How to start a revolution in 2010. A Betty White case study.

Betty White’s spectacular job at hosting Saturday Night Live this weekend proved a couple of things:

  1. 88-year-olds talking about their “muffins” is frighteningly funny.
  2. Social Media is not only here to stay . . . it’s here to influence.

In Betty White’s earlier days, if you wanted change, someone would undoubtedly tell you to write a letter. You’d hear,  “Write your congressman,” or “Write the President of the Company,” or maybe even, “Write the editor of the newspaper, maybe they’ll run it in the paper and maybe a few people will see it on that specific given day and then it will disappear.”

Imagine if David Matthews (the man responsible for the “Betty White to Host SNL (please?)!” Facebook page that started this whole thing) had only a letter-writing campaign at his disposal to try and get that Golden Girl on the show.

Think it would have worked?

I’d bet you Facebook’s market value that it wouldn’t have.

Social Media is the new letter to your Congressman . . . without having to be addressed specifically to your Congressman.

Social Media is the new protest . . . without having to make signs or burn effigies or even show up.

You just have to click.

So if you want to get a beloved octogenarian on SNL, or fix a pothole, or maybe market a show . . . look no further than the screen in front of you.

And here’s the cool part . . . it’s a win-win for those wanting the change and those considering the change.

Public social media campaigns like the Betty Facebook campaign demonstrate what the market wants.   It’s a free focus group.  It’s listening to your audience. You think it took a genius network exec to actually agree to have Betty on the show?  It was the easiest decision Lorne Michaels has ever made!  With the type of friends and comments that Facebook page was drawing, and the amount of press the campaign was getting, it was a guaranteed ratings boost for the show.

Even if she hadn’t talked about her muffin.

For more on Betty’s muffin, watch the video below or click here.

(Not So) Favorite Quotes Vol. XXIV: Won’t you be my neighbor?

One of the couples on my floor loves the theater.  They go on a regular basis, have great taste, and are always asking me for recommendations on shows to see.

Oh, and get this . . . they always pay full price.  (insert “whoopee!” here)

Last week, I ran into them in the elevator and they told me they were on their way to see Red.  I started asking them my usual string of mini focus group questions:  how they heard about Red, if they could describe the artwork, and then I landed on my finale of, “Where do you go to get your tickets?”

Their answer was Telecharge . . . but then the husband’s eyes widened and I could tell he wanted to share some sort of secret.  Here’s what he said:

“Yep.  We buy on Telecharge.  And pay full price.  But we never buy in advance.”

My heart sunk . . . and I kind of wanted them to move to another building.

He continued:

“Yeah.  We find we get better seats when we buy last minute. Whenever we try to get something in advance, we always get crap. But if we go online the day before or even the day of, we usually find gold.”

When I heard this, I wanted to move . . . to Tallahassee. There’s something wrong with a ticketing purchase process that reinforces full-price buyers to wait until pulling the trigger.

So what’s the problem?

There are probably a few issues at work here, but I’d bet a couple of full-price tickets to Red that the issue most at work is that theaters and shows are holding too many of their best locations for House Seats, etc.  House Seats (or quality locations held for use by the Producers, Theatre Owners, Actors, Designers, etc.) that are not used get dumped back into the general pool of available seats 2-3 days before each performance, which is why there is sometimes a flood of good seats available closer to the performance.  My neighbor was probably getting the tickets held for the Set Designer, or one of the Principal Actors, etc.

The problem is . . . there are so many people that have House Seats in their contracts, that up to 75 prime orchestra seats can be held . . . for every performance.  I mean, is the Set Designer or Principal Actor really going to use 2 or 4 seats every night???

In survey after survey, our audiences tell us that the #1 thing that they want is a great seat . . . and we’re holding them back.

By serving our own selfish needs, we’re causing our customers to do one of three things:

– Not buy at all (there’s really no better seat than on your own couch).

– Wait until something better opens up, thereby decreasing our ability to build advances.

– Find better locations elsewhere . . . translation:  they are going to brokers.

That last one is the most ironic.  Everyone in our biz has been concerned about the huge amount of business going to third party ticket brokers.

Well . . . news flash:  we’re part of the reason our audiences are seeking them out.

We’ve got to find a way to give our customers as much access to the best seats possible.  And one of those ways is to decrease the number of house seats we all hold.

Then, after we’ve decreased the number of house seats . . . we can start charging for them.  (For more on house seats, click that link)