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business.
How to Win Friends and Influence People in
the Music Business
by Bob Baker
People who say "It's better to give than to receive" are
flat out lying. It's always better to be on the receiving
end of any transaction (unless you're receiving insults or
incoming fire). Keep that sentiment in mind as you build
relationships in the music business.
Let me explain.
Several years ago, I took a phone call from a local artist
named Mickie. She asked if I had a need for free display
banners in exchange for some free ads in the music magazine
I published at the time, to promote an upcoming exhibit of
her artwork.
I told her I wasn't sure if I could do it, but I'd be happy
to discuss it. Before we hung up, she set a time to stop by
my office.
Mickie arrived on time for her appointment and immediately
pulled out a sketch pad and started asking me questions
about the type of banners I might need. I had never given it
much thought, really. She talked about the different shapes,
sizes and uses: banners that hang over a stage, banners that
hang from the front of a stage, banners that hang in front
of tables at trade shows, banners that hang from the wall
during sponsored events.
We talked about banner lengths, colors, logos ... Mickie
even helped me craft a short, catchy slogan to go under my
logo. She sketched out possible designs. I began to
visualize how these banners would look. After 10 or 15
minutes of this I was excited about the many ways I could
use them to promote my business. Best of all, it wouldn't
cost me a dime. I was psyched!
As Mickie was gathering her things, almost as if it were an
afterthought, she pulled out a small envelope and handed it
to me. "Oh, here's a camera-ready ad for my exhibit," she
said. "It's sized for your paper and ready to go. If you
could run this in the next couple of issues, I'd really
appreciate it."
"Absolutely!" I said.
After she left, I felt good about the transaction. I soon
realized that I'd been manipulated by a pro -- but I didn't t
feel used or taken advantage of. Mickie had gone to great
lengths to keep my needs in mind and make sure I felt I was
getting value out of our relationship. She knew that, by
doing this, she would ultimately get what she wanted: a free
ad in my paper.
A more close-minded marketer would have approached me by
focusing on the exhibit and why the artist deserved exposure
... and might have even asked, "What would I have to do to
get a free ad in your paper?" That would have put me in the
awkward position of having to figure out how to give this
person what he/she wants while satisfying my own needs.
Which method would take you further in your music business
relationships?
Think back to a situation in which someone made a great
effort to give you something you wanted (keep it clean). How
did it make you feel? What effect did it have on your
opinion of that person?
Keep that happy state in mind, because it's your job to dole
out a heapin' helpin' of that feeling to as many people as
you can.
So now that you realize it's better to receive than give,
from this day forward, make sure people receive a lot more
from you. By doing so, you 'you'll end up getting a lot more in
return.
Bob Baker is the author
of "Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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How to Get the Music Career Results You Want
by Bob Baker
Human communication is a crazy thing. You tell somebody
something with the intention of getting a certain response
... and the person reacts in a completely unpredictable
manner, sometimes with disastrous results. Let's examine
this topic and see how we can apply the lessons learned to
promoting and selling your independent music.
You've had this happen to you at one time or another: You
make a funny comment to someone (like telling your cousin
how much she sounds like Britney Spears). Instead of
laughter, you get an angry, hostile reaction. (And who could
blame your cousin?)
"How could they react that way?" you ask. "My intention was
to make them laugh (and poke fun at the pop teen idol at the
same time). How dare she misinterpret what I meant to do!" A
lot of folks place the blame on the individual who responds
so radically.
Now switch to a musician who sits down to write a cover
letter he'll use to drum up media exposure. He knows his
band is awesome and the new CD kicks butt. So he gets to
work writing about the band's accomplishments, the awards
they've won, where they've played, etc.
The letters and press kits go out. Weeks pass by. No editors
or writers respond.
"What's wrong with these people?" he cries. "I gave them all
the reasons I have a good band, but none of these jerks is
calling me!" He knew what his intention was. Why wasn't his
vision becoming reality?
This musician had made the mistake of not separating INTENT
from RESULTS.
Intent is what you WANT or HOPE will happen. Results are
WHAT HAPPENS. When it comes to communicating, your intent
doesn't matter. Results are the only thing you should be
focusing on.
If you aren't getting the results you want, do a little
research and try a different approach. Even if you think
your new bio and band photo are the hottest things since
Ricky Martin's buns ... if they ain't gettin' the results
you want and need ... figure out what's wrong and change it!
As a creative person, you are very focused on your art.
You're dedicated. Your brain percolates with dozens of ways
to approach your current musical project. You nurture and
refine your talent. In other words, you are very focused on
... YOU.
That's great for music and art ... but not for marketing,
promoting and selling your talents.
Our musician friend above, like many successful marketers,
might eventually discover that sending letters that pitch
specific story ideas get the most response from editors. If
you have a good idea for a music article on a current event
or topic, and if you do some the editor's work by digging up
information sources, you'll most likely find a lot more
media doors opening.
Of course, that would mean the cover letter would have to
focus primarily on the editor and publication receiving it
... NOT on the band itself.
So don't get too attached to your intent, or get too angry
when people don't react as much and as quickly as you want.
The only thing that matters are RESULTS. Focus on them and
you may end up getting a lot more of what you want.
Bob Baker is the author
of "Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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Music Print Ads: The Good, the Bad & the Ugly
by Bob Baker
Whether you've spent thousands on four-color ads in national
magazines or just $50 to place a small display ad in your
local music rag, chances are you've advertised your music at
one time or another. Maybe you advertise a lot. Either way,
the more successful your band or record label becomes, the
more likely it will be that you'll steer your promotional
budget into ad dollars.
Some bands and record labels simply slap an ad together at
the last minute and run with it -- all the while feeling
good that they are "advertising" their music. Others go
crazy with cutting-edge artwork or a quirky idea that amuses
the band members. But do these ads serve the real purpose
for advertising in the first place?
To be effective, your ad needs to implant your band name and
identity into the minds of music consumers (or industry
types, if you're advertising in a trade paper). If it's not,
it's dead weight. Your ad needs to make a compelling offer
and inspire people to take action to get or hear your music.
If it's not, you're simply spending money to stroke your ego
instead of get results.
Here are my thoughts on some display ads I randomly found
while flipping through some national music magazines.
Tooth & Nail Records -- based in Seattle -- ran a full-page,
four-color ad in Alternative Press to promote 11 of its
releases. The page had the label name at the top, all 11
album covers with band names, titles and formats listed.
Address, phone and web site were displayed at the bottom.
I guess if you're having your recordings distributed to
retail outlets, you don't want to rub store owners the wrong
way by being too blatant about asking for direct sales from
consumers in ads -- even though they are more profitable for
you. You can gain more clout with indie distributors by
backing up your records, tapes and CDs with "national
advertising." But if you encourage buyers to make purchases
from you instead of them, why should the stores bother?
I'm certain that's the case with Tooth & Nail -- and if so,
this ad performs its marketing function while also including
enough contact info for serious fans to reach the label
directly. However, if your label were not relying heavily on
retail distribution for sales, this ad would provide only
generic "image" promotion a bad move for a record company on
a tight budget.
Here's a great one. A full-page ad from New York City's
Grass Records. Apparently, the powers at this label took 10
of their bands and put together a 20-song sampler CD called
Grass of '96. Then they put it on sale at Best Buy for only
$1.99. (Great strategy: Get the music into people's ears
cheap up front, then make your money on the back end through
future sales.) The ad points out that each sampler CD
contains a $3 mail-in rebate good towards the purchase of
any full-length Grass Records CD. Of course, those titles
are also available at Best Buy.
The ad then shows four of those full-length album covers
with blurbs from the press under each describing the music.
(You should know I'm a big fan of marketers who let
consumers know what kind of music a band plays.) The
ultra-hip labels might like to shroud their ads in mystery,
but the bands and labels that clearly communicate and
provide sales incentives are the ones that will come out on
top. (This should go without saying, but here it is anyway:
Of course, the music has to be good and meaningful for any
band to truly succeed. Okay, I feel better now.)
The Grass page ends with a plea to contact the label and
join its fan club. Web site, toll-free 800 number and
address options are provided. All the ingredients are here
for a very effective ad.
The first time I glanced at the full-page ad from San
Diego's Re-Construction/Cargo Music, I had serious doubts.
Graphically, it was far too busy even for an ad that
promoted industrial and sythcore acts. Lots of various,
disjointed artwork and type mushed together in an uninviting
visual stew. But upon closer examination, it fared far
better.
What I liked most about this ad were the descriptions of
each band. Not only did they describe the music, but most
weren't squeamish about making comparisons to other bands
(example: "...should appeal to fans of Cop Shoot Cop and
Filter"). When introducing yourself to the public through
ads, don't be afraid to give people a point of reference.
The small type at the bottom of this ad did ask fans to
write for a free catalog. Address and web site info were
included.
Epitaph Records' half-page, black and white ad in the
Illinois Entertainer scored some points. First, the headline
for the ad reads "You scratch my back and I'll STAB YOURS."
That's clever and attention-getting. Second, the ad promoted
the Epitaph Hotline, which you could call to hear song
samples of any of the five bands shown in the ad. Now
there's a fresh way of getting people to hear new music by
only risking a long-distance phone charge. When you call to
hear the music samples, let's assume that complete ordering
info is provided (since no other contact info is in the ad).
By the way, the number is (213) I-Offend.
Now here are some problems with the ad: There are no
descriptions whatsoever of the bands' music. Sure, the
hotline is there so you can find out for yourself, but I'd
be a lot more inclined to call if I knew some of this music
was anywhere near the ballpark of what I already like.
Sorry, but the back-stabbing reference in the headline
doesn't quite narrow it down. Also, the hotline is mentioned
in relatively small type at the bottom of the ad -- almost
as an afterthought. It should be the primary focus of the
ad, especially since few other labels are doing it.
I hope this critique inspires you to start getting a lot
more bang for your advertising buck.
Bob Baker is the author
of "Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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The First Question You Must Answer When Promoting
Your Music
by Bob Baker
I'm going to use up this entire article dealing with one
subject, because I think it's vital to the success of your
music promotion efforts. Every day I see the same mistakes
being made in this area and feel I owe it to you to drive
this crucial point home.
Suppose you walked into your local record store and one of
the employees (a complete stranger to you) came up and
handed you a box filled with CDs and said, "Here, these are
extra promo copies. You can have any CD you want out of the
box."
Now let's pretend that you were not familiar with any of
these artists. As you picked up each CD to consider whether
or not you wanted it, what would be the first question to
pop into your head? In other words, what basic question
would you need to answer first before you could make an
intelligent (and quick) decision on which one you'd take?
Would it be "Who produced this CD?"
No.
Would it be "What record label put this out?"
No.
How about "What are the names of the musicians and what
instruments do they play?"
No.
Would it be "I wonder how great these folks think their own
music is?"
No.
Hopefully, you've come to the same conclusion that I have.
The first question that anyone asks when encountering new
music is: "What kind of music is this?"
I've used this box of free CDs example to make a point: This
is exactly the same position that music editors, radio
program directors, A&R people and music publishers are in
when they receive your unsolicited recordings along with
dozens of others. Even though it's great to think that
everyone already knows who you are and what you do, the sad
truth is that most of your contacts will be clueless. That's
why giving them the first (and most important) clue up front
is essential.
Human beings need some way to process information and file
it away in the proper place in their heads before proceeding
to any follow-up questions, such as "Where is this band
from?" or "What unique spin do they put on this genre?"
Without creating a mental category or comparison to
something fans are already familiar with, it's nearly
impossible to get to these important follow-up questions.
And if you can't move this sorting-out process along in a
swift manner, your music marketing efforts end up dead in
the water.
Why, then, do so many people who promote music either ignore
answering this fundamental question -- "What kind of music
is this?" -- or bury the answer so deep in their press
materials that the reader gives up out of frustration before
ever uncovering it?
Unless you are (or are working with) a well-known artist,
the people receiving your promo kits will be in the dark as
to who you are and what you play. Your job, therefore, is to
answer that first all-important question right off the bat:
"What kind of music is this?" It should be one of the first
things people see when viewing your press package.
Here's an example I randomly pulled out of the overflowing
box of review CDs in my office not long ago when I was a
music editor. When opening the package, the first thing I
see is a cover letter. Here's how it reads (I've changed the
name of the person, label and band to protect the
misguided):
"My name is John Jones, vice-president of Widget Records,
here in New York. I'm writing to announce that one of our
bands, the Losers, will be playing in St. Louis on July 24."
It's important to Jones that he announces who he is and what
he does right off the bat. I'm sure this makes him feel good
about himself. But how does this introduction move him
closer to his goal of getting media coverage for the poor
Losers? At least I know about the St. Louis date, something
that should matter to me. But since I don't know what kind
of music this is, I'm not impressed. On to the next
paragraph.
"The Losers' music is already on national college and
commercial radio."
Excellent. His mother must be very proud of him. But is this
jazz radio? Alternative radio? Polka radio? Ten stations?
Eight hundred stations? Huh? I'm still being kept in the
dark.
"The Losers are a new band founded in 1994 in New York City.
These shows are part of the year-long tour to promote their
debut album."
More senseless background details before I even know what
kind of music this band plays. But one thing I do know is
that Jones sure likes talking about his band and its
accomplishments. Now I'm starting to doze off from reading
this.
"The Losers' music combines Celtic violin with
punk-influenced distorted guitars and melodic rock vocals
...
What? A description of the music? Say it isn't so! And I
only had to wait till the fourth paragraph to get it. And it
ends up being a pretty cool description: Celtic violin with
punk guitars. Now that's different. That's something I'd
like to pop in the CD player and check out. What a great
media hook for the band.
Unfortunately, the label's vice-president has done the group
a disservice by burying this vital piece of information in a
dreary cover letter. Most media people would have given up
on it long before they got to the intriguing description.
But this never occurred to Jones. It was much more important
for him to pound his chest and proclaim his name, title,
city and the fact that his as-yet-undefined band was getting
radio airplay. What a missed opportunity! Don't make this
same error.
How much better it would have been if his letter went
something like this:
"Dear Bob,
When we first told people we had signed a band that combined
Celtic violins with distorted punk guitars and melodic rock
vocals, they told us we were crazy. But we proved them all
wrong with the Losers, a band that is now on a major roll.
Last month alone, over 325 college stations around the
country were playing cuts off the band's new self-titled CD.
And now you can experience the Losers for yourself when they
come to St. Louis on July 24. I think your readers would get
a kick out of hearing about this unusual Celtic/violin/
punk/melodic mixture ..."
This version (though it could probably be reshaped and made
even stronger) pulls you in and lets you know what you're
dealing with quickly and interestingly -- as opposed to
Jones's dry resume listings.
Now take a look at some of the promotional tools you're
using right now. What's the first thing you see? Your
address? The band members' names? The record label name?
Some vague reference to how impressive your music is without
a specific definition of it?
Stop beating around the bush and start getting to the heart
of the matter. Media and industry people are partly
overworked and partly lazy. Don't shroud your message in
mystery, hoping it will tease people and make them read
further. Remember this important rule: No one will ever be
as interested in reading your press materials as you will.
So give them what they need up front, fast and simple.
And answer the most important question first: "What kind of
music is this?"
Bob Baker is the author of
"Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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How to Beat the Major Labels at Their Own Game
by Bob Baker
In an issue of the trade magazine Billboard, columnist Chris
Moore once expressed his bewilderment over the avalanche of
new releases from independent labels during the months of
October, November and December. Obviously, these record
companies want to take advantage of the holiday buying
frenzy. The only problem, argued Moore, is that the major
labels choose these same months to release most of their
heavy-hitting new albums.
And who do you think is going to get most of the attention
at retail stores and on the radio during the fourth quarter
every year? You can bet it won't be the indie labels.
Moore's suggestion: Independent labels should save their
biggest moves for times when the majors are putting forth
their smallest efforts. He cited January, a month when major
labels are catching their breath after the big holiday push,
as being the perfect month for smaller companies to act.
And he added this gem: "In guerrilla warfare, the insurgents
always stand the best chance of making a successful strike
when the other side is asleep."
I knew right away that I had read these sentiments expressed
before. So I picked up my copy of Marketing Warfare
(McGraw-Hill), one of many fine books by Al Ries and Jack
Trout.
Within its pages I found more ammunition for this viewpoint:
"Launch your attack on as narrow a front as possible," the
authors write. "This is an area where marketing people have
a lot to learn from the military. Where superiority is not
attainable, you must produce a relative one at a decisive
point by making skillful use of what you have. The marketing
army that tries to gain as much territory as fast as
possible by attacking all at once with a broad line of
products will surely lose in the long run."
The philosophy here is simple: When you are not the leader
in your field, you can't possibly win by playing on the same
turf and using the same tactics as the leader. Instead, you
use the leader's strength to your advantage by focusing your
efforts on areas too insignificant for them to bother with.
Plus, you won't succeed by trying to be all things to all
people. That broad-appeal, shotgun approach doesn't work for
indie bands and labels 99 percent of the time. Your music
won't connect with any one group of consumers strongly
enough to matter. That's why pinpointing areas where the big
players are weak is the best strategy.
Now that you're beginning to absorb this
their-weakness-is-your-strength attitude, I encourage you to
start coming up with ways you can use your small size to
your advantage.
Where else could you be playing live? Through what alternate
routes might you get media exposure? What types of new
retail outlets could you approach to sell your CDs? How
might you package your next release to make it different?
Stop complaining about your lack of resources, and start
reframing your current situation into a position of
strength!
Bob Baker is the author of
"Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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CD Sales Success Stories
by Bob Baker
There are nearly as many ways for musicians to sell
self-released CDs as there are CDs. The following stories
show how two artists colored outside the lines.
Taking Your Music to the People
Tony, an acoustic folk singer/guitarist in New Zealand, says
one method he uses to drum up sales is day-long appearances
at record stores.
"The best deal I got was through a local retail chain that
liked the sound of what I was doing and allowed me to
promote through their store on three different occasions,"
Tony says. "I spent all day in the store, played my CD
through a stereo system, handed out leaflets, gave a special
discount, talked to people, signed CDs -- all in all, I sold
about 60 copies -- and these to people who normally wouldn't
have glanced twice at the album cover anywhere else."
Tony also does a lot of busking (playing live for tips in
randomly chosen locations) at country fairs.
"I always have a table beside me with CDs," he explains.
"The trick here is that I busk acoustically, but take
regular breaks during which I play the CD through a Peavey
Solo amp and a Sony Discman, both running on rechargeable
batteries. I'll sell a dozen albums this way, plus earn
busking money and make contact with people who want to hire
me or my band.
"As an independent, you've got to do it all yourself -- and
there's absolutely no substitute for personal appearances
and live performances," Tony adds. "It's all geared to
self-promotion, and it just snowballs. If you sit at home
like other really good (much better than me) musicians and
say, 'You can't make a living from your music in New
Zealand,' then it's true, you won't. However, playing music
is my full-time job now."
Using Your Unique Qualities to Your Advantage
Josh of Josh Max's Outfit says his band has sold more than
550 copies of its "Make It Snappy" CD. Not impressed? You
may be when you find out how.
Josh explains: "We sold 150 to fans at our shows so far, but
the way we moved 400 CDs was to hook up with a fashion
magazine for plus-size women and promote our singer, Julie
James, who is plus-sized and an amazing, sweet yet powerful
singer. Julie has loads of personality -- and the media love
juicy people like her.
"The magazine bought 400 copies of our CD," Josh continues,
"and distributed them in goodie bags at trade shows around
the Northeast. It's a great deal because it's free publicity
and the bulk sale made us back a lot of the money we laid
out for the disc."
It's also a good example of a band taking what some in the
business would perceive as a weakness and exploiting it to
the band's advantage. Therein lies the lesson: Any
characteristic of your band can be repositioned to be
perceived in a fresh light.
(Have a success story
like this you want to share? Send your tale of triumph to
bob@thebuzzfactor.com.)
Bob Baker is the author of
"Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
|
Why the Media Needs You as Much as You Need Them
by Bob Baker
Are you ready to transform yourself into a music media
darling? Are you interested in generating feature stories on
your band and reviews of your CD through online music
magazines, newsletters and music news sites? With this
article, I hope to deliver a primer on music PR -- an
overview of how the media works and how you fit into it. My
goal is for you to look at the media in a fresh light -- not
as an adversary that needs to be conquered, but as an ally
that can help connect you with new fans, as long as you help
the media connect with their audiences as well.
Music publicity is something you should use in combination
with other marketing avenues. Even if you already publish
your own promotional e-zine, distribute free MP3 files,
exchange links with relevant sites, network through
discussion forums and generate considerable word of mouth,
you should still allow time for online publicity. Getting
covered by the media stokes the fire created by your other
promotional efforts and draws even more people to your
music.
Online publicity can be obtained any number of ways,
including the following:
- Being interviewed
in an e-zine that is directly aligned with your
musical niche
- Having your CD
reviewed in a popular music column on a web site
that specializes in your genre
- Appearing on a web
page that highlights hot, new acts on a site
frequented by your potential fans
- Being profiled by
a columnist who writes about your musical style for
a number of online magazines
- Getting a short
mention in an e-mail newsletter with a huge list of
subscribers, many of whom are potential fans
- Destroying the
Media Myth
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Many people think of the media as being an impenetrable
fortress. Folks who feel this way have the impression that
to get covered in a newspaper, magazine or trade publication
-- online or off -- you have to be part of a secret club or
have some inside connection. Nothing could be further from
the truth. Most people who have a negative attitude toward
the music press either have never dealt with the media,
expected too much too soon when they did publicize
themselves or simply took the wrong approach when
communicating with editors and writers.
Before the Internet became all the rage, there were already
many thousands of music publications in existence --
everything from major magazines to mimeographed fanzines.
The rapid expansion of cyberspace only served to quadruple
the number of media sources in existence. Most established
print publications now have an online presence and often
feature distinct news stories that appear only on the
Internet. Also, the low cost of entry has allowed a
multitude of would-be music editors and writers to create
their own online news outlets.
Why the Media Needs You
These countless publications each have audiences that are
hungry for information related to the musical subject of the
publication. Editors, writers, illustrators, photographers
and designers -- many of whom are overworked and underpaid
-- decide what information their audiences are most
interested in and do their best to deliver it. In other
words, media people have space to fill. They need quality
content to keep readers happy. To write new reviews,
articles and recommendations on a regular basis, they need a
steady stream of ideas. The easier those ideas are to
implement, the better their chances of being used.
It's been estimated that more than 80 percent of what we
read in print and online publications is "planted." No, that
doesn't necessarily mean that stories are covered because of
government conspiracies or because bigwigs slip money under
the table (although you can certainly argue that major-label
ad revenues have an effect on what's covered in the press).
News stories are frequently suggested by public relations
firms, freelance publicists and everyday people who simply
contact the media with interesting article ideas.
No Media Outlet Is an Island
For 10 years, I published and served as managing editor of
my own music magazine in St. Louis, MO. As much as I tried
to get out and see bands perform live and stay up to date on
developments in the music industry, I couldn't possible be
everywhere and know everything at all times. I often relied
on the recommendations of others when making decisions on
what bands and topics to cover.
Sometimes one of my writers would come to me with a story
concept or a press kit from a new band would catch my eye;
at other times, speaking with someone at a concert or on the
phone would spark an idea. I didn't manage my magazine from
within an enclosed fortress and neither do most of the
editors, writers, columnists and reviewers you'll be
contacting. They need people just like you to give them
ideas and information they can use to serve their audiences.
Become a Music PR Resource
Take a look through several music articles and news stories
online right now. Rarely are these stories only about
things, such as products, services, events, companies and so
on. Most good articles have a human element. Especially when
it comes to covering musical acts. The personality and image
of the artist and what he or she stands for play a key role
in determining how newsworthy an act is.
Shouldn't you be someone who journalists turn to when they
need a quote or example of someone involved in your area of
music-making?
Bottom line: Think about your attitude toward the press, and
how you can position yourself as a helpful resource instead
of a just another musician looking for a publicity handout.
Bob Baker is the author of
"Guerrilla Music Marketing Handbook," "Unleash the Artist
Within" and "Branding Yourself Online." He also publishes
TheBuzzFactor.com, a web site and e-zine that have been
delivering marketing tips and inspirational messages to
music people of all kinds since 1995. Get your FREE
subscription to Bob's e-zine by visiting
http://TheBuzzFactor.com
today.
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