Out Or Just Not Interested In Getting In?

by:

Joe Patti

Seth Godin made a short post last week about the difference between Jargon vs. Lingo. Its brevity seems to make a clear case, but it leaves a ton of important considerations unsaid.

Jargon is intentionally off putting, and lingo reminds us how connected we are.

They might look similar, but the intent is what matters. Jargon is a place to hide, a chance to show off, a way to disconnect. Lingo, on the other hand, allows us to feel included.

You may see right off that even if you say it is intent that matters, whether something is alienating or inclusive is highly subjective. The line between feeling connected to a group because you have mastered the subject specific terminology and feeling like a privileged insider for having mastered that terminology can be really thin.

Likewise from the other side there is a difference between feeling excluded because you aren’t being provided the patience and access to participation by members of a group and failing to recognize that becoming fully initiated as an insider takes time and effort.

These dynamics obviously exist in the world of arts and culture, but rather than drawing an example from there, let me cite online gaming culture.

As an old fart, I started online gaming with text MUDs  back before the modem screech was even a thing, much less broadband existed. It was only last Memorial Day weekend decided to make a foray into MMORPGs. And already you are seeing terms that can either come across as lingo or jargon based on your relationship with these things.

Knowing that some of the conversations on these games can get pretty heated and abusive, especially in Player vs. Player combat situation (PvP), I resolved to keep my head down, watch and listen as best I could from the fringes before getting more deeply involved.

Fortunately I picked a game and servers where the language doesn’t get that abusive despite there being a lot of competitive elements. At a certain point I realized I was far too comfortable hanging out at the fringes and needed to jump in and participate in these competitive and cooperative efforts.

Once I did, I came to realize as much as I had been lurking on the fringes keeping busy doing my own thing, it had actually been detrimental to the development of my characters and enjoyment of the game. The rewards for cooperative group play are much greater as achieved faster than solo play, including the sense of shared victory. But of course, it took and continues to take, effort to learn correct timing, techniques, and development processes to become more effective and extend my survivablity.

Online gaming is definitely a place where it is easy to find yourself intentionally excluded by insiders or excluded by your own lack of interest in working to understand the particular rules of the realm which you have chosen to enter. The dynamics of the jargon-lingo line are not very clear cut.

Man, Can That Wiggly Opera Quartet Sing

by:

Joe Patti

Grateful hat tip to the Arts and Management Technology Lab at Carnegie Mellon University for calling attention to Blob Opera, a fun little experiment on Google Arts and Culture.

It introduces concepts about pitch, sung vowel sounds and the highest voice leading harmony in the quick tutorial where you drag blob figures that sing the bass, tenor, mezzo and soprano parts. From there you can play around, record, and share your own compositions.

There is a pre-recorded selection of Christmas carols you can play, but even those you can manipulate by taking control of the figures mid-concert, selectively muting different parts.

Even if your organization isn’t involved with opera, this can be something interesting to share in newsletters and on social media accounts to erode any sense of intimidation people may feel regarding creative arts.

Also, you may want to bookmark it and fool around with it yourself on occasion. Colorful blobs singing vowel sounds operatically has a soothing, therapeutic quality.

Hassle-Free Refunds And Disney Pays Ticketing Fees? We Could Get Used To This

by:

Joe Patti

So it appears Howard Sherman gets first mention a second day in a row on my blog (not that he doesn’t deserve it). He called attention to the fact the production The Lion King on Broadway was not only offering free refunds and exchanges on ticket purchases, but Disney would be picking up the dreaded Ticketmaster service fees. Apparently Disney is doing the same for Aladdin through August 7, 2022

I actually went online to price tickets to see what they were charging and at the end of September I found third row orchestra seats for The Lion King at $125 which didn’t seem too bad. Though I don’t know what they were selling for in February 2020.

I was so amazed at this, I wondered to my co-workers if this might not turn into an industry trend that the public came to expect. I hadn’t thought to check if other shows were doing the same thing until I saw a tweet by journalist/critic Jonathan Mandell linking to the refund/exchange policy which applies to all Broadway theaters owned by the Nederlander Organization., including the Minskoff Theatre where Lion King is showing. I didn’t see any expiration date on this offer.

The Shubert Organization which owns the Telecharge ticketing service as well as some Broadway houses is offering free refunds and exchanges through January 17, 2022.

I didn’t see anything about refunds and exchanges on the Jujamcyn Theaters website, the company that owns a number of other Broadway Theaters. But it should be noted they also didn’t have tickets for any of their shows on sale either.

Getting back to the question of whether waiving ticket service fees might become a thing, this is something my staff and I have been discussing for a few years now. (Truth be told, the staffs of different theaters at which I have worked have been talking about it for about 10-15 years now.)

We have been trending toward including the fees in the advertised price of the tickets, however many of those who rent our venue have wanted it added on top at check out. Because it is different from the usual experience it occasionally elicits a “hey wait a minute…” response from some of our more frequent attendees.

You have to wonder if people come to see this as a normal experience based on their Broadway experience, will there be pressure to continue the practice indefinitely?

Of course, this doesn’t even mention the free, no questions asked exchange policy. There are restrictions as to number of times you can request an exchange and people who buy tickets from resale market or 3rd parties are probably going to have issues if their name and contact information aren’t associated with the tickets. But expectations may shift in toward hassle-free refunds, especially if the threat of Covid continues to loom in the background generally for some years to come.

Who You Calling Dormant?

by:

Joe Patti

So much appreciation to Howard Sherman for his commentary on Twitter last week about a statement by the Broadway League that re-opening Broadway meant the return of a dormant industry.

In the tweets that followed the one above, Sherman notes that the 40 theaters that comprise Broadway are not the entire industry and that the artists and companies around the country have been far from dormant, expending a great deal of effort to reach out to communities with new approaches. Or by bringing renewed attention to underused formats like audio dramas.

The whole thread is only 10 tweets with a couple postscripts, but in case people were thinking of skipping it I wanted to call attention to his thoughts about the concept of “restart”: