Put Down The Phone, Pick Up Jenga

by:

Joe Patti

Last week a colleague had posted on LinkedIn about a secret pop-up concert Phoebe Bridgers had conducted in one of her venues. She had mentioned that people’s phones were stored away in magnetic Yondr pouches. At the time I assumed that this was because it was a secret concert.

But later that day or the next, Artsjournal.com had a WBEZ story about Chicago venues that were requiring people to stow their phones in pouches and specifically mentioned that musicians Phoebe Bridgers and David Byrne were requiring concert attendees to check their phones at the door.

The WBEZ story was reporting on a broader attempt to create an environment where people interacted and socialized to a greater degree than they are.

Because the story shifts quickly between discussing the environment in which this efforts are occurring, I made the mistake of thinking theaters were providing games and activities for audiences. That was actually a program by a marketing group called Little Council in response to clients seeking unplugged spaces where people could engage with each other.

They have an area in a co-working space labeled “Fulfillment Center” whose goal is to assist the achievement of personal fulfillment.

 ….visitors made their way over to a pair of industrial shelves stacked with activity boxes labeled “make,” “play,” “read” and “write.” Inside the boxes, they found crafts, readable materials and games — plenty of things to do instead of scrolling endlessly on their mobile phones.

[…]

The boxes are filled with things that people “might not always make time for, like creating or writing or reading or just playing,” Fuller said.

Even though I was mistaken about where the Fulfillment Center materials were being used, something along these lines might be something a performance space/group with the right vibe might employ. (Probably won’t be found in Lincoln Center in NYC, but maybe the Lincoln Center in Fort Collins, CO)

Ideally, you wouldn’t use this in conjunction with confiscating phones but rather as a social lubricant to get people in a communal space chatting with each other and asking to borrow the purple markers. Though in some places people may be so entrenched with their phones there may be little to no movement away from them after offering alternatives for a year.

Activities like these can make experiences feel more welcoming. One venue I ran, I created a visual arts fair that occurred twice a year. I partnered with a local creative group who helped arrange for music and different themed activities. I was a little concerned that people might not think a visual arts fair was for someone like themselves so having music and activities was one way to make the experience more welcoming.

The turn out and participation wasn’t too bad. I haven’t really tried something like that in connection with a performance but it could definitely work after some trial and error in design and execution.

Relax, Said The Night Man…

by:

Joe Patti

Seth Godin made a recent post about hotel night clerks. He noted that while they often have the highest number of customer interactions, especially with those that may be experiencing a degree of distress, the clerks are generally not empowered with the authority and training to respond effectively. Management probably isn’t soliciting feedback about the comments and complaints they are getting. Nor may the clerks be paid enough to care.

It’s the night clerks that have the most customer interaction–in fact, they’re almost certainly the highest leveraged, most insightful marketing cohort in your organization.

They have information, and if we give them agency, they could transform the customer experience.

Alas, our systems rarely help. Many night clerks are underpaid and underappreciated, and systems around them push them not to care.

When your organization gets stuck, don’t blame them. Instead, find a way to help them become the contribution they’re capable of being.

Some useful questions you might not be asking:

How much does the information we’re not collecting cost us?

What is the customer service cost and brand dilution of depriving our people the freedom to take action?

The same questions apply to front of house staff for arts and cultural organizations. Whether they are paid or volunteer, have people been trained and empowered to address issues and concerns that arise? If they don’t have the experience or consistency to effect a solution, are they able to summon someone who can help? And can they see that issuing that summons results in a satisfying solution for the customer?

This can be extended to all staff that may encounter customers be it maintenance staff passing through with a ladder or marketing staff returning from a meeting. Is there an organizational culture that rewards people for noticing someone may be lost or have questions and offering to help?

Because we certainly don’t want people feeling like they checked into the Hotel California.

Praying For Tickets

by:

Joe Patti

Over the years I have written a lot about the various schemes people have used to acquire tickets, resell tickets, scam people by offering tickets they don’t possess. Ticketing sites and governments have instituted digital hurdles and laws to try to limit these schemes and are often able to only create a solution for a short time before someone figures out a way to circumvent those barriers.

One thing I haven’t really addressed is divine intervention.

Admittedly this situation is a bit less problematic than ticketing scams, price gouging, and the ridiculous litany of fees being added to purchases I usually write about. I figured the topic could use an injection of relative lightheartedness.

The BBC recently reported on 9th century Shinto shrine in Tokyo dedicated to the deity Inari. Originally, people prayed at the shrine for abundant rice harvests and prosperity. At one point the shrine was permitted to host lotteries to generate funds to support itself. In time people started to make offerings for success in lotteries of all types.

And that is where the connection to concert tickets comes in.

There is such a demand for tickets to some concerts, fans need to enter a lottery in order to get a chance to purchase a limited number of tickets.

 Fans enter for the chance to buy tickets, and can only purchase them in limited quantities if they are selected. The system is designed to make the process fairer, but some fans look for a bit of divine intervention to boost their odds. If praying at Fukutoku is believed to work for winning scratch-off lottery tickets, fans hope it might bring luck with concert tickets, too.

So many people believe that a show of devotion will boost their odds that the street outside the shrine had to be closed due to the masses who gathered when bands started touring again once Covid restrictions were lifted.

I suspect if I did deeper research I might find there are methods to secure tickets outside of the ticket lottery and praying to kami. From what I have read, there are Fan Club and Pre-Public lotteries where you have to have paid a membership fee or have purchased merchandise of some sort to be entered in a lottery to purchase tickets.

Though many concerts go straight to the Public Lottery phase. While there may be a fee involved, apparently it is relatively small unlike the thousands of dollars people in the US have to donate just to be entered for a chance to buy season tickets to a college or professional sports event.

Return To Band Camp As An Adult

by:

Joe Patti

The Associated Press had a story about adults returning to the band camps of their youths. This is both literally the case with places like Interlochen Center for the Arts where people who attended camp as kids are participating in the adult version, and more figuratively where people are attending adults oriented camps in their geographic proximity.

These camps provide the opportunity for adults of all ages to perform a whole range of music styles from folk, rock, klezmer, orchestral, etc., As well as participate in traditional camp activities like kayaking, yoga, and -erm cocktail hours.

It occurred to me that this might be a niche interest more arts organizations may find success in pursuing. Based on some of those interviewed for the story it appeared many had an interest in reconnecting with their musical practice without the obligations that community orchestras, choral groups, or bands represent.

The camp experience provides opportunities to discuss topics like performance anxiety which one may not feel comfortable broaching in a more formal ensemble setting. Many people also seem to prioritize the social connections over developing a higher degree of mastery.

He notes that the ensemble participation rate for adults over age 60 has doubled from about 150 to 300 people at a local music and arts center he leads. He said he thinks the social connection is key.

“And that’s something missing from a lot of people’s lives these days,” Grazier said. “So any time we have an opportunity to have a space outside of the home where we’re connecting with new people and sharing a common interest, it has remarkable benefits for our health and our aging.”

That is why I was thinking some form of the music camp concept might be a program option for some arts organizations.

I think back to the TED Talk Jamie Bennett made where he discusses how people who played sports in high school have an easier time seeing themselves on a continuum with professional players than people who perform in a choir every week have seeing themselves as artists.

So if attending an adult music camp helps more people recognize their capacity for creativity, it is worth pursuing.

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