"We're seeing how the videos translate to the live shows and how the technology is really reaching kids"
About this Quote
There is a whole entertainment industry worldview packed into Willie Aames's casual "we're seeing". It's the language of a performer watching the ground shift under his feet, trying to stay upright by treating change like a field test. The line isn't romantic about art; it's pragmatic about conversion rates. Videos "translate" to live shows the way a marketing campaign translates into ticket sales, and that choice of verb quietly gives away the anxiety: what used to be a straight line from stage to audience is now mediated by screens, formats, and attention spans.
Aames is speaking from a specific cultural moment: the late-20th/early-21st century realization that kids don't discover performers in theaters or on family TV schedules first; they meet them in clips, reruns, music videos, and now algorithm-fed fragments. Live performance becomes the second act, the place where a mediated relationship has to prove it can survive in the same room. That's why the "technology" is cast as an active force, "reaching kids", as if it has arms. It absolves the adults and the institutions a bit: it's not that programming failed to nurture young audiences; it's that the delivery system evolved and sprinted ahead.
The subtext is both hopeful and defensive. Hopeful because "reaching" suggests access and excitement, a widened funnel. Defensive because it frames the performer as adaptable, studying the feedback loop rather than being left behind by it. In one sentence, Aames marks the entertainment pivot from charisma as presence to charisma as portability.
Aames is speaking from a specific cultural moment: the late-20th/early-21st century realization that kids don't discover performers in theaters or on family TV schedules first; they meet them in clips, reruns, music videos, and now algorithm-fed fragments. Live performance becomes the second act, the place where a mediated relationship has to prove it can survive in the same room. That's why the "technology" is cast as an active force, "reaching kids", as if it has arms. It absolves the adults and the institutions a bit: it's not that programming failed to nurture young audiences; it's that the delivery system evolved and sprinted ahead.
The subtext is both hopeful and defensive. Hopeful because "reaching" suggests access and excitement, a widened funnel. Defensive because it frames the performer as adaptable, studying the feedback loop rather than being left behind by it. In one sentence, Aames marks the entertainment pivot from charisma as presence to charisma as portability.
Quote Details
| Topic | Technology |
|---|---|
| Source | Help us find the source |
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