Sytelabs Update (And Some Brief News)

To begin, I want to thank all of you who’ve tolerated the radio silence on this site the last several weeks. Between projects, the holidays, and many other obligations I haven’t had much opportunity to update the site as frequently as I would have liked. Now that we’ve crossed over into the new year, the slate’s been wiped clean, the batteries recharged, and we’ll be getting back to a regular posting schedule beginning next week. I promise.

Something that bears mention...This past week saw the release of both Pollstar’s and Billboard’s ranking of the top-grossing tours of 2011. Although the results aren’t particularly surprising (U2 basically owned everyone), one fact regarding Pollstar’s numbers caught my eye. By their calculations , half of the artists who’s tour ranked in the top-ten began their careers in the 1990’s or later. For me, I find this both surprising and reassuring, given the industry’s recent over-reliance upon music’s lumbering dinosaurs to prop up the bottom line (although there’s a fair amount of that, as well). I won’t go so far as to say this entirely disproves my belief that the large promoters care little about artist development - aside from Kenny Chesney, none of the young guns spent much time slugging it out in the industry’s farm leagues before being welcomed to the big stages. But it is a welcome sign that there is life after the Rolling Stones.

Who incidently may be heading out on the road next year...again.

Who's The Star Of Your Show?

Is it the artist, who you've paid handsomely to entertain your guests (or have invested in with hopes of achieving a respectable rate of return)?

Is it your sponsors, who've paid you for the privilege of connecting with an audience only you can provide them?

Or is it your guests, who have invested their time and money with the expectation that you'll deliver a small slice of magic for an evening?

There is no "wrong" answer to this question. But if you can't answer immediately, you're already dangerously close to failing. Because every single decision regarding your event should rest on it.

Intermission

Let's go out to the lobby....

In an attempt to wrap up several outstanding projects, I'll be temporarily raising the houselights on this site and taking a breather from posting new material for a few weeks. Although things on the site may be quieter than usual, both the Twitter feed and Facebook page will be updated regularly in the interim, and I am always available to answer any inquiries.

Regular posting will continue over at Event Safety Consultants.  Stop by for a visit, and stay tuned...

 

They Said What?? Handling Complains About Artist Conduct

Any producer who’s been in the industry a while has heard their fair share of guest complaints. This inevitably includes complaints not about the venue, employees, or sound quality, but about something the artist has done or said while on stage.

Sometime the complaints are almost absurd. I recall during one Motley Crue show several years back, my guest service manager had to deal repeatedly with the same guest, who was surprised and aghast at the band’s “satanic” message. Never mind fact that their breakout album was called “Shout At The Devil”, and was released nearly 25 years before this particular event; she had no idea that her children would be exposed to such immoral behavior (yes, this is sadly a true story). Less entertaining but far more common, an act will let loose with a few profanities, or express a political opinion that the guest disagrees with. Suddenly, your staff is left dealing with the blow-back. When that inevitable assistance call does arrive, here’s a few hints on how to handle it:

Lend an ear - Often times, simply allowing offended guests to vent their frustrations is sufficient to put them at ease. Most angry people simply want to express their displeasure with someone willing to listen. Instead of brushing off their concerns, be quick to offer a “sympathetic” ear. Following a few tense moments, most complainants will move on to other matters (hopefully, happily enjoying the rest of the show).

Show empathy - You may personally feel that your guest’s complaints are ridiculous. And many times, you’re probably correct in that assertion (complaining about violent language at a hip-hop show? Suggestive dancing while watching the latest Pop Tart perform? Do you know where you are?!) Never the less, do your best to be empathetic. If people feel as though they have an “ally” within your organization, they’ll be much more likely to accept whatever solution you offer them (even if you can do nothing for them at all). This is often difficult to do, especially when dealing with outlandish complaints, but your efforts at faking it will be well worth it. And whatever you do, never, EVER laugh at them. Save it for the post-show bar talk.

Never apologize for an artist’s actions, apologize that your guest was offended - There’s a very practical reason for this delicate language choice. By apologizing for the artist’s actions, you are essentially admitting to the guest that they (the artist) have done something wrong. By doing so, you open the door for the complainant to demand greater reparations, and possibly expose yourself to further action down the road should they decide to escalate their complaint (a rare occurrence, but one that does happen more than you might imagine). If an apology is demanded (or if you feel the need to offer one), apologize that they were offended by the artists actions and leave it at that. If they’re the type of person to notice such a distinction in your language, they’re the type that would escalate the situation regardless of your apology. Start covering your ass now.

Stay out of it - Since the promoter rarely has control over the artist’s content, you shouldn’t put yourself in the position of being their public relations ambassador. Your best bet is to direct any complaints to the acts website, or to locate the contact information for someone on their management team. If that doesn’t suffice, offer them the opportunity to fill out your event’s complain form. However, never say that you’ll address the issue with the act or with their management team. Most artists have no time or interest in dealing such matters during the event, if at all. You should avoid making that your problem.

For the REALLY offended - If you have a guest who is so offended by the artist’s action that they demand a refund, you’ll need to take a different approach to their complaint. First and foremost, never agree to any financial reparations during the event. Tell the complaintants that you will negotiate any refunds with them at a later time (24-48 hours after the event), take their information and ticket stubs, and escort them off the premesis. If they are demanding a refund, they should know that they will not be able to participate in the rest of the event. The TRULY offended will be perfectly accepting of this situation. Those looking to scam the system will put up a fuss, and likely reassess their demand for a refund. Be friendly and sympathetic, but firm in your assertion that this process is non-negotiable.

Finally, remember that if you do agree to some financial reparations and escort the complaintants off property, you must follow through with some acceptable form of compensation. Otherwise, you’ve simply thrown them off property for complaining, which is a huge mistake that can become a public relations nightmare.

Our Week on the Web - 2011-11-06

• What producers can learn from "Occupy Wall Street" http://t.co/pWKwyFo7 #eventprofs #


• Could have seen this coming: CD-format to be abandoned by major labels by the end of 2012 http://t.co/OJ8OZ73W #


• Is last minute ticket discounting good for the music industry? http://t.co/Pi4unyhE {My thoughts from May 2011 http://t.co/xcp1DH9b } #


• Lower Attendance Hurts Live Nation Revenue http://t.co/n5osM6dr #


• One of the most epic event production time lapse videos I've seen: A month of Burning Man in Five Minutes http://t.co/6A6E7xAC #

Our Week on the Web - 2011-11-06

• What producers can learn from "Occupy Wall Street" http://t.co/pWKwyFo7 #eventprofs #


• Could have seen this coming: CD-format to be abandoned by major labels by the end of 2012 http://t.co/OJ8OZ73W #


• Is last minute ticket discounting good for the music industry? http://t.co/Pi4unyhE {My thoughts from May 2011 http://t.co/xcp1DH9b } #


• Lower Attendance Hurts Live Nation Revenue http://t.co/n5osM6dr #


• One of the most epic event production time lapse videos I've seen: A month of Burning Man in Five Minutes http://t.co/6A6E7xAC #

What Producers Can Learn From "Occupy Wall Street"

I’ve always made an effort to remain as apolitical as possible on this blog. Not only are politics irrelevant to my chosen subject, I’ve learned that there’s no quicker way of turning off half of your readership than interjecting political opinions where they don’t belong. It’s with this in mind that I’ve remained silent thusfar on the “Occupy Wall Street” movement. Despite being billed as a “non-partisan” event, it’s been reviled, ridiculed, and/or co-opted by the entire political spectrum, to the point where the mere mention of it elicits some measure of passionate response.

However, there’s one aspect of these protests that I find particularly relevant to the event industry, one that challenges a notion many producers (including myself) have been indoctrinated with for the entirety of our careers.

If you want your event to be successful, fostering an organic emotional cohesion is more important than establishing consistent message, theme, or branding cohesion. In layman’s terms, just shut up and get out of your audience’s way.

Beyond its populist appeal, what has allowed the Occupy Wall Street movement to continually expand its ranks has been a reluctance (or refusal) to define the movement by establishing a unified set of grievances and demands. In fact, a walk through any OWS encampment throughout the country will provide you with nearly as many grievances as there are protesters. Unless their beliefs are exceedingly hateful or disruptive, everyone has been welcomed into the fold. The end result may seem chaotic and directionless, (and may be in some respects), but there’s no doubt that this has resulted in a larger, more impassioned base. Although this openness may prevent the movement from gaining larger political traction, there’s no doubt that it has gotten the attention of the entire world, and sewn the seeds of a larger movement that will outlast these first few protests.

As producers, we spend a lot of time and energy worrying about controlling our event’s “image” - whether our branding is completely consistent, our messaging aimed with the utmost of accuracy, even down to the emotions the color of our lighting is meant to evoke in our guests. I certainly won’t discount this level of attention, especially since that’s precisely what our clients hire us to do. But what I believe OWS shows us is that such careful scripting may actually hinder our events prospects to grow and connect with a wider audience. Every little thing doesn’t need to be planned, cohesive, and slick to be effective. We shouldn’t always feel the need to guide our audience to what we believe they should think or feel. Sometimes, it may be better to leave the talk of concepts and strategies at home, and simply create a welcoming environment that invites your audience to define their own experience.

Our Week on the Web - 2011-10-30

• Handling Media Emergencies http://t.co/IR5zlmUo #eventprofs #


• Lessons from the Industry Formerly Known as "The Record Business" http://t.co/4acxwU3U #


• The YouTube Live Coldplay Concert Is The Future Of The Live Music Experience http://t.co/DhdnyIn1 #


• Live Music Sponsorships Focus of Panels, Award at Billboard Touring Conference http://t.co/KlgIVvMn #


• Off-topic post (sorry), but this article needs to be read and spread around. Disgusting. http://t.co/V6G8eHmc #

Handling Media Emergencies

No matter how thorough and careful of producer you may be, you will undoubtedly encounter a situation during your career that triggers what I’ll refer to as a “Media Emergency” - that is, an incident which has enough public importance that the news media sees fit report it. I use the term “importance” loosely - artist cancellations, weather incidents, high-profile resignations, even controversial remarks by the performing artists can all send the media to your doorstep with little forewarning. When such an incident occurs, it’s critical that you have measures in place to deal with both the media’s inquiries and your staff’s response to them.

Develop a comprehensive emergency communications plan - You should never wait until a media emergency occurs to determine how you will respond. By doing so, you risk losing control of your messaging, providing unintentional misinformation, and possibly making the situation worse. Just like preparing for a physical emergency, you should have a detailed plan developed on how to respond to different types of media situations. This plan should outline your points of contact, response procedures, and information disclosure rules.

Have one designated point of contact - Decide before an incident occurs who will speak on behalf of your organization, and direct all media inquiries to that person ONLY. Doing so will ensure a consistency of reporting, and help avoid creating message “conflict” within your own organization. I recommend that this person not be the chief producer or venue manager if at all possible. In the event of an emergency, their focus should be on offering whatever assistance and resources are needed by investigators and employees, not on handling the media. I have found marketing personnel to be particularly suited to the task, as they are usually trained in handling media inquiries and likely have existing media relationships. Which brings us to...

Build media relationships before they’re needed - Make efforts to build a strong relationship with your local media outlets before a “media emergency”. In the event of an incident, you’re much more likely to secure “neutral” reporting (in most cases, forget about favorable) if you’re on familiar and friendly terms with the reporting outlets.

Make sure your staff knows what to do - if an incident occurs during your event, it may only be a matter on minutes before the media is knocking at your door. Make sure ALL event staff are trained in, and aware of, your media policy, and that they are directing all inquiries to your designated media contact. It’s also important to remind them that....

No comment is one - Never say the words “no comment” to a reporter. Although your intentions may not be brusk and evasive, it may come off as such to reporters. If you’re not at liberty to speak on a situation, simply say that they’ll need to talk with your designated media contact, and make an effort to reach that person as soon as possible.

These tips are admittedly written from the perspective of the media being a hostile entity - that is, one that actively seeks to paint your organization in a negative light. To be fair, this is not always the case - most news organizations are decidedly fair in there investigation and reporting of incidents, regardless of who’s involved. However, the media today (especially television) has become reliant on human interest and borderline sensationalism to attract viewers. Their primary objective is no longer to simply report the news without bias or commentary. Rather, their role of most modern news agencies has become to repackage the facts in such a way as to confirm what their target audience already believes. Mind you, no professional news organization will blatantly misrepresent the facts of the case. However, the tone and language of the actual reporting can make a difference in the public’s perception. So as long as the public sides against business whenever an incident occurs, the media’s reporting will reflect that. All the more reason to be prepared for their arrival.

Our Week on the Web - 2011-10-23

• Project Management in the Concert Industry http://t.co/RlsOViwP #


• The takeover continues - YouTube Now Selling Concert Tickets, T-Shirts http://t.co/9g5OTkus #


• Big acts boost summer concert season http://t.co/IaCDoVRG #

Our Week on the Web - 2011-10-23

• Project Management in the Concert Industry http://t.co/RlsOViwP #


• The takeover continues - YouTube Now Selling Concert Tickets, T-Shirts http://t.co/9g5OTkus #


• Big acts boost summer concert season http://t.co/IaCDoVRG #

Project Management in the Concert Industry

I’ve often said that most concert professionals wound up in the industry by accident. They blindly answer a job posting, or deliver a package to the right person, and BAM! - they’re taken under someone’s wing and the die is cast. Although this might be a romantic notion (and in the above cases, actually true), I must admit it’s a slight exaggeration. Yes, most of us began our professional lives in the corporate world, the service industry, or in the trades. But our entry into the concert industry is usually the calculated result of hard work, effort and a fair amount of luck.

Unlike many other industries, there’s no “fast-track” way into the concert industry. Although most professionals in the field today have some form of advanced degree, few went to school specifically to learn the craft. We’ve had to figure it out as we went along, learning from those who came before us and our own stupid mistakes. As a result, we often pay little mind to the concepts and theories behind what we do. We just do it.

This is not to say that there’s no deeper theory behind our actions. Sometimes it just takes an outside professional to point it out to us.

It’s with this in mind that I point your attention to the following presentation by Susan Dodia, given this past August at the UT Dallas Project Management Symposium. Dodia, a former venue employee and current project manager, addresses how many concepts within professional project management are utilized within the live music industry. It’s a well-researched, informative, and highly enjoyable read, especially if you’ve always wondered whether your skill-set has a larger professional application. I encourage you to check it out (and not just because I'm quoted).

It’s a Long Way to the Top if you Wanna Rock ‘n’ Roll: Project Management in the Concert Industry (Presentation from UT Dallas Project Management Symposium August 2011)

Our Week on the Web - 2011-10-16

• Playing the event staffing numbers game is a bad bet http://t.co/pWKwyFo7 #eventprofs #


• Fees, Scalpers, Scams: Why Buying Concert Tickets Sucks http://t.co/ZTn6zdCN #


• RT @ThisIsSethsBlog: Seth's Blog: Gala economics http://t.co/MoAOIwb6 #

Our Week on the Web - 2011-10-09

• Boom! RT @Deafula: That new Lou Reed/Metallica song sounds like a high fidelity recording of an old man reading poetry in a sports bar. #


• Making your event bicycle-friendly http://j.mp/enAsmf #eventprofs #


• Money talks - Contract would give Indio part of Coachella, Stagecoach ticket sales | The Desert Sun http://j.mp/oxxPvM #


• A good start - Cheap Trick's Rick Nielsen to lobby for legislation creating standards for temporary stages http://j.mp/oMroyE #


• The Punk Rock CEO http://j.mp/gn5S5I #eventprofs #


• RT @Pollstar: Cheap Trick recently visited Congress to call for increased regulations on temporary stages http://t.co/V8bh1eno #

Our Week on the Web - 2011-10-09

• Boom! RT @Deafula: That new Lou Reed/Metallica song sounds like a high fidelity recording of an old man reading poetry in a sports bar. #


• Making your event bicycle-friendly http://j.mp/enAsmf #eventprofs #


• Money talks - Contract would give Indio part of Coachella, Stagecoach ticket sales | The Desert Sun http://j.mp/oxxPvM #


• A good start - Cheap Trick's Rick Nielsen to lobby for legislation creating standards for temporary stages http://j.mp/oMroyE #


• The Punk Rock CEO http://j.mp/gn5S5I #eventprofs #


• RT @Pollstar: Cheap Trick recently visited Congress to call for increased regulations on temporary stages http://t.co/V8bh1eno #

The Punk Rock CEO

I do not own an iPad.

I do not use an iPhone.

I haven’t even owned a real iPod since my second-generation brick was stolen nearly 7 years ago.

I’m constantly astounded that you’ll find more people hanging out in the Apple Store than in the mall’s food court.

In truth, I’ve never really bought into the “Cult of Apple” at all. Mostly, I’ve found their products to be beautiful and functional, but not necessarily the life-altering technologies most make them out to be (with the glaring exception of the iPod, of course). Perhaps it’s due to some hidden contrarian streak, but I mostly couldn’t be bothered. If it does the job, any tool will due for me. Which is not to say I don’t mourn today for the man behind them.

What Steve Jobs represents for me is not technology. It’s not design, or marketing genius. It’s freedom, courage, determination, and a healthy dose of the rebellious, “fuck you” attitude lacking in most modern entrepreneurs who “make it”. Most eventually get swallowed by their board (as Jobs did himself once), or their product, or their own ego. They lose the edge that made them successful. Not Steve. Although many saw him as sort of a No-Cal Quazi-Zen guru type (is that even a term?), I’ve always seen him in a different light. He was the punk rock CEO, of which few truly remain. Steve was uncompromising in his vision, even when it failed him. He trusted his instincts, and in the course of running a company changed the world forever. Even though I may not drool over Apple’s latest offerings, I’ve always had respect for where they came from, and more importantly the spirit behind them.

RIP Steve.

‘Have the courage to follow your heart and intuition’ “Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma — which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. Everything else is secondary.” - Steve Jobs

Making Your Event Bicycle-Friendly

Portland, Oregon. Or as one might otherwise call it, Bike City, USA . With the possible exception of Copenhagen, there’s no town on earth that has such passion and respect for the bicycle. It’s a love that extends from soup to beer, a testament to the belief that anything that can be done can be done on two wheels (which is not to say that you should). So here in Portland, integrating bicycles and bike culture into the event environment is common practice. But for those of you in less bicycle-friendly areas of the country, you may not have given much thought to the benefits of encouraging your guests to consider alternate modes of transportation. In fact, helping them leave the car at home will not only promote health and sustainability, but with reasonable planning will help tremendously with your traffic and parking operations.

If the location of your event site makes cycling feasible (sorry, Burning Man), here are a few ideas that can help encourage your guests to ditch the Dodge for the night:

Designated bike parking - In lieu of simply installing bike racks, consider creating a complimentary bike parking “corral” at your event. Make sure this area is close to the facility, well-lit, and continuously monitored by event personnel. As an added bonus, bicycle corrals are excellent sponsorship opportunities for a local bike shop, and I’ve found them to be an easy sell. They may even consider offering tune up services while guests are at the event increasing both promotional or revenue opportunities.

Recommend bike routes - Although there are several sources online that offer recommended point-to-point bike routes, these are often out of date and decidedly questionable. Instead, consider positing a list of recommended bike routes from various locations on your event’s website. I recommend developing these in conjunction with your local law enforcement, or at a minimum notify them to expect the possibility of increased bicycle traffic. Printed maps may also be distributed to local bike shops, and could include additional marketing opportunities for appropriate clients (healthcare, grocery, or fitness).

Offer free parking and/or rebates - If you charge for parking onsite, promote the fact that bicycle parking is free. If the cost of vehicle parking is included in your event ticket price, offer those riding bikes a rebate in the amount of the parking charge which can be utilized onsite. For example, when a guest checks their bike at the bike corral, have the attendant stamp their ticket. The guest may then show their ticket stub at any concession stand for a free bottle of water or soft drink. The concession stand will then punch a hole in their ticket stub directly over the stamp to prevent re-use.

Use bike shops as distribution points - If you’re conducting special ticket promotions (ticket vouchers, coupons, etc), consider using local bike shops as a primary distribution point. Doing so not only drives customer traffic to a potential sponsor (see above), those utilizing the promotion would be exactly the demographic most likely to cycle to the event.

Or be really ambitious and just power your event with bicycles.

Our Week on the Web - 2011-10-02

• New Post: Rockabye Baby - Bringing Kids to Adult Events http://j.mp/gn5S5I #eventprofs #


• Brilliant idea, yet kinda creepy tech - RT @1tommyking: Find Venue Sociability With SceneTap http://t.co/kYY80E93 via @techDOTli #eventprofs #

Our Week on the Web - 2011-10-02

• New Post: Rockabye Baby - Bringing Kids to Adult Events http://j.mp/gn5S5I #eventprofs #


• Brilliant idea, yet kinda creepy tech - RT @1tommyking: Find Venue Sociability With SceneTap http://t.co/kYY80E93 via @techDOTli #eventprofs #

Our Week on the Web - 2011-10-02

• New Post: Rockabye Baby - Bringing Kids to Adult Events http://j.mp/gn5S5I #eventprofs #


• Brilliant idea, yet kinda creepy tech - RT @1tommyking: Find Venue Sociability With SceneTap http://t.co/kYY80E93 via @techDOTli #eventprofs #

Rockabye Baby - Bringing Kids to Adult Events

A few months following the birth of my daughter in 2008, I had my first opportunity to attend (rather than work) an outdoor music festival (Pitchfork in Chicago, for those of you wondering). Observing the crowd for the first time through fresh, fatherly eyes, I was struck by several people who were attending the event with children in tow. We’re not talking teenagers, or even pre-teens...these were parents of infants and toddlers, schlepping bottles and diaper bags between stages as one would nachos or the drunken carcass of their best friend. Although I had seen this practice hundreds of times before, this was my first time witnessing it as a parent. Even though most had the good sense to provide their children with at least a modicum of personal protection (earplugs and sunscreen), I was initially disgusted and disheartened by this display of “irresponsibility”. I vowed right then and there that I would never, ever torture my daughter that way. And I’m not referring to subjecting her to Vampire Weekend.

Since this initial exposure, I’ve since warmed to the idea of bringing younger children to SOME adult-oriented events. Not only can it prove necessary for the maintenance of the parent’s sanity, it is a good way to expose your kids to arts and culture that doesn’t involve grown men in creepy matching outfits (no, not DEVO) and insipid purple dinosaurs. However, the event professional in me recommends a fair amount of pre-planning if you want your outing to be enjoyable for the entire family, and to avoid an unwanted visit from child services.

1) Choose your events wisely- as a hater of most children’s music, I welcome any opportunity to expose kids to a wide range of (non-pandering) art. However, a certain amount of discretion must be taken when selecting which events to attend. I don’t mean this in a musical taste/vulgarity sense (don’t get me started on that one), but on the actual physical characteristics of the event. Does it take place in an environment where you’ll be able to step away and wind down if need be, or is it in an unforgiving asphalt parking lot? Is the crowd demographic traditionally respectful of personal space, or should you expect junior to be rubbing against sweaty, swaying bodies all day?

2) Do your research - Be sure you know where the restrooms are located, what food options there are, and what is allowed in to the facility. Pay special attention as to whether re-entry is permitted, and for how long (you never know when you’ll need to take a car break).

3) Come prepared - To steal a phrase from Henry Rollins, you are now officially a baby roadie - your job is to schlep around all the necessities for your newly-minted rock star. And just as in your day to day life, you’ll need to bring with you everything you’ll need to make it through the day. Most venues do not sell diapers, formula, or anything close to healthy food (or, really, "food"). As mentioned above, make sure you do your research to be sure you can bring in everything you need.

4) ALWAYS ALWAYS ALWAYS bring hearing protection - If you plan on attending concerts regularly, invest in an excellent pair of child-sized noise cancelling headphones. Foam earplugs work in a pinch, but aren’t meant for small ears, which makes them uncomfortable and more likely to be lost or removed. As an event promoter, I have absolutely no qualms about throwing you out on your Docker-laden ass if you aren’t protecting your children’s hearing. See that fine print on the back of the ticket? That gives me the right. Don’t make me do it.

4) Watch the weather - the morning of the event, take a look at the weather report. Is it going to be over 90 degrees, sunny, and humid? Then call up your friends and get rid of your tickets, because there’s no way in hell you should be bringing a child out in weather like that for any extended length of time. Heat illness can strike children much quicker than adults. Don’t risk it.

5) Watch your intake - having a beer while watching a concert with your child is not a criminal offense (although I still recommend against it simply due to optics). However, getting sloshed and relying on junior to get you back to the car is an entirely different matter.

6) You’re on their schedule - Kids don’t care about set times, or your favorite song. When they’re tired, or hungry, or just ready to go, your fun is over. Know this, and accept it. Consider making it halfway through the opening act a success, and don’t be too disappointed if you don’t even make it that long.

Above all, don’t hold it against your kids if that despite all your planning efforts, things just don’t work out. They’re only acting their age...you’re the one still thinking you’re a free-wheeling 24 year old with a social life. Besides, I’ve learned that staying home with the kids on a Saturday can be just as exciting as seeing Ozzy for the 10th time.

And probably with just as much vomit...

Our Week on the Web - 2011-09-25

• RT @ready2spark: What if your band shares a name with right-wing pols? Tea Party decides they might sell their domain http://t.co/ZXXIStcA #


• KJ goes for the throat yet again. One of the many reasons to follow him : RT @PlannerWire: A Sad Day for the Broadmoor http://t.co/wbJjOQwS #


• I sense a logistical nightmare -Radiohead's Going To Beat Music's Ticket Broker Problem All On Their Own http://j.mp/q0ll0L #


• Anyone surprised by a $16 per muffin charge has obviously never drank from the hotel minibar before.
  #eventprofs #

Overbranded

A reality check for all the old-school, rock’n’roll purists out there...the days of the sponsorship-free concert are over. Done. As finished as Charlie Sheen’s career. And contrary to what you may believe, its death was not the result of some corporate money grab (well, mostly, anyway...). It was a survival move. The increased cost of concert production, coupled with the ever-swelling guarantees demanded by many artists meant ticket and concession sales could no longer support the promoters bottom line as they once could. For concerts to continue being a worthwhile (i.e profitable) venture, producers needed to find new ways of generating revenue. Borrowing a page from professional sports teams, promoters and venues embraced corporate sponsorship with overwhelmingly lucrative results. Seeing the money that could be made by dropping their anti-corpo-itarian posturing, the artists soon followed suit. And the new face of rock became...Nike.

After years of fruitless resistance, the young punk in me has come to accept, even embrace, tasteful corporate sponsorship as a necessary part of the modern concert landscape. After all, with no profit, there’s no show. However, I do contend that there is a fine line between tasteful, effective branding and gross discourteous profit generation that should never be crossed.

Accepting that corporate sponsorship of concerts is a necessity (even a benefit) does not mean you should allow your client's marketing efforts to overwhelm your event. In fact, "overbranding" your event can actually work against your goals. People appreciate and respond to effective, tasteful integration of sponsorship into their event experience. Conversely, they will reject and resent efforts that scream in their face, rather than whisper in their ear or tug at their emotions. Sponsorship should enhance an event, not overshadow it.

Similarly, there is such a thing as too much sponsorship. Scarcity creates (and even raises) value...even if such scarcity doesn’t actually exist. Not only do guests have a limited capacity to absorb event marketing, too much sponsorship dilutes the marketing efforts of ALL your clients and decreases the overall value of participation.

Its the difference between allowing a dealership or local car stereo shop place a tasteful nameplate on your shiny new BMW after doing some work, and slapping bumper stickers all over the ass of your Corolla. One demonstrates that you have taste, and value quality and reward experience. The other will get you ridiculed and, contrary to your intent, almost universally ignored.

Given the choice, which would you want to drive?

Our Week on the Web - 2011-09-18

• A little industry drama for your reading pleasure - Alleged censorship at Track 29 ripples through concert industry |http://j.mp/rnF0rn #

Attack of the Clones

Editors Note - Welcome to latest edition of “Let’s See Who We Can Alienate This Week”.  Avoid reading further if you offend easily or can't handle well-intentioned criticism. We’ll resume our otherwise good-natured writing shortly.

Tired of tumbleweeds blowing across the sands of your website? Struggling in vain to increase your blog's visitor traffic? After many hours trolling the Internet, I have discovered the obvious solution to your problems.

Start blogging about how to increase your blog traffic.

It’s a method proven to send visitors flocking to your website, hanging breathlessly on your every word. It doesn't matter if your website is about widget manufacturing, or if you know next to nothing about how to ACTUALLY increase blog traffic. Just enter "increase blog traffic" in the search engine of your choice, and blatantly snatch ideas from one of the millions of listings that come back. Which site you choose is irrelevant- a quick read of your search returns will make it apparent that everyone else has done exactly the same thing as you are. Toss your pirated goods into some hastily-written copy and "Presto!"...you've joined the chorus of voices saying the same damn thing for fun and profit. I guarantee that your site’s traffic will improve...because there's a billion other bloggers out there looking for the same quick fix.
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Ok...so perhaps I'm joking, if only slightly. However, this (admittedly snide) example is demonstrative of a larger issue I see happening as more event professionals begin their own blogs. If you're going to invest time in maintaining a blog, you basically have a choice to make. You can hold visitor traffic and re-tweets as your holy grail, and choose your topics based upon what will appeal to the largest number of visitors, regardless of how played out the topic may be. Or you can be a leader and forge your own path, be original, and be fearless in exploring subjects that may not have mass-resonance, even within your field of expertise. Sadly, too many otherwise fine event writers seem to have chosen the former, regurgitating endless variations of the same social media and networking topics that have been written hundreds of times before. I myself have been guilty of this on more than a few occasions, and I hardly consider myself one of the industry’s finer examples of professional writing.

Yes, focusing on these well-worn topics will drive traffic, which is necessary for building your personal brand. But unless you're bringing something new to the discussion, it’s also lazy, and limits the options of those event professionals yearning for new ideas and information. There are literally thousands of event-related issues that can (and should) be addressed - so why do I keep seeing the same things crossing my media feeds over...and over...and over?

The event industry can only thrive with a relentless dedication to creativity and originality. We should hold our blogs to equally high standards, and avoid falling into the trap of lazy repetition simply because it “sells”.

Our Week on the Web - 2011-09-11

• Bring the Noise: Handling Noise Complaints http://j.mp/enAsmf #eventprofs #


• New Post: Bring The Noise – Handling Noise Complaints http://j.mp/gn5S5I #eventprofs #


• Great NYT piece on one of the nation's best festivals (IMO), Austin City Limits- http://j.mp/nFzeT2 #

Our Week on the Web - 2011-09-11

• Bring the Noise: Handling Noise Complaints http://j.mp/enAsmf #eventprofs #


• New Post: Bring The Noise – Handling Noise Complaints http://j.mp/gn5S5I #eventprofs #


• Great NYT piece on one of the nation's best festivals (IMO), Austin City Limits- http://j.mp/nFzeT2 #

Bring The Noise - Handling Noise Complaints

Back in the early days of my venue management career, I had an stalker. Well, maybe not a stalker, per say...although I spoke with her often enough to recognize her telephone number when it came across my desk. Her name was Mary (or as I half-affectionately referred to her, Crazy Mary), and she lived in a neighborhood not far from our venue. I would receive at least one call from her during most concerts, although (thankfully) not with any amorous intentions. No, she’s call to complain. Loudly. About the noise. Never mind that the venue had been active for nearly a decade before the subdivision she lived in was even built...our horrible little outpost of sin and vice was destroying the purity of her sleepy Midwest suburbia, and she demanded that we tell those heathens on our stage turn it down. Tell that to Lemmy, ma’am.

When it comes to concert production, Abraham Lincoln was right - you can’t please everyone all of the time* . No matter how respectful of your surroundings you may be, sooner or later you will encounter a noise complaint (or several). When that fateful day does come, dealing with your disgruntled neighbors will require more than a half-hearted apology and filing away the complainants name. Dealing with such complaints and minimizing them in the future requires several proactive steps.

Anticipate issues before they arise- A sad reality about noise complaints - most people who complain about the volume level at your event are not really complaining about the volume at all. Whether they admit to it or not, most are actually complaining about the music itself, or the audience which the concert attracts. Volume is simply a convenient, socially “safe” excuse to express their displeasure with what is occurring on their doorstep.

One venue in which I worked was situated adjacent to a pricey yacht club....one of those sweater and boat-shoes type places you thought only existed in John Hughes movies. Despite the obvious culture clash between our two establishments, the relationship was remarkably friendly. Most nights, boaters were regularly seen lounging dockside, drinks in hand, soaking in the free sounds on a warm summer night. That is, until we hosted a nationally-promoted hip-hop tour at the venue. Although the exact number of noise complaints escapes me now, they numbered in the dozens, which was more than the venue had garnered during the entire season beforehand. Yet in terms of volume, the monitored sound level was no different than the hundreds of concerts produced previously. All that differed was the artist on stage, and the people in the audience.

I have no intention of arguing the social implications of this phenomena (although it IS tempting). Rather, I mention it to show that knowing what events are likely to raise complaints is the first step to proactively dealing with them. Research your venue’s complaint history, and make an effort to know the demographics of your area. These actions may not tell you exactly which shows you should worry about currently, but it may give you a partial snapshot so you can estimate your complaint level.

Plan ahead - By knowing what types of shows are likely to garner complaints (as mentioned previously), as well as the general area in which the noise complaints arise from (more on that in a moment), you can take additional steps to minimize any potential impact your noise levels may have. Adjusting your stage position and show/set times are just two ways in which you can help limit noise and minimize complaints.

Take complaints seriously - when a noise complaint does arise, by all means TAKE IT SERIOUSLY. Never, ever ignore their grievance or treat it with anything other than complete seriousness (which I’ll admit is often very difficult). There may be little that you can actually do at the current time, but a bit of understanding and compassion can go a long way in avoiding an escalation of the situation. Escalation usually involves the local police, who are usually much harder to appease once they've been called. Listen to their complaint, offer to do what you can, and be sure to get their name, address, and telephone number. This is important to identify what areas are being impacted by excessive noise, and so that you can....

Follow up with them - Based on their complaint, take whatever steps you feel prudent to prevent another complaint (structural changes, lower noise guidelines, bribery). Following the next event, reach out to those persons who previously complained, even if they didn’t do so this time. Inquire as to if there were any issues this time around, and casually mention the mitigation efforts you put in place based upon their initial complaint. This will send the signal that you are concerned with their well being, and will (hopefully) warm them to your cause enough to prevent additional complaints.

Unless, of course, you work near Crazy Mary.

* In actuality, Lincoln is generally quoted using the word “fool” in place of “pleased”. Who knows where this common substitution began, or who was actually responsible for it. But since Lincoln himself likely nicked the quote from Lydgate, Aesop, or one of the other 500 sources its attributed to, I figure he wouldn’t mind some (potentially) unfounded credit.

Our Week on the Web - 2011-09-04

• Makes the case for fostering fans and partners, not simply customers - "Growing Pains for Burning Man Festival" - http://j.mp/p0R3Fc #


• Four Hard Truths For The New Concert Professional http://j.mp/gn5S5I #eventprofs #


• Bay area peeps, your night has been planned. RT @NathanDoFrango: This Friday Night @ZUGHAUSgallery - Free Concert - http://t.co/yQrAYO8 #

Four Hard Truths For The New Concert Professional

During my recent vacation, I had a conversation with a young relative who was interested in pursuing a career within in the concert industry. His questions were typical of most people I talk shop with - did I get to meet the artists? Does everyone really party all the time? Are the toilets backstage really gold? Ok, I made that last one up. Regardless, it became quickly apparent that he was yet another victim of MTV’s trafficking in “concert lifestyle misconception”, fed by carefully scripted videos meant to demonstrate how “fun” the live music lifestyle really is.

After checking to see if he hadn’t been covertly visiting the tiki bar (Tropical-themed weddings FTW), I settled back into my role as professional truth-teller (aka insufferable buzzkill), and told him four hard truths every new concert professional must accept.

Have no illusions of living a normal life - when you’re first starting out in the concert industry, your working hours are usually brutally long and inconsistent (as you progress, conditions do improve somewhat, although remain FAR from your normal 9 to 5). Personal relationships can be difficult to maintain with anyone employed outside the industry. You’ll be working when most of your friends and family have the day/night off, so plan on missing many, many family and social gatherings. On plus side, all this togetherness virtually guarantees that you’ll develop strong bonds with your fellow co-workers. After all, you’ll see them more than your family for a good long while.

It’s physically demanding - If you want to keep up with the rigors of the job, you’ll need to keep yourself in decent physical condition. Even if you aren’t “laboring” per say, you’ll spend most of your time walking, climbing, carrying, and crouching. If you don’t make efforts to stay in shape, you’ll definitely be feeling it the next day when...well...you need to go back to work for another 18 hour stretch. Not only are the demands of the job physically taxing, the unconventional working environment will potentially exacerbate any vices you may currently have. If you smoke, you’ll probably smoke more (especially outside during events). Your dietary habits will be questionable (think Red Bull for dinner). And those after-work drinks will end up feeling twice as good...for a while, anyway. So to prevent an early burnout, it’s critically important that you take care of yourself, physically and emotionally.

There are plenty of benefits...great pay usually isn’t one of them - When you’re first starting out, your salary will range from virtually non-existent to only slightly livable . Over the next few years, things will improve somewhat, but it’s doubtful you’ll be compensated anywhere near where you feel you should be given the time and blood you’ve put into the job. This is the sad reality of the business (and most other “glamor industries”) - there’s a line of people behind you just waiting to take your place. Early in your career, you’re only slightly more than disposable, and your compensation will usually reflect that. But given that you’re rarely home long enough to spend those hard earned pennies, it isn’t as tough as it seems. Stick with it, and you’ll hopefully progress to a point when you can discard those Ramen noodle for good.

It’s not as glamorous as you think - Raucous backstage parties? Hanging out with the artists? Not so much. As the concert industry has matured, it’s become much like any other business - disciplined, professional, and decidedly serious. Backstage lounges and free-flowing Jack Daniels have been replace with workout rooms and protein shakes in most circles. Don’t get me wrong, it’s still a fantastically fun working environment, mostly due to the people you’ll be working with. It’s just not what those old Poison videos would lead you to believe.

Although telling him these four truths may have taken the sheen off of his desire to enter the field, he seemed no less determined at giving it a try. Which is good...because determination is exactly what is needed to make it past the blood-letting of your few years in the industry. Once you’re fully within the professional stream, though, conditions do improve...right about the time you’re ready to hire the next generation of starry-eyed young professionals yourself.

Our Week on the Web - 2011-08-28

• Quick Hit - Under New Management: http://j.mp/gn5S5I #eventprofs #


• There's a joke in here somewhere - Gibson Guitars raided by the Feds over...wood? http://j.mp/qKMfub #

Under New Management

We pass them daily...stark, brightly colored banners draped across storefronts, begging to be noticed. Usually, they come off as less a declaration than an apology, a desperate gesture meant to say “Hey, we've changed! Things are different now! We’re not those other guys...give us another chance”.

In truth, the sign is usually the only thing that’s different (aside from the owners on a rare occasion). The same indifferent staff, the same structural problems, and the same operating philosophy still remain. If a brand or operation has fallen so precipitously that there’s a need to broadcast to the world that they’re not those “other guys” anymore (either literally or philosophically), new management and a snazzy vinyl sign won’t bring people back. You need results.

A better approach may be to save the money, steel for the long haul, and be ruthless in the pursuit for real operational change. Because much like a torn dust jacket on an old hardcover, that sign will eventually will come down. And the story inside better be memorable if it hopes to be re-read.

Our Week on the Web - 2011-08-21

• Summer Festivals Pose Unique Risks to Insurers http://j.mp/o116g3 #


• In light of recent events, I've posted some thoughts on infrastructure safety at events. Read more here: http://j.mp/j5qfHN #


• Belgium now...4 confirmed dead in tent collapse at festival. Unbelievable...http://j.mp/nymyW4 #

Our Week on the Web - 2011-08-21

• Summer Festivals Pose Unique Risks to Insurers http://j.mp/o116g3 #


• In light of recent events, I've posted some thoughts on infrastructure safety at events. Read more here: http://j.mp/j5qfHN #


• Belgium now...4 confirmed dead in tent collapse at festival. Unbelievable...http://j.mp/nymyW4 #

A Rare Cross-Promote...

I try to avoid cross-promoting blog posts between this site and my other site, but in light of the timeliness and seriousness of the subject I figured I'd break my self-imposed guidelines this time. If you've been following developments surrounding the recent stage collapse in Indianapolis and care to know my thoughts about staging and infrastructure safety, I have a new post up at Event Safety Consultants I invite you to check out.

Likewise, if you have the financial means, I encourage you to donate to the Indiana State Fair Remembrance Fund.

Be safe out there.

19 Steps For A Greener Event

Note:  The following article is a re-post from Summer 2010. However, the points made are as relevant as ever. We'll be back from vacation with new material next week.  Enjoy!

A few years ago, I was producing an event featuring Jack Johnson. A noted environmentalist, Johnson's production rider contained a number of suggestions of steps the venue could take to raise public awareness and make the event a bit more earth-friendly (no small feat, as anyone who's produced a large event knows). As I just recently read that he's on tour again, I decided to expand on his recommendations, and share them with anyone looking for some hints on producing a “greener” event.

• If using generators to power your event, inquire about the use of bio-diesel blends as opposed to regular diesel fuel (check with generator supplier first, NEVER assume its ok, regardless of what the fuel supplier tells you ).


• Make sure you have plenty of clearly marked recycling bins throughout the facility.


• Where possible, require your catering contractor use washable dishes and silver wear. When not possible (such as with your general concessions), ensure disposable goods are biodegradable and/or recyclable.


• Offer a free on-site sponsorship to a solar storage unit provider. Offer them display space and other amenities in exchange for the powering other small on-site displays. There's no better way to demonstrate your product than powering the show!


• Sell a sponsorship for small branded bags to be placed on each seat. Include a flier that directs guests to fill the bag with their trash and drop it at the exit. Make each bag redeemable for a giveaway (a ticket voucher, coupon, etc). Helps save money on cleanup too!


• Encourage biking to the event with a specially designated bike-check area. Offer complimentary air, and perhaps partner with a local bike shop to provide discounted tuneup service.


• Set up special "compost" bins for food scraps. Have them picked up by a local community gardening group after the event. Better yet, allow them to promote their group on-site in exchange for them administering the program (i.e. emptying the bins throughout the event).


• To encourage car-pooling, offer a parking "rebate" or a coupon for vehicles containing 4 or more passengers. Promote this aspect before the show for maximum impact. Sell the program as a promotional sponsorship package to an auto dealer, fuel supplier, or anyone trying to convey a "fuel efficiency" image.


• If technology permits, encourage digital ticketing whenever possible (more on this in a future post).


• Work out a promotional deal with a local bus company for transit to and from your event.


• Institute a "no idling" policy backstage for deliveries and truck/bus drivers. Create a "cool zone" with air conditioning, television, and wi-fi for drivers. (those trucks and buses are usually the drivers home. Make sure they have a place to relax when you tell them to turn it off).


• Discourage the use of non-biodegradable confetti in artist set pieces (i.e plastic or foil). Make note of this policy in your production advance.


• Ensure that your cleaning contractor uses non-toxic supplies whenever the option exists.


• Whenever possible, use paper cups for drinks as opposed to plastic (check your local ordinances regarding alcohol, it may need to be served in a transparent cup).


• Combine runner trips to conserve fuel.


• Rent electric golf carts whenever possible. Better yet, rent bicycles...they're cheaper and better for you and the environment. They may even have cargo bikes for your supply needs.


• If you manage the venue where your event is held, consider landscaping the venue with native vegetation. It's less costly and easier to maintain than traditional landscaping.


• Make your event completely smoke free. Aside from the benefits to air quality, you'll greatly reduce your waste from all those cigarette butts. If this isn't an option. Restrict smoking to an isolated area on-site.


• If the above steps are impossible, consider donating part of your profits to a local environmental charity. If you opt to purchase carbon offsets, be VERY rigorous in your investigations before doing so.

As you can see, some of these steps are easier to institute than others. I welcome any additional ideas you may have in the comments below!

Our Week on the Web - 2011-08-14

• First week of vacation almost in the bag & the stir-crazies gave started. Yeesh... #


• The slow climb - Live Nation Bounces Back With Strong Earnings - NYTimes.com http://j.mp/pq9LN5 #


• The downside? Network effects: Social media’s role in the London riots http://j.mp/rdsk0E #eventprofs #


• Stage collapse at Indiana State Fair kills at least 4 - http://j.mp/qtG0bV #eventprofs #


• Can't overstress the importance of having a strong severe weather event plan- 5 dead in fair stage collapse- http://j.mp/ohBw9f #eventprofs #

Our Week on the Web - 2011-08-14

• First week of vacation almost in the bag & the stir-crazies gave started. Yeesh... #


• The slow climb - Live Nation Bounces Back With Strong Earnings - NYTimes.com http://j.mp/pq9LN5 #


• The downside? Network effects: Social media’s role in the London riots http://j.mp/rdsk0E #eventprofs #


• Stage collapse at Indiana State Fair kills at least 4 - http://j.mp/qtG0bV #eventprofs #


• Can't overstress the importance of having a strong severe weather event plan- 5 dead in fair stage collapse- http://j.mp/ohBw9f #eventprofs #

Our Week on the Web - 2011-08-07

• Eventbrite, a Ticket Sales Start-Up, Aims at the Small - NYTimes.com http://j.mp/qubXVz #


• There’s A (Ticket) Riot Goin’ On… http://j.mp/enAsmf #eventprofs #


• Have a couple Google Music invites left. DM me if you want one. #


• In town for less than 24 hours and already wrecked. Oh, Chicago, why do you tax my liver so? #

Our Week on the Web - 2011-08-07

• Eventbrite, a Ticket Sales Start-Up, Aims at the Small - NYTimes.com http://j.mp/qubXVz #


• There’s A (Ticket) Riot Goin’ On… http://j.mp/enAsmf #eventprofs #


• Have a couple Google Music invites left. DM me if you want one. #


• In town for less than 24 hours and already wrecked. Oh, Chicago, why do you tax my liver so? #

There's A (Ticket) Riot Goin' On...

Sorry Sly...

There’s a battle currently raging in the entertainment world that may have a profound effect on who pockets your concert dollars in the future. The major players are well known, heavily financed, and have built sophisticated marketing programs to ensure that their message captures the hearts (and wallets) of the nation’s music fans.

No, it’s not a battle for chart position, or who gets top billing at the next major festival. It’s over how you may purchase your next concert ticket, and what you’re allowed to do with it once you do.

At issue is the ever-increasing presence of the secondary ticket market (better known by the far-more derogatory name of scalping). Opinions on this practice generally fall into one of two camps - those who view scalping as a nefarious practice that hurts artists and the ticket-buying public (not to mention their own profits), and those who make their living from the resale of tickets. As the debate has intensified, two "grassroots" organizations have emerged (or more accurately, been created) to lobby and/or influence potential legislation regarding ticket reselling. As you'll see, "grassroots" is a very loose interpretation:

Fans First Coalition - Although technically a non-profit organization, the primary financial backer of the Fans First Coalition is Live Nation, who’s merger with Ticketmaster last year made them the biggest player in ticketing. The group has broad support from a number of industry players, including artists (REM, The Dixie Chicks), sports teams (Carolina Panthers) and venues (virtually every Live Nation venue).

Fan Freedom Project - Acting as philosophical counterweight in this battle is the Fan Freedom Project, who’s major financier, StubHub,  is the world’s largest ticket reselling portal and a division of the granddaddy of auction sites eBay.

At first glance, the players seem so similar that it’d be difficult for the uninformed to tell them apart. Both groups boast the support of some influential players, and are backed by some serious industry dollars. Both have their fingers in the secondary ticket market, yet claim to be acting solely on the behalf of concert fans. Hell, both have the word FAN right in their name. Although there are disagreements regarding specific business practices (and even some surprising agreements), the primary argument seems to rest on one philosophical question - is a concert ticket a commodity, or a permission slip?

The Fan’s First Coalition (i.e Live Nation/Ticketmaster) is advocating the use of paperless digital tickets as a method to combat ticket re-selling. The redemption of these electronic tickets are tied to the purchaser and the purchasing credit card. This makes them nearly impossible to resell on the secondary market. The FFC believes that this will circumvent some of the questionable practices many scalpers use to secure tickets, ensuring “real” fans easier access to tickets at a reasonable price.

Not surprisingly, the Fan Freedom Project (StubHub) is against the increased use of this technology. Outwardly, they argue that electronic tickets as currently designed are too restrictive, making the honest transfer of tickets and distribution among the purchaser’s party excessively difficult. In their mind, once you buy the ticket, it’s yours to do with what you like. Behind the scenes though, the motivation is primarily economic - anything that limits access to reselling puts a dent in StubHub’s business. Likewise, they argue that the primary backers of the Fans First Coalition (namely Live Nation/Ticketmaster) have their own fingers in the secondary market, so their attempts to circumvent the scalping process is disingenuous at best, designed more to protect their own interests than those of the fans.

So where do my sympathies fall?

Honestly, I’m of two minds about this. As a music fan, I’m naturally all for measures that will keep ticket prices reasonable for the greatest number of fans. I’m also for anything that makes the concert experience easier and more enjoyable for everyone involved. However, I’m also a firm believer in the philosophy of free market competition. And despite the use of “fans” in their name by both groups, neither party is using the fans best interest as their primary driver. It’s economics, pure and simple. So let’s dispense with all the talk about “fan friendliness” already - who’s argument carries the most intellectual weight? My vote is with the Fan’s First Coalition...on a purely technical basis.

In my opinion, a concert ticket is no different than an airplane ticket - you pay for the ride. And just like airplane tickets, if you buy’em, you own’em. There’s no inherent right to resell them, transfer them to another party or (most of the time) return them. You alone are responsible for your purchasing decision. It’s not the company’s responsibility to conform its policy to your life circumstances, and they have every right to protect their interests any damn way they please. Just as concert fan have the right to protest such actions...with their entertainment dollars.

I get that some may find this to be a less-than-fan friendly position to take. I also understand the hypocritical nature of fighting for restrictions on the secondary ticket market while simultaneously participating in it yourself. But let's be honest...there may be a few people every show who may sell their tickets to their buddy, or toss them up on Craigslist. But the vast majority of resellers are professional ticket-jockeys who employ often unscrupulous means to snatch up large blocks of tickets, and then resell them at an hyper-inflated price. Arguing that your primary interest in preventing restrictive digital tickets is to protect the fan is simply disingenuous.

Tossing out all the talk about who’s REALLY looking out for the fans (since neither group is), the argument becomes about how a public corporation is allowed to design, package, and protect its own product. In this regard, StubHub (err, I mean, the Fan Freedom Project) just doesn't have a ticket to the show.

Our Week on the Web - 2011-07-31

• The Cool Kids Don't Get Paid http://j.mp/gn5S5I #eventprofs #


• Awesome - Web Browser Add-Ons Let Users Block News Corp-Owned Websites | TPM Idea Lab http://j.mp/q0yo0m #


• IMHO, if it's real time, it's live! RT @JoanEisenstodt: If someone says an event is "live", can that only be f2f? #eventprofs #


• Cheap Trick Seeks Collapse Answers | Pollstar - The Concert Hotwire http://j.mp/p1uJyO #


• Charges filed in fatal festival stage collapse - Forbes.com http://j.mp/nphMbI #

Our Week on the Web - 2011-07-31

• The Cool Kids Don't Get Paid http://j.mp/gn5S5I #eventprofs #


• Awesome - Web Browser Add-Ons Let Users Block News Corp-Owned Websites | TPM Idea Lab http://j.mp/q0yo0m #


• IMHO, if it's real time, it's live! RT @JoanEisenstodt: If someone says an event is "live", can that only be f2f? #eventprofs #


• Cheap Trick Seeks Collapse Answers | Pollstar - The Concert Hotwire http://j.mp/p1uJyO #


• Charges filed in fatal festival stage collapse - Forbes.com http://j.mp/nphMbI #

The Cool Kids Don't Get Paid

The all-too-common story of the groundbreaking African-American artist getting screwed by their record company for millions is well documented by now. So common, in fact, that it even inspired a Soprano’s episode.

Sammy Davis Jr, beloved actor, dancer, and rat-packer, died of throat cancer owing millions to the IRS.

The New Kids On The Block were the hottest thing on the market in the late 80’s. Until their recent reunion, one of them was selling real estate.

Striving to be (or even being) hottest player in the market is no guarantee that your efforts will be rewarded over the long term - those bright lights not only blind, they can burn if you’re overly focused on them and not on developing and maintaining your core business. And with Twitter, Facebook, and now Google + providing everyone with a chance for internet stardom , flying headlong into the bug-light has never been easier.

To put it another way, Twitter and Facebook may be fun, but they rarely pay the bills (unless, of course, you’re Mark Zuckerberg). Most of the time, these tools prove to be a distraction, a clever toy that provides the illusion of productivity so you can avoid the troublesome burden of...well...finding and securing new business.

Although striving to be a social media superstar in your field is admirable, those efforts can’t (and shouldn’t) take the place of research, networking, and working hard to produce exceptional results when it comes to building a successful, profitable business.

Not merely the temporary illusion of one.

Added bonus - if you haven't yet checked it out, go here to how social media almost destroyed John Mayer's creative output. It's a great cautionary tale for anyone who partakes in creative (and business) endeavors.

Our Week on the Web - 2011-07-24

• Stage Falls At Ottawa Bluesfest; No Major Injuries | Pollstar - The Concert Hotwire http://j.mp/nh7zPP #


• Great advice for creatives of all types: RT @sivers: http://goo.gl/EbCRH John Mayer on resisting distraction of social media. #eventprofs #


• New Post: The Brilliance of Fox News (yes, you read that correctly) http://j.mp/gn5S5I #eventprofs #


• Finally got my Google+ and Spotify set up. I am now technologically up to date...for probably the next week. #


• Things ain't always what they seem - Scalping Battle Putting ‘Fans’ in the Middle - NYTimes.com http://j.mp/rnccIh #


• New Post: "What's That?" Making Noise About Hearing Protection for Event Staff http://j.mp/oiCGOp #


• "Like Peta sponsoring a Ted Nugent tour"- best quote ever: Promoter calls out Live Nation/TM on 'Fans First' conflict http://j.mp/nYkeKG #

The Brilliance of Fox News (Yes, You Read That Correctly)

I have a confession to make...a dark secret that I've been carrying around for some time now, something so deeply embarrassing that I've been reluctant to share it with my wife, my friends, and my family.

I read the Fox News website. Fairly regularly.

Perhaps reading is a slightly inaccurate description of my activities. Gawking is likely a more accurate term. Like rubbernecking at a car wreck, I find it impossible to look away from this shiny, misguided wreck of a “news” organization. Rest assured, I don’t go to the site to garner any real new and relevant information - rather, I regularly troll the site (especially its comment section) both to enrage and feel better about myself. Which, I’m sure is just fine with Fox News. Because I am not (and never will be) their target audience.

Lest you think that this post is nothing more than a self-indulgent pseudo-political therapy session, there is a point to my confession. That is, I have discovered that aside from getting your daily dose of misinformed, hyper-biased stupidity, there are a few nuggets of insight that event marketers can glean from Fox New’s example.

Message discipline is essential- despite its “Fair and Balanced” protestations, Fox News rarely strays from its conservative narrative. When a competing viewpoint does manage to break through its ideological firewall (usually in the “opinion” section), the purpose of its inclusion seems specifically designed to incite vitriol and witticism in the comment section. It manages to succeed with vitriol, anyway.

What this tells us - For a marketing program to be successful, it should have a single, well-developed theme it’s trying to convey. Make sure all materials and activities adhere to it religiously, and avoid putting out distracting and conflicting messages that can cloud your branding efforts.

Know your audience - There is little question who the typical Fox News viewer is. There’s also no question that the network knows this, as well. Unlike most other cable news organizations, Fox News was created to cater to a specific type of person (and ideological viewpoint), and they knew who its target audience was before it even opening their doors. This understanding has translated into consistent growth, without the wide audience fluctuations that plague other networks.

What this tells us - If you’re trying to build a brand, the importance of audience research can not be overstressed. You may THINK you know your audience, but do you know enough to really get inside their heads well enough to solidify their loyalty?

Pleasing everyone rarely leads to success - CNN is a perfect example of this. The grandaddy of cable news networks was once the most influential news source on television. However, once it’s competitors (Fox News and MSNBC) started chipping away at its viewership, the network went into a tailspin. In an attempt to defend its ratings between these two ideological outposts (although I would argue about MSNBC being explicitly ideological), CNN decided that the middle was the place to be, and coalesced its programming around being balanced and non-partisan.

It failed. Miserably.

The sad reality is, few people follow television news to be strictly informed. They want confirmation for their deeply-held, usually ideological viewpoints. By providing one without the other, CNN actually LOST viewers, and remains adrift to this day.

What this tells us - If you’re trying to target everyone with your brand messaging, you’re bound for failure. Because in trying to speak to everyone, you’re actually connecting with no one. Conversely, if you identify a specific audience, and research their wants, needs, and expectations, you've already done the heavy lifting when it comes to marketing. It simply becomes a matter of finding a channel to get in front of the audience, not figuring out how to connect with them.

I still disagree with most everything Fox News stands for (more in their marketing themselves as a “non-partisan” news source than their ideological viewpoint....maybe). But even I have to admit that their branding efforts are admirably shewed and effective. So there is something of value that can be taken away from Fox News after all.

Just not the news.