Story Of A Community Coming Together Still Has Relevance

by:

Joe Patti

Fast Company has leaned into the Christmas season with an article on three financial lessons from the movie, It’s A Wonderful Life.

In general the tips are oriented toward investing your time and energy locally just as George Bailey’s Building and Loan had poured its members money into the local housing market.

Translated to 2025 this manifests as shopping locally, participating in local concerts, sports events, fairs, volunteering, helping your neighbor, etc.

Part of the general message aligns with the Greek proverb that a society thrives when old men plant trees under whose shade they will never sit.

The author cites the fact that It’s A Wonderful Life didn’t do well in the box office when it was released in 1946 but exploded into popularity after the copyright protection was mistakenly not renewed in 1974 and TV stations began to air it as an example of delayed recognition.

I am not sure this is the greatest example since it something of an example of broadcast companies exploiting a mistake. Unlike Mr. Potter who doesn’t get away with exploiting Uncle Billy’s lapse in the movie, the happy result of the movie becoming famous depends on the ubiquity of airings by entities who didn’t have to pay for rights.

This being said, the appeal of the movie is the celebration of the social bonds in a community. This message apparently continues to have a strong appeal as the screening we are hosting on Thursday has been sold out since last week–all 425 seats. You can see the movie in the comfort of your own home, on demand probably as well as on broadcast stations, but a lot of people are choosing to watch it in public and many are calling to ask if there are any secret unsold tickets.

Right now we are counting on people to be of enough good cheer to slide down and fill the empty seats between them and the next group so we can fit them all.

Recalling Your Brand Is Your Promise

by:

Joe Patti

Seth Godin made a post recently about what to consider if it appears your marketing efforts aren’t yielding desired results:

Marketing isn’t hype. Marketing is making a product or service that matters.

If you’re struggling selling the thing you made, it’s worth reconsidering the audience, the promise and the change you seek to make–and then be honest with your team about whether your offering is actually remarkable, or just the best you could do with what you had.

This reminded me of a post I made almost exactly a year ago about Godin’s thoughts about branding being a promise you make and so rebranding should represent a change in the promise being made and expectations consumers should have about your business. He makes a distinction between re-branding and re-logoing.

They think a rebrand and a re-logo are the same thing, they’re not. A rebrand happens when you change the promise that you make, and the expectations we have for you. A re-logo is cosmetic. Rebrand at your peril, especially when the old brand is trusted, iconic, historic and connected to a basic human need. It’s a mistake to focus on clicks, not magic.

That concept of branding being a promise has been living in my brain for the last year and resonating with a lot of what I have read and listened to about audience/community relationship and marketing since then.

Getting A Good Education In A Bar

by:

Joe Patti

h/t Artjournal.com which linked to a story about Lectures On Tap, a program of academic lectures being held in bars around LA, San Francisco, Boston, NYC, and Chicago. There are other similar programs operating in other cities under different names.

Academics lecture on a wild variety of topics including films,

…Taylor Swift’s use of storytelling in her music, how AI technology is being used to detect cardiovascular diseases, the psychology of deception and the quest for alien megastructures …

The sessions tend to sell out very quickly. I suspect it is partially due to the fact that the relaxed context of the setting offers a degree of freedom to both the attendees and lecturers.

“I didn’t go to college so I don’t have any prior experience with lecturing,” says Garber, 29, adding that he’s interested in film production and is a “big horror fan.” But the fact that “I get to sit and learn about something that I love doing with a pint? Like, that’s amazing.”

The relaxed environment allows the speakers to let their guard down as well.

“I can play with certain elements that I maybe haven’t used in the classroom,” says McClellan, who made jokes throughout his presentation. “It’s definitely looser and getting around people who’ve been drinking, they’ll ask more questions and different types of questions.”

I am always on the look out for programming ideas that create new metaphorical doors through which audiences can enter and this definitely fits the bill.

Back in January 2020 I met with a group hosting a storytelling series in bars about putting together a more curated version to host in the newly renovated reception space in our theater. When the pandemic hit, we ended up moving it into our main space so we could socially distance seating. Because audiences were literally able to see their stories being told on stage by people who looked like them and lived in their neighborhoods, the series ended up changing the narrative and perception about who was welcomed at the theater.

Does Gatekeeping Actually Create Better Experiences?

by:

Joe Patti

Every so often someone asks where the protest songs are during times of social unrest. Where are the songs commenting on social issues and fears?

It occurred to me that a lot of the songs people are thinking about when they make these comments were chosen by gatekeepers. From Woody Guthrie to Rage Against the Machine, hip-hop and rap, folk songs and rock songs, someone at a radio station or record label decided to play and promote these songs and not play other songs.

I am certainly revealing my generational biases when I mention songs like Nina’s “99 Luftballons,” Genesis’ “Land of Confusion,” Sting’s “Hope the Russians Love Their Children Too,” and Alphaville’s “Forever Young” as expressing fears about nuclear war.

There was a lot of social commentary in the early songs of U2 and Midnight Oil. Rush’s “Subdivisions.”

There are a ton more I can name but you’re not coming here to read an interminable list of my reminiscing.

There were obviously a lot of great artists whose work went unrecognized due to gatekeeping. And a lot of artists that got cheated out of what they earned by those taking advantage of their ignorance.

I certainly realize that even before people shifted away from listening to terrestrial radio stations, the use of algorithms to optimize listenership was already making radio playlists incredibly homogenous and also marginalizing talented artists.

But while streaming platforms like Spotify broadened access to music that suited consumers’ tastes and interests, they also introduced the tyranny of choice creating a tendency for people to gravitate toward what they already know.

The fact one can isolate their musical experience to themselves via headphones is probably also a factor. My musical tastes expanded and changed quite a bit thanks to roommates who introduced me to their favorites and accompanied me to concerts. (Not to mention, dorm mates blasting music into the halls. My first weekend in college, I was force fed the Beastie Boys.)

As I am reading the thoughts of other colleagues in the arts and culture industry on subjects like marketing, audience relations, programming, etc., there is an underlying message about a responsibility to create experiences that align with the expectations and needs audiences hope to fulfill.

To a great degree, professionals at exhibit and live performing arts organizations function as gatekeepers.

So I wonder if part of the reason there aren’t a lot of songs of protest and social criticism in popular music at times when there is social unrest is because there are no gatekeepers who feel obligated to pay attention to evolving tastes and interests of consumers.

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