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Collecting More Data Isn’t Necessary Better

February 4, 2019

by:

Joe Patti

Seth Godin offers a very relatable example of why more data isn’t always better by emphasizing the need for vigilance when setting an alarm clock in a hotel room. If you set the alarm for 7 am before going to bed at 10 pm but don’t notice that the clock currently reads 10 am, you aren’t going to be woken by the alarm clock the next morning. (I am sure we have all done this at least once.) He suggests the am/pm setting is an extraneous bit of data serving as an impediment to the clock fulfilling its purpose.

This is a very simple illustration of a point I bring up often on the blog — just because you can measure something doesn’t mean the data is useful for your goals and, in fact, may be an obstacle to understanding the relevant data. Just because you can measure the economic impact of the arts doesn’t mean economic impact is a valid measure of the value of arts and culture.

This concept also has relevance in terms of the regular practice of surveying audiences/attendees. Just because you can ask a question doesn’t mean you should or that what you learn will be useful.

As Godin writes,

The metaphor is pretty clear: more data isn’t always better. In fact, in many cases, it’s a costly distraction or even a chance to get the important stuff wrong.

Here are the three principles:

First, don’t collect data unless it has a non-zero chance of changing your actions.

Second, before you seek to collect data, consider the costs of processing that data.

Third, acknowledge that data collected isn’t always accurate, and consider the costs of acting on data that’s incorrect.

All this being said, my staff usually starts out surveys asking a question for which the answers will be useless as data points, but for which the goal is to establish a connection and willingness to respond in the survey taker. Basically, we figure people are more apt to answer 4-5 questions if the first one is a fun question about themselves. So for example, if we are doing Man of La Mancha, the question might be, “what is the impossible dream you dream?”

There are times when it is okay to collect data when it won’t shape your decision making and there might be a cost to collecting and processing it if doing so advances goals in other areas.

Audience Relations, Working In The Arts

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Ticket Reseller War Stories

January 30, 2019

by:

Joe Patti

About three years ago I wrote about the problem of ticket resellers creating website names that approximate that of performance venues or using names that imply they are the central ticketing source for your city. At the time, my venue saw people who had bought tickets at a big mark up or for events that weren’t actually happening once a year or so. Now that I have moved to new position in a new city, I see it happening ALL THE TIME.

Perhaps one of the reasons this issue is coming to light regularly is that we changed our seating configuration about two years ago resulting in the removal of two rows and various individual seats. The resellers are selling people tickets to those non-existent seats so the problems is very evident very quickly. I just attended a meeting of colleagues around the state and many of them are reporting similar issues with ticket resellers.

Right around Christmas this year, we had a show cancel and in the process of issuing refunds, we had to tell a gentleman that we couldn’t process a refund to his credit card because it wasn’t the card that purchased the tickets–it was the ticket resller’s. He was irate to say the least, especially since he paid about triple the actual cost of the tickets. He demanded we call the company and tell them the show was cancelled since he felt, perhaps correctly, that they wouldn’t believe him.

Much to my surprise, after waiting on hold for quite some time, I was able to get the company to process a refund for him.

We include a warning in all our email newsletters encouraging people to only purchase from us–but that only reaches people who have already successfully purchased tickets from us, not those wishing to attend for the first time.

If you are running into this, there are a couple things you can do. First is to do an online search using various terms like “tickets venuename theater yourtown,” varying the order and removing your venue name and only using generic terms like theater, dance, music. See what sites come up and see what they are selling your tickets for.

Contacting them to tell them to stop probably won’t work, but at least you will be aware of what customers might be seeing. I don’t know if Google is doing a better job fighting SEO attempts by these sites, but when I ran a search before writing this post, there were far fewer reseller sites appearing as results before my venue or even on the first page than there were in December.

However, the one that did come up before us is offering tickets in rows that no longer exist to a show that sold out in October.

Something we have done is worked with our ticket vendor to disallow credit card sales from out of state ZIP codes. We are smack in the middle of a state so it isn’t a big deal. Even if you are on a border, you may be able to do this for a significant geographic region across borders. Most ticket reseller purchases we have encountered are from the West Coast or Mountain West.

Be aware though that resellers get around this by using Visa/MasterCard branded gift cards which don’t require ZIP codes.

Another thing to watch out for is people posting on your Facebook events page saying they bought tickets but can’t make the show, encouraging people to send them a direct message and they will sell them cheaply.

Generally what these people, as well as many of the reseller sites will do, is place an order with you after people have contacted them about their “extra tickets.” I would encourage you to delete these messages when you come across them. One of the big giveaways is that the Facebook account has been created in the last couple months and the person doesn’t live anywhere near you. They probably won’t have a record of purchasing tickets from you either. They may populate their page with pictures and friends connections to add some verisimilitude, but if you look carefully there are some clues.

Today we had a guy offering tickets for an event tonight that was born in Canada, apparently lives 300 miles or so away from us in Florida and is the CEO of a company in Poland.

I am sure there are much more sophisticated techniques other groups are using on larger venues where the return on investment makes it worth it, but I figure this will provide people with a general sense of what to watch out for.

Anyone got any stories or tips they want to share?

Arts Facilities, General Musings, Info You Can Use, Working In The Arts

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Your Site Has 4 3 Seconds To Load Or I Am Leaving

January 29, 2019

by:

Joe Patti

Big hat tip to Thomas Cott for linking to an article about how quickly people will abandon a webpage if it is loading slowly. The title tells pretty much everything you need to know about the problem – Slow pages hurt conversions, but marketers aren’t in a hurry to fix them. (my emphasis below)

[Unbounce] then conducted two parallel surveys of consumers and marketers to understand their respective attitudes toward page speed. Nearly 75 percent of consumers surveyed said they’d wait four or more seconds for a mobile site to load. However, Google data show that most people abandon sites after three seconds if content hasn’t loaded.

The majority of survey respondents indicated that slow-loading sites would negatively affect their willingness to buy and even return to the particular site. Surprisingly, women were more impatient than men in this regard.

Interestingly a majority of consumers said they wanted faster-loading sites even it meant giving up animations, video and images. The good news for brands and publishers is that most consumers were more inclined to blame their ISP (50.5 percent) than the site itself (34.2 percent).

Even though people were willing to blame their ISP over the site, that is no reason to think you can get by. Over 1/3 of respondents blamed the site itself. People are experienced enough to have a good sense where the blame lay.

Among the top suggestions for solving this issue are optimizing image and video size; improving caching and hosting and running speed tests.

If you are at a loss for where to even start to learn how to do these things–ArtsHacker has a whole series devoted to this. The impetus for this was anticipated slow downs due to net neutrality rulings by the FCC so there are a number of strategies in that series that you can use. You will definitely find pieces on image compression, speed tests, database optimization and minimizing the impact of page requests.

Granted, some of these procedures should not be undertaken if you are inexperienced working under the hood of your website. By the same token, if you don’t know much about how website traffic works, the articles can give you new information and a better sense of what things contribute to slow downs on your website.

Something I am curious about that is tangentially related is how quickly people will abandon a video if an ad they can’t quickly skip starts playing. This doesn’t usually impact videos embedded as performance samples in website that I have seen, but there have been a number of times I decided I wasn’t interested enough in a news piece to wait for an ad to finish. I suspect I am more patient with those ads than most so it makes me wonder about the long term viability of those ads. Especially as YouTube seems to be getting increasingly insistent in their offers to sign up for their paid service.

Arts in an Age of Technology, Audience Relations, Marketing/PR

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Why Do I Have To Call Dun & Bradstreet To Apply For A State Arts Grant?

January 28, 2019

by:

Joe Patti

As we move further into the new year, many grant deadlines are starting to creep up en masse upon arts organizations. As you are filling out all the mandatory fields in your grant application, you may be wondering why you have to have a DUNS (Data Universal Numbering System) number in addition to your Employer Id Number (EIN), especially since they are both the same number of digits.

You may also be wondering why a commercial data firm like Dun and Bradstreet gets to dole out these numbers, instead of a governmental entity. Well, I don’t have all the answers, but I did provide a good number of them in an ArtsHacker post on the subject a couple weeks ago.

As I write in that post,

The simple answer is that your EIN is associated with your IRS tax records and the DUNS number is associated with your business credit score.

[…]

One reason the DUNS numbers are separate from EIN is that a DUNS number is tied to a physical address. This makes sense in the commercial for-profit realm since a branch of a company in California may have better credit than one in Florida, but there aren’t many non-profits that are so large that they have a single EIN but require different DUNS numbers.

Learning that your DUNS number is associated with your credit score may be cause for concern—how many non-profits are going to have a great credit score after all?

Given that overhead ratio has been used as a measure of effectiveness for non-profits, it isn’t out of the realm of possibility that someone is going to get the bright idea that credit score is a good shorthand for deciding whether a non-profit is being run well. This would be a really bad idea since the standards used to assess credit worthiness of a for-profit entity are inappropriate for non-profits.

But you know, non-profits should be run more like a business right?

In any case, if you would like to know a little more about DUNS numbers and how to get one for your organization, (or see if you already have one), check out my ArtsHacker post.