| |
| |
         |
   |
 |
This article was excerpted from, The Self-Promoting Musician: Strategies for Independent Music Success by Peter Spellman (1999, Berklee Press).
Part I of a 2-part series
Appeared originally in MUSIC BIZ INSIGHT #9 & #10
When psychobilly rockers The Cramps signed their first recording contract, they didn't do it in the standard office setting like everyone else. Instead they marched over to the cemetary where Bela Lugosi is buried and ceremonially signed the contract on his grave. Needless to say a photographer and journalist were in tow and the event received major media attention. With such a creative idea how could the media resist?
"Publicity" is the art of using the media (radio, press, tv, whatever) to expose your cause or event. Publicity includes all of the ways you can get noticed without buying expensive ad space or time. Publicity makes people talk, think, read, and hear about you. And it costs little or nothing.
One thing all bands have in their favor as far as publicity is concerned is this: The media has space to fill and depends on us to provide the filler. Did you know that 75% of what you read in magazines and newspapers is "planted"? That is, it came to the media vehicle from outside, from people like us. Publicity is an open door for music promotion. The key to successful publicity is having a strategic plan that leaves no stone unturned. In this article we'll lay out the ingredients for a successful media plan. In Part 2 we'll look at publicity tools and guidelines for using professional publicists.
The first ingredient for a successful publicity plan is a clear idea of your market audience: who they are, what they read and listen to, where they go. Whether you like it or not, our culture has subdivided itself into distinct interest groups. This is reflected in the progressively segmenting music market. Each style of music encompasses a subcultural world with its own outlook, values, organizations and media. Your job is to understand this world inside and out.
For example, a jazz musician should be aware of the publications "Downbeat", "Jazz Times" and "Coda"; organizations like the Jazz World Database and various cable tv and radio shows specializing in jazz performance as well as the hundreds of generalist outlets for jazz music. Likewise a reggae band will be acquainted with "The Beat", "Reggae Report" and "The Reggae Quarterly", record labels like Mango, Heartbeat and Shanachie, and organizations like Reggae Ambassadors Worldwide. The same thing applies to folk, metal, alternative, blues, classical, country, latin, world, experimental and all other music styles.
Through learning about the who, what and where of your music's audience you also learn about the best ways to reach that audience. This is the foundation for an effective publicity plan.
How do you find out about your audience's preferences? Observe. Ask questions. Another good way is to go through one of the better industry directories ("The Recording Industry Sourcebook" and "The Yellow Pages of Rock" are excellent) and look for listings of organizations relevant to your style of music. These groups often serve as general information clearinghouses that can make your job easier. You can also consult some of the genre-specific directories that are available on the Web. Two I've found particularly helpful are, http://www.music.indiana.edu/music_resources/genres.html and http://www.stl-music.com/genre.shtml .
Finally, don't overlook local sources relevant to your style-audience.
As you're doing this research take notes. This leads to the second component of a successful publicity plan: developing your media contact list. By "media" I mean print, radio and television primarily.
Here is where a computer comes in real handy. Contact management programs like Act! (Symantec, 800/441-7234) and Janna Contact Professional 99 (Janna Systems, 800-268-6107) help keep all your publicity information organized and intelligent. I highly recommend you become acquainted with one of these programs in your own publicity efforts. Short of this, get yourself a Rolodex for phone numbers and addresses; separate file folders for newspapers, magazines, radio and television; and a big year-at-a-glance wall calendar. Staying organized is essential! A media list will forever grow and change based on your coverage needs.
The best approach is to start locally and then branch out from there. You'll be surprised at the wealth of publicity opportunities lying right at your doorstep.
When exploring local print media watch for names of music editors, writers, and record reviewers relevant to your particular area. Pay special attention to those writers who help break ground for new acts and companies. Go to your local library to reference city newspapers, alternative weeklies, suburban publications and other regional papers you may not be familiar with. While there check out the various media directories in the reference section. Two good ones are "Bacon's Publicity Checker" listing over l8,000 newspapers and magazines, and "Gale's Directory of Publications and Broadcast Media" which additionally covers radio, TV and cable outlets in the U.S. and Canada. There are also several media directories on the Web, the best being MediaFinder.
You'll want to divide your print media database into different categories depending on the type of publication it is. These might include:
Always call first before sending in your material to verify contact information. When you call, find out the names (with correct spellings!) and direct phone numbers of all editors and writers in the areas of music, entertainment and the performing arts. Also request a copy of their editorial calendar for upcoming months. This will alert you to what themes and topics it is planning so you can scope out possible story tie-ins with your band or act well in advance.
Radio also requires some research. Learn about the different formats of the various stations in your area and the types of programs they air. Consider who their target audiences are. Listen to the stations. Consult program guides (a station will send you one upon request). Check media reference books like the ones above for station contact information. Talk with program and/or music directors, producers and DJs. Always ask if they feature local and new artists in any special programming section. Write it all down.
Information about commercial and college radio stations and the types of music they play can be found in "The M Street Radio Directory" (304 Park Ave. S., 7th flr., NY, NY 10010; 212/473-4626) and "The Yellow Pages of Rock" (Album Network, 818/955-4000). There are also fairly complete lists of college stations online at both http://www.jett.com/ and http://www.181-4.com/database/. You can obtain some special details as well as links to select college radio stations at http://www.linkmag.com/pub/college_radio_stations.html#listings.
When you discover which radio stations play music from independents (usually called "open" or "varied" formats), phone to inquire about the configuration they use. Some will play only CDs. Others will also play cassettes. Some still play vinyl. Record all this information into your database.
When it comes to television forget about MTV (at least for now). It has the tightest playlist on the planet catering exclusively to major label and high-charting artists. Focus instead on your own best bets: public television, local cable stations and community programs. If your research shows that there are specialized programs devoted to issues that appeal to your target audience (environmental, women's issues, etc.) add the names of the producers to your lists. If your project is "newsworthy" the person to contact is the Assignment Editor. His or her job is to weed through the news and prioritize it for news programming. You can find out who these people are by phoning the station and requesting their names.
If you're involved with a non-profit cause, organization, or event, you can get your event or program listed in broadcast public service announcements ("PSAs") for free. Check radio and TV (network affiliates and local cable) station deadlines and requirements. Submit all pertinent information to Public Affairs or the PSA Director. Work with the benefit coordinator to make sure he/she has your band's or artist's information.
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.
Copyright © 1999 - 2003 MUSIC BUSINESS SOLUTIONS, all rights reserved. Text, graphics, and HTML code are protected by US and International Copyright Laws, and may not be copied, reprinted, published, translated, hosted, or otherwise distributed by any means without explicit permission.
Part 2 >>>
Music Biz Insight | Articles | MBS Books | About |