellows of the Digital Marketing Academy (DMA) – and, for that matter, the Audience Diversity Academy, too. Encouraging an iterative working process is one of the strengths of the DMA. Few of the fellows entering the academy have ever had a chance to work in an agile way, and DMA provides that opportunity. What’s really gratifying is helping the fellows adapt agile planning components to work within the peculiarities of their institutions and the specific goals of their projects.

During Digital Marketing Day, I will be sharing my experiences with agile planning at the Brooklyn Museum during a keynote session. At Brooklyn, we’ve used agile planning for projects large and small, both of which I’ll share with you. Following the keynote, I’ll be leading two practical sessions on agile. In my time working with the DMA, I’ve noticed that many of the fellows come in with similar challenges (variations on a theme if you will). These shared challenges will be the starting point for my workshop session(s), where we’ll work together in groups to plan sample tests in an agile way. Ideally, between the keynote and workshop, you leave the conference with a basic grasp of agile and some ideas on how to adapt it to your own projects. I look forward to seeing you there!

Book your place at Digital Marketing Day – Iterate and Innovate.

Join the conversation using #AMAiterate

Further funding for Future Proof Museums

We are delighted to be among 94 museums and organisations across England to receive funding from Arts Council England through their Museum Resilience Fund for our Future Proof Museums programme, which we piloted last year.

The Arts Council’s Museum Resilience Fund aims to support museums to become more sustainable and resilient businesses. A total of £12.3million has been awarded across the 94 successful projects.

Future Proof Museums is an intensive strategic change programme which enables museums to create a compelling manifesto to share across their museums; develop their business model and explore how it delivers value in line with their purpose; innovate around this model; provide a clear toolkit to review how to benefit from change; and give insight into the leadership culture within their organisation.

The programme consists of three stages: Stage One involves an experienced trainer working with the museum teams within their organisation in a diagnostic session; Stage Two brings the leaders of the organisations together for a three-day intensive residential training programme; and Stage Three provides on-going mentoring support, facilitation and leadership development with the museums’ teams.

John Orna-Ornstein, Director of Museums at Arts Council England said: “The focus of our investment approach for museums in 2015-18 is on building a more resilient sector. The Museum Resilience Fund is a key part of that, providing vital support to museums right across the country. We’re really pleased to be able to support the AMA’s Future Proof Museums. It is very important that museums are equipped with the skills they need to maximise their sustainability and resilience. Future Proof Museums will do just that, supporting museums across England.”

A full list of successful applicants can be found on the Arts Council England website, as well as more details about the Museums Resilience Fund.

We will shortly be opening applications for the next round of Future Proof Museums, if you are interested in taking part please contact or register your interest here.

Image courtesy of Museum of Science and Industry (c) Chris Foster

New Fellows and their digital experiments

Happy audience photo by Ekke on Flickr - used under Creative Commons

Digital Marketing Academy 3.0 (DMA) has begun with 20 Fellowships offered to marketers working in arts, culture and heritage organisations across the country. We are delighted there is a range of organisations taking part – from Pavilion Dance South West and The Point and Berry Theatre on the south coast to our most northerly Fellows at Scottish Ballet in Glasgow and November Club in Northumberland. There are museums taking part including the Museum of English Rural Life and British Museum; venues include Barbican, Storyhouse and Contact; music organisations Spitalfields Music and Aldeburgh Music and performing arts organisations include Tara Arts and Pilot Theatre, among many others which you can find out about on the DMA 3.0 page.

Each Fellow is embarking on an eight-month journey to experiment and improve their digital marketing activity. They will have the support of a Mentor – an international digital expert – available as a sounding board, to offer advice, test out ideas, question, and question again. The nine Mentors taking part in DMA 3.0 are from various backgrounds and offer a wealth of knowledge and expertise across a range of topics including social media, organisational culture, consumer psychology, gamification and tactical digital marketing. With their help the Fellows taking part in this cohort of the programme will be able to focus their learning and experiments with real audiences in real organisations.

Fellows also belong to an Action Learning Set and use this style of facilitated working to deeper explore their own development through peer-to-peer learning. Online training is also available to the Fellows through tailored workshops, programmed with their experiments and training needs in mind.

You can follow the development of the Fellows as they progress through the Academy, and the advances they make as they work on their digital marketing experiments, right here on the AMA blog; Fellows and Mentors will be writing blog posts to keep you up to date, so watch this space!

After the success of DMA 1.0 and DMA 2.0, we are pleased that DMA 3.0 is able to take place thanks to CultureHive funding from Arts Council England.


CultureHive is managed by the Arts Marketing Association and is part of Arts Council England’s Audience Focus programme, supported by Lottery funding. CultureHive is a registered trademark.   

Happy audience photo by Ekke on Flickr – used under Creative Commons.

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