Ariel Publicity

Deirdre Breakenridge author of “Putting the Public Back in Public Relations” explains why you may be mystified if you are Still Blasting Out Press Releases & Stuffing Envelopes … Welcome to PR 2.0

If you haven’t already heard, Public Relations has changed forever. If you are still trying to get the word out about your music by writing press releases and blasting them out, or by stuffing hundreds of envelopes and mailing them to names on a “media list” I urge you to take a few minutes to read this interview.

It is both an honor and a privilege to have had the opportunity to interview the unstoppable Deirdre Breakenridge who’s books PR 2.0 & “Putting the Public Back in Public Relations,” (co-authored by Brian Solis) have given me chills on many pages.  I asked Deirdre to talk to me from the perspective of the music business and she delivered the goods

Ariel Hyatt: What is PR 2.0 and how is it different from regular PR?

Deirdre Breakenridge: PR 2.0 is a new approach. It’s the true convergence of public relations and the Internet, which creates a new breed of PR/Web marketers. We’re moving away from a broadcast model of pushing messages (top down) out to the market. Today, through PR 2.0, brands are able to use this new and better approach of listening directly to conversations in web communities and then engaging directly in dialogue with influencers/citizen journalists and customers. This is a very effective bottom up strategy, which enables PR professionals to develop customized stories and provide a brand’s public(s) with meaningful and relevant information through conversations. Of course, PR has always been about building relationships with various groups of stakeholders.  Through PR 2.0 and social media communications, we are able to connect and build even stronger bonds that lead to long term value for a brand. 

AH: Can you explain why writing a press release and blasting it out won’t work in today’s new online world?

DB: In the past, PR people would create a press release for a brand and then distribute the announcement over a wire service or blast it out to a large database of contacts. It’s a “throw it up against the wall and see if it sticks” type of effort. It’s not a targeted approach and, in more cases than not, if the journalist does not have a relationship with you, the release is overlooked or discarded. Press releases do not build relationships they are just tools. And, online, people are looking to connect in their communities with other like-minded people.  It’s the people who build relationships and not the tools or technology that we use. If you are only blasting out press releases, then you are missing out on a tremendous opportunity to connect with people directly and to build a strong, loyal following through social media.

There are several common mistakes, as simple as they may seem.  They include:

Don’t make the media search for you. I’ve noticed that many people doing their own PR programs inadvertently omit contact from important PR and marketing tools. As easy as this may sound, contact information, including an email address, telephone numbers, and even MySpace, Facebook and Twitter handles are excluded from important materials. The most common place that is overlooked is on a news release or in a newsroom (where contact information should be plastered on every page).

No additional materials or presence on the web. When someone finds you and makes that initial connection, you need to provide them with more information.  For example, when you are at a concert or social gathering you should have a postcard or a flyer about your next event, or even just a business card to hand out.  When someone learns about you and then goes on the Web, this could mean not being prepared with a website or a newsroom. You need a place where a person, interested in finding out more about your music, will be able to find a backgrounder on you and your band, information about your music, a concert calendar or samples of your body of work.  Once you’ve captured someone’s attention, it’s important not to lose their interest.  Having additional information will keep you top of mind.

Updating and maintaining your contacts. It’s imperative that when you make a “friend” in a journalist that you make a friend for life.  Following up with that person, after initial contact, is important.  You need to provide them with helpful information, touch base every so often to see if they need anything, offer relevant resources to build their stories, keep their contact information updated (should they move to another news outlet) and even just call to say, “Thank you for the great review.”  I recommend investing in a software platform that enables you to manage your contacts and interact with them regularly and also allows them to access great information easily.

Not doing your media or blogger homework. If you are doing PR on your own, it’s critical that you take the time to research your influencer (whether it’s a journalist or a blogger), see what topics this person finds interesting, review any recent conversations he/she is having in social communities and get a feel for his/her personality before you connect. To avoid just jumping into a conversation too quickly or pitching inappropriately, you can set up searches using Google Alerts, search.twitter.com, BackType and Collecta. These searches will allow you to monitor the conversations and to listen carefully. You can also check out your influencer’s blogs for recent posts or and to review community member comments. For a minimal time investment, you will be able to offer meaningful information, build a better relationship and be viewed as a valuable resource by your influencer.     

AH: I’m in a new band just starting out, and I have a Myspace, a Facebook, a Facebook fan page, and a Twitter account.  How do I use these effectively from a PR standpoint?

DB: Using social networks are great so that you can listen to conversations and be there to share information that is valuable to groups of people that you want to become a part of your community. MySpace, Facebook and Twitter are good networks to keep fans in the loop of your concerts, new music, activities, and to give them a better picture of you and your personality. This allows your fans to connect with your personal brand. These networks are also very valuable because you have the ability to watch what not only your fans are doing, but what their friends are doing and saying as well, and how they interact with each other. This is the best form of research. It will tell you what kind of music they like, what events they prefer and how they want you to communicate with them. 

As you interact and share your music, you then have the opportunity to connect and drive people back to your own website to become an active part of your music community.  On your own site, they can engage more and become loyal fans that purchase and recommend your music.  You’ve taken a new one-on-one approach, which through PR 2.0 turns into one-to-many communication on your behalf. Your fans are your greatest brand ambassadors and as they talk about you to their many friends, your brand and music becomes viral in the social media landscape.

AH: Artists call Cyber PR all of the time completely overwhelmed by social media. They do not want to do their own and they want other people to manage their social media presence for them. Is this a good idea?

DB: Social media can definitely be overwhelming, but I’m not a big fan of having other people manage your social media presence. I believe that you have to be completely transparent in web communities, and, therefore, when you are blogging, posting comments and sharing information, it’s really you.  Fans want to connect with musicians, not their PR people or social media managers. However, you can get some help from your publicist who can manage and post content on your fan pages, monitor conversations and suggest ways in which you can engage better with your fans, and most of all find more great connections for you.  However, when it comes to the conversations with people, you really have to do this yourself. The more time you put into a relationship with your fans, the more you will get out of it. Then, you will see your fan base grow at rates that can’t be achieved traditionally.

AH: Are there any part of social media you think can be effectively outsourced?

DB: You can outsource the monitoring of the conversations and also you can get assistance with building social tools for PR campaigns that build and grow your community.  For example, Social Media Releases (SMR) are great for interactive, collaborative and sharing of stories about you’re music and concerts. The SMR template allows you to incorporate video, mp3, images, links to other resources, bookmarking and a number of social network sharing tools. A publicist should be able to help you to organize the material, get the news part of the SMR into an easy and digestible format, and work with you to post the release for your music community to share.  I’ve written a couple of blog posts on the traditional news release vs. the SMR and the results of the SMR, which can be very effective.

AH: Do you think that a band or a music business brand has any chance of building an audience without using social media?

DB: I do believe that a music business brand or a band will still use traditional channels to build awareness and for credible third party endorsements.  However, if the music business or band chooses not participate in social media, it is missing out on a tremendous opportunity to connect with consumers, media, bloggers, and other interested parties in social networks.  You can use social media to quickly showcase talent whether it’s through sharing video clips or podcasts. Social media expands a business’ reach to people who have the potential to become loyal enthusiasts and want to learn more about an artist’s music or business offering.  I use the recent example of  Dave Carroll and his video, United Breaks Guitars. Dave has now propelled his reputation and his band’s music to a worldwide stage. His YouTube video shared a situation that occurred when he and his band were on a trip from Nebraska to Chicago. The enthusiasm and passion that the video ignited simply would not have happened through traditional media, or it would have taken a lot longer.

About Deirdre K. Breakenridge

Deirdre K. Breakenridge is President, Executive Director of Communications at PFS Marketwyse. A veteran in the PR industry, Deirdre leads a creative team of PR and marketing executives strategizing to gain brand awareness for their clients through creative and strategic public relations campaigns. She counsels senior level executives at companies including Hershey’s, Infineum, JVC, Kraft, Michael C. Fina, and Secure Horizons.

Deirdre is an adjunct professor at Fairleigh Dickinson University in Madison, New Jersey where she teaches courses on Public Relations and Interactive Marketing for the Global Business Management program. She recently finished her fourth Financial Times business book, “Putting the Public Back in Public Relations,” co-authored by Brian Solis. She has also authored: “PR 2.0, New Media, New Tools, New Audiences,” “The New PR Toolkit” and “Cyberbranding: Brand Building in the Digital Economy.”

Deirdre speaks publicly on the topics of PR, social media communications and brand building and is a contributing editor of TechConnect, PRSA’s Technology Newsletter and also blogs about PR 2.0 Strategies at  www.deirdrebreakenridge.com

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Most People Are DJs - www.mostpeoplearedjs.com

“Indie pop and skewed Intellect” is a weekly podcast and sometimes videocast that features music, interviews and opinions.  Most People Are DJs takes it’s name from the song of the same name by the Hold Steady and features the lyrics “Everyone is a critic and most people are djs.” The show is in it’s 4th year and is on it’s 200th episode.

Q: What has to be done in the technological sense to monetize music to a greater degree on the internet?

A. Stop with the DRM! I get 90% of my music from eMusic, because they have a great selection and no DRM. I have an iPod, a Creative Zen, and iRiver music devices plus I DJ as well, I need music to move around all of these and DRM just kills it for me. The other part is people just have to continue to get more comfortable buying digital music.

Q: Where do you see the next trend in social media? What else can be done in terms of having an online conversation? What is the next “What are you doing?” question?

I’ll be honest, I actually see there might be a backlash against social media. I’m still struggling with understanding the full purpose of social media. Social media is my way of creating new relationships and taking them offline or rediscovering old relationships. The next “What are you doing” question should relate to “what are you doing away from the computer that is contributing to improving the planet’s wellbeing”.

Q: What inspired you to start broadcasting/blogging? It that still your source of motivation?

A: The ease and the DIY sensibility of Podcasting that reminded me of the “hey day” of DIY zines back in the 80’s inspired me. You’ve got this group of people that want to communicate to the masses in their own, original way and podcasting is best delivery tool yet to get it done. I’ve had lots of other ideas about starting a new blog etc. but, I always come back to Most People Are DJs and the podcasting community.

Q: What are some things bands can do to get your attention to be featured on your broadcast/blog? Do you ever cover a band that you are not particularly fond of musically ?

A: Bands can listen to my show and email me tracks to mostpeoplearedjs@gmail.com. But, please listen to my show or read a few of my show notes first. After doing that you’ll catch on pretty quickly that I am not a DJ who plays “everything.” I’m pretty sincere with my show in only playing music I really like, which fits somewhere along the lines of “indie-electro-pop” with some “shoegaze” thrown in for good measure. There are lots of other shows with “free for all” formats and that’s fine for them but I always wanted people to be able to identify my show with a certain type of music that goes along with it.

Q: Will major labels ever be the gatekeepers again, or have they lost all of their power to the internet forever? Can they somehow return to prominence?

A: I’d say a large majority of the music I listen to for the last 20 years is not on major labels. They don’t really bear much importance with me. I’d like to see more bands figuring out their own path to promoting and releasing music. The bands that have done this successfully, i.e. Radiohead, Nine Inch Nails, etc. seem to reach a level of real satisfaction with who they are and their position in this music world for years to come. If you want to read a good book on major labels and working for one, check out “Rock On: An Office Power Ballad” by Dan Kennedy.

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Playing covers, Playing Sessions & Playing Live

Rick Goetz, is a kindred spirit who has just launched a brand new consulting firm for artists called http://musiciancoaching.com Rick, like me, has spent his entire adult life in the music business and he is DEAD ON when he says: It is essential that you spend your time building your own business rather than asking for help from corporations based on your talent alone.

But how do you build your own business and what specifically works? I got Rick to share a few of his best peals of wisdom I asked him to tell me three things that actually can help an artist begin to build revenue: Playing covers, being a hired gun and working harder on your live show and live show promotion.

Selling $.99 singles isn’t the answer. In fact, I would go so far as to say that in today’s marketplace your single is little more than a business card and your album is just a resume. Both are extraordinarily important but both are just a loss leader for your business. Recorded music is now simply a means of promoting your live show and your songwriting and producing skills. For my $.02 the biggest challenge of being in the music business is staying in the music business without starving.

We can all point to an artist who made it big on a single and blew up over night but what about the majority of musicians out there who have been making a living? From what I have seen and experienced the challenge for the working musician just starting out is finding ways of sustaining himself while building his fan base. Complicating matters even more is that usually means finding a gig that has the flexibility that musicians require, the paycheck that covers their basic needs and if at all possible provides something that will help move their dream career forward at the same time. It’s hard as hell…but this is what I’ve seen work.

1. Covers

It’s easier to fill a room playing songs that people already know. I realize many of you are likely wincing at the notion but remember The Beatles started off as a cover band. Do I really have to drop any other names? It’s a great way to keep your chops up and it really does help to gel a band. Further, it gives the members some more time in with each other with more likelihood of playing successful shows earlier in their career. It also levels the playing field when it comes to the writing process in a group dynamic, which can be challenging at times. If you feel like you are selling out, then sell out only until your own work hits its stride. If you want to make a living selling your own songs to people remember this is just a means to make enough money to put towards that dream while improving your showmanship and range of flexibility on your instrument. Once, when playing a wedding gig, I felt pretty dirty when the cry went up for the Macarena and I delivered as requested but the cash I was paid to play weddings kept my band’s rehearsal space paid for that month.

2. Hired Gun

You want to be as great at your instrument as possible so don’t treat your main band like you would your significant other, cheat like a motherf***ker. Play with anyone and everyone who will have you (provided you are able to carve out enough time to give your main project the time and respect it deserves). You want to play music for a living the trick is to start playing as much as possible with as many people as possible. Be it live or studio just get out there and play. Do it for free at first (if you have to) but get that experience and get as many people to see and hear you play. Every performance and every recording is another trail of breadcrumbs that leads people back to you. Write songs with anyone and everyone you know whose writing you respect. Songwriting is a skill that can be developed just like learning guitar. If you are a vocalist consider voiceovers and do background vocals on as many albums as possible even if it means swallowing your pride and playing second fiddle to someone with less talent than you. I will warn anyone considering this route to be wary, as session cats can become very jaded and cold which ultimately does effect your playing. I don’t know how to advise you against this except to always have a goal for yourself beyond the next paid gig. Being a hired gun is a means to get your music where you want it on as close to your terms as you are able to in the present.

3. Live Shows

Hopefully you have enough people coming down to see you live and if this is not the case and you are not getting repeat customers at your gigs you should re-evaluate your show. Look at everything from stage show to songwriting to delivery and ask a cynical friend who has seen you what needs improving. The cynical need no prompting to offer up the awful truth. Be as communicative as you possibly can be with the venue owners where you play even if it is on amateur night. The simple act of introducing yourself and asking how you can help promote your own show with put you in better favor with whoever books the room. Make sure you have some means of collecting email addresses from those who show up and make sure your name is visible on stage (get a banner and hang it up behind you) and you can’t make a banner make sure to say your band name at least a few times during the set.

If you like what Rick has to say I highly suggest that you spend some time on the phone with him…. You will be one step closer to reaching your dreams with a great new team member to help you along.

http://musiciancoaching.com

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http://www.digivegas.com

Q: How long have you been broadcasting/blogging?

A. I’ve been broadcasting off and on for the past 20 years. I started at my college radio station in the late 80’s, then earning a BA in Radio, Television and Film. Since then I have worked in various capacities at radio stations, TV stations, recording studios, running live sound for musical theatre, corporate events and live music (my favorite of the three).

I started podcasting in early 2006 with my show DigiVegas. (That’s where I got the name “Paulie Podcaster”) I started at bounce Radio in May of this year as a DJ, became Indie Music Director in July, and Program Director in late August

Q: In your opinion, what does a good song need to consist of?

First, the instruments have to be in tune, and vocals have to be on key. I can’t tell you how many tracks I’ve rejected because the vocals are off key. It amazes me that people can’t, or refuse to, hear it, whether they are the vocalist, or involved in the musical project in some other way. You’re not doing the band any favors by telling the vocalist that he/she is on key when they are not. You’re wasting everyone’s valuable time and money.

Secondly, the song has to sound like it’s coming from the heart of the performer, not the head. I want to hear emotion, I want to hear the artist reaching out to me on that level. I don’t really want to hear calculated logic. If you simply must put your political or religious beliefs, or whatever, into song, give it to me on an emotional level. Tell me a little story about how it affects you emotionally.

Thirdly, no gratuitous language, sexism, violence, misogyny, etc. That’s my own personal opinion that does find it’s way into how I produce my show and program the station. I have a feeling I may not be the only producer/programmer who feels this way.

Q: What is your favorite band or favorite genre of music and why?

A: I’ve always been a big fan of indie music, regardless of style or genre. I’ve always been a big fan of the underdog, the unsung hero. I get a kick out of finding some really cool band or song that no one else has heard of yet. I like to be the one to give it to people first, and even gloat a little bit when everyone else jumps on the bandwagon (”I was listening to these guys way back when…”. Either that, or I just don’t like being spoon-fed the music, being told by some corporation what I’m supposed to like simply because they say so.

Q: What changes in content laws, broadcasting rights, etc. have effected you most?

A: The biggest thing to affect me is reading in the news about how certain private citizens have been prosecuted for having a few “illegal” mp3’s on their hard drives. Remember that one where the mother was facing tens of thousands of dollars in fines and maybe even a prison sentence because her kids downloaded some “illegal” mp3’s? “It was her computer, she should have known and controlled what was going on with it” was the prosecutor’s argument. That’s complete B.S. IMHO. Lighten up people. Yes, piracy is wrong, and every artist should get paid for every copy of their work that’s made, but come on. Go after the right people.

I make sure I cover my behind… legally, that is. Bounce Radio is a fully licensed station and essentially, we can play anything we want. As far as the podcast is concerned, I have to be very careful to attain the artists’ permission before I play anything. I rely on services like Ariel, Podsafe Music Network, and even the direct, written permission of the artist before I play anything on my podcast. It’s one of the reasons I do an interview show. I highly doubt someone will turn on me and say they never consented to have their music on my show when they consented to an interview and sent me their tracks to play.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that that is a true statement?

A: No. I might say that if this were 2005 or 2006. I feel as if podcasts run the risk of going the way of 8 track and cassette tapes if we’re not careful. I quickly discovered, after producing my own podcast for only a few months, that unless you were one of the fortunate ones who got in on it on the ground floor, like Adam Curry, Fr. Roderick, or C. C. Chapman, you were facing an uphill climb to get your podcast noticed. All too quickly, everybody and their brother was producing a podcast.

There are now thousands and thousands of podcasts starting up, and fading, every day, offering a huge variety of content. It’s extremely difficult being a podcaster trying to stand out as a gem in a giant bin full of junk. It’s extremely difficult for the consumer these days to sort through all these podcasts to figure out what suits them. All too often they swing and miss, and get something of low quality, or content that doesn’t measure up to their tastes or standards.

Think about it, it takes time and effort to download a podcast. How likely is someone to take a chance on one they have never heard of before? After a few sessions of fruitless searches they give up on podcasting all together. That, I think, is causing podcasting to be passed over as a legitimate, viable, first tier medium. Sure, they will always be here, and they do serve their purpose, but I think they have quickly taken a back seat to more timely and immediate mediums such as streaming media, blogs, social networking sites, etc.

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Green Arrow Radio is an open forehead music show. The show offers a bit of something new with a mixture of world beat and fresh jazz. Also, included is some soulful funk. The entire show is landscaped to change each week.

http://www.greenarrowradio.com
http://www.myspace.com/greenarrowradio

Q: How long have you been broadcasting/blogging?

I have been broadcasting in  community and college setting for over 6 years now and i have been “blogging” for about 4 of those years.

Q: In your opinion, what does a good song need to consist of?

A good song needs to play well with others!

Q: What is your favorite band or favorite genre of music and why?

Such a difficult thing to narrow down since the desired sounds change constantly based on so many uncontrolled factors.  I don’t care much for assigning “genres” to art..either its for me or it isn’t….I guess if my life depended on answering this I would without hesitation say that Club d’Elf would be the band I call my favorite since they mix and blend so many varieties of sound into everything they do live or otherwise.

Q: What changes in content laws, broadcasting rights, etc. have effected you most?

You know, I think I just don’t like the meddling of authority on what I am supposed to form my own opinions about.  But as I pay attention to what is going on and follow it to the edges—-I just appreciate the opportunity to introduce people to new sounds that I just play along nicely to be able to share.  But ask me again some other time and I’m sure to have a different answer.

Q: A recent study found blogs to be more effective than MySpace in generating album sales, do you feel that that is a true statement?

Well, I hope that my efforts on greenarrowradio.com help generate listening ears which will turn into trying to find out more about the artist..including purchasing some of their art.  I see myspace for me as a great avenue to get people over to greenarrowradio.com and for me an easier way to check out music with the intention to purchace it…even if it is one tune at a time.  More power to all these ways of supporting that something that does seem to unite many.

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