The Bad Makes Me Look Oh So Good

by:

Joe Patti

Dan Ariely did a talk for the 2008 TED conference about how irrational we are when making decisions. The whole talk is quite entertaining. What really caught my attention comes around 12:30 where he talks about how a useless option can make other options look more valuable.

He uses an example of a mistake on the Economist.com. They were offering an internet only subscription for $59, a print subscription for $125 and a print and internet subscription for $125. After talking to the Economist and learning it was apparently a mistake, he did an experiment and offered the subjects these options. The web and print subscription option was overwhelmingly favored and no one wanted the print only subscription.

Seeing that the print only subscription was not valued, he got rid of it and did the experiment with the internet only option and internet and print option. This time, the internet only option was the clear favorite. He said the print only option was useless “in the sense nobody wanted it. But it wasn’t useless in the sense that it helped people figure out what they wanted.”

He goes on to say that because we really don’t know our preferences that well, we are susceptible to all these influences.

He offers another amusing example where he has computer generated pictures of two men, Tom and Jerry and he asks people which one they would prefer to date. In half of the cases he adds a third picture with Tom’s face Photoshopped to look less attractive and the other half where is the third picture is Jerry’s face altered to look unattractive. In those cases with the ugly Tom, people preferred regular Tom over Jerry and those cases that offered ugly Jerry, people preferred Jerry. The less attractive option actually made the choice it most resembled appear more appealing than a dissimilar option.

These revelations made me wonder if these behaviors could be used in subscription and ticket sales. Offer people options that don’t have value to nudge them toward purchasing more a bigger subscription package than they might have. I don’t know that it would transform a lot of single ticket buyers into subscription buyers unless we are wrong about flexibility being more important than price. A mini-subscription that offered flexibility and appeared to be a great value might have some success in getting single ticket purchasers to commit.

I also wonder if offering non-premium options with your show helps make them look more attractive than your competitors’. Ariely talks about another experiment where they offered people the option of an all-inclusive trip to Rome or Paris. In this case it is really apples and oranges since the two cities are in different countries have have so many different attributes to value. Once they add the option of going to Rome but having to pay for coffee in the morning, suddenly people preferred Rome over Paris by a larger degree due to the lesser option being available.

It doesn’t seem logical to me to think that given the option between the symphony and a free cocktail at intermission and the opera and a free cocktail at intermission, that people would flock to the orchestra if a no cocktail option for the same price was offered. But as Ariely points, out the decision being made are not entirely rational.

One other element that gives me pause is that all these results seem to be theoretical. No one had to commit time or money to their decision. Still, it is an interesting thing to consider since being theoretically more attractive will help your organization remain in people’s minds if they don’t necessarily commit. Those who see your brochure this year may be struck by what a good deal your shows are. Even if they don’t commit to buying tickets this year, that positive impression may keep you near the fore when they are deciding to attend next year.

Imagine The Kids After Salvador Dali Watched Them

by:

Joe Patti

I recently became aware of a company that is offering artists in NYC and Chicago a flexible alternative to the waiting tables option. Sitters Studio provides babysitting work to performing and visual artists. The parents get a babysitter who offers creative activities to their children. The artists get an opportunity to employ their training and perhaps hone their skills and approach if they have any plans for bringing arts and arts education to children and families.

Sitters Studio trains their people in CPR, does background checks and bonds them but then appears to act as a clearing house for jobs. The sitters get a minimum of 4 hours pay in cash at the end of a session and help with cab fare after 9 pm. Rates start at $18 in NYC and $15 in Chicago. The interesting thing about the NYC side is that they seem to offer their services on something of a subscription basis. For $200/year you get priority service and a better rate than single time callers. They also offer cancellation forgiveness and bulk purchase and referral incentives.

All in all, it sounds like a great idea for all involved, especially if it results in kids growing up to appreciate the arts. The company provides their babysitters with a “Tote of Toys” that according to this story, serves as an ice break and source of ideas for the babysitting experience.

“We’ve given the sitters something from every art medium,” says Wilson. “We give them something that’s from a visual art, a theatrical art, a dance discipline and also from the musical discipline and we really find that it’s a great starting off point for the kids to engage in play.”

There seems to be a fair bit of potential in this company both as a business and as a way for advancing the interests of the arts community. There is certainly always an opportunity for conflicts of interest with people taking advantage of their close relationship with a family to sell/promote their personal work. But there is also opportunity for unified action. Last December all the babysitters had their charges working on cards for the armed forces overseas. I imagine that periodically Sitters Studio could sponsor some other unified initiative that reinforced the value of the arts in people’s lives without being pedantic.

Manufacturing Spontaneity

by:

Joe Patti

Via Marginal Revolution, the Wall Street Journal has a story about a girl who was paid $1,800 to reference an upcoming movie in her high school valedictory speech. The movie did rather poorly and the “amateur” video of the graduation the movie studio posted on YouTube failed to achieve viral status. I doubt that will stop anyone from trying something similar again.

One of the things I wonder is if this sort of thing might not be pursued as a funding source for cash strapped non-profits. Will it really be in the non-profit sector’s best interest to engage in something like this? We bill live performances a authentic experiences with an opportunity for the sublime (as well as screw ups and catastrophes) that television and video don’t provide. If people discover the evening has been peppered with scripted “candid” moments, will we risk losing credibility and what’s left of our regular audience.

The counterargument might be made that if we don’t cash in on the eyes and ears we have assembled, someone else might just hijack our events to do so. The school district in the story had no idea their graduation ceremony had been co-opted for this purpose. In truth, there is nothing to force marketers to deal with you at all. In fact, it probably will be less trouble to circumvent you since an arts organization will want to draw up contracts and have lawyers involved.

It would be so much easier to arrange for an elderly person to disrupt a sold out performance and have a concerned adult child wring his/her hand over the fact the parent had neglected to take their Aricept. The visceral concern your audience feels having witnessed how Alzheimer’s can cause social disruptions is a much better selling point than any television ad and pretty much guarantees dissemination by word of mouth which I suspect has a higher trust ranking than a YouTube video.

It would be much better if non-profits didn’t get involved in these efforts in the first place. Then at least if people have a negative reaction upon discover an occurrence had been planned, they won’t automatically suspect the collusion when there wasn’t based on past revelations of the organization participating in such efforts.

Bean Counter Hero For A Few Days

by:

Joe Patti

As the guy controlling the budget, I often have to either say no or ask people to scale back their plans. Therefore, it gives me great joy when I am in the position of telling artists that they are limiting themselves and need to think bigger. I had that opportunity about a month ago when I was discussing the site specific performance we are developing with a local performance group for next Spring. One of the artistic directors was telling me a board member was encouraging her to limit the action of the show around the theatre building.

My whole intention in approaching her about a site specific work was to get away from the building and exploit the potential in other nearby locations. Also, given that the show is about celebrity and achieving that status is divorced from formal performance settings these days thanks to our ability to record and distribute events from practically anywhere, it seemed counter intuitive to have everything happen in the theatre environs.

Given that we are about nine months out from the performance, I told her I felt it was premature to start eliminating some nearby locations that ignited both our imaginations. It felt great to be telling someone to keep dreaming about a performance.

I did feel a little bad for the nameless board member I was contradicting. Perhaps this person has made valuable suggestions in the past, but for a little while in my mind I was relegating them to the clueless board member bin. While I was feeling the hero, I was envisioning this faceless person as the stereotypical board member who valued the product, but didn’t quite understand the process of the organization which he/she served.

I didn’t think it is was particularly fair that board members end up playing that role in so many organizations. And let me be clear, since I was envisioning a theoretical board member, I certainly can’t say this is the case at all with the board of our partner organization. Let me also say that I realize this little fantasy is not only unfair to the anonymous board member, but likely short lived since the time will come soon enough when I will begin tugging on the reins and conform to the parsimonious administrator stereotype. Allow me this short time in the sun, eh?

There have been many discussions about how board members do it to themselves by not involving themselves enough. It is also true that organizations work to marginalize involvement so that the board is little more than a rubber stamp for their activities and then stays out of the way.

It seems this might be another argument for arts people not the subscribe to the notion that you have to be poor and suffer to be true to your art. In the nascent stages of some arts organizations, boards are comprised of fellow artists who understand and are invested in the work. At a certain point, it becomes clear that if the organization is to expand, it will require people of influence and means. If financial success were frowned upon less in the arts world, there would be less of a need to choose between those who get it and those who got it because they wouldn’t seem so mutually exclusive.