July 10, 2025 • 17 mins
A bold new chapter. A brilliant new voice. CI’s President Christopher Williams kicks off a new season of CI to Eye by welcoming Monica Holt, this season's host and Senior Advisor to Capacity Interactive. Monica reflects on her 16-year journey at the Kennedy Center, the passion that’s driven her work, and all things Evita—plus what to expect from upcoming episodes.
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LINKS:
New York Times | ‘Just in Time’ Review: Jonathan Groff Channels Bobby Darin
NPR | This summer's most talked-about performance on London's West End isn't onstage
Forbes | Trump Takes Over Kennedy Center In War On ‘Woke’ Programming—Here’s What To Know
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:09):
Hey podcast listeners.
We have some really big news today.
We have a brand newpodcast host and I want to
welcome her today. The one and only,you know her, you love her: Monica Holt.
Hi Christopher. Thank you.I'm so, so happy to be here.
I know that so many of our listenersare probably familiar with you.
(00:33):
You have been on the podcast acouple of times before. Also,
you have an amazing reputation. Peopleknow you. Your network is very vast.
We've talked about your careerpath on the podcast in the past.
It's rather unique for -- do youconsider yourself a mid-millennial?
An elder millennial?
Maybe mid-elder.
Mid-elder, all one word. As a mid-elder,
(00:56):
you stayed at the KennedyCenter for 16 years,
which is for the millennial generationis a long time to camp in one
organization.
You also climbed from sort of an entrylevel junior position in marketing at
the Kennedy Center all the way tothe top of the marketing food chain.
And then did something highly unusual,
which is you moved from themarketing side of the equation to the
(01:19):
artistic planning, programmingside of the equation,
which is not a jump most people make.
That is not a move we are sort ofaccustomed to seeing in our industry,
so it's super unique.
What kept you growing and evolvingat the Kennedy Center for so long?
Well, I guess first and foremost,I grew up in the DC area,
(01:39):
so institutions like the KennedyCenter and Arena Stage and Shakespeare,
Signature, Wolf Trap even --
they were all kind of formativeto who I was as a theater kid,
as someone who loved the arts. Sowhen I was able to join the center,
that was a dream come true.
So just inherently I wanted to holdonto that dream as long as possible,
(02:01):
but in terms of how I moved aroundthe organization and what motivated
me there, in addition tothe mission of the building,
the commitment to not just theartists and audiences in the building,
but kind of the larger national remitof being a cultural center for the
United States, both for everyonehere and also diplomatically abroad,
(02:23):
and of course a memorial inthe legacy of John F. Kennedy.
Those things became entrenched in mevery quickly as I looked around and saw
so many people committedto that same vision. But I
think while I didn't move outside ofthe building the way that folks might to
find other opportunities, I'mjust a really curious person.
(02:46):
I love knowing how things work,right? If our coffee machine breaks,
I'm going to Google for three hours tryingto figure out what part and how do I
fix it, and maybe I'll put on a headlampand look into the inner workings,
but I, knowing how things work, maybebecause I like knowing how to fix things,
which is something for my therapist, but
that curiosity really keptme driven to think beyond
(03:10):
just what my job was at thattime or what department I was in.
There was such a big organization thatI could learn so much from and soak that
up.And to complement that, at the center,
I was surrounded by people who werewilling to answer my questions. So yes,
I made a point to be on time when I saidI was going to be somewhere and to show
up for the people that mattered and todeliver on the results that I was tasked
(03:33):
with. But I was surrounded by peoplewho were fostering who I was becoming,
who were answering every question I hadabout every detail and giving me the
information I needed to continue mycuriosity in other areas of the building.
Without that environmentpaired with the mission,
I wouldn't have had theopportunity to grow.
And with the supportof everyone around me,
(03:56):
when this opportunity came to move frommarketing and as a real theater kid at
heart,
the chance to go work as the directorof theater programming to general manage
Kennedy Center new productions, that'san opportunity you don't say no to.
And then from there,
obviously just growing evenmore and in my last position,
overseeing all of our artistic programsand the production team and the Kennedy
(04:20):
Center Orchestra,
just that constant surrounding offolks driven by not just mission,
but their own creativity.
That's the type of place that you knowto hang on to and to give back to as much
as possible.
That's so cool. While you were there,
you obviously got todo some amazing things.
You were in such close proximityto really starry people and
(04:41):
really remarkable eventslike the Honors and Twain.
How did being a part of those kinds ofmoments and being in proximity to those
folks shape the way you really thinkabout the field and your role in it?
Yeah,
there's nothing quite like being ableto be surrounded by creative people that
came through as artists,
as part of the production teamand artisans behind the scenes,
(05:03):
and also the curatorial staff isnaturally incredibly creative.
And sitting in a room talking about anidea for a festival or what are we going
to do for X, Y, Z season that's coming up.
Those are moments that I treasure asmuch as being behind the scenes and
seeing an artist doing their firstvocal rehearsal before the Honors.
(05:24):
But the other moments that I hold dearare just being part of the audience,
the magic of not justwatching a beautiful or
hilarious or moving piece ofwork happen in front of you,
but being part of a whole community,
watching that happen. Those momentsI treasure as much and those keep me
motivated almost as much asanything behind the scenes.
(05:48):
There are two more recent examples ofthis that still feel like they're going to
be seared into my heart andbrain for life. In New York,
the night before the Tony Awards, afriend and I went to see Just In Time,
which if you don't know is theBobby Darin biopic musical.
Biopic musical? It's theBobby Darin bio musical,
(06:11):
and it's starring Jonathan Groffand without spoiling too much,
the way the show works is that at thebeginning and the end of the show,
Jonathan is Jonathan and it'sthe night before the Tony's.
So emotions are already kind ofhigh, and even just during the show,
Jonathan is on stage just givingeverything in this performance. I mean,
bearing his soul and his sweat and saliva,
(06:35):
tears, and all the things.
Being wet, like he is.
Exactly, being a classicJonathan-Groff-is-being-wet-on-stage,
but he's just giving everything. Andwatching it, you're just like, oh,
this is someone living his dreams.
He's up there and he is living hisdreams on stage and all of us get to bear
witness to it and be a part of it.And then towards the end of the show,
(06:56):
about 10 minutes until the end,
he kind of becomes Jonathanagain and he says something like,
"Performing was Bobby'sfavorite thing to do,
and it's also mine." And hisvoice starts to break a little,
and you just get this huge amount ofemotion in his voice. Everyone feels it,
and everyone just starts clapping andspontaneously stands up and just starts
(07:17):
giving him an ovation 10 minutes beforethe end of the show. He's crying.
We're all crying.
It was just a moment of careand catharsis and community,
and that can happen on any night.You don't know.
Another audience experience is Iwas in London recently and saw Evita
with the absolutely incredibleRachel Zegler and Diego
(07:39):
Rodriguez, but well, Ithink everyone's online,
so I think everyone who will be listeningto this probably knows at the top of
Act Two,
Rachel Zegler walks onto the balcony ofthe London Palladium and sings Don't Cry
For Me Argentina outside to the street.
But what has happened since the firstperformance is crowds have continued to
(08:00):
gather and gather and gather,
lining up as early as 7:30 when theticket buyers are going in for Act One,
to watch this moment happen. And it isbeautiful in the show. Thematically,
it works to have her on the balcony forthe show, for those inside the theater,
absolutely,
but also it's creating communitybeyond the ticket holders.
(08:22):
It's creating a sense of community tothe broader theater world, of intrigue,
of interest, of conversation. It islife imitating art, imitating life,
maybe three more times back and forth.
I get goosebumps all over thinkingabout it and to see our art moving
forward in a way that is so relevantand meaningful and connected...
(08:42):
Truly, if anyone happens to be listeningand is in London, just go see it.
She is spectacular. He's spectacular.
You're just stunned for thewhole show at how great it is.
It's on my list. It's on my list. Well,
let's talk about perhapswhat some listeners might be thinking is an elephant in
the room, but essentially yourshift away from the Kennedy Center.
If you don't know what's happeningat the Kennedy Center right now,
(09:06):
then you probably don'twork in this industry,
so we won't cover that because we'vecovered it in the past and there's a thing
called Google,
but you left the Kennedy Center ofyour own accord following the regime's
takeover of the center,
when it really became clear that certainvoices were being elevated while others
were clearly being pushed out.What do we want to say about that?
(09:27):
I was in a position where I had a frontrow seat to everything that happened
that week in February, and I think for me,
as soon as members of the board weredismissed and the chairman of the board --
who has been the biggest philanthropistthe Kennedy Center has had and such a
supporter of both artists and staffof the center for such a long time --
(09:48):
as soon as they were dismissed,
it became pretty clear that this wasn'tgoing to be the organization that I had
known since I was comingto The Nutcracker as a kid.
Then the night before the board meetingwhere they dismissed our president
of 10 years, Deborah Rutter,
who has been such a championfor our whole industry,
(10:09):
I think at that point I knew thatI wasn't going to be able to stay.
I was in some ways lucky enoughto have that be my choice,
which meant that I could tryto be -- for a month or two --
the calm in the storm, helpingthe staff and the artists,
because that leadership wasn'tintroducing itself to many people.
(10:30):
New folks were appearing in the buildingthat weren't known to the staff.
There was no all staff meeting. Therewas just a total lack of transparency.
So it felt important to me thatas long as I had the opportunity,
even if I knew this was goingto be short term for me,
to take those moments todo what I could for our
artists and whatever that meant, and todo what I could for not just my team,
(10:54):
but the whole staff, the center,
to be there to try and be kindof a lighthouse in the storm.
But I was very clear that it was now --
the Kennedy Center became on thatday a political organization.
It is not an arts organization right now.
It is a political organization. And Igrew up in DC so if I had wanted to work
in politics, I assure you Iwould've worked in politics.
(11:18):
I was there for the mission of thebuilding, for the artists, audiences,
and industry members that it served,
and for my people who were my colleaguesand staff over that time in the
building. So it was clearthat I needed to leave.
Leaving my people was extremely hard.
What I think has been important to me nowis as I figure out what comes next for
(11:42):
me and what that looks like is, okay,
how can I best use not justmy experiences or times
over all of these years at the center,but even just in these past few months,
an experience that while traumaticand troubling for the center and for
the arts field is also happeningacross so many other institutions in
(12:02):
DC across the country --
how can I use that experienceto be helpful to the field,
to artists, to my former colleagues?
Whether that is tangibly helping,
whether that is working to figure out howprojects that we were planning for the
future can move forward in other ways,
(12:23):
or whether that's bringing some joy orexcitement or belief in the future and
hope. And so when youapproached me about heading this
way for a bit,
it was such an exciting moment becauseCapacity has always been an organization
that is so grounded in its values,
that is so committed not justto the industry and the art,
(12:45):
but also to the people.
I think Capacity feels likean organization that is always thinking about the
heartbeats and not just the metrics,
which is a pretty remarkable thing thatI was thrilled to be able to jump at the
opportunity to work withyou and your team a bit.
Well, I know, I mean, we have knowneach other for more than a decade,
and I think we have always had a veryhard-to-describe innate connection
(13:09):
to one another.
We could go a really long time withoutspeaking and then we could just drop
right back in and it always felt so good.
And so I very much know what it'slike for people to be led by you.
So just hearing about how you hadto walk away and how you were such
an exemplary leader allthe way until the very end,
it's so heartening and so easy for me tohear that story because that's just so
(13:32):
you. Well, so let'stalk about the podcast.
What actually draws you to sayingyes when I asked you to do this?
Well, I do anything for you,obviously. And for Capacity.
I'll remember that.
But this in particular,I think to that point of,
as I'm figuring out what comes nextand what the field needs right now,
(13:53):
my hope would be that thesame kind of curiosity
that has driven me in my career,I can bring to the program.
Because CI to Eye has already been sucha wonderful resource, I mean, for me,
even at all different stages of my career,
and a way to stay connected and reallykeep an ear for what's bubbling up or
what's to come that I might nothave my finger on the pulse in.
(14:15):
And I think a lot of people feel that way.
My hope is that I can take thatmission and drive and also start
to engage in conversations withexecutive leaders of organizations
right now. I think in a timewhere folks are really worried,
bringing in our leaders intothe conversation to help give some guidance will be
really instructive.
(14:36):
My goal is to bring some moreartists into the fold because again,
their own perspective and drive forjoy and being able to have those
conversations with them for me will alsobring me a lot of comfort and joy to be
able to hear more about what's on theirminds and how we can continue supporting
them through all of our various streamsof work. But then also using this as an
opportunity for all of us to maybe hearfrom some voices outside the field right
(15:00):
now. I think one thingthat CI is always good at,
and certainly Boot Camphas always been great at,
is not being too insular in theapproach to problem solving for the
industry.
And I think I'm seeing that more andmore over time start to grow and permeate
the field,
but this to me feels like a goodopportunity to continue bolstering that by
(15:20):
bringing in some folks who mighthave a different perspective,
not necessarily only marketingfocused, but really across the board,
organizational structures and behaviors,leadership, all of those pieces.
So I mean,
what could be more excitingthan learning by just talking to
folks who love to do what theydo or are experts in their field.
(15:40):
And I hope that I can carry thatacross on this amazing platform and
hopefully bring a littlejoy, a little joy to folks.
We need it.
I know, we all need it. Yeah,
I'm also hoping that people will reachout and let us know what they want to
hear. If you're listening, reachout on LinkedIn, Instagram, however,
(16:00):
and let me know what you wantto hear in the next few months.
I think this season will be a lot of fun,and obviously your team is incredible,
and yeah,
I'm just thrilled and really gratefulfor the opportunity and it feels like a
big privilege.
Well, we feel extraordinarilylucky to have you. I'm so excited.
New episodes with Monica are goingto begin dropping on a weekly
(16:24):
basis, so that's probablythe most frequently we've ever published the podcast.
So if you're not already subscribed,
now is the time to subscribe whereveryou do listen to your podcasts.
And lastly, just Monica, welcomeaboard. We're so happy to have you.
I'm so happy to be here!
Can I start to say things like "smashthat subscribe," or is that only like
(16:46):
YouTube?
Yes. Whatever words you want to use,we will start to make those your tags.
Thank you for listening to CI toEye. Our music is by whoisuzo.
If you enjoyed today's episode,
(17:06):
please take a moment torate us or leave a review.
A nice comment goes a long way in helpingother people discover CI to Eye and
hear from experts in the arts and beyond.If you didn't enjoy today's episode,
pass it on to all of your enemies.Don't forget to follow us on Facebook,
Instagram, LinkedIn, YouTube,
and TikTok for regular contentto help you market smarter.
(17:28):
You can also sign up for our newsletterat capacityinteractive.com so you never
miss an update. And ifyou haven't already,
please click the subscribe buttonwherever you get your podcasts.
Until next time, stay nerdy.
Hey podcast listeners.
We have some really big news today.
We have a brand newpodcast host and I want to
welcome her today. The one and only,you know her, you love her: Monica Holt.
Hi Christopher. Thank you.I'm so, so happy to be here.
I know that so many of our listenersare probably familiar with you.
(00:33):
You have been on the podcast acouple of times before. Also,
you have an amazing reputation. Peopleknow you. Your network is very vast.
We've talked about your careerpath on the podcast in the past.
It's rather unique for -- do youconsider yourself a mid-millennial?
An elder millennial?
Maybe mid-elder.
Mid-elder, all one word. As a mid-elder,
(00:56):
you stayed at the KennedyCenter for 16 years,
which is for the millennial generationis a long time to camp in one
organization.
You also climbed from sort of an entrylevel junior position in marketing at
the Kennedy Center all the way tothe top of the marketing food chain.
And then did something highly unusual,
which is you moved from themarketing side of the equation to the
(01:19):
artistic planning, programmingside of the equation,
which is not a jump most people make.
That is not a move we are sort ofaccustomed to seeing in our industry,
so it's super unique.
What kept you growing and evolvingat the Kennedy Center for so long?
Well, I guess first and foremost,I grew up in the DC area,
(01:39):
so institutions like the KennedyCenter and Arena Stage and Shakespeare,
Signature, Wolf Trap even --
they were all kind of formativeto who I was as a theater kid,
as someone who loved the arts. Sowhen I was able to join the center,
that was a dream come true.
So just inherently I wanted to holdonto that dream as long as possible,
(02:01):
but in terms of how I moved aroundthe organization and what motivated
me there, in addition tothe mission of the building,
the commitment to not just theartists and audiences in the building,
but kind of the larger national remitof being a cultural center for the
United States, both for everyonehere and also diplomatically abroad,
(02:23):
and of course a memorial inthe legacy of John F. Kennedy.
Those things became entrenched in mevery quickly as I looked around and saw
so many people committedto that same vision. But I
think while I didn't move outside ofthe building the way that folks might to
find other opportunities, I'mjust a really curious person.
(02:46):
I love knowing how things work,right? If our coffee machine breaks,
I'm going to Google for three hours tryingto figure out what part and how do I
fix it, and maybe I'll put on a headlampand look into the inner workings,
but I, knowing how things work, maybebecause I like knowing how to fix things,
which is something for my therapist, but
that curiosity really keptme driven to think beyond
(03:10):
just what my job was at thattime or what department I was in.
There was such a big organization thatI could learn so much from and soak that
up.And to complement that, at the center,
I was surrounded by people who werewilling to answer my questions. So yes,
I made a point to be on time when I saidI was going to be somewhere and to show
up for the people that mattered and todeliver on the results that I was tasked
(03:33):
with. But I was surrounded by peoplewho were fostering who I was becoming,
who were answering every question I hadabout every detail and giving me the
information I needed to continue mycuriosity in other areas of the building.
Without that environmentpaired with the mission,
I wouldn't have had theopportunity to grow.
And with the supportof everyone around me,
(03:56):
when this opportunity came to move frommarketing and as a real theater kid at
heart,
the chance to go work as the directorof theater programming to general manage
Kennedy Center new productions, that'san opportunity you don't say no to.
And then from there,
obviously just growing evenmore and in my last position,
overseeing all of our artistic programsand the production team and the Kennedy
(04:20):
Center Orchestra,
just that constant surrounding offolks driven by not just mission,
but their own creativity.
That's the type of place that you knowto hang on to and to give back to as much
as possible.
That's so cool. While you were there,
you obviously got todo some amazing things.
You were in such close proximityto really starry people and
(04:41):
really remarkable eventslike the Honors and Twain.
How did being a part of those kinds ofmoments and being in proximity to those
folks shape the way you really thinkabout the field and your role in it?
Yeah,
there's nothing quite like being ableto be surrounded by creative people that
came through as artists,
as part of the production teamand artisans behind the scenes,
(05:03):
and also the curatorial staff isnaturally incredibly creative.
And sitting in a room talking about anidea for a festival or what are we going
to do for X, Y, Z season that's coming up.
Those are moments that I treasure asmuch as being behind the scenes and
seeing an artist doing their firstvocal rehearsal before the Honors.
(05:24):
But the other moments that I hold dearare just being part of the audience,
the magic of not justwatching a beautiful or
hilarious or moving piece ofwork happen in front of you,
but being part of a whole community,
watching that happen. Those momentsI treasure as much and those keep me
motivated almost as much asanything behind the scenes.
(05:48):
There are two more recent examples ofthis that still feel like they're going to
be seared into my heart andbrain for life. In New York,
the night before the Tony Awards, afriend and I went to see Just In Time,
which if you don't know is theBobby Darin biopic musical.
Biopic musical? It's theBobby Darin bio musical,
(06:11):
and it's starring Jonathan Groffand without spoiling too much,
the way the show works is that at thebeginning and the end of the show,
Jonathan is Jonathan and it'sthe night before the Tony's.
So emotions are already kind ofhigh, and even just during the show,
Jonathan is on stage just givingeverything in this performance. I mean,
bearing his soul and his sweat and saliva,
(06:35):
tears, and all the things.
Being wet, like he is.
Exactly, being a classicJonathan-Groff-is-being-wet-on-stage,
but he's just giving everything. Andwatching it, you're just like, oh,
this is someone living his dreams.
He's up there and he is living hisdreams on stage and all of us get to bear
witness to it and be a part of it.And then towards the end of the show,
(06:56):
about 10 minutes until the end,
he kind of becomes Jonathanagain and he says something like,
"Performing was Bobby'sfavorite thing to do,
and it's also mine." And hisvoice starts to break a little,
and you just get this huge amount ofemotion in his voice. Everyone feels it,
and everyone just starts clapping andspontaneously stands up and just starts
(07:17):
giving him an ovation 10 minutes beforethe end of the show. He's crying.
We're all crying.
It was just a moment of careand catharsis and community,
and that can happen on any night.You don't know.
Another audience experience is Iwas in London recently and saw Evita
with the absolutely incredibleRachel Zegler and Diego
(07:39):
Rodriguez, but well, Ithink everyone's online,
so I think everyone who will be listeningto this probably knows at the top of
Act Two,
Rachel Zegler walks onto the balcony ofthe London Palladium and sings Don't Cry
For Me Argentina outside to the street.
But what has happened since the firstperformance is crowds have continued to
(08:00):
gather and gather and gather,
lining up as early as 7:30 when theticket buyers are going in for Act One,
to watch this moment happen. And it isbeautiful in the show. Thematically,
it works to have her on the balcony forthe show, for those inside the theater,
absolutely,
but also it's creating communitybeyond the ticket holders.
(08:22):
It's creating a sense of community tothe broader theater world, of intrigue,
of interest, of conversation. It islife imitating art, imitating life,
maybe three more times back and forth.
I get goosebumps all over thinkingabout it and to see our art moving
forward in a way that is so relevantand meaningful and connected...
(08:42):
Truly, if anyone happens to be listeningand is in London, just go see it.
She is spectacular. He's spectacular.
You're just stunned for thewhole show at how great it is.
It's on my list. It's on my list. Well,
let's talk about perhapswhat some listeners might be thinking is an elephant in
the room, but essentially yourshift away from the Kennedy Center.
If you don't know what's happeningat the Kennedy Center right now,
(09:06):
then you probably don'twork in this industry,
so we won't cover that because we'vecovered it in the past and there's a thing
called Google,
but you left the Kennedy Center ofyour own accord following the regime's
takeover of the center,
when it really became clear that certainvoices were being elevated while others
were clearly being pushed out.What do we want to say about that?
(09:27):
I was in a position where I had a frontrow seat to everything that happened
that week in February, and I think for me,
as soon as members of the board weredismissed and the chairman of the board --
who has been the biggest philanthropistthe Kennedy Center has had and such a
supporter of both artists and staffof the center for such a long time --
(09:48):
as soon as they were dismissed,
it became pretty clear that this wasn'tgoing to be the organization that I had
known since I was comingto The Nutcracker as a kid.
Then the night before the board meetingwhere they dismissed our president
of 10 years, Deborah Rutter,
who has been such a championfor our whole industry,
(10:09):
I think at that point I knew thatI wasn't going to be able to stay.
I was in some ways lucky enoughto have that be my choice,
which meant that I could tryto be -- for a month or two --
the calm in the storm, helpingthe staff and the artists,
because that leadership wasn'tintroducing itself to many people.
(10:30):
New folks were appearing in the buildingthat weren't known to the staff.
There was no all staff meeting. Therewas just a total lack of transparency.
So it felt important to me thatas long as I had the opportunity,
even if I knew this was goingto be short term for me,
to take those moments todo what I could for our
artists and whatever that meant, and todo what I could for not just my team,
(10:54):
but the whole staff, the center,
to be there to try and be kindof a lighthouse in the storm.
But I was very clear that it was now --
the Kennedy Center became on thatday a political organization.
It is not an arts organization right now.
It is a political organization. And Igrew up in DC so if I had wanted to work
in politics, I assure you Iwould've worked in politics.
(11:18):
I was there for the mission of thebuilding, for the artists, audiences,
and industry members that it served,
and for my people who were my colleaguesand staff over that time in the
building. So it was clearthat I needed to leave.
Leaving my people was extremely hard.
What I think has been important to me nowis as I figure out what comes next for
(11:42):
me and what that looks like is, okay,
how can I best use not justmy experiences or times
over all of these years at the center,but even just in these past few months,
an experience that while traumaticand troubling for the center and for
the arts field is also happeningacross so many other institutions in
(12:02):
DC across the country --
how can I use that experienceto be helpful to the field,
to artists, to my former colleagues?
Whether that is tangibly helping,
whether that is working to figure out howprojects that we were planning for the
future can move forward in other ways,
(12:23):
or whether that's bringing some joy orexcitement or belief in the future and
hope. And so when youapproached me about heading this
way for a bit,
it was such an exciting moment becauseCapacity has always been an organization
that is so grounded in its values,
that is so committed not justto the industry and the art,
(12:45):
but also to the people.
I think Capacity feels likean organization that is always thinking about the
heartbeats and not just the metrics,
which is a pretty remarkable thing thatI was thrilled to be able to jump at the
opportunity to work withyou and your team a bit.
Well, I know, I mean, we have knowneach other for more than a decade,
and I think we have always had a veryhard-to-describe innate connection
(13:09):
to one another.
We could go a really long time withoutspeaking and then we could just drop
right back in and it always felt so good.
And so I very much know what it'slike for people to be led by you.
So just hearing about how you hadto walk away and how you were such
an exemplary leader allthe way until the very end,
it's so heartening and so easy for me tohear that story because that's just so
(13:32):
you. Well, so let'stalk about the podcast.
What actually draws you to sayingyes when I asked you to do this?
Well, I do anything for you,obviously. And for Capacity.
I'll remember that.
But this in particular,I think to that point of,
as I'm figuring out what comes nextand what the field needs right now,
(13:53):
my hope would be that thesame kind of curiosity
that has driven me in my career,I can bring to the program.
Because CI to Eye has already been sucha wonderful resource, I mean, for me,
even at all different stages of my career,
and a way to stay connected and reallykeep an ear for what's bubbling up or
what's to come that I might nothave my finger on the pulse in.
(14:15):
And I think a lot of people feel that way.
My hope is that I can take thatmission and drive and also start
to engage in conversations withexecutive leaders of organizations
right now. I think in a timewhere folks are really worried,
bringing in our leaders intothe conversation to help give some guidance will be
really instructive.
(14:36):
My goal is to bring some moreartists into the fold because again,
their own perspective and drive forjoy and being able to have those
conversations with them for me will alsobring me a lot of comfort and joy to be
able to hear more about what's on theirminds and how we can continue supporting
them through all of our various streamsof work. But then also using this as an
opportunity for all of us to maybe hearfrom some voices outside the field right
(15:00):
now. I think one thingthat CI is always good at,
and certainly Boot Camphas always been great at,
is not being too insular in theapproach to problem solving for the
industry.
And I think I'm seeing that more andmore over time start to grow and permeate
the field,
but this to me feels like a goodopportunity to continue bolstering that by
(15:20):
bringing in some folks who mighthave a different perspective,
not necessarily only marketingfocused, but really across the board,
organizational structures and behaviors,leadership, all of those pieces.
So I mean,
what could be more excitingthan learning by just talking to
folks who love to do what theydo or are experts in their field.
(15:40):
And I hope that I can carry thatacross on this amazing platform and
hopefully bring a littlejoy, a little joy to folks.
We need it.
I know, we all need it. Yeah,
I'm also hoping that people will reachout and let us know what they want to
hear. If you're listening, reachout on LinkedIn, Instagram, however,
(16:00):
and let me know what you wantto hear in the next few months.
I think this season will be a lot of fun,and obviously your team is incredible,
and yeah,
I'm just thrilled and really gratefulfor the opportunity and it feels like a
big privilege.
Well, we feel extraordinarilylucky to have you. I'm so excited.
New episodes with Monica are goingto begin dropping on a weekly
(16:24):
basis, so that's probablythe most frequently we've ever published the podcast.
So if you're not already subscribed,
now is the time to subscribe whereveryou do listen to your podcasts.
And lastly, just Monica, welcomeaboard. We're so happy to have you.
I'm so happy to be here!
Can I start to say things like "smashthat subscribe," or is that only like
(16:46):
YouTube?
Yes. Whatever words you want to use,we will start to make those your tags.
Thank you for listening to CI toEye. Our music is by whoisuzo.
If you enjoyed today's episode,
(17:06):
please take a moment torate us or leave a review.
A nice comment goes a long way in helpingother people discover CI to Eye and
hear from experts in the arts and beyond.If you didn't enjoy today's episode,
pass it on to all of your enemies.Don't forget to follow us on Facebook,
Instagram, LinkedIn, YouTube,
and TikTok for regular contentto help you market smarter.
(17:28):
You can also sign up for our newsletterat capacityinteractive.com so you never
miss an update. And ifyou haven't already,
please click the subscribe buttonwherever you get your podcasts.
Until next time, stay nerdy.
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