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Your 2024 Digital Priorities: Part Two
Episode 124

Your 2024 Digital Priorities: Part Two

Key Areas To Drive Success

This episode is hosted by Dan Titmuss.

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In this Episode

The changing digital landscape might present challenges, but it also presents a great opportunity to reassess and refocus as we head into a new era of digital marketing.

At CI, we pinpointed five key areas that will set arts and cultural institutions up for success in 2024. Catch up on the first two priorities in Part One, then delve into the final three priorities in today’s episode. You’ll get insights and tips from CI consultants so you can confidently navigate the changing digital landscape, drive results for your organization, and refocus as we head into a new era of digital marketing.

Giving Email The Weight It Deserves To Increase Engagement

Email marketing is one of the most effective channels to increase audience engagement. Senior Consultant Alison Goldberg shares how to supercharge your email marketing results with a thoughtful strategy that’s tailored to your organization and your audience.

Leveraging AI In Google And Meta

With the rapid development and adoption of AI in marketing, embracing AI now is critical. Senior Consultant Madelyn Frascella and Consultant Aly Gomez walk us through Google and Meta’s powerful, integrated solutions.

Building Trust And Assurance By Respecting User Privacy

Respecting your audiences’ data is paramount for strengthening relationships with your patrons and ensuring that your organization is legally compliant. Take the next steps in your data privacy journey with tips from Principal Consultant Ally Duffey Cubilette and Senior Consultant Alison Goldberg.

Dan Titmuss: Hi everyone and welcome back to our CI to Eye digital priorities extravaganza. In our last episode, we outlined the first two areas that will drive success for arts organizations in 2024. Today we’re rounding out that list with three more priorities from the CI team. By the time you hang up your headphones, you’ll be ready to maximize your organization’s reach and deepen relationships with audiences. And remember, if you want to learn more about any of the topics covered on the pod, check out our website for blog posts and livestream conversations that dive deeper into each topic. Alright, onto part two of our digital priorities series. Let’s dive in, shall we? We’ll start with Senior Consultant Alison Goldberg to talk about giving email the weight it deserves. Alison, thanks for being here.

Alison Goldberg: Hi Dan. Glad to be here.

Dan Titmuss: So why does email need our attention? What makes this a top priority for arts organizations?

Alison Goldberg: So email is a great way that we’re able to talk to our audiences sort of where they are—people who bought into our organization already—and I think of it as an owned channel. We really own those email lists. Those people have given us their data as opposed to social media where we’re more at the whims of the algorithm or whether or not we’ve paid for advertising. There’s no guarantee that we’re going to show up in someone’s feed, whereas in email, sure you’re competing against the other emails they’re getting, but you’re getting in that inbox and if they’ve opted in and they’ve signed up, hopefully they want to be hearing from us. There’s also really great opportunity when it comes to email. An email industry leader Litmus has found that there’s a potential for $36 return on every $1 spent on email, and we don’t spend a whole lot of money on email. So that is a really incredible opportunity for return. And I think in our organizations, email tends to be a catchall for communications, so we’re not necessarily being as strategic as we can be to take advantage of that potential for return since we’re often getting wrenches thrown in our email strategies and not necessarily catering to our audiences.

Dan Titmuss: Yeah, absolutely. I think a lot of the time various departments all throw you an email to send out, right? Like, oh, please send out our education email that we have next week that’s going to drop. Whereas we know as marketers how valuable these email lists are and we know how useful they can be if used correctly. So I think it’s really important to talk about it strategically.

Alison Goldberg: And it’s not that you can’t be sending out those emails.

Dan Titmuss: Of course, yeah.

Alison Goldberg: Just thinking about how we can do it in a way the people who want to receive them are actually getting them. Maybe we can group things in ways that are more interesting and more enticing to people. It’s just sort of, I know it’s a last minute grab and let’s throw this in the next email that’s going out, even if it’s not necessarily related.

Dan Titmuss: Yeah, don’t give a legacy giving email to someone who’s seen one of your shows.

Alison Goldberg: Yes, please. No more of that.

Dan Titmuss: We’ve talked on the podcast before about privacy regulations and how important it is to build trust with audiences by honoring their communication preferences. What are the latest best practices for getting people on your email list?

Alison Goldberg: First, when it comes to privacy and email, I think it’s important to talk about explicit consent versus implicit consent. So places like the EU, the UK, and Canada require explicit consent. So even if someone’s buying a ticket and putting in their email address, they have to check a box explicitly opting in to getting marketing emails from your organization. In the US we are more used to implicit consent. So usually it’s just like this sort of tacit agreement that by giving us your email, buying a ticket, you’re going to get marketing emails from us. And sometimes it’ll say that, sometimes it doesn’t even say that, but you’re just added to the list and that’s implicit consent. And so as this focus on privacy increases and it becomes more important to our audiences, we want to think more about how we can get that explicit consent from people and have them opt into our emails and they’re actually going to want to read them. I also wanted to mention making sure the privacy part of this on the technical side, Gmail and Yahoo recently released new rules about email authentication when you’re sending emails and that will help people trust the emails you send. It’s not necessarily the sexiest thing to do, but making sure that code is there, that a bad actor can’t spoof your emails and try and steal your consumers’ information as you, I think will go a long way in helping people feel safe and respect your organization and know that your emails are safe for them to open.

Dan Titmuss: Yeah, I think you owe it to your audience to make them feel safe, and by doing that, you’re also going to increase your bottom line because people are more likely to click in an email when they know it’s from a trusted source.

Alison Goldberg: And we’ve talked a lot in the past, I think when we were still trying to get mobile ticket purchase paths online and stuff like that, that we are nonprofit organizations, but our audiences don’t necessarily think of us that way and don’t necessarily give us that grace that we might hope they give us. And this is I think another one of those instances, this sort of expectation of privacy and authentication. That is what’s going to be expected from people and it doesn’t really matter what our resource levels are.

Dan Titmuss: We definitely have a huge responsibility with first party data because also it’s very valuable. How can we use that first party data to deepen relationships with audiences?

Alison Goldberg: I mean, I think a huge part of first party data is that they’re telling us about themselves. I mean in some cases it’s just name, email address, maybe a phone number, but first party data is also ticket purchase history and things like that. So through segmentation, we can use that first party data that we’ve gathered either that they’ve given us, maybe when they signed up on your website for your email list, you can ask what genres they’re interested in or what kind of emails do they want to receive and that can help you segment. But also segmenting by if someone bought a ticket for show X last year and show Y this year is similar, sending an email out about that show to only those people is going to be a lot more relevant to those people than if you send it to the whole list. And those people are going to be a lot more likely to purchase and you’re a lot less likely to sort of alienate people who might not be interested. I feel like the easiest way people unsubscribe, they see an email, they’re like, oh, this isn’t for me. Why am I even subscribed to this? But if the emails you’re sending to people are relevant, then they’re going to stay subscribed even if they don’t necessarily take the action we want them to take.

Dan Titmuss: Yeah. I think segmentation is such a powerful tool that people underestimate. I think we all know as arts marketers, oh, we should be segmenting, but is that a common thing where people know that they should be doing it but don’t actually segment?

Alison Goldberg: Yeah. We are inside our organizations every day, so everything we do is really important to us. And I think it can be hard to sort of step outside of ourselves and look at the organization from a new person’s eyes or even just a long time audience member’s eyes and see what is really important to them as the user, what is of value to them as the user, rather than just what we want to say about ourselves. And that is a huge part of segmentation too, of just really getting the information out that’s most important to them.

Dan Titmuss: And also by doing that, by segmenting your audiences, you can also be a little bit more personal in how you present those emails, right?

Alison Goldberg: Yeah, yeah, yeah. So segmentation I think is definitely part of personalization where we’re looking at your past behavior and just sending you emails based on that past behavior, but also the technical aspects of it, of using dynamic fields to put your first name in the subject line or in an email where it makes sense. Or even using dynamic content blocks in emails. I know it’s a little more advanced, but that way you can use, if someone is a member, they get a reminder of their benefits as the content block. And if someone isn’t a member, then maybe they get a pitch for membership of a pre-sale starting in two weeks. “Join now to get access to that.” And that also makes it a little easier for you. You’re not having to do that segmenting and building two separate emails and all of that, but you’re sort of letting the computer take care of it for you.

Dan Titmuss: Do you have any examples of really good or really bad personalization?

Alison Goldberg: I think a key with personalization is you want to make sure that if there isn’t a name there, you have a static thing in the field that will be inserted if there’s no first name, so ‘friend’ or ‘loyal theater goer’ or something like that. And if someone’s name is wrong, generally it’s user error. I once input my name is Alidon with a D instead of an S, and then I got that email and I was like, what happened? That was totally on me, nothing to do with the organization. So I know we worry about that sort of data cleanliness and that’s definitely a concern, but often that’s on the user and not on the organization.

Dan Titmuss: Alidon sounds like a dinosaur. It’s very funny seeing your name spelled wrong. I’ve gotten Mr. Pitmuss a few times. Always gives me a chuckle. If I’m an arts marketer who wants to improve my organization’s email strategy, but I’m strapped for time, where should I start?

Alison Goldberg: I would think about how you can sort of stretch content across channels. There’s definitely been research, and I think we just know this from our everyday lives, that seeing content in different touchpoints helps drive us down the path to purchase. So if you have some content you’re using on social media, finding a way to also use that content on email and vice versa. A, you’re not sort of having to recreate the content wheel for each channel and obviously you want to personalize it for each channel, but I think there’s ways to sort of stretch—you have a video on Facebook and you can also link to that video and sort of talk about it in an email and make sure people have seen it. So that’s one great way. I think automation would be a huge help. I know there is a big lift of work in terms of the front end of getting it set up and getting it to work, but once it’s working, I think it saves so much time and there’s a lot of reward in terms of these pre and post-show emails, welcome emails, abandoned cart emails, so if those are automated, there’s a lot of potential for revenue and you are automating those based on audiences’ behavior, so you’re really meeting them where they are, with you not really having to do a ton of work.

Dan Titmuss: What about testing and reporting?

Alison Goldberg: I think like we’ve been saying, it can be really hard to take a step back and look at the big picture of performance, especially when it comes to email, looking at what’s working, what’s not working. As we were saying, so often wrenches are thrown in from other departments and you’re almost going from day to day just trying to get an email out and we don’t often have the time to step back and look at that performance and help us figure out how we can optimize how our email’s performing. So testing or reporting, getting all of that in one place, all of that data in one place can really help you look at the bigger picture of what’s performing and what’s not performing. CI can help you create a dashboard. I do those all the time. And then you can also use that data to help you decide what to test, like what kind of subject lines are working or not working and what might we want to test, what kind of segments might we want to test? And then once we’re testing, we can use the reporting to figure out what was the winner, was there a winner? Was it conclusive? And figure out how to move forward. I think there’s also space for our new friend AI that’s involved in everything to help if you’re stuck writing a subject line or copy. Have AI maybe do the first draft. It’s often a lot easier to edit than write something from scratch. Or if you want to A/B test some things, write the first subject line and then ask AI for some other options and figure out which ones you want to test.

Dan Titmuss: Yeah, I think with all of the stuff that you’ve mentioned, it can be daunting sometimes to see it all and even doing one or two of these things and just starting off with a simple automation or a simple segmentation is a really nice way to go, right?

Alison Goldberg: A hundred percent. I’m someone who, it’s hard for me to break goals into little pieces, but I know that is the way you can actually achieve them. So it’s like, okay, we just want to improve our welcome emails or we just want to improve our pre-show emails so you’re not running around the day of manually sending those. And then sort of moving on to the next thing on the list once you have more time.

Dan Titmuss: Awesome. Well, these are all excellent tips, Alison, thank you for joining us.

Alison Goldberg: Of course. Thanks for having me.

Dan Titmuss: For our next priority, the hot topic: leveraging AI in Google and Meta. I’m here with Senior Consultant Madelyn Frascella, a.k.a. Madge, and Consultant Aly Gomez. Hi both, and welcome to CI to Eye.

Madelyn Frascella: Hi Dan. Thanks for having us.

Aly Gomez: Yes, so excited to be here.

Dan Titmuss: So AI and machine learning have been part of Google and Meta for years. Why are we talking about this now?

Aly Gomez: We’re talking about this now because it’s never been more important than it is now. These tools have grown significantly. They’ve really made their way from the backend of these platforms to the forefront where we actually have control over them and we can play with them to try and feed our content and potentially really change the outcomes of our day-to-day workflow more than ever.

Madelyn Frascella: And right now, of course, because AI has taken a big leap forward in the past year or so, the opportunity cost of not using it, not thinking about it, is growing day by day. It’s possible that once you start using these AI tools, they can really help decrease your workload—we know everyone is stretched so thin—and increase your results. From this point forward, because so many tools are available, we’re not competing against AI, we’re competing against other organizations, other companies, other advertisers who are using AI.

Dan Titmuss: And then what’s the difference between AI in Google and Meta versus AI in general as people think about it, when people are talking about ChatGPT or Midjourney?

Aly Gomez: Sure. These AI tools are designed specifically to be used in these platforms, which means they’re already taking into consideration proper formatting and the specificity that goes into each one of these spaces. So whenever you’re utilizing them to supercharge your campaigns and your advertising, they’re doing it in a way that’s really thoughtful and curated to where you are. Whereas, I mean, ChatGPT can be really useful to your advertising if you want to use it in a variety of ways. You’re just not going to have those guardrails that make sure that things are tailored perfectly to that space.

Dan Titmuss: Yeah, it can make it a lot more efficient when you have those limiting factors. It’s AI that’s designed specifically for these platforms.

Aly Gomez: Correct.

Madelyn Frascella: Right. It’s not going to start hallucinating on you.

Dan Titmuss: Yes, exactly. Yeah. And there are a ton of these AI tools within the platforms. How does an organization decide what’s right for them?

Aly Gomez: Well, I like to talk about these tools as the many sections of an orchestra. I think alone, they can help your results, but together, and when used in a way that’s appropriate to the symphony you’re trying to play, for whatever idea you’re trying to promote, they can really bring you a full symphony effect in your results. Now, this does take experimentation. It takes thoughtfulness surrounding what’s right for your organization and your storytelling, but thinking about which part of the orchestra you want to engage, and remembering that you’re the conductor and you have control here as the human who’s in the loop on these AI and machine learning tools is really vital to figuring out how to play your symphony and how to utilize these tools next.

Madelyn Frascella: And the human conductor of these AI tools is not only helpful, but essential. A human hand needs to guide these tools.

Dan Titmuss: I bet for different clients as well—different tools as a consultant are more useful for different clients. Have you seen that a lot?

Aly Gomez: Absolutely. Yeah. I think industry-specific… If you’re in theater versus a museum, you’re definitely going to see different tools be more helpful. I also think defining what helpful and successful means to you is so, so important from the get go. For example, with Dynamic Ads, because you’re able to set it and forget it a bit more and they’re not hitting those frequency issues, success might mean having flat results, but being able to step back from the hamster wheel and gaining your time back as a marketer. So really deciding what you’re hoping to get out of the tool in advance can help as well.

Madelyn Frascella: Adding on to that, to stretch the orchestra analogy…

Dan Titmuss: Oh, I love it. Let’s torture this metaphor. Absolutely. Let’s stretch it.

Madelyn Frascella: Our AI musicians need a score. They need a goal, they need to know where they’re going. A well-defined goal is essential to anything in AI.

Dan Titmuss: Yeah, it feels like the guardrails are up a little bit. So it can be more specific in these platforms, and there are a ton of different tools you can use that use AI in Google and Meta. What are some of your favorites?

Aly Gomez: Sure. I think some of the easiest ones, they’re all called the Advantage Plus suite. That’s kind of how they refer to a lot of their AI tools. But some of the easiest ones to toggle on into your existing campaign work are Advantage Plus placements, which really just let you meet folks where they are. Someone might be looking at their Facebook desktop one day, but then the next day they only check their Instagram feed and you want to be able to meet them in both. So allowing the tool to optimize towards that is one way to just sort of move forward in a way that you don’t have to set manually. Advantage Plus Creative is another, just, it’s a toggle on that lets the platform make small adjustments to your original content. So they’re not going to completely do a Midjourney redefinition of your visual, but they are going to maybe add a colored background or maybe put your headline onto the visual as opposed to just in the copy space. And those things can have a measured effect according to Meta. So those are the simple ones, but my personal favorite are the dynamic options. Now this can be done with multiple text options or with fully dynamic ads that take both multiple text options and multiple visuals and basically play mix-and-match Rubik’s Cube in the platform. The platform really gets to take what you feed it with that information and try out different combinations. And what’s so great about that is that the people that it’s serving these ads to are different people. They react to different things. They have different reasons for coming to your space and potentially buying a ticket. So offering the platform the opportunity to experiment and learn about who’s responding to what and to also give those people different messages right from the get-go. Day one they could receive the same dynamic ad and it tells them story A about why they should come to your show. And on day two, they see story B and you’ve only had to configure one ad, but now you’ve given them two great reasons to come see your show all at once. So it can have a really strong effect on your results. And this is really interesting. They also have these available for lead gen too. So if you’re an organization that’s leveraging that tool, there’s a lot of space to experiment there as well.

Dan Titmuss: There’s a lot of options, it feels like, in Meta. Are there similar options in Google, Madge?

Madelyn Frascella: Oh, absolutely. Dynamic ad creation is the future of both of these platforms really. Google has the responsive search ad, the responsive display ad, both of which—we know them, we love them, but Google is more and more moving in the direction of having campaign types that not only dynamically create the ad, but also dynamically choose the placement. I think foremost really of these is Performance Max. If you’ve been in Google over the past maybe year or so, you’ve probably heard or seen those words. Performance Max will take all of your assets, your text, your images, your videos, and dynamically create ads for placements across all potential Google ad options. So that is YouTube, that is display, that is the Discover Network, search, Gmail. I’m probably forgetting one or two or three. And with just a goal in mind, that campaign is going to go out and find you the people it thinks will convert for you. That means you are not setting any targeting. It’s powered by AI, and Google is going to make those decisions for you. Of course, you can give them some guidelines, you can give them some remarketing lists and some of your 1P data to guide the machine, but ultimately Performance Max will create the ad from your assets and place it where it best thinks it should be placed. Unfortunately, you don’t get a lot of information on where that placement ends up being. What we have seen is really good results from these campaigns. They’re really conversion and goal driven, but you don’t get a lot of insight into the black box of who sees your ad and where. But the results so far have spoken for themselves.

Dan Titmuss: Yeah, it often feels like these AI tools are just doing what I wanted to do five or 10 years ago, but this is just doing it faster and better. Things like A/B testing or targeting to really specific demographics. If I, 10 years ago, wanted to segment my audience into a thousand different segments, I just didn’t have the time.

Aly Gomez: You definitely get to look at far more data and far more experimentation when you utilize them than we ever could doing it manually, for sure.

Dan Titmuss: And AI, they learn from data. So how do we ensure that we’re feeding them good information?

Aly Gomez: This is such a critical question right now. First party data is vital these days, especially as we’re facing the deprecation of cookies. So both Google and Meta have come up with several solutions to this issue. And the first is Meta’s Advanced Matching and Google’s Enhanced Conversions. They’re very similar tools, but essentially they’re sharing securely, hashed, anonymized user data whenever conversion happens. So because cookies may no longer be able to do that on our behalf, this is just another system for that. And getting this set up now before we start to really see the deprecation of cookies is a great insurance system that you’ll be able to continue to measure what’s working and what’s not working as we experiment in this vastly changing advertising space.

Madelyn Frascella: And the more the machines understand what works and what doesn’t work, the better they can perform for you.

Dan Titmuss: That’s such a good point. So bottom line, AI isn’t that scary. I know there was a bunch of tools that you guys mentioned just now, so I just want to remind people that if they do want to look into that further, there is a summary on the blog article that you both wrote. So thanks so much for joining us on the pod.

Madelyn Frascella: Thanks, Dan.

Aly Gomez: Yes, thank you so much, Dan. This was really fun.

Dan Titmuss: All right, everyone, we’ve made it to our final priority. Let’s welcome back Ally Duffey Cubilette and her data privacy partner in crime, Alison Goldberg, to talk about building trust by respecting user privacy.

Alison Goldberg: Hey Dan.

Ally Duffey Cubilette: Hello again.

Dan Titmuss: So when we tell people we’re going to discuss privacy on the podcast or a Boot Camp, we almost always get the sort of panicked deer-in-the-headlights look. Why is that?

Alison Goldberg: Privacy is scary, it’s new and it’s always changing, and it will be, I think, for the foreseeable future, I’m sorry to say. So it’s scary because it’s the unknown, but the big platforms out there, Google and Meta, they’re still evolving. The laws are still evolving, so it’s perfectly understandable that you don’t have it right yet, but I think it’s important to focus on what we can control, and that is respecting our audience’s data. That is the core point of privacy. So I think thinking about that, one, it’s the right thing to do, just I think morally. Two, it’s going to be increasingly the legal thing to do in the EU. It already is, and that’ll be true for more and more states in the US. And it’s what customers expect from us in our organizations.

Ally Duffey Cubilette: It’s so tricky just because it involves so many different functional areas. And then of course as a marketer, there’s a question of, well then what data do I have available to me to target my potential audiences, to measure my campaigns? So we feel like it’s our role to understand and help you interpret both what the advertising platforms you’re using and analytics tools that you’re using do, as well as how that can relate to or be covered by any relevant legal regulation. While we aren’t lawyers, we can help be an interpreter of that intersection.

Dan Titmuss: I tell my parents I’m a lawyer.

Alison Goldberg: When I was growing up, I said I wanted to be a lawyer on Law and Order so that way I would always win.

Dan Titmuss: And at this point, proper data privacy is non-negotiable, right? I think maybe in the past, arts organizations have had the tendency to sort of put their heads in the sand a little bit. Not everyone, but some people definitely have, and that’s not an option anymore.

Ally Duffey Cubilette: I mean, users today expect to know how they’re being tracked on a website, and many also expect to be able to control how they’re tracked on a website. And so the privacy policy is critical so that we can communicate with our users how we are using their data.

Alison Goldberg: And I think sometimes as arts organizations we’re like, well, we’re not handling healthcare data. And we’re not, and that is even more sensitive, but we are still handling people’s data. And like Ally was saying, they expect us to keep it safe just like they expect a seamless mobile checkout or a great experience at our organization. It is part of the infrastructure of the whole experience with our organizations, and it’s going to be increasingly important to build loyalty with our audiences. There’s a study that said 76% of customers say that companies that provide that data security helps encourage their loyalty. So yeah, it’s going to be legally required, but it’s also going to be expected and required from our audiences.

Dan Titmuss: So a lot of listeners might not even know what data privacy practices they already have in place. Where should they begin?

Alison Goldberg: So you want to sort of take an inventory first. So looking at all the platforms, like Ally was saying, where that user data might be collected or might be used. So what you’re using for ticketing, advertising, communicating, anything that might touch those. And once you have a list of those platforms, you can sort of see how user data interacts with those platforms and start to inform your privacy policy from there. A lot of privacy policies are probably going to be pretty similar, but that’s sort of where I would start. “Okay, where is all this data actually being collected.”

Dan Titmuss: Here in the US, it feels like there are new state privacy laws emerging every day. How do we know which ones to adhere to?

Alison Goldberg: There are new privacy laws emerging every day. I don’t think we’ll be seeing a federal, nationwide one anytime soon, but many states have taken it upon themselves to pass their own privacy regulations. Right now we’re at about 13 states. So take a look at your CRM, your audience base, and see where the bulk of your audiences live. Obviously, they’re probably in the state in which your organization is. Not necessarily, but that’s important because a lot of these privacy regulations, the jurisdiction is based on where the user is located. So if your organization is in Oregon, but you have a lot of users in California, you should really be taking a look at the California privacy laws in addition to any Oregon privacy laws.

Dan Titmuss: And how have privacy laws impacted our tracking capabilities, Ally?

Ally Duffey Cubilette: That’s a great question. We’re moving towards a world where we’ll have less observed data, and as users are given the option to opt out, how do we maintain that measurement? And there are a few things that we can do there. You may have heard Google talking about something called Enhanced Conversions. The idea is that when somebody converts on your website, typically they’re making a purchase and you get an email associated with that purchase. You then are able to share that email address with an advertising platform. It gets hashed and then matched back to a user and an impression or engagement with an ad. Another strategy that you can use is called Meta’s Conversions API. So many of the restrictions that we are now subject to come from browsers and the pixel and browser-based tracking that we have used historically. So the Conversions API is Meta’s version of a server-side tracking solution that gets around some of those browser restrictions. So these are a few of the different ways that advertising technology is evolving. And we’re making sure that we’re staying up to date with how we are measuring campaigns for our clients, so if you’re interested in learning more, definitely talk to your CI consultants.

Dan Titmuss: So some organizations are doing this really well and some are maybe not doing it as well. What should arts marketers keep in mind when it comes to consent?

Ally Duffey Cubilette: Definitely something that I know organizations are encountering more, talking about implementing a new way of managing user consent on their website. Usually this is through something called a consent management platform. So this is kind of like a plugin or additional service that you would subscribe to. When you’re working on implementing a consent management platform, this definitely requires input from legal. What do you need your default opt out state to be? What kind of options do you need to give people? Marketing needs to understand the impact that that will have on their measurements. And then we need the tech folks—be that IT or any consultant we might be working with—to make sure that then that platform is working properly. And where we have started to help organizations is really being a thought partner in that process. So as you are trying to understand what you need to do, what impact it will have and whether or not it’s working, we have the language and tools to be able to help you with each of those steps.

Dan Titmuss: We talked about how privacy is not just one person’s job, it’s everyone’s responsibility. Can you speak more about that idea?

Alison Goldberg: Yeah. So I mean, it touches nearly every department in an organization, and there’s legal, IT, marketing, box office… It just is touching everyone. So it’s about coming together to sort of make those compromises about what really does need to be tracked, what safety measures, privacy measures can we put in place. And we know that not every organization necessarily has legal experts on staff. You likely need to seek input from outside of your organization. We are not lawyers, but we definitely have an understanding of these platforms, what they do, how they work, so we can help ensure that you are at least accurately representing what these platforms do, the kind of data that is being collected, so you have that understanding when you go do talk to any legal help.

Dan Titmuss: Yeah, I think talking about privacy, there’s always this aspect of tension because there’s legal implications, there’s moral implications, so it can feel like a really sticky topic. And asking for help and consulting outside expertise is always a really good place to start. So thanks for that reminder and thank you for being here today!

Alison Goldberg: Absolutely. Thanks for having us.

Ally Duffey Cubilette: Thanks, Dan.

Dan Titmuss: So there you go. The final key areas to focus on in 2024. We hope these tips bring you stronger campaign results and deeper audience connections in the year ahead. And remember, if you want to learn more about any of the five digital priorities, just visit our website at You’ll find weekly blog posts that dive into each priority plus a schedule of interactive live streams where you can get answers to your questions in real time. Now it’s time to turn learning into action. How will you infuse these priorities into your digital strategy this year? Break a leg!

Thank you for listening to CI to Eye. This episode was edited and produced by Karen McConarty and co-written by Karen McConarty and myself, Dan Titmuss. Stephanie Medina and Jess Berube are CI to Eye’s designers and video editors, and all work together to create CI’s digital content. Our music is by whoisuzo. If you enjoyed today’s episode, please take a moment to rate us or leave a review. A nice comment goes a long way in helping other people discover CI to Eye and hear from experts in the arts and beyond. If you didn’t enjoy today’s episode, pass it on to all of your enemies. Don’t forget to follow us on Facebook, Instagram, LinkedIn, and YouTube for regular content to help you market smarter. You can also sign up for our newsletter at so you never miss an update. And if you haven’t already, please click the subscribe button wherever you get your podcasts. Until next time, stay nerdy.

About Our Guests
Alison Goldberg
Alison Goldberg
Senior Consultant, Capacity Interactive

Alison Goldberg joined the Capacity Interactive team after working in development for non-profit organizations across theater and film, including the Shakespeare Theatre Company in Washington, DC and the Film Society of Lincoln Center.

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Ally Duffey Cubilette
Ally Duffey Cubilette
Principal Consultant, Capacity Interactive

Ally Duffey Cubilette joined Capacity Interactive after receiving an M.B.A. with a concentration in arts administration from the Bolz Center for Arts Administration at the Wisconsin School of Business. Before that, she worked in marketing and fundraising for non-profit performing arts organizations, including the Cunningham Dance Foundation, Cedar Lake Contemporary Ballet, Pilobolus, and Overture Center for the Arts.

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Aly Gomez
Aly Gomez
Consultant, Digital Marketing

Prior to joining the CI team, Aly Gomez honed her marketing skills at Cincinnati Playhouse in the Park. Now, she wears many hats at CI, serving as a client consultant, team leader, and a Meta specialist.

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Madelyn Frascella
Madelyn Frascella
Senior Consultant, Capacity Interactive

Madelyn Frascella is a Senior Consultant at Capacity Interactive specializing in search marketing. She works across teams and heads up search campaigns for clients as well as supports professional development internally. Prior to CI, she spent many years working at a music PR firm representing award-winning musicians. Madelyn earned a BA from NYU and currently lives in Brooklyn. Outside of work, she is a devoted cat parent, a community theater performer, and an amateur seamstress.

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