Every year the stage entertainment industry reaps tens of millions of dollars in revenue from volume ticket buyers. Surprisingly, however, the industry fails to capture millions more from overlooked and underdeveloped markets.
This book examines the prevailing myths that have been suppressing sales potential for decades. It describes untapped markets in detail and gives marketing and sales pros powerful tools for making group sales work. This is the definitive guide to volume ticket sales for theatre, performing arts, special events and popular entertainment.

Trevor ODonnell is one of North Americas foremost authorities on volume ticket sales for live arts and entertainment. He has promoted stage entertainment on Broadway, in London, in Las Vegas and in cities across the U.S. for industry leaders such as Disney Theatrical Productions, Cameron Mackintosh, Cirque du Soleil, Blue Man Productions, the Music Center of Los Angeles and many others.



Contributing editor Bob Hofmann is President of Broadway Inbound, a leader in business- to-business sales of volume tickets for North American stage entertainment.

Group Sales For Arts & Entertainment: The Myths, The Markets, The Methods
Paperback: 200 pages

Publisher: Entertainmentpro (March 15, 2005)

ISBN: 0896762548

Creative Industry is a daring collection of essays that charts the noisy revolution that is transforming the production, consumption, and understanding of culture in the all-wired era. It brings together seminal essays written across traditional and new media, industry sectors and national contexts to demonstrate that content still drives a value-neutral, knowledge economy.


Edited by JOHN HARTLEY, Queensland University of Technology (Brisbane, Australia

Blackwell Publishers, January 2005

Cultural organisations have long been protected from the harsh realities of the marketplace by relying on wealthy patrons or public subsidies. But as these sources of finance become more scarce they now find that they have to compete for an audience. Some have adjusted to this new reality, but many have not. This book describes the new competitive environment in which cultural organisations now operate and how the more innovative ones are re-thinking their marketing strategies. These organizations realise that they are dealing with a new type of cultural consumer ? one who is willing to cross the boundary between popular culture and high art but who wants a cultural experience that also entertains. With dozens of examples from the UK, US and elsewhere, this book will be essential reading for those who work in cultural organisations as they struggle to fit into the new marketing environment. It focuses on those aspects of marketing most related to the challenges currently facing cultural organisations, including determining their market segment and the positioning of their cultural product in a crowded marketplace. It will also be ideal for students of arts management or those who hope to work in the cultural industries. The new edition includes a useful chapter focusing on promotion. Each chapter now includes worksheets, which take the reader through the marketing planning process and are an invaluable aid for evaluating the organisations marketing environment and in establishing its strategy for attracting audiences.


Paperback: 233 pages

Publisher: Int. Thomson Business Press; 2 edition (November 18, 2004)

This text is the first truly comprehensive guide to fundraising management, uniquely blending current academic knowledge with the best of professional practice. Much more than a how-to guide, the text is grounded in the critical issues of fundraising to provide readers with a comprehensive overview of modern fundraising planning and practice. The authors offer key analysis of the critical issues of fundraising as well as tools for the practical side of planning fundraising campaigns. Topics covered include:- Individual giving Trusts and foundations Corporate fundraising Direct marketing Community marketing Campaign Integration The text includes examples and cases from both the UK and the US, bringing the theory to life. Campaigns discussed include high-profile examples from companies as diverse as RSPCA, Greenpeace, Barnados and the American Cancer Society. In addition, the text works through the planning stages of fundraising to give readers a rounded understanding of fundraising management. A truly groundbreaking new text in this area, Fundraising Management is essential reading for students of fundraising and nonprofit professionals alike.


Fundraising Management: Analysis, Planning and Practice
by Adrian Sargeant, Elaine Jay
Routledge, an imprint of Taylor & Francis Books Lt
Paperback - February 19, 2004

For most artists, selling art is a skill that needs to be learned. if you study the easy-to-approach techniques provided in this book, you will find that Mr. Dvorak's approach to selling art is simple to learn. In the 14 chapters you will learn about:
Closing secrets
How to use emotions
Listening techniques
How to get referrals
Prospecting for clients
14 power words
Telephone techniques
Finding and keepig clients
Overcoming objections
Developing rapport with a client
Goal setting

192 pages
July 2004


Art Network, Nevada USA

# Poche: 124 pages

# Editeur : La Découverte; 5e édition (13 août 2004)

Since the Second World War there has been considerable growth in the importance of non-manufacturing based forms of production to the performance of many Western economies. Many countries have seen increased contributions being made by industries such as the media, entertainment and artistic sectors. The Cultural Industries and the Production of Culture collects together a leading international, multi disciplinary team of researchers and presents in an accessible fashion, cutting-edge perspectives on how these industries function, their place in the new economy and how they can be harnessed for urban and regional economic and social development.


Hardcover: 288 pages

Publisher: Routledge; 1 edition (September 24, 2004)

Sign-Up for Culture answers the question: "Now that I see my e-mail marketing is really working, how can I grow my e-mail list quickly?"
Today, arts marketers are caught in a transition. Arts patrons are living in a digital world where e-mail communication has become ingrained into the fabric of their daily lives. However, arts marketers dont yet have an e-mail relationship with most of them. Here is what you need to know to build those relationships quickly and effectively.



Youll learn



* How arts patrons behave online and how to market to them

* What goes into an e-mail acquisition plan and how to create one

* 20 Top Ideas to build your list quickly



Youll understand the new anti-spam law



The Federal CAN-SPAM law is complicated, and all arts and not-for-profit organizations are bound by it.



* Learn what you need to do to comply with the law

* Learn how to build your list legally and avoid being considered a "spammer"



About the Author

Eugene Carr is the founder and president of Patron Technology and author of "Wired for Culture: How E-mail is Revolutionizing Arts Marketing" (2003) and Sign Up for Culture: The Arts Marketers Guide to Building an Effective E-mail List" (2004).


Patron Technology is an arts e-marketing software company which offers PatronMail, an e-mail marketing system. Its client base of over 200 arts organization in the U.S. and the U.K. includes the Whitney Museum, Cleveland Orchestra, Roundabout Theater, New York City Opera. Prior to Patron Technology, Mr. Carr was the founder and president of CultureFinder.com, an award-winning arts information portal, which was funded by America Online and Comcast.


Mr. Carr has been involved in both arts management and the corporate world for the last two decades. From 1991-1996, he served as the executive director of the American Symphony Orchestra at Lincoln Center, and simultaneously served in the same position for the Concordia Orchestra beginning in 1994. He founded High Five - Tickets to the Arts an award winning organization that offers a five dollar ticket program for NYC high school students sponsored by Citibank & TicketMaster, and served as its first chairman of the board. He earned undergraduate degrees in History and Cello from Oberlin College and Conservatory and an MBA from Columbia Business School.


Paperback: 85 pages

Publisher: Patron Publishing (June, 2004)

Arts Marketing focuses on a variety of sectors within the arts and addresses the way in which marketing principles are applied within these, outlining both the similarities and the differences that occur. Relating policy to practice, this contributed text demonstrates the most effective means of marketing in specific areas of the arts, with each chapter having been written by a specialist in the field.



Although primarily focusing on the UK market, the subject has global relevance and appeal, and policy is evaluated on national, European and supranational levels. Specialist topics dealt with range from the marketing of the theatre, opera, and museums, through to the film industry and popular music.


Paperback: 240 pages


Publisher: Butterworth-Heinemann (July 7, 2004)

As a comprehensive overview of all aspects of marketing in the sector, Creative Arts Marketing remains unrivalled, and in addition this edition gives new coverage of



* Current knowledge and best practice about marketing and advertising through new media

* The impact of Relationship Marketing techniques

* A wholly revised and enhanced set of cases

* Entirely revised and updated data on the arts 'industry'



Creative Arts Marketing reflects the diversity of the arts world in its wide ranging analysis of how different marketing techniques have worked for a diverse range of arts organizations. As such it is an invaluable text for both students and arts managers



* A revised and completely updated new edition of a highly successful specialist marketing title.

* Practical integration of theory and marketing best practice for the arts sector.

* Packed with new and updated examples, cases and vignettes


Paperback: 481 pages

Publisher: Five Senses; 2nd edition (March, 2004)

This title explores the seemingly unorthodox alliance of the arts, management and marketing. Art firms - as avant-garde enterprises and arts corporations - have existed for at least 200 years, using texts, images and other types of art to create corporate wealth. The book investigates how to apply the methods artists use in creating value to the methods more traditional managers use in running their businesses. Guillet de Monthoux offers a crash course in aesthetics from Kant to Gadamer, showing how aesthetic management and metaphysical marketing can create value. Using case studies of successful art managers from Richard Wagner to Robert Wilson, the author illustrates the creative role - so central to value-making in contemporary economies - performed by aesthetic play in art firms. Along the way, Guillet de Monthoux points out how responsible aesthetic management and marketing can eradicate the problems of banality and totality, the two capital sins of an art-based economy.


408 pages, Stanford University Press

Published: February 2004

This user-friendly and up-to-date handbook takes new and professional artists through the basics of creating a successful business. Artists will learn how to couple their creativity with clever business sense to establish a lucrative art career.


Constance Smith has been working with fine artists for over 21 years, first as an art rep and then as a publisher of marketing books for fine artists. She periodically lectures around the country. She lives in Nevada City, California.


Paperback: 291 pages

Publisher: Five Senses (January 2004)

Offers innovative and practical lessons for business and workers. Chronicles the ongoing sea-change in people's choices and attitudes, and shows not only what's happening but also how it stems from a fundamental economic change.


Richard Florida is H. John Heinz III Professor of Regional Economic Development, Heinz School of Public Policy and Management, Carnegie Mellon University. A columnist for Information Week (circ. 400,000), he gives fifty to one hundred invited lectures a year, to mostly business audiences. He lives in Pittsburgh, Pennsylvania.


Paperback: 416 pages

Basic Books; Reprint edition, January 2004

Culture has changed from a focus on the high arts to an understanding of the creative industries. This book fills a gap in the market, which is crying out for relevant, easy to read material, that is nonetheless based on an understanding of culture and leisure and its importance as the 'third place' in society.


The original English edition has been published by the DEAKIN UNIVERSITY PRESS, January 1998, (0949823716)


Paperback: 318 pages

Publisher: Five Senses (December 2003)

Serves as both an introduction and practical guide to the principles and practices of arts marketing. Numerous case studies illustrate the text, with examples from community, visual, and amateur arts. Lacks a bibliography.

Integrates the principles of marketing theory with the realities of working in an arts organization. Includes case studies and examples from community, visual and amateur arts Creative Arts Marketing is a practical introduction to the wide range of marketing principles and practices used by those marketing the performing and visual arts.


Paperback 384 pages (June 25, 2003)
2nd edition

Publisher: Butterworth Heinemann

A Handbook of Cultural Economics includes over 60 eminently readable and concise articles by 50 expert contributors. This unique and fascinating Handbook covers a wide area of cultural economics and its closely related subjects. While being accessible to any reader with a basic knowledge of economics, it presents a comprehensive study at the fore-front of the field.


Of the many subjects discussed, chapters include:

Art (including auctions, markets, prices, anthropology), artists labour markets, arts management and corporate sponsorship, globalization, the internet, media economics, museums, non-profit organisations, opera, performance indicators, performing arts, publishing, regulation, tax expenditures, value of culture and welfare economics.


Hardcover: 512 pages

Publisher: Edward Elgar Publishing (June 2003)

There are three ways to attain an economic perspective of the arts.
First, one can take standard economic tools and techniques, e.g., supply and demand analysis, and apply them to the arts. In effect, this is what Baumol and Bowen did in their seminal 1966 study: The Performing Arts: The Economic Dilemma with its finding of an income gap, i.e., a gap between what the traditional live arts can reasonably earn at the box office and the cost of doing business in an industry with no hope of labour productivity improvement. It takes the same time to practice, prepare and perform a live Mozart concerto in 2003 as in 1783. In this regard, Baumol went on, in his long running debate with Tullock in the Scandinavian Journal of Economics between 1972 and 1976, to distinguish the aesthetic difference between live performance with its gestalt of performer and audience and that possible through media extension of performance, e.g., sound recordings and television.

Second, one can draw lessons from the natural history of the arts and cross-examine economic orthodoxy. In effect, this is what Scitovsky did in his seminal 1972 article in the American Economics Review: Whats Wrong with the Arts is Whats Wrong with Society. Scitovsky went on, in his 1976 book: The Joyless Economy, to attempt a re-tooling of hedonistic economic psychology (a form of utilitarianism) with the findings of contemporary clinical psychology to account for the economic contribution of the arts. In the process, he contrasted American and European economies as being rooted in Comfort (U.S.) versus Novelty (European).

Third, one can attempt a stereoscopic perspective by placing both the arts and economics within a wider epistemological context. In this view, the arts become, for example, one corner of a contemporary triangle of human knowledge with the natural & engineering sciences and the humanities & social sciences constituting the remaining corners. Economics, in this view, is but one discipline within the wider humanities and social sciences. Put another way, the arts represent a distinct way of knowing summed up in a new philosophy called aesthetics created in the late 18th century by Baumgarten (a contemporary of Adam Smith, founder of modern economics). Aesthetics was to be his new science of sensual knowledge to balance logic as the science of intellectual knowledge (Kristeller 1952, 35). The word aesthetics itself derives from the Greek aisthesis - the activity of perception or sensation - which at root means "taking in" and breathing in - a "gasp", the primary aesthetic response (Hillman 1981). Economics deals with but one type of logic the min-max solutions of utilitarianism; the arts deal with a completely distinct and varied 'way of knowing'.

Greffe attempts all three approaches in his effort to present an economic perspective of the arts. At least in translation from the French into English, there is, however, no lyricism to the presentation. In short cryptic staccato sections, within seven long chapters, he offers a mixture of:


- economic findings about the arts, e.g., their role in urban and regional economic development;

- astute aesthetic references, e.g., his analysis of Baudelaires stroller; and

- policy analysis and prescription, e.g., only 7% of cultural spending in France is provided by government (in this sense probably the most cultured nation in the world) with the remaining 93% spent by individuals and bodies corporate.

The enormous wealth of observation and findings (a credit to the authors vast learning and insight) aesthetic, economic and public policy is not, to my mind, easily accessible. Greffe assumes a level of aesthetic and economic literacy that most readers will find intimidating. The structure of the text does not help. While I commend the text to other readers, I suggest using the well developed index to select topics of interest and then read the appropriate section. In this sense, Greffe has produced a text in the tradition of Diderots Encyclopedia that can most profitably be consulted as an exhaustive reference work rather than a narrative presenting a holistic economic perspective of the arts.

Review by Harry Hillman Chartrand, Saskatoon (Saskatchewan)/Canada, Website: http://www.culturaleconomics.atfreeweb.com,
(Review Date: March 31, 2003)

Paperback 312 pages (April 10, 2003)

Publisher: UNESCO

"Cultural Work" examines the conditions of the production of culture. It maps the changed character of work within the cultural and creative industries, examines the increasing diversity of cultural work and offers new methods for analysing and thinking about cultural workplaces. This volume brings together a mixture of practitioners and scholars to think about the production of culture in an industrialized context. It includes those who began in the creative industries and now teach and study cultural practices, those who have left academia and are now involved in cultural production and those who maintain profiles as both educators and practitioners.
"Cultural Work" investigates various aspects of the creative industries. Studying television, popular music, performance art, radio, film production and live performance, it offers occupational biographies, cultural histories, practitioners' evidence, considerations of the economic environment as well as ways of observing and studying the cultural industries.




About the Author

Andrew Beck is head of Communication Culture and Media at Coventry University. He is co-author of Media Studies: The Essential Introduction (2001), and Communication Studies: The Essential Introduction (2001) both published by Routledge.

State-of-the-art methods for finding, securing, and retaining the best corporate sponsors

The authoritative guide to creating and closing deals with irresistible ROIs



Event Sponsorship provides step-by-step guidelines for attracting, signing, and keeping sponsorship for any event, including festivals, conventions, expositions, sporting events, arts and entertainment spectaculars, charity benefits, and much more. This hands-on resource presents successful strategies and tools for staying competitive in today's market by offering corporate sponsors the highest return possible on their investment. Leading experts give real-world advice for researching and targeting prospective companies, developing a sponsorship marketing plan, creating an effective proposal, selling the sponsorship, and negotiating a deal.



Learn how to bring increased sponsorship dollars to any event by:


* Placing value on sponsorships

* Expanding the value of a sponsor

* Creating the best image for an event

* Networking with other event professionals worldwide


With complete coverage including case studies, legal issues, the Internet, the sophisticated corporate customer, non-sports sponsorship opportunities, and an international view of sponsorship, Event Sponsorship is a powerful tool for event managers and other event professionals.



THE WILEY EVENT MANAGEMENT SERIES-Series Editor, Dr. Joe Goldblatt, CSEP



THE WILEY EVENT MANAGEMENT SERIES provides professionals with the essential knowledge and cutting-edge tools they need to excel in one of the most exciting and rapidly growing sectors of the hospitality and tourism industry. Written by recognized experts in the field, the volumes in the series cover the research, design, planning, coordination, and evaluation methods as well as specialized areas of event management.

Suggests ways marketers can develop and customize brand personalities through knowledge of their customers' emotional needs, and demonstrates how companies can utilize all five senses to appeal to various populations.
A visionary approach to building powerful brand loyalty, this ground-breaking book shows marketers of any product or service how to engage today's increasingly cynical consumers on deeper emotional levels. Case histories from the author's high-profile client list analyze demographic and behavioral shifts in populations and distribution channels, and then show how all five senses can be used as powerful marketing tools to respond to those trends. Chapters detail how to develop strong brand personalities, customize presence to different consumer groups, use brand strategies in packaging and display, and facilitate interactive access to products via the Internet.