alabaster

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About alabaster

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    Grand Vizier
  • Birthday 07/10/1970

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    Columbia, MD
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    anime, duh.

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  1. THat is my understanding.
  2. Given what it costs to process those sorts of applications, and the stricter enforcement, I fear you'll see fewer new-to-the-US Japanese acts without serious money behind them.
  3. The concert will be in the ballroom (top floor of the WEWCC), and we are looking at an initial offering of approximately 2500 seats, though the exact number isn't finalized quite yet. Proposed seating has the nod from Japan and now needs to clear a few other logistical hurdles. Front center rows will be VIP seats. Depending on how the final layouts go, we may be able to offer a few more seats. I am expecting a lot of stuff to get finalized this weekend, so info very soon.
  4. Look for more info about AWM toward the end of this month. The Sunday concert generally starts around noon or 1pm. It won't be part of the AWM and will not require any extra payment or fee. The con generally ends around 4 on Sunday, but i don't know if our hard-out time in DC is the same as in Baltimore, Dont worry, we will post all relevant info when we are ready.
  5. Gallery is under renovation, if memory serves.
  6. Just a bit of inside pool here: It's no secret that we have worked toward something like this for years now, ever since before JAM Project came to Otakon back in 2008. The trick was always how to make it viable because it's *very* expensive to fly people in from Japan and that really affects how the economics play in. Tougher policies regarding visa and overseas payments play into this a bit too, because it can be challenging to navigate from our side. It's very, very important to our side that Otakon not become the sort of pay-for-access show that has become par for the course at other large events, even though in many ways that would make life a lot easier. That works quite well for the organizers but it poses challenges when you're a non-profit of the type Otakorp, Inc. is. And frankly, even without that, on a personal level, I still believe that there's something a bit idealistic in our makeup here that we'd rather our members be on equal footing and limited by the strength of their fannish dedication rather than the depth of their pockets. But that's not really the way the business world works (and especially in Japan where there are always committees and other partners to answer to), and we have to recognize that US concerts are not terribly lucrative for Japanese bands. They're often money sinks even when they're successful. But *most* of the industry isn't nearly as flush with money as the average person assumes, and they're beholden to their investors to earn a profit, just as we're beholden to our members to preserve our show's quality and uniqueness. And the market (and competition in the US) has evolved. The only way we stay ahead is to be willing to take risks -- ones that make sense for our organization and bring real benefit to our members and advance our goals. On their side, things like merchandise sales and itunes sales can really make a difference to their bottom line. We've been lucky to find partners who understand our concerns and goals and try to make mutually acceptable agreements. We're all in this for the long-haul and just on a personal level, I've worked with many of the key players for a decade or more and we've built up an enviable amount of trust. We're sharing a lot of the risk for this endeavor, and that's quite different than just hiring a performer. But so worth it -- as our lineup thus far should tell you. Concerts in general are quite costly to produce and those involving multiple bands from overseas are even more so. And we've got a reputation to uphold (one I'm pretty invested in personally) so everyone involved is trying to find a way to make the show fantastic without breaking the bank. It costs ridiculous amounts of money to either rent or set up a concert hall worthy of our guests, and like elsewhere, they tend to jump from "a few hundred" to the 1500-2k range, and then to arenas. The verizon center seats 20,000, so not an option (maybe one day!). At any rate, there's SOOO much happening behind the scenes and I promise we'll do our best to keep you informed. We just have to make sure whatever we say is cleared by our side and the Japanese side first, and that can take more time than any of us might like. And if this succeeds -- and I think it will -- it'll be a game-changer.
  7. The plan is to have a Sunday show as well that will not require a separate ticket. If it is at all reassuring, I am deeply involved in making this stuff work -- it's my primary job at con this year -- and keeping prices low and preserving a good free ocncert as well were critical.
  8. Yup, announcement as soon as the info is confirmed and approved. Partnerships require multiple sign offs.
  9. Shinkai was a guest a few years ago -- we were able to introduce him to Noburo Ishiguro and witnessed two giants in the field meet for the first time. Hosoda has been on the list for ages but is super busy. Haven't given up hope!
  10. This is in the Hyatt? 1000 people is a pretty tight fit there....
  11. Generally speaking, cosplayers must do more than simply brightening days and being themselves to be deemed relevant. They're certainly welcome -- Otakon has thousands of cosplayers and many are highly skilled -- but please see the extensive (and repetitive) posts about what we generally ask of guests. Also, please refrain from spamming the board with requests -- keeping them here helps us keep track of requests.
  12. Fun fact: I get mistaken for Patrick Seitz at least a few times a year. Twice at Otakon Vegas. And he has been mistaken for me at least once.
  13. Again, relevance to Asian culture, or Asian pop culture, is critical. We aren't a generic autograph convention.
  14. Yeah, the problem is that they cost as much or more than guests with significant relevance to our core mission -- and relevant to Asian culture and Asian pop culture in particular is by far the most important criterion.
  15. You ain't seen the half of it yet.