Jigglers Were About Spending Time Together, But It Sold Alot of Jell-O

by:

Joe Patti

Economist Tyler Cowen had a rather extensive conversation with poet and former NEA Chair, Dana Gioia, on a plethora of topics. The one that most quickly grabbed me was right out of the gate when Cowen asks Gioia about his success at marketing Jell-O. He said it took him 2.5 years to conceptualize and then sell General Foods on Jell-o Jigglers which ended up reversing a 25 year downward trend and doubling sales overnight.

Gioia says that while General Foods was the best food company around in the 1950s, by the 1980s they were foundering because they didn’t know how to re-imagine their products. If you grew up in the 70s and 80s, you may remember that there were all these recipes that involved using Jell-O in intricate ways. (My family had one of their cookbooks and actually made a few.)

Gioia’s approach was to greatly simplify the use to re-imagine the product and make it relevant to consumers.

…rather than creating an elaborate recipe, which was what we were trying to sell people for 40 years, simply a way that you could add water with your kids, put it in the refrigerator and have it ready as a finger food in one hour.

…it was the way of using three times as much Jell-O for an occasion in which people would never use Jell-O, which is to make your own gummy bears. It became a mom-kid activity. We sold every box of Jell-O in the United States for several months.

When I read that, it made me think in the 1980s Gioia was basically doing what we in the arts have only just started to do recently –focus on how our product creates connection with family and friends.

Gioia also talks about how he brought a poet’s humanities based creativity to solve problems for a disciplined, data-driven corporation:

I was a poet, but I needed a job, so, I went to business school, I got an MBA, and I ended up in marketing at General Foods which is a highly analytic company with a very military organization. It was absolutely fantastic at managing existing businesses with a maximum of efficiency. What they were not good at was, in a sense, reconceptualizing a business that was in trouble, because they would simply try to do more or less of what they had done before.

…but with each promotion at General Foods, actually the particular skills I had, which was in a sense of — I’m very good at reconceptualizing things, taking a solution that people have had, breaking it apart, and creating a new solution. I essentially brought creativity that was completely in command of the numbers, if you can understand. That’s a very fairly rare combination, and I was able to transform several businesses there.

Definitely lessons in there for the arts and culture sector as they try to reconstitute and reinvent themselves in the coming years. Cowen and Gioia go on to talk about poetry, religion, opera (“What is opera except the suffering of people with high voices.”) among other things throughout the interview.

There Are A Lot Of Arts Jobs Being Advertised. Let’s Pay Attention To Who Is Getting Hired

by:

Joe Patti

Drew McManus tweeted today that he was two resumes submissions away from being able to launch the candidate resume feature on the Arts Admin Jobs site. So if you are looking for a job, or looking to hire, check the site out.

I am going to take this opportunity to raise a question that has been bouncing around my head for a number of months now– what is the state of employment in arts administration?

There has been a lot of conversation about the willingness of audiences to return to arts and cultural venues and events, but where do things stand with staff and creatives?

I am asking because I have been seeing a TON of employment listings just on a passive basis for every level of administration at organizations of various sizes. When I started to actively look at job sites to see where things stood, I was pretty flabbergasted to see how many screens I had to advance through just to review all the openings listed in the previous seven day period and so there were so many more listings after that.

Executive level positions seem to be over represented and there are surprising number at large institutions. It may be that once those jobs are filled there will be a surge in listings for lower level positions.

I am really curious to know what has happened to cause this. Yes, there is an increased sense of optimism which would lead organizations to staff up again, but why aren’t they hiring back laid off staff?

Have those furloughed staff chosen not to return/left the industry? Is there an attempt to take this opportunity to diversify the composition of staff and replace people to contributed to toxic work environments?

Have people on the executive level chosen to retire at this point? Is the financial outlook for the organization such that executive level staff don’t feel they are suited to revitalize it or operate under the constraints that will exist moving forward?

One thing that has become clear over the last year is that companies of all types need to examine how expectations have shifted. If people are used to running organizations that are imbued with a certain sense of grandeur and that is no longer possible financially or prudent if the organization wishes present itself as relevant in the community, these leaders may decide it is best to step aside in favor of another.

I would really love it if folks could share any insight they have about openings in their own organization or local community.

I also think that we should collectively pay attention to who is being hired into these positions.  Take a look at the job boards that serve your particular discipline and make note of the open positions and then in 6-9 months visit the websites of those places or seek out news stories to see who was hired and what ambitions the organization hoped they would achieve.

What Impact Can Guaranteed Basic Income Have On Art?

by:

Joe Patti

In case you missed it, somethings to keep an eye on over the next two years or so are the guaranteed income program for artists that have been established in St. Paul and San Francisco.  The NY Times reported on these efforts today. In San Francisco, 130 artists will receive $1000 for the next six months from the city  In St. Paul, Springboard for the Arts will be providing $500 to 25 artists over the next 18 months.

An article on MinnPost has more details about the St. Paul program:

Springboard’s pilot program will provide direct, no-strings-attached cash support to artists affected by the pandemic. It will explore the impact of guaranteed income on artists, culture bearers and creative workers at a neighborhood level. And “it gives us the opportunity to demonstrate and advocate nationally that culture makers need to be included in the work to make our economy more equitable and just,” Springboard Executive Director Laura Zabel said in a statement.

Recipients will be selected at random from an eligible pool of artists who have received support from Springboard’s Emergency Relief Fund. At least 75 percent will be Black, Native and/or people of color.

Just last month the results studying the first year of Stockton, CA efforts at providing $500/month to 125 residents for 24 months were released. According to the NPR story,

Among the key findings outlined in a 25-page white paper are that the unconditional cash reduced the month-to-month income fluctuations that households face, increased recipients’ full-time employment by 12 percentage points and decreased their measurable feelings of anxiety and depression, compared with their control-group counterparts.

The study also found that by alleviating financial hardship, the guaranteed income created “new opportunities for self-determination, choice, goal-setting, and risk-taking.”

Obviously, it will be interesting to see what the results of providing creatives with a basic guaranteed income over a period of time. One obvious positive benefit would be if it encouraged the same risk-taking that it did with participants in Stockton’s program, though with artistic choices moreso than life decisions.

I am sure there will be some unanticipated outcomes as well. Stockton’s program was described as having a ripple effect because it general improved and removed pressure from the lives of those the income recipients depended for food and other necessities.

But The Paint And Brushes Were Right There….

by:

Joe Patti

When I saw this story over the weekend, it seemed like it was absolutely inevitable that an intersection of trends toward authenticity and audience participation in cultural experiences.

In short, graffiti art on display at a gallery in South Korea was defaced by attendees who interpreted the paint cans and brushes set in front of the work as an invitation to contribute.

My first thought was to wonder why the paint and brushes had been left out in front of the work. Apparently, “…the paint and brushes used in the live performance – which are regarded as integral parts of the artwork.”

The live creation of the work was done in 2016 so I am surprised this hadn’t happened earlier. I wondered if the gallery was counting on some social norms in South Korea to prevent people from doing something like this because they didn’t even add a short barrier in front of the work until after the incident. It seems there were “Do Not Touch” signs already, but they added more to the barrier they have erected.

The article indicates the exhibition has traveled since it was first created so other galleries may have included more preventative measures from the outset.

Ultimately, the story made me consider how the dynamics of people’s relationship with art, culture and associated expectations and assumptions may be shifting. It also made me curious about how these assumptions differ from country to country. Are there “Please Touch…” type museums or experiences in South Korea and other countries? Are there countries/places viewed to be innovators in this area we aren’t hearing about? (Always revelatory to listen to the BBC or Deutsche Welle and realizing there is important news you aren’t hearing.)