Cultivating An Appeal Certainly Is Not Clear

by:

Joe Patti

There is a new buzzword out there called “Murketing”, a portmanteau of murky and marketing implying a sort of under the radar effort at increasing market share, cachet, whatever. If you read my entry about the staycation, you know that I am not a fan of what I feel are often attempts to put lipstick on a pig. My problem with the murketing term isn’t that the practice is a bad idea but rather that the creation of the term implies there is some hot new trend to adopt or be left behind. I have noted before, not every new approach/technology is appropriate for everyone, but they do bear exploration.

Let me expand a little on this. The way I think the idea should be approached is to say that in the face of changing behavior of consumers which includes rising skepticism about advertising campaigns that take a direct approach, it might be prudent for companies to examine the way they approach their marketing and perhaps even re-evaluate the market to which they are appealing. Instead the coining of terms like murketing makes it sound like you have to discard the practice of marketing altogether and replace with the method of the future. The reality is as I described it — take the time to re-examine.

I am not sure if he actually created the term or not, but a gentleman named Robert Walker recently wrote a book, Buying In: The Secret Dialogue Between What We Buy and Who We Are which examines the idea. Forbes did a review which appears to sum up Walker’s theories about as good as any article I have read on the subject or the book.

As much as I dislike the term, I have to say I like sections of Walker’s blog, namely Subculture, Inc and The Murketing Arts. While his book deals with the efforts of Pabst Blue Ribbon and Red Bull as well as some smaller operations, these sections are devoted to Q&As with people involved in small scale efforts to advance their products. Given that arts organizations often fall into the small scale category, these sections of the blog along with Walker’s “Consumed” column in the New York Times Magazine and of course, the book might provide some inspiration. (Yes, I have to acknowledge that the site’s sort of anti-guru vibe might actually be calculated, per murketing, to cater to my skepticism.)

I am reluctant to mention some of the ideas that popped into my head while reading about some of those interviewed because they essentially tap into the forces other people have discovered rather than finding some local characteristic. Sure there were women who tapped into the skateboarder market despite not selling any skateboarding gear. It doesn’t mean that is an appropriate target group for your organization. (Except the stars will align for some symphony in Idaho and suddenly California arts groups will be banging their heads trying to figure out why a state replete with skateboarders can’t win with them.)

I Have To Wait Til I Am 60 To Get Some Respect?!

by:

Joe Patti

While catching up on the Fractured Atlas blog, I caught this link to WNYC’s Soundcheck Smackdown about the need for arts organizations to cultivate younger leaders. One of the first phrases tossed around was about being on the “wrong side of 60” meaning that the leaders of some of the most prestigious/large organizations need someone with the gravitas of experience leading things.

One interesting comment that was made was that the appointment of 27 year old Gustavo Dudamel as conductor of the L.A. Philharmonic might alienate the audience who would be concerned by his apparent lack of experience. It was immediately noted that given there is such a concern about the graying of orchestra audiences, you may not want to continue to cater to their perceptions. (Though they do fund the organization in the short term and that can’t be ignored.) Later in the program a caller noted that Zubin Mehta was only 26 when he became music director of the L.A. Philharmonic and host John Schaefer opined that perhaps LA has a talent for identifying promising leaders.

Some of the issues that come up in the discussion between Schaefer and guests Lee Rosenbaum and Barry Hessenius had to do with pay, both that younger people have an expectation of making more but will accept less than A – list leaders. Given the finite resources of the 90% of organizations that don’t operate at the level of the elites, it can be difficult to attract and retain talent. But this much we knew already, eh? Hessenius notes what I have discussed in earlier entries. The organizations with the most youth involvement are those who allow young people a greater role in decision making — something the arts haven’t done as a whole.

Actually, Now I Am Even More Confused

by:

Joe Patti

Because copyright is a confusing issue, the folks over at the American Library Association have created this nifty little slider tool to help you determine if something is in the public domain or not. Frankly, at one time I thought there were some pretty simple rules of thumb you could use but now that I have seen this device, I am even more confused.

For instance, if you created a work before 1979 and published it before 2003, you might be protected. However, if during that time period, you happened to publish it between 1978 and March 1, 1989 and didn’t put a copyright notice on your work and never registered it, it is not protected and the work is in the public domain. Now given that I wrote a short story for school back in 1983 and did put a copyright notice on it, I think I am covered even though it was never registered or officially published. (Unless the photocopying of proud parents counts.)

Now I happened across an interesting situation. According to the chart, any work published before 1923 needs no permission and is in the public domain. Elmer Rice’s Adding Machine was first published in 1922 as noted here. While it was faithfully renewed, it should still be in the public domain. However, if you go over to the Samuel French website, they want $75 a performance for it.

So the question is, does Samuel French have the right to do so or not? The answer probably requires consulting experts. So despite the best intentions, this little device doesn’t really simplify matters at all and only serves to show us how little most of us really understand about copyright protection.

My Butt in the Seats of Your Neighborhood Stage

by:

Joe Patti

This weekend I was a guest on the Your Neighborhood Stage podcast. (July 14 episode, number 3.21). The folks over there let me talk for a real long time on a lot of issues. In the course of the conversation, I promoted the iPod idea I had blogged on before. I had listened to some of their earlier podcasts to get a sense of what I was in for and one of the on going issues they have discussed is inverting the idea that “all good things must percolate down from Broadway.” They were trying to find a way that things could be developed at a local level and percolate up in much the same way niche interests suddenly explode into popular consciousness via YouTube.

It occurred to me that while local theatres couldn’t really hope to get anything on Broadway via the current development path, they could be the place where the innovations that reinvigorate the performing arts are cultivated. As I note in my interview, the stakes are pretty high on Broadway but somewhat less so on the local level. (Not to understate the impact of even small financial losses on local theatres.) But with the rise of Pro-Ams (Professional Amateurs) who have both passion and increased access to technology, there exists the potential for great things to result from unorthodox approaches and experimentation.

There were some other issues we discussed like censorship in a production of Ragtime near Chicago, copyright infringement in an Akron production of Urinetown (the earlier case from the 90s I refer to is L! V! C! in Boca Raton- covered in NY Times, 8th paragraph down) and whether bloggers who review can be sued for defamation.

If ever you wanted to hear my voice, albeit a little distorted (my fault, mostly) or simply just want to sip at the fount of my wisdom in audio form, give it a listen.

Oh, I just also note. When co-host Staci Cobb was praising me and said “Go You!” I thought she said “Go UF” and was tweaking me as a Florida State University grad by cheering on the University of Florida. It is only as I listened to the podcast that I realized I misheard her. I am sure both hosts were a little perplexed when I joked about her razzing me.