MEDIA POWER: Getting Your Signal Through The Noise
This article was excerpted from, The Self-Promoting Musician: Strategies for Independent Music Success by Peter Spellman (1999, Berklee Press).
Part II of a 2-part series
by Peter Spellman, Director, Music
Business Solutions
Appeared originally in MUSIC BIZ INSIGHT #9 & #10
Part One of this series looked at developing an understanding of your niche audience and the media around it. Now we can turn to the second component of your media plan: assembling your publicity tools and using professional publicists.
Your publicity tools will include creative promotional materials like photos, tapes/CDs, press kits, press releases and novelties. Each of these could fill a separate article. For now I will simply list them with their most relevant features.
Publicity Tools
1. Promotional materials
These include your primary "graphic ambassadors"-- name, logo, letterhead, envelopes, business cards, mailing labels, flyers, etc. Remember: You never get a second chance to make a first impression so go for the highest quality affordable. These are quite literally "graphic ambassadors" sent before you to represent you to a select audience. If neither you nor your bandmates are artists then hire one. When designing your materials think unity: of color, tone, line and texture. Use your logo prominently on all your pieces. This enhances your image and instills top-of-the-mind awareness.
2. Photos
You can get a lot of publicity out of a good photograph. 8"xl0" B&W glossies are the standard. Have some 5x7 color shots available too. This will maximize your exposure possibilities. The 8xl0s should have the artist's logo/name at the bottom along with current contact information. Solists should have both head shots and full body shots. When doing a photo shoot count on going through at least three rolls of film. If you get one or two useable pictures from each roll you're doing fine. It's also a good idea to have a number of 5x7 "action" shots of you performing at a high-profile event, receiving an award, or any other scene that's worthy of notice. Use a professional photographer if at all possible. If the budget won't allow for a pro look elsewhere for less expensive talent. Check local art schools for students who want to earn a few extra dollars (and an opportunity to grow their portfolios).
3. Tapes/CDs
Which is best? A CD undeniably lends your act more credibility. However less than seventy percent of American households and offices have CD players while over 90% have cassette players. For demo purposes a high-quality cassette with 3 or 4 good songs is all you need. For more general marketing of your act, or when you're intent is to impress, either a full-length cassette or CD is the best choice. In all cases the music should be of the highest production quality affordable and the packaging (color, tone, line, etc.) consonant with all the other publicity materials. Be sure to include your name and contact number on all items! You'd be surprised how often press kit materials become separated.
4. Press Kits
A press kit contains most of the materials listed above. Journalists and DJ's use your press kit to obtain the background information they need to write an article or interview your band. I suppose a press kit is a promo kit until you have press. So this is your first task. Get reviewed. Court journalists for interviews. Find your publicity angle. What's special about your band or bandmates, your record, or your performance? To get mentions you'll need to provide newsworthy information. What's the hook or human interest pitch of your story? Give the media an angle that's fresh and informative and have your press kit reflect it.
5. Press Releases
How do you get the media interested in you and your projects? You send a press release, also called "news release". It's a standard tool that works better than letters and phone calls. It's universally used to publicize people and events. The release is essentially a pared-down news story that presents the outline of your event in a way that will grab an editor's attention.
Anything newsworthy should be publicized. You should define "newsworthy" as creatively as possible. Special upcoming shows; formation of a new band; record release parties; production of a video; signing a management, agent, distribution, publishing or recording deal; recitals; formation of your new indie label; involvement in a benefit; winning a songwriting contest. These are just a few of the events worthy of mention.
Always type and double-space the artist's information preferably on the band's own letterhead. Include all the pertinent details (who, what, when, where, and why). Use a bold and creative headline. Be sure to include the date, your contact information, and the city where your act or news is based. At the top write "FOR IMMEDIATE RELEASE"
and then send it off to everyone on your media list.
Today, a number of editors and journalists prefer either faxed or electronic press releases. When you call for current contact information, be sure to also inquire about preferred submission formats and obtain fax numbers and email addresses as needed.
Short of obtaining professional help, most musicians and songwriters are going to have to go it alone for a time. With patience, a few graphic skills, some basic tools, and the nuts and bolts information in the following resources, you'll have what you need to do it yourself.
Doing It Yourself
One of the best overviews of publicity planning I've ever seen is Jeffrey Lant's, "The Unabashed Self-Promoter's Guide: What every man, woman, child and organization in America Needs to Know About Getting Ahead by Exploiting the Media"
(JLA Publications, 50 Follen St., Suite 507, Cambridge MA 02138; 617/547-6372). Besides tried-and-true strategies, the book's chief value lies in the way the author helps the reader develop an ongoing consciousness of publicity possiblities for one's business or project. This is the book's most empowering feature. All who study this work will be encouraged and equipped for the task.
From a musician's point of view the best on the subject (though out-of-print) is still James Gibson's, "Getting Noticed: A Musician's Guide to Publicity and Self-Promotion"
(Writer's Digest Books). Gibson shows, with just a few simple strategies and very little cash, how musicians can create attention-getting publicity materials and then use them to make more money with their music. The book includes a wealth of business information on press releases, letter writing and how to deal with people in the media.
Publicity Resources on the Net
- Public Relations Online Resources and Organizations: A great jump site to PR-Related Services, Organizations and Associations, On-Line Resources, Promoting Your Website, Finding People On The Internet, and On-line Publications.
- Internet Publicity Resources: Similar to the above site. Created by Steve O'Keefe as a companion site to his book, "Publicity on the Internet" (John Wiley & Sons, 1997). A terrific labor of love!
When to Seek Professional Help
There is only one correct time to seek a publicist: When you yourself have become thoroughly familiar with the publicity process, but because of manifold commitments and the lack of time fail to access all the publicity opportunities available to you. It's crucial for the do-it-yourselfer to have at least introductory experience working with the media. That way you're in a better position to evaluate a publicist's record and, once having done so, realistically evaluate just what is being done on your behalf.
Where do you find a publicist?
Start by asking for local recommendations. Also notice which bands and musicians are getting a lot of quality press coverage. Call the publication and ask who the artist's publicist is. Publicists specializing in music will often advertise in music magazines. Shop around. Never take the first person who's available. You have nothing with which to compare his or her skills. Prices vary as does creativity.
Once you've found several possibilities use the following guidelines to be sure you get exactly what you need. Consider:
- Is the individual or firm inventive? Can they create distinction and dimension?
- Is the individual or firm interested in what you're doing?
- Is the individual or firm so overwhelmed by current clients that their ability to take on new work limited?
- Does the individual or firm now serve clients with whom you compete?
- What will it cost?
It's completely reasonable to request samples of their work and client references. Afterall, it's the musicians they've worked with who can give you the most relevant feedback about that publicist's work.
Understanding how the media works is not merely a matter of idle curiosity. Whether you're a band, a soloist, a personal manager, booking agent or other music professional, having access to the media on a continuing, positive basis is a decided advantage -- one that can be measured in enhanced prestige, greater recognition and larger profits.
by Peter Spellman
Director of Career Development at Berklee College of Music, Boston, and author of The Self-Promoting Musician: Do-it-Yourself Strategies for Independent Music Success (Berklee Press). You can find him at Music Business Solutions.
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