Research Group Lifelong LLLearningLearning in MMMusicMusic & the Arts
HHHandbookHandbook MMMarketingMarketing and CCCommunicationCommunication for the SSStartingStarting MMMusicianMusician
LLLindaLinda HHHendriksHendriks
2008 revised edition 2009
©Lectorat©Lectorateeee Lifelong Learning in Music Prince Claus Conservatoire, Groningen Royal Conservatoire, The Hague Contents
Foreword 5
1. Marketing & communication 6 What do marketing & communication mean? 6 The importance of a strategic approach 6 The basics of marketing and communication 7
2. Working on your career with a strategy 8 Building a career is learning and experimenting 8 Finding direction and a strategic approach 9
3. Marketing for the starting musician 9 Step-by-step plan for a marketing strategy 10 Step 1: Who are you, what do you want and what do you have to offer? 11 Goal / mission, developing direction and marketing targets Step 2: What is the music work place like? 13 Getting to know your audience, the market and your own place in this (analysis) Step 3: Where will you be in a (few) year(s) and how will you get there? 17 Marketing mix and action plan for a decided period Step 4: Did you achieve your goals, and what can you change? 23 Evaluation and adaptation
4. Networking & managing your business contacts 24 Expand your network 24 How do you make contact? 25 How do you build up a good database of contacts? 26 Guidelines and tips for networking 28 Networking also happens online! 30 Booking your own concerts 31
2 5. Promotion materials 35 Basic promokit and packaging 36 CV 36 Business cards and flyers 39 Publicity photos 40 Stationery 41 Additional promotion materials 43 CD and DVD 44
6. Marketing and communication of music projects 45 Marketing and communication plan 45 Project description 45 Goals, marketing targets and deciding on target groups 46 SWOT and USP’s 47 Marketing mix 48 Action planning 50 Evaluation 50
7. ProducProductiontion of publicity materials 51 Posters, folders, flyers, brochures and programme books 51 Checklist poster and flyer 52 Checklist folder and brochure 53 Writing for folders and brochures 56 Checklist for programme book or programme paper 57 Advertising guidelines 58 Design and use of visuals 60 Planning print work 63 Briefing designers and printers 64
8. Internet, music and marketing 66 Your own website: how do you begin? 66 What do you put on your site? Guidelines design and contents 69 Findability and statistics 74
3 Digital newsletters or E-letters 77 Cross-promotion website via online communities, portals and weblogs 79 Selling music on your website 82
9. Media and publicity 86 You need the media 86 Media planning and media approach 88 Guidelines press releases, interviews and press presentations 91
10. Sponsoring and fundraising 101 General tips 101 Funds and subsidizers 102 Finding sponsors 103 Contributors / friends 104 Websites 105
11. Glossary 106
12. Appendixes 118 1. Wizard: the five minute marketing and communication plan 118 2. Example publicity planning 122 3. Examples design posters and flyers 124 4. Examples websites 128 5. Examples press releases 131 6. Example network letter or e-mail 136 7. Examples CV’s 138 8. Relevant links and literature Marketing & Communication 141
13. Bibliography 145
4 Foreword
This book was written following two pilot projects of the Lectorate Lifelong Learning in Music, directed towards the professional integration of starting musicians. During these projects in which two individual graduates (in 2006) and a starting jazz ensemble (in 2007) received artistic and professional coaching, it soon became clear that there was a great need for clear basic information about marketing and communication. Questions about a.o. how to set up en fill a website, how to build up a network and about writing press releases led to the writing of this handbook. It deals with the basic principles of marketing and communication, organized in a transparent way and directed towards what is important for recently graduated musicians.
In my search for relevant information for the target group of starting musicians, I have made use of the knowledge and experience of people from various disciplines, in various ways. By having conversations with them, but also by using them as a sounding board. These people are Miranda Boorsma of the Master Course Kunsten, Cultuur en Media, at the University of Groningen for a directive interview in the early stages of the writing of this handbook, José Cabrera of the internet-bureau Cramgo in Utrecht, Frank Dittner of the internet-bureau Ancormen in Groningen and Annemien Boesveld of Planet Internet/NostalgieNet for their valuable additions in the paragraph about digital media; principal study teacher double bass Mark Haanstra of the Prince Claus Conservatoire and conservatoire student Syberen van Munster for their screening of the handbook especially for the jazz circuit; Wia Aalders, PR officer for the Prince Claus Conservatoire, gave me many useful tips and also provided practical additions, both as a sounding board and a reader; Annejoke Smids for her editorial advice and beautiful English translation. And last but not least I would like to thank the lector Lifelong Learning in Music Rineke Smilde for her suggestions about the contents of the book and her input and enthusiasm for the production of this book.
Linda Hendriks
5 1. Marketing and communication
What do marketing and communication mean?
Marketing, communication and public relations (PR) are terms that often intermingle. This becomes clear when someone says something like: ‘We have to work harder on our PR!’ or: ‘We are going to put a lot of effort into marketing!’ Marketing is often associated with commerce, the business world and product sales, while communication on the other hand is a very broad term, that applies to many areas (including music!). The term PR (public relations) is often used as a synonym for publicity or advertising, but in fact has a much wider range.
This handbook is about marketing and communication for starting musicians. We use the term marketing for determining and using strategies that have the purpose of ‘introducing’ a starting musician, ensemble or a project into the market. Market can mean the labour market of the music profession, but also the market for music products such as concerts and CD’s. Communication is the use of all kinds of means and ways with as purpose giving out information and reaching (potential) target groups with a desired action/reaction as a result. This result could be the buying of a ticket for a concert, for example.
The importance of a strategic approach
Statistics show that every person, whether they like it or not, has to deal with 2500 different messages (sound, visuals, written, digital) on a daily basis. Complex messages, beautifully packaged messages, subtle messages that reach you without you being aware of it, or very eye(ear)-catching ones that cannot be denied. People receive these messages while they are working, on their way somewhere, talking etc. This also applies to the festival coordinator, journalist or potential concert goer you may want to reach. What you want is to attract their attention and keep it. Moreover you want your message to be understood and accepted, preferably with as a result the reaction you intended. In this you are in competition with your fellow musicians,
6 but also with other art forms and ways people can spend their leisure time. Taking time to consider who you want to reach and with what message is time well spent. Other reasons for a strategic approach might be the great cultural diversity on offer, the emergence of new audiences with new desires, a relatively spoilt audience, greater individualisation of society and the difficulties of obtaining external finances, such as sponsoring and subsidies. Considering this, you may understand why a strategic and plan-like approach is very important for a starting musician or ensemble, but also for you as an entrepreneur of your own projects. Especially if you want to concentrate on the work you like to do and not be lead too much by whatever passes your way!
The basics of marketing and communication
The elementary process of marketing and communication can be shown in the following question; its success depending on the various (boldly printed) elements.
Who says what, about what, in which channel to whom, at what time, in what way with what purpose ?
The elements ‘sender’, ‘subject’, ‘message’, ‘packaging of the message’, ‘medium’, ‘recipient’ and ‘timing’ in this question are different for each initiative. All research, analyses, strategy, planning and action in the field of marketing and communication have answering this comprehensive question as an objective.
For a successful marketing- and communication approach therefore, you have to have a good idea of what your artistic product is, what your targets are, what environment you operate in, who your target group(s) are or could become and present yourself in a clear way through appropriate channels. Once you are on the radar of your target group, try to stay there! A good approach therefore focuses on continuous adaptation and development.
7 2. Working on your career with a strategy
Building a career is learning and experimenting
No two careers are alike. Someone’s talent, business and social skills, network, in combination with a healthy dose of luck, give one musician a career that could be completely different than that of someone else.
Career development musician
Development period Study at the Conservatoire: First acquaintance with the music profession. Start of awareness about wanting to continue in the music business. Adolescence Experimentation and trying things out. Directive phase: the musician discovers more and more what he does and does not want and what are his strengths. Adulthood The musician is in control of his/her own career. He knows his preferences, is capable of playing with boundaries, concerning what he does and does not want and is able to recognise opportunities.
These phases gradually intermingle. Certain elements of one phase may come back in others. Learning and experimenting are activities that you will be doing throughout your whole working life, if all is well.
Finding direction in adolescence It goes without saying that what happens in adolescence determines a musician’s further career. It would be a pity to leave everything blindly to talent and coincidence in this phase. What is important now is to get as much grip as possible on the course of your career as a musician. During the first half of this phase you will be developing your own directional ideas and wishes. This is necessary to be able to work on your career in a goal oriented fashion. But it is also necessary, especially in this early
8 stage, to allow yourself to try out many different things, also if they do not immediately have a direct link to your final goal. The direction you discover for yourself or the one you decide on taking, is of great importance for the way you position yourself in the music profession.
Finding direction and a strategic approach
In the music business you will have to deal with things such as management, finances, acquisition, communication and marketing. The integration of all these aspects is the theme in the shaping of your musical career. You can see working on your career in a strategic way as working on an ongoing project. What it is not, is a step-by-step plan with which you will put certain demands on yourself for the coming ten years. But by taking a strategic approach from the beginning and by first making a step-by-step plan for a period of one or two years for example, you will get greater control over your own career. This handbook helps you with the marketing- and communication aspects of this strategic building process.
3. Marketing for the starting musician
Stars, Cash Cows, Problem Children and Dogs is a division within theatre marketing, used to indicate the relationship between more and less successful acts in a theatre. Success here is measured by the number of tickets sold. At first glance, as a musician you would like to be a Star. But it might be just as interesting to be a Problem Child! It may be the Stars and the Cash Cows (large audience) that make performances by the Problem Child (small audience, but perhaps artistically very important) possible for venues. At the same time, a large audience and income from concert goers are neutral evidence of the added value in the life of a large number of people. These things depend on the kind of music you make. The message really is: use marketing and communication to realise your career dreams, but make sure your expectations are realistic!
9 StepStep----byby step plan for a marketing strategy
As a starting musician or ensemble you start in a dynamic profession with a lot of competition in a continually changing society. This is the context in which you have to market your artistic product. You will have to consider what you as the person offering the product want and what the market/audience wants. For this, first of all, you need self analysis. Second you need knowledge of and attention for your target group/audience and the music profession. Only then will you arrive at a clear profiling of yourself as a musician/your ensemble and your artistic product. With the following step-by-step plan this chapter offers a guideline for this, specified for the situation of a young, starting musician. Use this plan to write a strategic marketing plan for this all important first phase in your career as a musician/ensemble. For the start of a teaching practice, making a marketing plan is recommended as well.
Marketing plan
1 Who are you, what do you want and what do you have to offer? --- Aims
Mission, direction of development and marketing targets
2 What does tthehe music profession and your particular niche look like? --- Research
Acquiring knowledge of your audience, the market and your own place in this
3 Where will you be in a few years and how will you get there? ––– Plan
Marketing mix and action plan for a certain period
4 Did you succeed and what can you change? --- Evaluation
(Periodic) evaluation and adaptation
10 Step 1: Who are you, what do you want and what do you have to offer? Mission / goal, developing direction and marketing targets
Your identity is the collection of personal qualities, talent, external features and behaviour which make that you are who you are. For you as a musician your image is the perception that the audience and target groups in the music work place have of you. For a starting musician or ensemble of course there hardly is an image. You still have to establish this. In an ideal situation the image you desire is the same as your identity. You make the promise you put across really true! On the one hand it is really important that you know what you want and what you are capable of. On the other hand you will have to be able to put this across and for this you will have to present yourself. This is not so much about ‘image building’, which may sound too commercial for some people’s liking, but about the expression of a professional and inspiring musician or ensemble.
What should you do?
Identity and mission Under the heading ‘identity and mission’ you put into words who you are as a musician or ensemble and what you have to offer. Describe what kind of music you want to make and in which segment you can be placed as a musician/ensemble. Define for yourself what kind of work you want to do in the coming time, what kind of musical product you want to make and (generally) what kind of audience you would like and the development you would like to go through. Also describe why you think it is important to be making this choice. ‘Because I would like to’ is not enough. Why is it important? Don’t be afraid to include a few ideals or ‘higher purposes’ in your description. This description will also determine what kind of image would suit you and which you will have to put across through various means of communication. You will read more about this in chapter 4: Networking and Managing your business contacts and chapter 7 Production of publicity materials.
11 Tip: A theatre marketer advised that it might be helpful for your description to use the example of an existing musician or ensemble from the same area for yourself, so you can very easily decide what is the same as your situation and what is different.
Marketing targets Finish with the summing up of all marketing targets that are important to you for the coming period. Try to make a reasonable and concrete estimation. What is important in this is that you can measure your accomplishments after a certain period (for example a year) with the targets you set yourself earlier. You can describe these marketing targets as follows:
1. Results: Put into words the results you desire: the number of concerts you would like to give (e.g. an average per month), in percentages how full the room should be at your concerts for you to find acceptable, the degree to which you want to be able to take care of yourself financially, for example after 1 or 2 years. But also think of appreciation from audiences, reactions from fellow musicians, people from the field of music and the number of positive reviews or media attention in general. Think also of competitions in which you could take part. If you want to teach, put into words how many and what kind of students you want and to what degree you find it acceptable for yourself if students stop their lessons.
2. Position: Put into words in general the position you wish on the ‘artistic ladder’, the network contacts you want to have built up regionally, nationally and internationally, the kind of venues you wish to perform in. Also think about the possibilities you have now and what could be realistic in 1 or 2 years. This does not have to be in numbers.
3. Quality: Put into words the reputation you wish to establish with your target groups (your audience, the music profession and your own network within this). This is the image you desire, which should coincide with the desired image you described before.
12 Step 2: What is the music work place like and where is your own niche? Getting to know your audience, the market and your own place in this (analysis)
The audience The audience does not exist! The audience is a collection of people, coming from different backgrounds in society, each with their own needs and preferences. The clearer your vision of what audience you wish to target, the greater the chance you will make people from this target group your audience. Knowledge of the target group therefore is of importance. You can say something in general about culture lovers or rather, culture consumers. Often these are people who do not have small children, they are relatively well educated and have a higher income on average. Culture lovers are not necessarily culture connoisseurs, although they often have a reasonable degree of general education. Some culture lovers want to be entertained, while others want to learn something. And for yet others the environment (the concert location and facilities) is important as well. There is now also a tendency to stimulate the interest of other population groups in culture. Limiting yourself to the traditional culture lover is certainly not necessary!
What should you do?
Find an audience Put into words in general terms which kind(s) of audience you want to reach and in which time, based on a number of general background aspects, such as age, region/country, life style, possibly also income and level of education. Do you want to reach regular concert goers or incidental ones or does this not matter to you. Perhaps you are idealistic and want to make new audiences familiar with your music. What kind of target groups are you most likely to reach with your music? It is important to be aware of this, because it makes a lot of difference for the means of communication you will use.
13 Teaching practice Do you have an image of the kind of target group you would like to teach? Young children who are just learning to play an instrument or advanced amateurs? Do you like to work with a plan on the development of talent or do you think having fun is the most important thing and it does not matter if your pupil is talented or not. Do you like working with children from underprivileged districts, of different cultural backgrounds or with older people? Do you intend to develop a specialisation or do you want to experiment first and decide later? Of course that depends on your own strengths too. Start thinking about that now and describe your arguments in your plan!
The music work place Except for on your audience, you also depend on the music work place. You have to build up relationships in the profession and start networking actively. For this you need skills that are often far removed from making music, but that you will have to develop in order to start initiatives.
What should you do?
Do some research into what the music work place is like. Get information from musicians who have been working longer than you have. You will also find a lot of information on the internet about venues, agents/managers, festival organisers and other organisations that are involved with music professionally. There are countless numbers of portals, online communities and other relevant sites that will give you an excellent idea of what the Dutch music branch, but also what the international music world is like. As a starting musician or ensemble, at first you will be booking your own gigs. It will certainly be worth your while to study the website www.beroepkunstenaar.nl (professional artist). You will find a lot of practical information about doing your own bookings, fees, negotiations, but also about go betweens, booking offices and agents and overviews of these for all music genres. You can also visit this site if you wish to start your own teaching practice.
14 On the website www.kamervraag.nl and the music server linked to this, you will also find a lot of information about the work place. Starting classical ensembles can enlist on this site for selection for the Open Podium (Open Stage) during the Kamermuziekdag (chamber music day) in the autumn. The yearly Day of Dutch Jazz also has showcases for which you can be selected. Both days are good to meet programmers, agents, musicians and ensembles, media etc. www.jazzserver.nl will also give you a lot of information about the profession and the organisations that are active in it. Both sites allow you to make your own profile as musician/ensemble. Also see the chapter on internet and the list of addresses with websites for tips. Mark the sites you think are important as ‘favourites’ in a folder you name ‘The profession’. Begin working on your address book with contacts. Tips about how to do this, but also about networking and using your contacts you will find in chapter 4: Networking and managing your business contacts.
Your own place in the music work place: analysis Now you have formed an idea of your target groups and the profession, it is important to look at yourself again. What is your current situation, which are your strengths and what should you aim for? From this new actions can follow for your step-by-step plan. After a certain period this description will allow you to see how much you have grown.
What should you do?
Use a SWOT-analysis (Strengths, Weaknesses, Opportunities & Threats) to map your strong and weak points. Do not limit yourself to the musical aspects. Also characteristics such as ‘good in dealing with people’ or ‘be persuasive’ are strong points. ‘Having no financial means’ but also ‘having trouble in making contact’ are weak points. ‘A relative with an important job in the music business’, ‘contacts with journalists’ or ‘having a friend who is a designer’ are examples of opportunities. Threats are for example ‘a lot of competition’ or ‘one of the band members has bad health’.
15 It is not always clear whether you should enter something under strong points or opportunities. This is no problem, what is important is that you get a clear vision of the positive and negative elements which may influence your career. Map your USP’s (Unique Selling Points). Which are the specific characteristics you can sell yourself with? You may want to reread what you entered in the first paragraph about who you are, what you want and what you have to offer every now and then. Turn your strong points and opportunities into strategies and action points for the step-by-step plan that you will make in the next phase. Think carefully about weak points and threats and consider what you can do about this or how you will take this into account in future. These actions should be included in the step-by-step plan as well!
You can use the scheme below, in which you can enter strengths and opportunities in one box and the weaknesses and threats in another. What the scheme can be used for as well is that you see in how far it is possible to use certain strengths to deal with a threat (write this down with the action points). For the points in each box you check what you can do with it in the coming period and you describe this under action points.
Strengths Weaknesses Opportunities
Threats
USP’s
Action points
16 Step 3: Where will you be in a (few) year(s) and how will you get there? Marketing mix and action plan for a certain period
Now you have mapped what your artistic product is, which are your strong and your weak points, your wishes and goals, your audience, other target groups, the music profession and your place in it, it is time to make a concrete plan for a certain period. An action plan for marketing and communication means that you decide for a certain period who does what (if it concerns a starting ensemble) or what you are going to do yourself as a starting musician, when and with which means to realise your goals. As preparation for the action plan we will use an instrument from marketing: the marketing mix. With this instrument you will enter 5 important marketing elements for your specific situation: product, place, promotion, price and staff. This is a good way to get a clear picture of what to focus on for the coming period.
What should you do?
Marketing mix - Product: The description of the product concerns issues such as genre, artistic value and form or packaging. It also concerns considerations about targeting a large audience and the concessions you may have to make concerning repertoire or a mix of certain repertoire. But for the buyer the product is more comprehensive than that. It also has to do with the added factors around your music. Think for example about the kind of venue where you would perform and the facilities (e.g. concerning bars and clubs, reservations and interior) that go with this. Do you choose small, intimate venues, characteristic, monumental or very modern ones? Also giving background information (orally or in a programme) about the music at a concert, the contact with the audience or a combination with other artistic products (cross over) such as poetry, dance or exhibitions are additional factors to the total product which appeal to the visitor. One person may want a pleasant evening, the other may want to learn
17 something or have a special artistic experience. If it concerns visitors who come more often, their expectations of the product may differ. Some people like to hear exactly what they expect, others like to see surprising changes from time to time. Considerations like this can also be made for your lesson practice and the target group(s) that go(es) with this. Your product can also be giving workshops to asylum seekers, children from underprivileged areas or the elderly. Think also of doing the musical programming for company outings. You may be active in the field of music technology and making leaders for TV shows is your product.
Perhaps you are active in more than one field. What is important now is to indicate what your core business is (your most important activity or activities) and what you would like to experiment with in the coming times.
- Place: What markets do you intend to focus on? For a private teaching practice (at first local or regional) this would be something completely different than for a musician/ensemble. Are you going to position yourself locally or nationally first, and internationally later? Think about this and decide on the term in which you want to be active in which market. Which venues and festivals this market has to offer is something you mapped in Step 2. Now you can decide on which of these segments you are going to focus first. Place also has to do with distribution, the place where you sell your musical product (for example a CD or a DVD). The internet as a virtual place is a good medium, because it has no borders and you can offer a whole album or a track at a relatively low price. It is expected that the selling of CD’s in the near future will happen more and more and perhaps almost exclusively over the internet.
-Promotion: Think of a website, business cards, a digital newsletter (E-letter), brochure etc. Of course you will need promotional material for a concert as well, but what is important now is determining everything you want to use as a basic requirement to put yourself on the map as a musician/ensemble. As a starter you do not have a large budget, so
18 use your creativity! Also see chapter 5 about Promotion materials and 7 about Production of publicity materials. Put in your plan which means you want to or are able to use.
-Price: What is the price you will ask for your musical product? Think about determining the price of concert tickets, but also about what payment you think is acceptable for which kind of performances in which situation. You can set certain conditions and boundaries for yourself in this; it is good to have a clear idea for yourself. On the other hand you will not always be able to choose anything you want. With price you can also think about discounts. For a concert you can charge a special introduction discount or a discount for ‘regular customers’. You can also give discounts with vouchers you have arranged with newspapers. Think also about offering discounts through your website, the website of certain organisations for staff or customers or in an e-mail you have sent. You can apply the discount principle to selling CD’s as well. Offering tracks on websites could be a strategy to establish your name and to win an audience for you. For certain target groups the price will hardly count in their choice of concerts they visit, but you may attract a younger audience with this.
The plan of action You can make an action plan according to a scheme, but also as a summing up of points of activities. If you have put all activities on paper (or screen) you decide in which period you want to carry out which activity and you put them in the right order. Describe each activity globally and indicate when this will take place (under the heading ‘period’), what (under ‘actions’), what should be done by whom (under ‘responsible’) and what should not be forgotten (under ‘attention points’). If it concerns an action plan for one musician, of course he or she is responsible for everything, although you can also hire someone or ask a volunteer (friend, family). Do not plan activities too tightly and start doing them on time.
19
An example: the production of your own website. Period: January-May Activity: production website Actions: 1. deciding on the contents; 2. find a designer/website builder (January); 3. writing texts; 4. collecting photographs and sound fragments (February and March); 5. supervising design (March-April); 6. supervising building/production and possible adaptations (April-May) Note: the image of the site should appeal to the target group (make a concrete description of this target group). You should be able to change the text on the website yourself. Responsible: Action 1 and 2: together; action 3: member of the ensemble A; action 4: member of the ensemble B etc.
The example on the next page shows at a glance that a scheme is handy and gives you a good overview:
20
Action plan
Year 1 Period Actions When Who is Take note! responsible Production website January- 1. deciding on January Ensemble - image of the May contents; site should 2. finding designer/ connect with the website builder February- Jesse target group 3. writing texts; March Rose - we have to be 4. collecting photo’s able to change and sound fragments Peter texts on the site 5. supervising design March-April Peter ourselves. 6. supervising April-May - ensemble construction of site/ decides together production and whether design is possible adaptations ok.
Activity 2
What should you do?
The action plan is made based on the input you have decided on in the previous two steps. So begin by rereading your mission and marketing targets of step 1 and continue like this. Perhaps it is difficult for you to put the ideas in to a concrete action plan. Here are a few tips to help you on your way:
21 In general you need to meet a number of prerequisites before you can get started. You have to have a good CV, a business card or a brochure which is a combination of your CV with address and contact information. It would be good if you could start with your own website and/or MySpace page. These are the activities that come first in the action plan. Plan about 2 or 3 months in order to make a good start with this. The realisation of your website will take quite some time. Concerning design and text remember what you decided about your identity, representation and desired audience.
In the meantime, you were already busy exploring the music profession in all kinds of possible ways. This is a continuous activity that you also include in your action plan, for example for the whole first year, with a focus on the first six months. An activity you do at the same time is making a digital portfolio of contacts. You will start using this portfolio more and more: networking. Perhaps you have ideas about how to contact certain people. Making these contacts (see chapter 4 about networking) is an action to include in your plan as well.
Think about how you can use your USP’s. Perhaps this will give you ideas for concrete activities. The SWOT analysis also resulted in a number of concrete action points that you can include in your plan. Skills you still want to develop are also topics you can see as actions to be undertaken.
Reread the Marketing Mix you put together and then choose a number of elements you want to focus on concretely for the coming period.
Projects You have put certain ambitions on paper in your mission and marketing targets. What is important now is how to achieve these. First this will be by using your talent and the initiatives you undertake: concerts, workshops, collaborations with other musicians, CD’s etc. An important part of your plan has therefore been reserved for the concrete initiatives you already have in your head or in your agenda. Include
22 these activities in your plan and describe if possible in what way you could use them for achieving your marketing targets. Think for example about expanding your network and invite the most important contacts for a concert.
Step 4: Did you achieve your goals and what can you change?change ??? Evaluation and adaptation
What should you do?
Reread from time to time, at any rate every two months or so, your marketing plan and check which activities and targets you realised or partly realised. The purpose of this kind of (intermediate) evaluation is:
1. Your own motivation On rereading your targets for a certain period it often becomes clear that you managed to achieve quite a lot in the past period.
2. Learn What went well and what went less well. Why was this and what should be changed for a next time? Getting a clear idea of what you should change is very motivating as well!
3. Adaptation Perhaps your insights, desires and targets have changed in the meantime. Perhaps your agenda is much fuller now. How do these newly planned agreements relate to the plan you had made for yourself? It may require an adaptation of your plans.
Experience shows that once you have a good plan, changing and adapting it often does not require a lot of time.
23 4. Networking and managing your business contacts
The most important job you face as a starting musician or ensemble is integrating into the professional music world. You do not wish to be on the sideline, but actively take part in a music work place, that consists of many other musicians, ensembles, venues, concert organisations, agents, festivals, educational institutions etc. Many starting musicians make the mistake of thinking too much in terms of promotion, products and performances. You certainly need these things, but what you eventually need most are people! In order to make a successful entry into the profession, you will have to make new contacts and use the ones you already have. This means that you have to work on your professional and social network. This is an ongoing process which requires you to invest in it continuously!
Expand your network
Make use of the ‘strength of weak ties’. Social sciences divide relations between people into strong, weak and absent ties. Larger social networks which consist of a great number of weak ties between people often appear to be more useful for the passing on of information than more closed networks. This is because groups of friends often share more or less the same kind of knowledge and information. As the groups are getting larger and there is overlap with different social groups, chances of passing on unknown and new information increase.
From passing on information to career opportunities Firstly, networking is often directed towards getting information. Making or obtaining contacts comes second, but is certainly no less important. You have found a source that can be used more often. Not only for passing on information, but also for providing services for each other. The larger your professional network, the larger the diversity of your wealth of ‘weak ties’. And therefore, the larger the chance of contacts that may at a certain point be useful for your career. In this respect your network is your social and professional bank account!
24 You are working on your network as we speak. Everyone networks, perhaps even without knowing it. The contacts you have now with your fellow students may be very useful in the near or far future. You never know who they will be. So start establishing good contacts with everyone around you while you are still a student. Your fellow students of today are your musical colleagues of tomorrow. Musicians involve each other in their projects and activities. So you can also get work through direct contacts with other musicians who are your friends.
Which contacts work best? Contacts that have had the chance to ‘ripen’ are often the most fruitful. If you begin networking, first look into your existing social and professional contacts if there are possibilities for expanding your network. If you do not have a list of contacts on your computer, than this is a good time to start with a contact management system, as it is called in networking terms (see the paragraph concerned). The threshold to start with existing contacts (teachers, musician friends who graduated, people from venues where you performed before, etc) is often lower and chances of success are greater. The purpose of approaching or renewing such a contact is first to obtain information, suggestions, hear experiences from others about how you should handle things in the profession. Perhaps they can also give you names of people who can help you on your way and with whom you can agree to meet, (preferably) after some introductory work by the first contact.
How do you make contact?
Making the first contact depends on the situation. Does it concern someone you would like to approach on your own initiative or does it concern a meeting with people during an afterparty for a concert. In the first situation you can call or mail the person and ask for a meeting. Mention briefly what your motivation and purpose for the meeting is. In the second situation, where you are in a room with many people, such as an afterparty or a reception, contacts usually do not have an immediate purpose. Some people have a natural flair for presenting themselves in situations such as these, but by doing it more often dealing with contacts such as these will become
25 easier. And even though it is very human, do not let scruples and insecurities hold you back too much. Walk around, approach people you know or of whom you know who they are and what they do. You can join a group of people if you know one of them and make contact as soon as the conversation allows it or start a conversation with someone waiting at the bar. Usually you have no more than about five conversations during meetings like this, of which one or at most two may lead to a useful result. And remember that one good conversation may be more fruitful than five superficial ones. If the situation allows it, you can hand out contact information (business cards) or ask the card of the other person. This could be the case if what you talked about might lead to a follow up appointment. Also read the guidelines and tips for networking further on in this chapter.
Network talks and informative interviews People are often prepared to make an appointment if you ask for their professional advice. Most people like talking about their job in an animated way if someone shows sincere interest. As a starting musician or ensemble you have the advantage that everyone will understand that you are looking for information about how things work in the music business. Moreover most people appreciate young people who show initiative, who are trying their best to move forward. So you could also try to make an appointment for an informative conversation with someone you do not yet know, but of whom you have heard that they could be useful for you. If you are only just starting out, try to make appointments with people you know and whom you think may be open. This way you can practice your skills in a relatively ‘safe’ environment, and you will already have some experience when you want to contact a producer or a festival organiser.
How do you build up a good database of contacts?
As a starter it is good to have an organised system for the collection of contact information you already have. A contact management system is in fact nothing more than an address book in your computer; it is a list of addresses which contains all your contacts sorted by category (fellow conservatoire students, graduates,
26 musicians, venues, clubs, etc). You can also add categories of contacts that are not yet within your reach, but whom you would like to contact in future. A very good programme for this is Access, which you will find in the windows explorer, standard under Microsoft Office. If your computer skills are not very advanced (weakness) you can start with using a word-document. Begin by making an overview of your close acquaintances and direct contacts. Expand this with contact information of people you know indirectly. Before you know it you have more useful contacts than you would have thought. Statistics show that most people know between a few hundred and a thousand people. Not all of these have to be included in your contact list, but try not to exclude too many contacts that may come in useful later. On the internet you will find many portals and sites specifically targeted towards your genre where you will find contact information about important target groups for musicians. Visit www.beroepskunstenaar.nl, for example (professional artist) or www.dekamervraag.nl or www.jazzserver.nl.
If you have sorted al your contacts according to category, with addresses, e-mail addresses and telephone numbers, you will also get a clearer idea of where to begin and what to prioritise. Moreover a system like this will also give you the possibility to send targeted group e-mails to certain categories of contacts. This could be an invitation for a concert, for example, but also a message about a new or renewed website or a new project. Contacting the right person will determine the success of your mailing for a large part. Depending on the purpose of your mailing it could be useful to telephone a number of contacts after you sent it out. Especially the ones you consider ‘most likely to respond’. This way you can ask if they received your mailing and whether they are interested in programming or visiting a performance. Calling in advance can also be a strategy, because then the recipient already knows what it is about.
27 Guidelines and tips for networking
Networking is for everyone Do not make the mistake of thinking that networking is only for spontaneous people with a healthy dose of spirit. Don’t stay on the couch admiring other people and their contacts. Do things your own way and start with contacting people you think are interesting and approachable. Learning how to network is in fact no more than developing good social skills.
Consider your information question before you make contact With what intention do you make a (first) contact, either by telephone, e-mail or meeting someone in person? What is your motivation or your information question? Consider beforehand how you can put this briefly and clearly into words. Make clear you are orienting yourself. Think beforehand about what you have to offer which may convince your contact to consider your question. At the beginning of a phone call make clear, after you have explained briefly who you are and what you represent, how much time you think you will need and ask if your call is convenient. If it is not, ask what would be a better time. Make sure you have everything you need ready, such as pen and paper, before you make your call. You will find that if you prepare your call well, you will get much more out of it.
Present yourself with a few well chosen phrases Make sure you can explain in a few sentences who you are, what you do, what kind of music you or your ensemble make and what you are currently doing or planning to do. You should be able to sketch an image of yourself as a musician in one minute. This could come in handy in network conversations you have planned, but also in unplanned coincidental meetings or conversations. Take some time to prepare a ‘one-minute’ talk like this.
Points for discussion in this mini presentation of yourself could be which instrument you play and what you are currently working on. But also what your goals are, what you like, what you consider important in what you do and which are your special
28 characteristics or skills. It is always good to have an example of a successful project or achievement handy, in whatever shape this may be. Experience shows that if you always have a standard kind of talk at the ready in conversations with people who might be useful for your career, you will find a moment and recognise the right time to present yourself.
Make a summary of the conclusions Summarize the most important agreements you made when you round off the conversation to avoid misunderstandings. If you have said you will provide extra information, repeat this at the end of the conversation, indicate when you intend to do this and stick to it.
Do not focus on your own interest alone Contacts that are experienced as useful by both parties often work best and are the most durable. So also try to do something for someone else every now and again. And don’t push things with a relatively unknown contact; you may come across as too eager!
Show some interest for your contact If you ask questions of a more personal nature, they should come from a genuine interest. Contacts with whom you have a sincere interaction often are the most successful. So also talk about different things than just work. And don’t hesitate to express sincere admiration about something someone did, or go backstage after a concert by someone you know, to pay them your compliments. This way networking is not a job, but a natural way of entering into relationships.
Hand out business cards/flyers and write down names Make business cards with your address, telephone number, e-mail and website address. Perhaps you can also make a flyer or brochure about yourself or your ensemble with, next to the contact information, a bio and a good picture. Write down the name, e-mail address and telephone number of the person you talked to after each telephone conversation, if you do not have these already.
29 Keep the relationship warm If you had a meeting with someone who helped you move things forward, then let them know how it went. This could be a thank you per e-mail or telephone to tell the person how his or her information helped you and what your next steps will be. Don’t leave it at just this one message. Contact them from time to time, for example about something you did or achieved, but also with something that could be interesting for the other person. This way you show your contact that you appreciate them and you do not always need a favour in return. You can also keep in touch with people you met somewhere and with whom you had an interesting conversation. You could also invite these people to a concert, draw their attention to your website or your ensembles website if you have completely renewed this. Keep investing!
No success? If you are trying to make an appointment with someone and you feel that they do not really have the time, then suggest calling back later or sending an e-mail in which you can explain what you want and why you would like to meet them. This way you give the other person some more space. Indicate in the e-mail that you will contact them again in one or two weeks’ time.
Always put some serious effort in networking, but if you feel that the conversations with a certain person are always a one way street and that the other person never has time and does not show any interest, then leave it at this. Do not waste your own and someone else’s time if true interaction does not happen.
Networking also happens online!
Networking these days is not just something you do at receptions or at other occasions where you meet a lot of people. Many contacts are made, maintained and used via the internet. Online social networks such as the Dutch community ‘Hyves’, ‘Friendster’ and ‘LinkedIn’ offer possibilities for maintaining contacts with friends and professionals. On these sites you can make a personal profile with a weblog, if you so choose, you can upload photo’s, music and videos and participate in news or
30 discussion groups. There is also an internal e-mail system, which allows you to keep in touch with other network users.
Many musicians and ensembles can be found on their own website, but also on online networks directed towards music, such as ‘MySpacemusic’ or the Dutch Hyves, which has a developing music section, where you will find a great number of genres. On these sites you can use the profile pages to present yourself, showcase your own music, video’s of concerts (from for example YouTube.com), to announce concerts, etc.
MySpace is used for your own profile, as a medium to make contacts, but also as a source of information, so you have a better chance at assessing musicians and ensembles via their profile. Think for example of agencies and organisers of festivals, but also of the media. Make full use of the career possibilities these sites offer for your own networking. Read more about this in chapter 8 on internet, music and marketing.
Booking your own concerts
Are you at the beginning of your career and have you not yet established yourself? Have you not given many concerts or generated a certain measure of fame or much media attention? Then you may safely assume you are not yet interesting enough for an agent or a manager to arrange your business affairs for you. In order to survive in the music world they have to turn a profit and this is easier with (more) established names. This means that in the early stages of your career you will often have to book your own concerts. One advantage of this would be that you do not have to pay a booking fee or the cost for an intermediary. For both parties it is better that you start dealing with agents only when ‘the smell of coming success is in the air’. And if someone who is respected in the business can recommend you with an agent, then that would be a great help.
31 Do your own management Make a plan and subdivide it into small portions. Start by investigating what the market looks like via websites, existing contacts and talks with fellow musicians. Start regionally and expand if you have booked some results and gained more experience. If you then focus on the (inter)national market, you have had some practice (especially concerning the business aspect) and you will be better equipped.
Ask colleagues, teachers, contacts from previous concerts for possibilities to perform. Check out the websites of other musicians to see where they performed in the region. Keep an eye on the cultural pages of your newspaper and find out what concert series have been organised in the region. Also consider organisations or locations that might be good for giving or organising concerts. Think about:
• Public buildings • Companies • (Special) Schools • Universities • Community centres • Churches • Museums • Libraries • Hospitals • Day care centres for the disabled • Retirement homes • Hotels • Educational centres • Children’s day care organisations
You could, for example, try to find out whether there are possibilities for subsidies for organising educational or social projects, directed towards music for special target groups through a local council or province.
32 At the same time, or at a later stage, you can also focus on a regional approach in the area you are originally from, where you grew up or went to school. You can use the contacts you made in childhood or at school.
Make a list of names and addresses of all organisations, companies and locations which you would like to explore for giving concerts and do some research into what they are offering.
Before you begin booking anything, consider what you have to offer and how you can bring this across. Is your programme or music style compatible with that of the organisations you wish to contact? You should make sure that what you offer jumps out. If you are still relatively unknown, it may be a good idea to have an unexpected programme or a special theme. Think carefully about your programme and make sure you are able to put it into words and bring it across. In telephone conversations or e-mails, try to establish a clear link with the organisation or location you want to use. You can for example try to organise a concert in a museum by making a connection with an exhibition around a certain theme or a certain period from cultural history.
Now you can start making your phone calls. Reread the section about networking in the previous paragraph. Try to trigger the person on the other end of the line with a brief introduction of who you are, what you did recently and what programme you have to offer. Also mention the names of musicians or organisations you worked with before or who advised you to contact this particular organisation and mention why they advised this. Prepare well in advance what it is you want to say.
These are elements that may come up in such a telephone conversation:
- Good morning, my name is… of (name company) - I am calling you because I am interested in… - … advised me to contact you because our programme would make a good match with…
33 - We had quite a number of concerts recently in… which generated some media attention and a number of positive reviews. I am calling you in order to find out whether there are possibilities for us to give concerts within your series / at your festival. - I recently won a competition - We recently released a CD - We recently gave a number of very successful concerts in which we played… - We recently worked with… / had a concert with … He/she was in your concert series last year. After talking to him/her, I thought is would be a good idea to contact you. - I/we have plans for…
A concert that has already been organised could be a connection to other venues: We have a (number of) concert(s) with work by… in… Are there possibilities for doing this programme in your venue as well?
Perhaps you have specific questions, such as: - during what period in the year do you book most concerts of your programme? - how is your programme put together? - do you also book concerts with musicians who approach you outside the booking period? - how do you deal with upcoming talent? - what are important considerations for you in booking musicians/ensembles?
Make appointments about a follow up for the telephone conversation (if applicable): - do you need more information or material, such as our CD or brochure? - I will send you the material we talked about and mail you the address of our website/MySpace-page - shall I contact you again in about three weeks? What time of day works best for you?
34 Immediately send the materials you promised to send. Include a friendly note in which you thank the person for the pleasant conversation or the time he/she took to speak to you. Also indicate what materials you have included and when you intend to contact them again. Write down all the information for yourself as well and note who you called and when and what you agreed on. Remember that you may be rejected quite often. What is important is that you make contact and that you lay the foundations for later contacts, which may lead to concrete results. If you are rejected this could be for all kinds of reasons that have nothing to do with you. It may be that there simply is no more space available in the programming.
Make sure you are aware of all business aspects such as fees, contracts, technique, transportation, possible hotel accommodation etc, before you start with your booking activities. Remember that not all costs are always covered and think about how you feel about this. Consider also the function a certain concert or series of concerts may have for your career, the exposure it will generate etc. Perhaps you will have some additional income from the sale of CD’s after a concert.
See appendix 6 for an example of a network letter or email.
5. Promotion materials
At the beginning of your career you need promotional materials in order to build up a network and start working. You may already have a CV or a bio and a good photo that you use for publicity. Now is the time to look at these critically. In this paragraph you will find an overview of promotional materials and how you had best handle the production of these. A good CV and good photos are the basics. A CD, for those who want to be active performers, is also a necessity in the long term. Make your own choice about what promotional means you would like to use. It goes without saying that next to this you also have a website or a MySpace page.
Never send your promo kit with all your promotional materials out randomly. It is very expensive and will not bring you a good return. Make contact over the phone and/or
35 via e-mail and ask what someone would like to receive. The contact has then been made and the chance that your package will receive the right amount of attention is that much bigger. You do not always have to include all materials you have in the package.
Basic promo kit and packaging
If your promo kit is on the recipient’s desk then this is the first contact with your music they will have. It is, in other words, a visual meeting. So if the packaging of your music does not look professional this may lead to the decision not to listen to your music. Make sure the first impression you make is a professional one, by putting the material in an attractive envelope, map or other kind of packaging, with the name of the musician/ensemble and contact information (also url) either on a sticker or in print.
CVCVCV
The difference between a CV and a biography is not always clear and often the terms are used simultaneously. A biography is a chronological reflection of everything you have done up to a certain point. The term CV, the way it is used in the music world, is a textual summary of the biography, written in an attractive way. A CV can be used for various purposes, for example in programme booklets and folders, in press releases and on your website. A CV is a text about yourself as a musician and the way you developed through the years. Because this development always continues it is important to update your CV regularly. You can also make a short and an extended version, a version more directed towards teaching, one for your solo activities, and one for ensemble playing. The advantage of this is that third parties, who need your CV for a brochure, do not have to cut things out, so you stay in control of the information. Many starting musicians find it hard to write a good CV. Below you find a description in three steps (making an inventory, selecting and writing) which will give
36 you a guideline for making a good CV. Steps 2 and 3 in this process often intermingle.
How to write a good CV? Step 1: Make an inventory • Make a list of everything you have done. Concerts, awards you won during competitions, festivals you appeared at, master classes with well known musicians, collaborations with influential musicians or ensembles etc. Don’t forget special or multi-disciplinary activities you collaborated on. • Write down all personal information, where you come from and the countries you have lived. • Describe activities and events outside the music circuit that were important for your development. • What you have collected so far is in fact your biography in chronological order, which you will be able to use later for your CV. • You can also use quotes from media stories or from well known musicians (if, in the case of the musicians, you ask them for permission first). Limit yourself to at most two quotes.
Step 2: Select • Select the information you really want to include. • Concerning details and activities that are not directly related to your music profession, consider in what way you could use these and what your deliberations are about it. Assess whether the link is too far fetched or has a supportive function. Repeat this assessment during the rest of your writing as well, does the information match the rest of that section? • Think about which elements you want to give the most weight in the text. • Consider what you wish to begin with. This could be a recent achievement (e.g. Jasper Peterson collected three important piano awards this year) or an impressive achievement from the past (e.g. At age 11 Jill van den Vliet made her first appearance with the Concert Hall Orchestra in a cello concerto by…). But it could also be a quote from the media (e.g. “One of the most promising young jazz guitarists of The Netherlands”, from a heading in NRC
37 Handelsblad, June 2007 about Jack Philips, after his first appearance at the North Sea Jazz Festival). If you are still in school, this is not the best item to start your bio with, but give it a place somewhere in the middle of the text. • Also when you are writing, you will keep selecting. It may be that you make different choices during the writing and use your biographical list again. • Collect other musicians’ CV’s that appeal to you from the internet. Perhaps this will also give you ideas for what you can include in your own. For an example of a CV see the appendix.
Step 3: Write • Begin with the real writing. It is ok if your CV stands out and not all information has to appear in chronological order. You do not have to start with those first violin lessons you had at the age of three, except when a well-known violin teacher taught you. • Make groups of elements that belong together and put these in one section. Make separate sections about your concerts, what conductors you worked with, who you took master classes with, your teaching activities, important awards you want to mention, etc. • Now add the sections to form a complete text. You can use connecting words (such as: also, furthermore, moreover, etc) to glue sentences together, connect paragraphs and bring structure into your text. • Apart from this kind of words, fragments of sentences can have a connecting function as well: “In addition to her activities as a soloist she works as a chamber musician with the ensemble… etc.”. • Sometimes a connection is not necessary: “As a lover of… she is especially interested in…” followed by a more detailed description. Or: “Peter Molsbergen recorded several CD’s amongst which…” Or: “Jur Cox is always looking for new ways of appealing to a diverse audience. This is demonstrated by…” • Do not use superlatives or too many adjectives. Don’t brag about yourself. Beautiful descriptions can only be used if you use quotes from well known musicians or from the media. • Avoid sentences that are too long. Usually you can turn one long sentence into two shorter ones.
38 • Use the CV’s you collected from other musicians as a reference or for ‘inspiration’. If you are stuck in a sentence or a section, look for good ways of formulating things in these CV’s. • After you finish writing, leave your text for a couple of days and then read it again. Also check for spelling and grammar. The spelling checker on your computer is often not enough. • Let fellow musicians or teachers you get along with also read your CV and ask if they have suggestions.
Business cards and flyers
You can make your own business cards and have them printed. The card should at least contain the following information: • Name/ensemble • Instrument(s) • Address • Telephone number • E-mail address • Website address / MySpace page It is now also possible to have free sponsored business cards printed. On the front is the space for your own information and on the back is an advertisement. Non- sponsored business cards are quite inexpensive these days as well. If you open Google and type business cards, you will find a whole list of suppliers.
You can also choose to have a flyer designed and printed with your CV, a professional photo and your address information. You then do not need business cards. You can include some good quotes from reviews by well known musicians (ask permission first) or musicians with whom you took master classes or something like that. In chapter 7: Production of publicity materials you will read how the production of a flyer goes.
39 Publicity photos
You need photos for promotional materials, for the media, for programme booklets, auditions, competitions etc. Professional photographs therefore are a must. You do not have a professional photograph taken every year and so this is a long term investment. Take your time to select a photographer. Ask for his or her portfolio or look it up on the internet and ask other musicians about their experiences. Never make agreements with a photographer before you know what his or her style is and whether this suits the image you or your ensemble want. Ask for prices and ask colleagues what they paid for their photos.
Nature of the photos and practical tips Think about how you want to be photographed with your instrument. Should it be partially visible or completely, should it be a close up or a portrait from a greater distance, etc. Also for an ensemble it is important to think carefully about the positioning of the group beforehand and also about the positioning and attitude of the individual members. Clothes, as well as make-up, play an important part. Decide whether you want to wear concert clothing or something more informal, make-up for evening or a more natural look; all of these decisions are important for how you look in a picture. You can also choose to make a series of different photos. It is ok if they are distinctive from other pictures. Newspapers often decide, based on the picture they were sent, which concerts will receive some extra attention in the cultural agenda. Have colour prints made, as well as black and white ones. Bring photographs from other musicians as examples for the photographer to show what you have in mind. For this you can visit websites. Take note of how the image comes across, look at facial expressions, but also at the atmosphere and lighting. If there are parts of your appearance you do not wish to accentuate, tell the photographer beforehand. It would be a pity if you end up with a selection of photos that you feel were all taken from the wrong angle!
40 How it works and what it costs Make sure you are well rested at the day of the photo shoot and do not arrive at the studio completely stressed. Choose the clothes you want to wear and collect everything you need, such as make-up and hairbrush, on the day before the shooting. After the photo shoot you will receive a series of contact prints or an overview on a CD Rom or via e-mail and you can then choose which pictures you want to print. Ask beforehand how many frames will be shot, so you can be sure you will have enough to choose from. Costs can vary from around a hundred to hundreds of euros. This depends on how many different photos you want, the time the photographer will need for this and the fee per hour he charges. Sometimes there is a higher fee for groups. Make clear appointments about what is included in the estimate (films, prints) and whether this is the total price. Also consider things such as retouching of pictures.
Put the name of the photographer on the material you use the pictures for. Make a sticker to put on the back of the photograph, with information such as your name and instrument, contact information, website address, MySpace and e-mail address. Add the name of the photographer as well.
Stationery
You do not need to have special stationery printed at once. A letterhead containing your name, contact information and website address that you can copy into every word document gets you quite a long way. Try different letter types and different places to put your contact information. You can do this in black and white or, if you have a colour printer, in colour.
41
1:
Joost ten Damme Lage Weg 7, 9537 GB Groningen (NL) + 31 50 3456545 ______
Jazz pianist www.joosttendamme.nl [email protected]
2:
> Joost ten Damme Jazz pianist <
Lage Weg 7 9537 GB Groningen (NL)
Tel: + 31 50 3456545 E-mail: [email protected]
www.joosttendamme.nl
3:
Joost ten Damme ------Jazz pianist
Lage Weg 7 - 9537 GB Groningen (NL) Tel: + 31 50 3456545 E-mail: [email protected] www.joosttendamme.nl
Except for letters you can also use this letterhead for your biography/CV and other items that will be discussed later.
42 Additional promotion materials
Overview of reviews One (or more) A4 pages with copies from reviews.
Overview of concerts in the (recent) past Make a list of the most important or of all the concerts you have given. Mention the dates, locations or venues or whether the concert was part of a series or a festival and the repertoire per concert.
Print work of past concerts It may be a good idea to collect flyers, brochures and posters of concerts, concert series or festivals that you took part in. This way you can also include these if you send out a mailing. Always make sure you keep at least one copy for yourself. You can make a file with plastic display pages in which you keep all your print work. You could bring this to appointments that may lead to work and for which it would be handy to show your file.
List of quotes Collect positive quotes from professionals in the field of music and from the media about you and your music. Make a list with a selection of the most important quotes. Make sure there are quotes from representatives for, for example, the following groups: well known musicians, producers, venues/clubs, booking agencies, agents, festival organisers/programmers, music editors, journalists, reviewers, (regionally) know politicians.
Repertoire / play list An overview of all works and the names of composers whose works you performed at concerts.
Concert programmes What are the programmes you have to offer at the moment. It may be worth including an overview of these in your promokit, especially when you have a special
43 programme, for example with the premiere of a composition, or a programme around a certain theme. Depending on which venue you send your promokit to, you can adapt the programme information if you wish.
CD and DVD
At the beginning of your career, you usually do not have the means to produce a professional CD or DVD. If you do have a CD it may be a good idea to send this to ‘promising’ contacts. If you made the CD or DVD yourself and it is not quite of professional quality, you may consider indicating on the cover that it concerns a demo. This way it is clear that the CD is being used for promotional purposes and is intended to give an impression of the work of the musician or ensemble. Of course you can also put some tracks on your website or MySpace page.
Next to the CD the DVD is gaining popularity as promotional material. Especially when you are (also) active in other disciplines and try to reach new audiences in a less traditional way a DVD will give a good audio as well as a good visual impression of your stage work. You can approach the production of a CD or DVD in various ways, low budget or professional, recording on location or in a studio. Make a good planning and an estimate of the cost. Take into account that except for the cost for the recording (studio or other location), for mixing and finishing of the master by a technician/sound engineer and for duplication, you will also have to consider costs for the design and printing of the leaflet or inlay for the CD or DVD (inlay is just a front and back cover).
Online production companies such as www.tapes.nl allow you to make a relatively inexpensive and professional product once you are in the possession of the master tape mixed in the studio. For tips about how to produce a CD you can also visit the website www.beroepkunstenaar.nl.
44 6. Marketing and communication of music projects
Performing for about ten people in a venue that is way too large is something no musician likes. Good preparation can make the risk of an empty venue a lot smaller. The biggest mistake people make is starting late and planning poorly. Every music project, of whatever nature, begins with a good and realistic planning of which a marketing plan is an important part. This applies to a concert, a series of concerts and a festival, but also to the production of a CD. Each initiative directed towards an audience is a music project for which you should do marketing and communication. In this chapter you find a simple step-by-step plan for writing a marketing and communication plan.
Marketing and communication plplanananan
Marketing and communication plan Project description Goal(s) Marketing targets Determining your target group SWOT-analysis and deciding on USP’s Marketing mix Action planning Evaluation
Project description
In a general description of the project, answer questions such as: what is the product, whose initiative is this and are there collaborating partners active in the project, who are the musicians, what kind of musicians are they, what is the repertoire or theme in
45 general terms, how long will the project last, where does it take place, what is the ambition level of the project and what is the reason for the project.
Goal(s), marketing targets and determining your target groups
The following subjects have probably been dealt with generally in the project description. This is about making the goals more concrete.
Goal(s) Does the project have an underlying strategic goal for the organiser? Think about the path you have in mind for your own career. Perhaps you want to use this project to take a step in the direction of a more national market, rather than a regional one. Goals could for example be artistic or educational, have societal relevance, be idealistic or purely commercial. The goal may have something to do with the target group, for example in the case of a series of workshops for children in special education. But it can also simply be to generate work/income for the participating musicians. A clear description of your goals is important because the nature of a goal may be a decisive factor for the target groups you want to approach and for the means of communication. A clear line moreover will help you in giving further shape to the project itself.
Marketing targets These targets relate to the environment or the market in which the project is taking place and have to do with the ambitions concerning the project. Are you going to focus on local, regional, national or international level? Are you going to set your targets concerning sales, numbers of visitors/full venue? How do these things relate to the website visits in the period preceding the project? What kind of media attention do you want to generate, and how much? Think of attention in the media before the project and of reviews afterwards. Are there specific target groups in the music business you want to approach? Make a list.
46 Target groups What target group do you intend to focus on? The audience in general is often too broad a term. Your target group of course also depends on the music genre you work in. Perhaps you can use a list of e-mail addresses of certain venues or cultural institutions or you can hand out flyers at other concerts. It is then important to decide on what your target groups are. But perhaps you want to focus on new and different target groups, such as young people or more specifically secondary school pupils or students, (financially attractive) 50-sometings or the staff members of the sponsor. Perhaps you want to make a selection of your target group(s) based on the region your concert(s) will take place. The more specific the selection you make, the easier it becomes to determine the means of communication or media. Then of course there are the non-audience target groups such as media and representatives from the music business, sponsors and subsidy providers.
SWOT and USP’s
For a larger project you can apply a SWOT analysis (Strengths, Weaknesses, Opportunities and Threats) and determine your USP’s (Unique Selling Points). See also chapter 3: Marketing for the starting musician. If you do more projects you will see that the same strong and weak points, opportunities and threats appear frequently, though there can be differences as well. Think carefully about the pro’s and cons of these differences and use your experience from previous projects. It can be very useful to determine the USP’s for each new project (qualities that make the project special). Putting these into words will give you direct input (text) for the promotion of your project in print, on your website and in press releases. What’s more, this way you know exactly which strong points you would like to focus on during interviews.
47 Marketing mix
The marketing mix is an instrument to get a clear picture of the ingredients you intend to use to sell your product. The marketing mix consists of four P’s: Product, Place (location), Promotion and Price. These four 4 P’s have to match with the target group(s) you want to reach. Personnel are sometimes seen as the fifth P. As a musician you yourself are this P, and at the same time you are the P of product. Still, there is something to be said for the element Personnel.
Product This section is about the characteristics of the product itself, but also about the shape and packaging of the product. Describe the musical product, its quality and its special attributes. Think about characteristics and attributes that you can focus on in publicity. You can also ‘play’ with the shape of your musical product. Can you and will you adapt the shape of your product in such a way that you appeal to certain target groups? Think for example about certain kinds of education or interdisciplinary and multi media approaches for a concert; additions such as lectures, introductions, audience participation etc. Making changes to a shape certainly does not have to mean making concessions to the quality of your product, but on the contrary could be a means of bringing your musical product closer to an audience. You have an interesting product, so why not market it in an interesting way!
Place (location) Indicate where the project will take place or where the musical product can be obtained (distribution?). Are the locations popular? Are they locations where you can expect a great crowd anyway? Where do the ticket sales take place? Don’t forget the internet. The place (location) can also be part of the product. This is the case if all concerts of a festival for example take place in very special locations, in mansions, churches, at unexpected locations or outside.
Promotion How do you intend to promote your project? There are many means of communication that you can select by thinking of the target groups that are relevant
48 to your product. You could use folders, brochures, flyers, advertisements in newspapers or specialist publications, posters and the internet. Also don’t forget free publicity through newspapers, radio and TV as a result of the press releases you will send out. Also e-mail and sending text messages through mobile phones is an inexpensive way of letting a certain group of ‘customers’ know about your activity. There are many ways of promoting products through the internet. From entering your project on portals focussed on your genre, news sites and the use of MySpace and YouTube. Sometimes you can make promotional material yourself, and sometimes it will be necessary to hire a professional. It goes without saying that you have to adapt the promotional means you will use to your available budget. You can always do something more, more beautiful or better, but you have to have the means for this. For more ideas, also read the paragraphs about Publicity and media, print work and the one about the internet.
Price What will you charge for your musical product(s)? Are there different prices for different target groups? Will you give students a discount on their entry ticket? Price is a way of differentiating by using various forms of discounts. You could use a passe-partout for a festival and discount coupons, if you can get a local newspaper to print them. You could also offer coupons on your own website, your MySpace page or in your digital newsletter, for example to trigger people to buy more CD’s at once (second at half price or get the second ticket for free).
Personnel With this last aspect we mean the way personnel contribute to the image of the music product. In the first place this is you yourself, as a musician. But in a wider sense, this also applies to your entourage that has a certain image for the audience, but also for other target groups in the professional music practice. Do you have a manager, who is in charge of the equipment, who does the ticket sales? Perhaps you can get volunteers to contribute to your musical product. Your professional image, next to your own attitude, is also determined by these people.
49 Action planning
In the action planning you include what has to be done, what the deadline is and who is responsible. When does the text for the folder have to be written, for example. When do text and photo’s have to go to the designer and who is responsible for this? When and where will the promotional material be distributed? Also include media planning in this. Who writes the press release? When will it be sent out? To which media, with what deadlines, etc. Read also chapter 9: Media and publicity. Take into account the agreements with venues and collaborative partners about the publicity jobs they might do. The most practical approach for an action plan is often a scheme, with which it is clear for everyone at a glance what has to be finished when and who has to do what. A scheme like this can be added to the agenda during the first meetings and serve as a guideline for keeping an eye on the planning. Read also the appendices for an example of action planning.
The budget For carrying out the marketing and communication plan you need money. The project budget therefore should also include marketing. Don’t forget costs for print work, distribution of posters and flyers and costs for sending out mailings, advertisements etc. The costs you will make of course depend on the nature of the project.
Evaluation
Guided by the goals and targets from the marketing plan you can evaluate the project afterwards. When you do this, also go through the action plan. Which targets were met and which were not? Was a certain approach the right one? Did some things not go as expected, either deliberately or by accident? What should you do differently for a next project? Were the numbers for the print work correct? Which media generated the most publicity? Which did not and why was this? Also consider your own role. Did you get the maximum out of the project? What were learning points for yourself? Even if it will take some time, evaluation is important! This will help you avoid having to conquer the same obstacles with every project!
50 7. Production of publicipublicityty materials Checklists, guidelines, planning and production
Posters, folders, flyers, brochures and programme books
For the publicity around concerts, festivals and other projects the traditional print media, next to a good website, are still important. By juxtaposing these various means of communication they reinforce each other and add to the recognisability of your initiative. It goes without saying that the website and the printed publications have to look attractive and have to have the same design.
The purpose of posters, folders, flyers en brochures is to attract attention, make people curious, to inform and to persuade potential concert goers to buy a ticket. A poster should attract attention and also give some information. This also goes for the flyer, which is often no larger than a postcard. Folders and brochures often give more information, while flyers serve to direct people to a website or brochure. The promotional material has to appeal to your target group, both in design and content. Unique Selling Points (USP) of a festival, band, ensemble or musician have to be translated into the publicity material in both word and visuals. This means that all elements that make a certain ensemble or project special, have to be found in the printed material or on the website.
Distribution Posters, flyers and folders should be distributed in places where they are visible, for example in buildings in the city, village or at the location where a concert will take place. These can be cultural institutions, libraries, schools, community centres and shops. Distribution can be done by specialized companies, but you can also do it for yourself in order to save money. In distributing posters, there is always the risk that someone will stick their own poster over yours. You may have to include a second distribution round sometimes. If you distribute A0 posters on triangular boards distribution always goes through a specialised company. Planning this had best be done a few months in advance. You also have to offer people the opportunity to order folders or brochures, for example through the website.
51 You will find examples of posters and flyers in the appendix.
Checklist poster and flyer
Information: • Who is the sender of the message / who organises the event? • What is happening? / what is it about (concert(series), festival, jazz, classical music etc.) • Attractions /names musicians or enticing slogan. • More specific information: dates, location, starting times, entrance fees. For some posters starting times, location and entrance fees can be too much information, for example when it concerns a festival with many different concerts. • For which target group? Sometimes this is self evident, in other cases it is mentioned explicitly, think of concerts for children or family concerts. • Information on how to get tickets. Addresses, phone numbers/e-mail, etc. and possibly post address. • For more information: mention web address, phone number, e-mail. • Logo’s and names of sponsors.
Design: Logo (who is organising). Corporate design (of organiser) if applicable. Atmosphere (‘the feel’ of the poster has to match with product and target group). Strong visuals (that will attract attention, for example a photograph, illustration or a certain design). Design has to do with use of colour, typography, pictures (how the elements are placed on the page) etc. You will find examples of design of posters and flyers in the appendix.
52 Checklist folder en brochure
Cover The rules that apply to design and text of a poster, also apply to the cover of a folder, flyer or brochure. Often the size (smaller format) is the reason you cannot simply turn a poster into a folder, flyer or brochure cover. Of course information about how to order tickets and the programme will be on the inside of the brochure and not the cover or on the back.
Design Important for the format (and also for the visuals) of a folder/brochure are: • Format (square, angular, large, small etc.). • Way of folding (simple three ways folder or folded ingeniously). A brochure is often made in the shape of a booklet with staples in the centre. • Kind of paper (matte, glossy, light, dark, thick, thin, rough, smooth etc.). • Design.
Contents The contents of the brochure deal with all information about the event. The information in a folder is often a little more compact than in a brochure. An overview of the elements that can be part of a folder/brochure:
Introduction • A word of welcome, written invitingly. • Theme/aims. • More information about a number of important elements/highlights or interesting names. • On behalf of the artistic leader, if applicable.
Programme • Titles of the concerts, musicians, instruments, locations, times. • Per concert you may include a small, inviting text about the programme, the musicians and the location. If you have room you can include photos. You may
53 also mention entrance fees here (or you could do this with the information on how to order tickets).
Information about musicians • Texts about musicians (CV’s) can be a separate part of the folder/brochure. Depending on the space you have, you can include a description of each individual musician or just mention their names. The most important musicians can also be mentioned in the highlights in the introductory description. • You can choose to include photos of all musicians or just those who are the best known. But you may also choose not to include any photos at all, either because it does not fit the design or because of a lack of space.
Ordering tickets • Information about the dates you can order tickets, either by order form or the internet. • How you will deal with payments is something you have to discuss with the bank beforehand. It may be practical to work with a onetime authorisation via the order form in the brochure. If you let people transfer the money if is often difficult to keep control of the process. Will there be visitors from abroad? Then check beforehand how to deal with their payments in cooperation with the bank. • From which date to which date can people order tickets by telephone, mail or e-mail and at which times (also by telephone outside office hours?). • Where and when can the tickets be collected (at the cash desk before the concert, half an hour before the start or not or at another location in the period before the concert) or that you will send them to people’s home addresses.
More information • Telephone number, website address, e-mail address, post address, possibly the name of a contact person.
54 Order form • A scheme in which all concerts are mentioned and the visitor can tick the boxes for the concerts of his or her choice. • Room for the amount to be paid per concert and an addition of these costs. • Room for personal information (name, address, residence and e-mail address / telephone number) of the person who ordered the ticket(s). • If you choose payment with a one time authorisation and have arranged this with your bank, then you should include a box for the bank account number and the signature of the person who ordered the ticket(s), who in this way authorises the organisation to withdraw the amount.
Sponsors en subsidy providers with use of logo • Under the heading ‘sponsors and subsidy providers’, ‘with thanks to’ or ‘this concert was made possible by’. • The main sponsor often gets a special treatment, depending on the agreements that were made about this. You often see that a main sponsor is mentioned more prominently than other sponsors, for example on the cover of the brochure or the programme. • You can also make agreements with other sponsors about how they are mentioned, usually in the folder/brochure. • Subsidy providers often have rules about how their logo should appear in print work.
Committee of Recommendation • If applicable. A committee of recommendation consists of the Royal Commissioner, aldermen (culture), mayors, delegates (culture), patrons and patronesses, presidents of the board of directors of organisations or companies, directors, prominent people in the cultural area, well known musicians, conductors etc.
Possible other written elements of folders and brochures depend on the kind of manifestation it concerns, what it is about and what is its background. You can often get the right input for the contents of the brochure just from the programme and by
55 putting yourself in the shoes of the potential visitor and the kind of information they need.
Writing for folders and brochures
Rules of thumb:
• Determine Target group, goal and message. • Which questions do you want to deal with in the brochure? • What does the reader have to know and what will convince him? • Make a preliminary list of contents which will serve as a guide while you are writing. • Begin with a brief preface/introduction. • Work on your text guided by your questions and list of contents. Divide the text into sections and select information that belongs together. • Do not save the most important thing for last! Begin the sections with the most important information and then proceed to give background information. Take into account that in an information based society, people tend to scan texts rather than read them from beginning to end. • Use headings and sub-headings for different elements in your text. • Use white lines to give your text some ‘space’, which will make it more pleasant to read. • Write in a catchy, inspirational style. • Try to start your text with lines that are surprising or teasing, or that are interesting statements or questions. You can also use a catchy phrase to conclude your text. Make sure you don’t overdo it or the reader might feel patronized! • Avoid sentences that are too long. If you have written a very long sentence, see if you can turn it into two sentences. Research shows that sentences with a maximum of 15 words are perceived as pleasant by readers. • Avoid using difficult words, jargon and abbreviations.
56 • Make sure your overall text is not too long. If you have finished writing, read your own texts critically. Do you sometimes repeat yourself? Do you use too many words to describe something? It is possible to make your text shorter? Most people, just like you, do not have much time! • Check to see if you have answered all your own questions in the text. • Be aware of spelling mistakes. The spelling checker on your computer is not always enough. • Let someone else read your text. At a certain point, you become ‘blind’ for your own mistakes.
Tip: Have a look at some other folders or brochures which you think might connect with your target group. Which folders/brochures do you consider well written. And why? Keep these folders for inspiration!
Checklist for programme book or programme paper
A programme book or -paper has the same lay-out and style as the folders and flyers for the project concerned and contains at least the following elements: • Introduction / foreword. • Programme: if it concerns a festival or a series of concerts, arrange your information according to day, concert and starting time. State clearly who performs what, when and where. • Information concerning repertoire, possibly including lyrics (for classical music). • Information about the musicians, CV’s with photos. • Mention sponsors, subsidy providers and logo’s. • Committee of Recommendation (if applicable). • Relevant photo’s or pictures. • Colophon: name contributors, with thanks to etc. • Depending on the nature of the project, also other paragraphs, for example about the handing out of possible awards, a description of a festival’s theme or a description of the locations, if these are special or characteristic.
57 Advertising space You can sell advertising space in your programme. Make an estimate of realistic profits to be made by advertisements in your project budget. Plan enough time for acquisition of these advertisements. The advertiser should have enough time to have an advertisement made and have it delivered to you in time. You can determine the price for advertising space by the print numbers (the total number of programmes you intend to print) and the production cost. Also enquire after advertising fees in programmes for other productions. This way you can determine a fair price for a quarter, a half and a whole advertising page.
Price The programme booklet can be sold or handed out to visitors free of charge. This is a decision you can make based on the production costs you made and the design of the programme book. Prices can vary from a few euros for simple programmes to tens of euros for very informative or luxurious editions of a programme.
Advertising guidelines
Depending on the purpose of your advertisement, your budget and the kind of publication in which you advertise, you decide what it is you want to communicate. If the advert is a reference to your website, a simple announcement and the www- address could be sufficient. Otherwise, be more complete in the information you give. Use the guideline for the poster to decide what you want to put in the advertisement.
Keep your budget in mind. The same amount of money will buy you a very small advert in, for example, a national newspaper, while you might get a full colour page in a specialist magazine with a relatively small readership. Also think of the location of your activity and your target group. Perhaps an inexpensive advert in a specialist magazine or a regional newspaper is much more effective than an expensive one in a national newspaper. Apart from in specialist magazines and national or regional newspapers, you can advertise in monthlies, weeklies, door-to-door magazines, programmes, agenda’s, TV guides and the internet.
58 Producing an advertisement will cost you a minimum of 1 or 2 weeks’ time. Sometimes a magazine or a newspaper will make up the advert for you, but usually you have to have your own designer. Remember to make up your advert along the same lines as those of your poster, flyer and website. Keep an eye on the deadline for delivery of the advert to the newspaper or magazine. Especially with a specialist magazine this can be months before publication.
General guidelines cost and deadline • Specialist magazines: from tens of euros to hundreds of euros for a ¼ page. For some international specialist publications the amount can be more than 1000 euros. Long delivery time: deadlines are often months before the magazine is published. • National and regional newspapers: from hundreds of euros for a small advert up to thousands for a bigger one. Short delivery time: from several weeks to about a week. • Local newspapers: up to hundreds of euros. • Short delivery time: several weeks to about a week.
Internet You can also advertise on the internet. For example through Google Adwords, advertising in the results of search engines or by placing banners on sites that serve your purpose. Free publicity on the internet is another good option that might get you better results. So be careful to weigh the cost against the benefit.
A relatively little used form of advertising is ‘Narrowcasting’. This term was chosen to indicate the opposite of broadcasting. What it involves is that you approach specific target groups in specific places at specific times. It is very focused advertising at a certain region, field of interest etc. Sometimes this is done in combination with the internet, through plasma screens and tickertape (these are messages that pass by on an illuminated news trailer) in bars, restaurants and cinema’s, waiting rooms etc. We will have to wait and see whether this will become popular enough to offer musicians useful opportunities.
59 Design and use of visuals
Your own style Professional organisations often have a corporate identity to profile their organisation with and make it recognizable. For a starting musician this may be going a bit too far, but it is still important to consider how you wish to profile yourself to your target audience. Think about how this translates itself to the design of your print matter (and digital media such as your website). It is important to choose a style that fits you as a musician, your band or ensemble, a style that fits your audience and your musical product. You can use elements of this design for all your communications.
What exactly is a corporate identity? Organisations have a corporate identity to distinguish themselves from other organisations, to be recognisable and/or to attract a certain target group and to create a certain image. Through this corporate identity an organisation wants to show what it considers to be her distinctiveness. This could be young and wild, classical, contemporary or accessible to a wide audience. Cultural organisations, venues, festivals etc. also have their own identity. A corporate identity is visible in all communications of the organisation (from stationery, the in-house magazine, to the website, etc.). With larger organisations you also see it in signpostings in the buildings, on tableware and furniture. For the design of posters and flyers there are fewer restrictions, because often musical projects or products also have their own style or approach.
You can use your own style for lots of communications: Business cards, press releases, flyers, posters, brochures, folders, CD and CD booklet, concert tickets, advertisements, website, weblog, (digital) newsletter, other digital products such as DVD’s, but also t-shirts, banners/flags and other promotional articles.
Ingredients of a corporate identity - Logo (combination of word- or name brand and visual brand of an organisation).
60 - Typography/font (organisations often choose a font that will be used on all communications, from business cards to stationery, brochures, advertisements). - Colour (a standard colour or combination of colours you see in all communications). - Use of design and visuals (the use of a certain, more or less determined and recognisable format for, for example brochures and a website).
Larger organisations use a handbook corporate identity to give you the guidelines per communication (from poster to website) for the various ingredients of their identity.
Logo A logo is a combination of a brand name and a visual. The brand name is the name under which the organisation is known, and which is represented in a standard font and colour. The visual is a symbolic sign, for example the shell of Shell, the crown for Royal Dutch Airlines and the flag of the Hanzehogeschool Groningen.
Applications for a starting musician As a musician, ensemble or band you can choose to have a recognisable brand name. This name will always be used in one font and one colour(combination) on posters, flyers, business cards, website etc. You can also choose to use an emblem, a border or a certain background. The design of these elements should of course fit the way you wish to communicate your product, which might be classical, modern, retro, jazzy etc. Of course you can also combine the brand name with the brand visual to form your own logo!
Concerning other aspects of design, you may choose to work mainly with black and white photography. You may also choose action shots with the instrument(s) shown prominently. You can opt to use certain colours; traditional ones, bright, soft or light colours etc. Perhaps you like classical shapes with curly figures, playful or trendy shapes which will appeal to a young audience. The interaction between colour, design and typography determines the representation of your own style and it is important that you feel good about this. So think carefully about your own profiling and image before you put a designer to work or before you start working with it yourself.
61 Making your own design or working with a professional? As a starting musician you may not have the means to have a professional designer design your promotional materials. There are different possibilities for you to not spend too much and still have publicity materials that look really good. Are you a skilled computer user, then perhaps you can make your own posters, folders or flyers. Programmes often used for this are Photoshop (visual and photo editing programme), Illustrator (drawing programme) and Indesign (Graphic design programme with which you can also make more comprehensive materials with a lot of text and quite a few visuals). For simple designs you can also use Word. Make a PDF file of your document (with Adobe Acrobat PDF Writer) before you send it to a printer, in order to keep your design the way you made it.
If you are less skilled then you can turn to a relatively inexpensive printshop such as RCG and Printcenter in Groningen (Netherlands). You can only do this when you choose to work with a print- or copyshop instead of with a professional printer. You will pay a lot less and the colour prints usually look quite professional. If you have a clear idea about what you want concerning text and visuals and your idea is not too complicated, then you can work on it with an employee from the printshop. You do need a digital document of the image/photo you want to use. And consider that you will probably spend about € 10,- per fifteen minutes. For a relatively small sum you will have a design that fully meets your wishes. Many printshops also have special software for designing stickers and inlays for CD’s.
If you work with a professional designer then write down the elements you think are important. Keep mentioning these in the briefings with the designer who makes your PR material. As your career progresses there will probably be a turning point in the degree of professionalism of your promotional materials. A promotional folder or poster for a concert series will then really have to have a professional look and you will not be able to avoid hiring professionals.
Also see the appendix for examples of design.
62 Planning print work
Writing a text Writing a text will take you around two weeks, depending on the amount of text and whether you need information from a third party (for example a musician’s CV or descriptions of locations, although a lot of information can be found on the internet). Also consider that written texts sometimes have to be checked by more people, in which case you may need more time. A poster will of course take you less time to write than a brochure. Make sure that you have factual information (dates, locations, starting times, etc.) in time and that the concerts have been agreed on contractually before you let anything go to print!
Guidelines: • Design: ca. 3 weeks to 1 month • Print work: ca. 3 weeks to 1 month • Mailing/distribution: ca. 1 week • Mailing/distribution takes place depending on the kind of event ca. 2 months to ca. 3 weeks in advance. • Send invitations to VIP’s always at least 6 weeks before the event, regarding busy schedules!
Take ca. 3 to 3,5 months for the entire preparation process of print work. If you work with a copy or print shop it will be one month less. Of course this can be done quicker, if it should be necessary, but plan a wide margin if this is possible. Send your planning to the designer or the advertising agency and to the printer. It is possible that the designer or advertising agency keeps in contact with the printer and takes responsibility for your planning with the printer. Either way, make sure you make clear agreements with all parties involved.
Through the internet you can order much cheaper print work. Prices depend on the date of delivery. The longer the delivery time, the cheaper the print work gets. Printcarrier and Printweb are examples of reasonably reliable print work suppliers on
63 the internet. Always plan a little more time than you really need for the delivery of the print work.
Briefing designers and printers
Budget Make a budget for yourself and try to stick to this. You can always make things more beautiful, and therefore more expensive. Sticking to a budget is really necessary to be able to control the cost. It will be worth your trouble to get information from several designers or advertising agencies, before you start on your printwork. Tell them what you plan to do and ask them for estimates. Using these estimates as a guideline, you can also contact several printers. You will find that there can be a great difference in the cost.
As a client you usually deal with freelance designers or an advertising agency. These have contacts with more than one printer and can ask for several estimates. If you are used to working with a certain printer and would like to use this one, you can let the designer know this. And of course, before you choose a designer you can also get more estimates, although his or her style will determine your choice.
Briefing A briefing (description of an assignment) to a designer should be as complete as possible. Keep an eye on the following aspects: • Give information about the nature of the project, the target group, the necessary means of communication (poster, flyer, brochure etc.), the tone you are thinking about for the design, etc. Make agreements about everything that has to be handed in to the designer, such as text, logos, photographs and/or illustrations. • Let the designer give you ideas about which means of communication you might use, and remember that you are the one who decides. You are the person with the budget that you intend to stick to. If you are used to working with a certain designer, it is still a good idea to ask for an estimate. Make
64 agreements about when you will receive this, so you will not be in the middle of the creative process while it is not yet clear what it will cost you. It may be useful to ask for various options in the estimate: what the difference in price is between 1000 and 1500 copies of something or what two colour print work will cost you instead of full-colour. • Give your designer all practical information: full colour or black-and-white (depending on budget), number of copies, single or two sided print (for e.g. flyers, depending on the budget), possible format, the kind of paper you have in mind, estimated number of pages or amount of text in A4-format, etc. • Make a planning before the first meeting in which you include: deadline for the handing in of text(s) and possible images, presentation by the designer of their ideas for the project, time for corrections (there can be various checking rounds before the product is completely approved), definitive approval, delivery to printer, delivery by the printer of the completed product.
Tip: Check out posters you see in venues and cafés. Which ones do you like and why? Collect flyers and brochures so you can show these to your designer; the examples will make it easier for him/her to see along which lines you are thinking.
65 8. Internet, Music and marketing
Your own website: how do you begin?
The internet is a virtual infrastructure which enables applications and services in the field of information, communication and transaction . The websites of musicians and ensembles often combine these three characteristics. They give information about a musician or an ensemble. Often possibilities for contact have been created, such as an online guestbook or a forum. Sometimes musical products are also offered, either through a webshop where you can order CD’s or DVD’s or by letting people download music against payment (or for free). Established bands often offer promotional articles on their website, against payment. So consider these three components if you are going to have your website made as a starting musician or ensemble.
What possibilities do you have when you are developing a website? • Developing the site yourself, if you have the knowhow • Having a static site made (with content you cannot change yourself) • Having a dynamic site made with a Content Management System (CMS) • Making your own site with existing software
Low-budget or (semi)professional: also consider do-it-yourself software Of course the budget is often a problem for a starting musician. The average internet user (and you as a recent graduate) usually is not fluent in HTML and does not have the knowledge for making a website with, for example, Dreamweaver, FrontPage or Flash. Depending on your requirements a d.i.y. kit could be good for you. It is not that difficult to make your own site with all the user friendly website software you can get inexpensively and sometimes even free of charge via the internet. If you want a few examples of these, go to websites such as www.maakum.nl for a relatively simple site and www.EZgenerator.com for a site with more possibilities. If you take these first steps into the profession you will be able to present yourself to relations and the general audience in a very acceptable way. You can update the information on the site with your own login code and password. If you have chosen a static site, this will
66 not be possible. In this case you will always depend for changes on the designer or the maker of your site.
Websites with a Content Management System In an ideal situation you would choose a site with a Content Management System (CMS). This is a simple management system, linked to your website, with which you manage the content of your website yourself. You can add text, photos, visuals, PDF- files, anchors and links. Depending on the system it is often possible to add items to the menu and add (sub)categories. If you choose a dynamic site with CMS then consider that there is a great variation in price–quality ratio in this market. You can choose from many website designers, from one-man companies to larger ones with their own designers and website builders. Although the independent private website builder can offer an attractive price, a drawback can be that you then depend on this one person (holidays, illness, etc.) if something is not working or has to be changed which is not possible through CMS. Larger companies usually offer more service but tend to be more expensive. Always ask for estimates at more than one company. Also consider what they can offer in terms of search engine possibilities. This means that everything is done for the findability of your website through search engines. In many cases they work with an independent designer and website builder, for example for corporate identity considerations, because the client has a preference for a certain designer or because the website builder does not employ his own designer.
The more dynamic your profession, the greater the importance of a regular update A dynamic environment requires a website that you can maintain yourself. As a musician you work in a dynamic environment and therefore you have to update your site regularly. Think about categories such as news or an agenda, where you can add performances. Also regular updating of new photos is recommended. This way you offer your visitor something new on a regular basis and they will have a reason to visit your site more often (customer relations!). Updating is also important for assessment and ranking by search engines such as Google. Being able to do your own updates is possible with a website that is made with do-it-yourself software as well as with a dynamic website made by a professional company.
67 Phases/elements of the development of a website • Deciding your objectives (what do you need your site for?). • Make a wish list, also include the wishes or search questions of the visitors of your site. • Describe your website and make an overview of the contents. • Make a budget and ask for estimates or research for yourself which do-it- yourself software is available at what prices via the internet. • Choose a designer/website builder or choose a provider of d.i.y. software. • Further development of the concept of your site with builder and designer. • Project management (make a planning together with the website builder). • Put in a request for your domain name and arrange hosting with a hosting company or access provider. Often you can also do this through the website builder or the provider of the d.i.y. software. • Graphic design. • Technical design (building or constructing of website). • Making your website known, ‘advertise’ for your site. • Updating and upkeep of your site. • Periodic evaluation (does your site still meet your requirements?).
Promotion of your website An important part is a plan for the promotion of your website. Make use of every opportunity to draw attention to your website with people who might be interested, through business cards, flyers and posters. An E-letter or digital newsletter (see paragraph 8.4) is an important element of your promotional campaign. Also think about ways you can draw people’s attention to your website at concerts and other events. Your website is on the ticket, but if you speak to the audience from the stage you can also mention your website address and the possibilities for people to enlist for the newsletter. You can have panels or posters made with your or your ensemble’s name and website address, that you hang at the concert venue in a place where people will see it. Put a tell-a-friend service on your site. You can copy these tools free of charge from sites such as javascriptkit.com; home.zonnet.nl/webtools and bravenet.com.
68 If you have frequent performances, you may see the same faces in the audience on a regular basis. It might be useful to strike up a conversation with these people and they will probably be open for this. Make an appointment and ask a few people at the same time how they heard about your concert, how often they visit your website, what other sites they visit in the field of music, but also other cultural disciplines, of which online communities they are a member, whether they visit chat rooms or discussion groups and about which subjects, etc. You can broaden the conversation by asking about their education, job, interests and other activities they like to pursue. This way you get an idea of the type of visitors that are interested in your music and how you can approach them. You could also ask a group of loyal supporters whether they would like to help you promote your music via the internet, online communities, discussion groups and chat rooms they visit. But at sites such as MySpace, under ‘groups’ or ‘forum’ you can also take part in the discussion yourself. Always ‘sign’ your comments with your website address as well as with your name. Take part in discussions, but do not start promoting your new CD while you are doing so, because this would be inappropriate. Only do this if a chat or conversation lends itself to it. Otherwise, just mention your name and website address. Except for MySpace, there are countless other possibilities. Make use of the large number of communities, portals, weblogs en forums on the internet. (See also chapter 8, the paragraph Promotion of your website via online communities, portals and weblogs.)
What do you put on your sitesite?? G? GuidelinesG uidelines design and contents
0,3 second is the decision time for a visitor to click away if he cannot find what he is looking for or is not very interested. The total play of form, structure and content should keep a visitor on your site for as long as possible. In this paragraph you will find an overview of the requirements and considerations that play a role in the choices you make for structure, contents and design of your website. It should be noted that when you use do-it-yourself software, you have fewer possibilities when it comes to structure and form. This is because you work within the boundaries that were set by the provider of the software. But this kind of software does offer you a limited amount of choices.
69 Your visitor as a guideline You do not make a website for yourself, but for your visitors. This is something you have to keep in mind when you are developing your site and thinking about the contents. “What does my visitor want to find?” and “What do I want my visitor to find?”, but also “What does my visitor want to be able to do?”. Make a list of both your own requirements and one of wishes and/or search questions of the visitor and decide what your site should look like based on these.
Content Apart from plain textual information, this comprises all information on the site that the visitor receives through his senses. So also photo’s, music, video and all other kinds of downloads.
What elements should your site contain?
Homepage: Your homepage should give the visitor an impression about the musician or the ensemble and the music at one glance. You can do this with a few lines of text, but certainly also visually. You can put the most important and current news on a prominent place, such as important performances, awards, media attention, collaborative projects or other initiatives. You can also put your concert agenda on the homepage. The menu will guide the visitor to the other pages of the site. You can put more than one menu on the homepage (top/side). Visit the sites of other musicians to see what appeals to you most.
Menu: The menu could contain the following elements: • News (or you can put this in a prominent place on the homepage). • Biography (description of your development/career in more languages). • Discography. • Performances/agenda either via the menu or in a prominent place on the homepage.
70 • Of course it would be a good idea to put music fragments on your site, as well as possible videos (streaming or via a link to your YouTube page). Although you could also give these a prominent place on your homepage. • This also applies to the segment CD sales, if you want to sell CD’s through your website. You will find more about this in the paragraph Selling Music on your website. • Photos (as an impression, but also downloadable at high resolution). • Media attention. • A guest book. • A weblog. • Contact. • A special button for bookings. • Links. • Put a link to your MySpace page on your homepage as well.
If you want to keep your relations posted about developments and performances through an e-mail or newsletter, you can also add a page on your site that the visitor can become a member of by leaving his e-mail address. This does mean however that you will have to keep up your list of e-mail addresses. You will find more about this in chapter 8, the paragraph Digital newsletters or E-letters. You can also consider having a site in two languages, or partly in two languages. Depending on the supplier and the system that is used, this may cost you more money. Also visit other musicians’ websites, before you start working on your own and start collecting good ideas for making your own site. Of course with this you should keep an eye on the budget you have.
Design When you review the design for your website, think carefully about design aspects. Does the design match your identity or that of your ensemble or project? Is the site attractive and recognisable for the target group? How has colour been used and are the visuals supportive of the whole? Is the placing of various aspects on the pages clear and logical? Also think about where you put the menu and other buttons
71 (contact, links, etc) and/or banners in relation to the content of the page. Which aspects draw the eye first?
Form follows function: When you review what de designer presents to you, keep the following rules of thumb in mind: - Clustering: what belongs together because of the same content should also belong together visually. - Hierarchy: The most important aspect should get the most attention. The location on the page determines this. Above left is important, for example, and below right is less important. - Relations: the coherence between the elements should be clear. - Balance: there should be a visual balance on every page.
Navigation How do the different levels and pages of the site relate to each other? How is the linking between the various website elements? Is it easy to find a page again? Make sure you meet the expectations of the visitor. People expect a menu to be in certain places (standard is left or above). Don’t be too creative with the navigation. Make sure you know the information needs of your users/target groups before the design/construction phase in order to create a logical (for the visitor predictable) structure. Which information do you think the potential visitor will look for? What in the first instance, and what after this? What will be the path, or the click stream of the visitor?
If your site is more extensive it is important to keep in mind the place a page has in the click stream: • Start: this page should be clear about the nature of the site and what can be found where. • Middle: an overview is important here, where am I, do I have enough information, how can I move on/back to find my answer. • End: search questions should be answered as much as possible here (pages deeper in the site).
72 Make sure the structure of your site is not too ‘deep’. Three or four levels from the main menu is pretty deep already. Keep a clear eye on the information requirements and the logic of the click stream throughout the whole construction process in reviewing what the website builder suggests and delivers. Check that the ‘home’ button (and possibly a ‘back’ button) is visible at every page.
Use of text How much information is there on the pages? Are the texts not too long? What is the use of language like? Does the writing style match the target group? Do the texts have a logical structure? Are the sentences not too long?
Guidelines for writing texts for the internet: • Compared to a folder or brochure a website text should contain at least 50% fewer words, but still say the same! • Information is given fragmentarily in separate pages. Think carefully about which question the visitor should be able to find the answer to, for each page. • Website users do not read, but they scan! • Write every page in a ‘reversed pyramid style’, so the most important information at the top of the page. Put the conclusion in the first line and the most detailed information at the bottom of the page! The information does not ‘unfold’ as the text progresses, but news is presented straight away. • Avoid complicated phrases and use short sentences, without too many subordinate clauses. Break a sentence up into more than one if necessary. • Use summaries. • Avoid “crap” on the web: don’t use exaggerated sales talk. Don’t try to be ‘interesting’ (unclear) or use metaphors or cryptic language: the user will leave the page if he does not understand what you mean immediately. • Update your texts regularly so there will often be something new on the site. This applies especially to the homepage. • Try to find variation in phrases such as “click here”, “follow this link”, “click on the button” etc.
73 Respond quickly If you have a busy schedule it will not always be easy to respond to all contacts (applications, bookings, information and contact per e-mail) that your website or profile pages on online communities generate. Still, it is important to do so. So check your e-mail a few times a day.
Promotion of your website An important element is a plan for the promotion of your website. Leave no stone unturned to draw attention of people who might be interested to your site, by using business cards, flyers and posters and the signature in your emails. Talk to fellow- musicians about putting links on each other’s site. Put links on MySpace, Hyves and other sites of which you are a member. An E-letter or a digital newsletter (see chapter 8) can also be a good way to promote your site. Put articles in your newsletters with links to various pages on your site. Think about how you can draw attention to your site at concerts and other events. You can put the web-address on the ticket and the programme and/or the flyer and poster, but you can also name the web-address and the possibility to subscribe to a newsletter when you talk to the audience. You can have boarding or posters made with your own or your ensembles/band’s name and the address of the website and put them in a visible place during concerts. Put a ‘tell- a-friend’ service on your site; you can find free versions of this via Google.
Findability and statistics Ranking & webcounters
Almost everyone uses search engines like Google, Altavista and Ilse. So it is very important that you inform them of your website/url. Make sure your website is easy to find and that you have a good ranking (place of your website in the search results list) by among other things, key words. Let your website be developed and hosted in such a way that Google, today’s most popular search engine, indexes and finds it easily. Technically everything has to be in order, you should not create thresholds for search engines. The builder of your site should be able to advise you in this and be able to realize it as well. When you think of a name for an ensemble or band also think of
74 findability for search engines. Don’t choose names that can be spelled in various ways, that consist of more than one word, either written as two words or connected with a hyphen or other punctuation marks.
• One of the most important aspects for a good ranking, which you can arrange yourself, is the link popularity. Make sure there are plenty of links on other relevant sites to your website. Especially if there are international links to your site, your ranking will go up. So sign up with as many music sites and portals as possible and arrange to have links to your site on other people’s sites and vice versa. • The content should be set up well, search engines ‘love’ websites with a lot of text, not too many visuals and other files (sound/films). • More pages is always good, because search engines also look at the volume of the site! So make sure you don’t put too many subjects on one page, but give separate subjects their own page. • Make page headers that reflect the contents of the page well. So no word play and funny headings, but headings that reflect the core. • Search engines also look at the seniority of a website for the ranking. The longer the domain name has been used, the higher it is ranked by search engines. • Make sure you have so-called SEF (Search Engine Friendly) url’s. The url should show you where you are. Preferably no parameters (&, = etc.) in the url! • The headings have to be recognisable for search engines and therefore you have to put these in a larger letter. • Make a list of all relevant search words and key words, preferably for every page, with which you want to be found and give these to the builder of your site. Use these words also in the content of the first two paragraphs of your pages. • Have a sitemap made when you have your site built. • Every page should have a good title-tag (in the blue bar at the top of the screen) with the subject in it (max. 40-60 characters), most important word first.
75 • Every page should have a description meta-tag. A brief, factual summary (150 characters max.) that is reflected by search engines.
These guidelines will help you on the way. Search engines such as Google will also give you tips for optimum results. Use Google analytics (free), make a Google sitemap and update your site regularly. Often it is also the technical directions that are interesting to builders and webmasters.
Statistics In order to keep posted about the number of visitors your site generates, whether they come back and where they come from you can use a statistics counter or webcounters. Why is it good to know these statistics? Because they give you an insight into whether you have more visitors before or after a concert, whether links on other sites to your site generates visitors, whether sending mail to certain relations generates more visitors, when there is a peak in the number of visitors, etc. A website builder can take these things into account while building the site and give you advice. You can also use one of the many statistics counters on the internet.
Google analytics is one of the better ones and it is free as well. Some sellers offer free software, for others you periodically pay a certain amount per year. This can vary from several tens of euros to several hundreds of euros, depending on how professional the software is. Nedstat, Onestat and Webcounter are just a few names. You may also have more basic arguments for your choice, for example because one provider will give you more counters (and so you are able to keep track of more pages) or because a counter shows the number of hits via symbols on your site (and the visitor can see how many guests your site generates). Look into the possibilities via Google and/or comparable sites, for example www.tellertest.com.
How to go about it: Once you have made your choice, you can activate the counter via your own account. Usually you get a certain number of counters (for example 5 if you choose a free counter) that can be placed on the pages you choose, through a number of lines of html-code, which the provider will e-mail to you. In many cases the builder will
76 have to put the html-code on the site for you. If you want a counter for every page, you will have to choose software you will pay for.
A password gives you access to your account which will show you the number of hits, page views, visitors, referrals (from which site people link through to your site), averages per day/month, percentages per country, etc. This is shown by means of tables and schemes. With more comprehensive software you will receive reports about this. If you have a free counter you will have to keep your own statistics.
Watching your statistics of course also has a purpose. You will be able to keep an eye on how visitors use your website, what they are looking for, which pages are most popular, via which sites they get to yours (and with which key words) and this will give you the opportunity to see if you can make improvements.
Digital newsletters or EE----lettersletters
An E-letter or digital newsletter is a good way to inform your relations quickly and inexpensively about your activities as a musician or ensemble/band. Don’t send a newsletter out too often or people will not read it anymore. If you want to do it properly, then start in a professional way and make a database of addresses. Think in target groups when you do this. Which news is interesting for which target groups? See also chapter 4: Networking and managing your business contacts. Make sure you have the recipient’s permission. If you do not have this, you may be in violation of the Opta’s Telecom law, and you may have to pay a fine because you are spamming. Therefore, always offer the recipient the possibility to unsubscribe.
Design, distribution and cost You can make a simple design yourself for your e-mail newsletter, but you can also have a template made according to your own specifications. The cost for this can vary from 200 to about 1000 euros. When you send out your e-mails to a large number of addresses you will come across spam filters and the limits your provider has set. So send your newsletter in small groups with a maximum of 50 addresses.
77 There is also special software available that you can download at a (one time) payment. An example is Max Bulk Mailer. Another possibility is letting a professional take care of the distribution. E-mail marketing distributors often charge an amount per e-mail to be sent. The amounts vary from a maximum of 0,08 euro cents per e-mail to 0,05 euro cents per e-mail for 1000 addresses and more. Some providers charge a certain amount per month, for example € 39,95 a month for a maximum of 50.000 e- mails a year. If you want to keep the costs to a minimum, you can choose to send your newsletter as a pdf-attachment of the mail. Another way is to put a few brief news facts in your email and put links beneath these to the complete newsletter you put on a page in your website. You can also make a pdf of this; you then have to make direct links from the mail to the pdf.
Guidelines content • In the heading of your newsletter the sender (you as a musician/ensemble) should be recognisable. If you have a house style, logo with the name of your ensemble, then also use this in your digital newsletter. Possibly combined with a photo. It looks good when the design of your website is the same as that of the newsletter. • Don’t forget to put in the date. • Is your text longer and does the reader have to scroll, then begin with a summing up of the subjects, perhaps with links to the text. • Be brief. Make sure you don’t have too many subjects. • Brief text per subject. Stick to just a few lines with a link to your website where people will find more information. • The use of visuals will draw people’s attention, but don’t overdo it. • Subscribe and unsubscribe procedure. • URL website; perhaps name, address and telephone number. • To make it interesting for the recipients to receive your newsletter, you can put in special offers such as a discount for concert tickets or a CD with a discount. A link to a film or an audio fragment on your website or MySpace or YouTube page, if you have this, gives your newsletter added value. • ‘Tell a friend’: this is a request to send the E-letter on to friends and other interested parties.
78
Use concerts and related jobs to interest people to subscribe to your newsletter. You can do this for example via a form you hand out with the ticket sales. But it could also be a list you put on a table near the cash desk, where the cash register attendant can draw people’s attention to it. Welcome people to the concert before the show begins and mention, if appropriate, the address of your website and the possibility to stay informed about your activities through the newsletter.
CrossCross----ppppromotionromotion of your website via online communities, poportalsrtals anda nd weblogs
In order to get people to visit your site you can begin with an e-mail or a digital newsletter/ E-letter to the people you know (family, friends, acquaintances, colleagues and other contacts) and the list of concert goers that you may already have. You also mention the url of your site on business cards, flyers and posters for your performance. But you can also ‘recruit’ people for your website through online communities, portals and weblogs. Of course the url of your site is also on your business cards, flyers and posters for concerts. But you can also ‘recruit’ visitors for your website via online communities, portals and weblogs.
Online communities Linked-In, Facebook, Hyves, You-Tube, MySpace, Twitter, Flickr, what should you, or could you do with these? Because you can use many of these online social media or networks as free publicity channels, it may be wise to learn more about them as a starting musician. Do not immediately become a member of too many social networks, because it will cost you too much time to keep up wit them. Make a sensible selection and try to get the most out of these. If necessary, you can later become a member of other networks if it turns out that this may result in a few useful contacts. Keep all login codes and passwords for the various sites together in one document.
An ‘online social network’ or ‘community’ is a website where a group of people (a community) communicates with each other on a regular basis, based on a shared
79 interest. Examples are the Dutch site ‘Hyves’ and well known communities ‘Friendster’, ‘Facebook’ and ‘Linked In’. Musicians are especially familiar with the international ‘MySpace Music’, which in the music world is the number one in ‘online communities’. On sites like this you can make your own profile (your own page) with a description of yourself as a musician or ensemble. What makes MySpace such a success is that the whole music world makes use of this network. MySpace is used as a possibility to profile yourself, to make contact, and for marketing purposes, but also as a source of information to get an impression of musicians and their ensembles through their profile. Think for example of agents and organisers of festivals, but also of the media. You can profile yourself by means of audio and video, foto’s, a concert agenda and your biography. The number of tracks you can upload has recently been extended to a maximum of ten! You can send messages, take part in for a, become a member of groups and post bulletins, which all your friends will receive. MySpace Music is a must for a starting musician or ensemble, especially if you do not yet have your own website. Visit http://uk.myspace.com/musicinfo to make a good start. For something other than the standard layout of your Myspace page you can use a free MySpace Page Generator, of which you can find plenty on the internet via Google. There are countless possibilities on this site and it is relatively user friendly. Take a serious approach to it and look into the various options to present your profile in the best possible way.
Make sure you put links from one site to another on your profiles on MySpace, Linked-In (business network), Facebook, Friendster or Hyves (these three are especially networks for friends), as well as links to your own website. Flickr (photo) and YouTube (video) are content based community sites with which you can publish your own photo’s and video’s. You can also ‘imbed’ video’s from You-Tube into your own website. Right now Twitter is very hot, a site with which you can micro-blog: say in 140 characters what you are doing. This way you can follow your friends and your friends can follow you. In the Netherlands not that many people ‘twitter’ yet, perhaps a few thousand. Worldwide this is around 7 million. What use is it to the starting musician? From a publicity point of view it will only become interesting if you have many followers and/or when you have something interesting to report, for example that you work together with a well known musician, will perform at an important
80 festival or venue or have just had a very interesting offer. Becoming a member only makes sense if you update your information every day or at least every few days.
Marketing techniques used for working with online communities are for example working with opinion leaders and asking input from visitors. Find profiles/friends which match with your music style and contact them. Make use of the bulletins to keep your friends updated about your activities. Your updates will show you which new content your friends have on their profiles. Respond to this so people will be triggered to check your profile as well, from time to time. This way your target group will expand more and more. Through online communities people also give each other tips by sending videos or special e-cards through the mail, which then spread like an exponential wave across the net. Be creative, a buzz like this could help you a lot further.
Of course it is good to keep in touch with friends, colleagues and fellow students via MySpace, but you also speak to these people ‘live’ on a day to day basis. So also try to get in touch with other musicians or people who are professionally engaged in music in some way. You do not always have to have a clear idea about what you want with this contact beforehand. In due course the contact may be worth while to both parties en may even lead to collaboration! It could also be useful to look for former class mates via for example www.schoolbank.nl and to interest them in visiting your site.
Portals and weblogs Portals are also important when it comes to information and the marketing of music. A portal is a website that functions as a door to other websites concerning a certain subject, such as music, or more specifically jazz. On portals like this, the sites have been categorised by subject. Startpagina is a well known Dutch example of such a portal. Startpagina has versions of all subjects imaginable. Portals such as jazz.startpagina.nl and klassieke-muziek.startpagina.nl have categories such as artists, ensembles/bands, festivals, clubs and venues, labels, agents, etc. Sites such as jazzmasters.nl and europejazz.net (international) also have a portal function. jazzmasters.nl en europejazz.net (internationaal) hebben zo’n portalfunctie.
81 Many sites provide the opportunity for musicians to put their own information on it, for example ‘de kamermuziek’ and the ‘jazzserver’ in the Netherlands.
You will find many relevant links on the sites of the North Sea Jazz Festival and Jazzenzo (although these are not portals). This kind of site will give you a relatively quick and easy overview of the field of music. So this also makes a good starting point for making new contacts. You will find weblogs or blogs about every imaginable subject as well. A weblog is a website which functions as a sort of log, and so becomes an arena for the individual citizen who wishes to share his or her ideas. It is important here to distinguish between good and bad quality. Select blogs that generate many visitors and that really have an added value for your branch in the music profession. Of course you can also start your own blog. You can do this either via your own site or as a separate website, for example with simple software such as www.blogger.com.
For a starting musician it is important to be active on weblogs, news sites, etc. which are relevant for your instrument or your music style. But make a selection, or you run the risk it will take up a lot of time. Make sure every organisation you work with mentions your name on his/her website, preferably with www-address, and notify all kinds of websites of your concerts. Then, if people keep coming across your name, they will think this must mean something!
Selling mmmusicmusic on your website
There has been a shift in the way music is offered from music carrier (CD, DVD) to the internet in recent years. You can download music for free and/or illegally through programmes such as Limewire, which is costing record companies as well as musicians a lot of revenues from CD sales. It is expected that in future musicians will depend more and more on live music, performances, workshops to generate an income. But also paid-for downloads are on the increase, compared to CD sales in the shops. A song you have downloaded via the Apple i-Tunes Store for € 0,99 can
82 then be played on the i-pod. In this paragraph more about how you can sell music via the i-Tunes Music Store and other channels as an individual musician.
CD sales via website, MySpace or Hyves The simplest way of offering your music through the internet is by offering your CD up for sale on your website, MySpace or Hyves page. Not everyone is used to buying products through the internet and sometimes visitors break off a transaction just before it is finished, because of fear and hesitation. So make sure the possibilities for payment have been arranged well, and that your site looks professional and reliable. You can arrange possibilities for payment by taking a PayPal account, an internationally accepted service to arrange financial transactions through the internet. Visitors will shop on your site and pay through the PayPal site. This procedure will feel safe for visitors, because it is a well known system, recognised by many people. You can also offer streaming music or videos on your site, so visitors can get an impression of your music before they buy or download.
Music offer via legal download If you want to offer your own music to be downloadable for payment, then you can do this via intermediary websites. A suitable site, also for starting musicians would be www.legaldownload.net / artistlabel. This allows you to make your own web shop, which you can integrate into your own site, Hyves, MySpace, and/or YouTube page and also manage yourself. You can make a free account for which you can offer a limited number of songs (by uploading them) or pay a fixed amount for which you can upload more music files (and also photos or videos). You will receive 75% of the revenues. Moreover the site works with a promotion tool which will also bring your music to the attention of the consumer. You will find clear instructions about how this works on the site.
There is a slowly emerging trend, next to the regular selling of CD’s/downloads, of offering your own tracks for free through, amongst others, your website. The reason for this has to do with marketing techniques. This trend has emerged from a downfall in revenues from CD and DVD sales and the expectation that in future musicians will get their income more and more from live performances, projects and events.
83 Offering music for free from this perspective is a way of letting as many people as possible become acquainted with your work and your name, and so generating mouth to mouth publicity (also via the internet), airplay and concerts.
Music via iTunes The Norma foundation has recently become a content provider of iTunes for musicians and artists who are a member. The conditions at which Norma offers this service appear to be attractive. You will find more information on www.stichtingnorma.nl. Sites that also specialise in offering downloadables by individual musicians and labels through, among others, the iTunes Store, are TheOrchard.com and Tunecore.com. The popular American CDbaby does CD sales first and foremost. A site that may be interesting for the starting musicians as well is Sellaband. Just like on Hyves and MySpace you can create your own profile on this. Visitors of the site can download your music for free. Via a kind of shares-system visitors can buy shares and so ensure a record contract for you (you need a minimum of 5000 ‘believers’). The share holders have a share in the revenue. Whichever option you choose (or which combination of options), make sure you know what legal rights you have.
Promotion of music on your website In this paragraph you will find a number of tips and tricks for the promotion of your music on your own website, possibly in combination with your profile page on MySpace, Hyves and/or other sites. Especially if you have released more albums these tips may be to your advantage.
Concerts and CD sales Be aware that the most important pages on your website for your income are the pages at which visitors can buy your music and tickets for your performances. Of course all other pages are important as well, because together with the ‘commercial’ pages they give a complete picture of you as a musician or ensemble. Their purpose is information, support and strengthening of the base of your core business: selling music, either live or registered. So make sure the visitor can get to the webshop and
84 the concert agenda easily from every page via the main menu and possibly via a banner or hyperlink.
Free downloads Order now and receive 2 free downloads! Offer the possibility of downloading a few tracks from a CD for free after the visitor has ordered the CD through an order form. This way the visitor gets a taste of the CD that he will receive. You can also offer one free download for the promotion of the paid download of the whole CD.
Sound samples What you hear is what you get! A number of brief sound fragments of CD tracks could convince the visitor to buy (or pay for the downloading of) the whole CD.
Discounts and discount coupons Buy a CD and receive a discount coupon for your next purchase! After someone has ordered your CD, send a confirmation by e-mail with a digital discount coupon with a code. The coupon itself and what it looks like is not important, what is important is the code. You need this to make sure that the coupon can only be used by the receiver. This means you have to keep an administration of the codes you send out. You can also give a discount by not charging shipping costs.
Competition Do a competition every two months (about a subject related to your own music style or instrument), with which the visitor can win a CD. Make a special page on your website with a form / e-mail on which the visitor, besides the answer, also has to enter his name, address and e-mail address. You can also use this page to give people the opportunity to buy the CD straight away. You use the e-mail addresses to let people know whether they won anything, but also to invite them to subscribe to your digital newsletter and to bring your CD to their attention again, if they were not the lucky winners.
85 Package deals Three for the price of two! Offer more CD’s for an attractive price. If it concerns a download per track, then you could offer the possibility of downloading more tracks for a good price.
Sheet music For fans of your music who are themselves amateur musician, it could be interesting to offer sheet Music for free (in PDF format) of your work when they order a CD.
Contact Offer visitors the possibility to get in touch with you and respond quickly to questions. Give them a personal answer, which gives the visitor the feeling of being personally in touch with the musician (which of course they are). After concerts people in the audience also like to have a chat with the musicians. You can hardly think of an easier way to create loyalty with your potential CD buyers (and through mouth to mouth publicity also with their friends) than by having a chat or by giving a personal answer to an e-mail! You can also use the guestbook on your site to keep in touch with the visitors of your site, people who listen to your music and who come to your performances.
Tip: www.musicbizacademy.com/internet/
9. Media and publicity
You need the media
Why do we want media attention? - Free publicity: free positive publicity is more effective than advertising. - A way of reaching the general public and other target groups (think of the field of music) and to inform them about you as a musician or about a specific concert/project. - Creating a personal profile, increasing your status, shaping your image.
86 - Media attention motivates! This goes for you as a musician and also for the people you work with.
What is news? A mix of facts, emotion and human interest
What do we mean with media? Daily newspapers, weeklies, regional newspapers, local newspapers, radio and TV guides, specialist publications: these are all media that appear on paper. There are a few new free newspapers such as Spits, Metro and Dag. And you also find more and more new media on the internet.
What could be reasons for the media to pay attention to you or your project? - you are already famous and have a certain standing. - you are a remarkable (upcoming/new) talent. - you do something special or are organising a special project. - what you do, you do in a special way. - what you do could be potentially interesting to a wider audience. - you are receiving support from an influential, reliable, respected person or persons. - you have a finely tuned and extensive publicity campaign.
But also: - what else does the day or period offer that is newsworthy? - are you interesting to the target group of the medium? - is your project/concert taking place in the right region for a certain medium? - does your project/concert have a connection with current events? - personal interest of a journalist in you and/or the initiative you are organising. - domino-effect: one journalist writes about your project/concert and other media follow. - be aware that free publicity is not always positive, think of negative reviews.
87 Tips You can use this information when you are planning your ‘media campaign’ but also when you are coming up with your project. Look at all points mentioned and think of practical examples you could carry out. For the point ‘current events’ you can think about whether there is a link between your project and a current event. Or you turn things around and come up with a project based on a current event.
It is good to read the cultural pages and supplements of newspapers and TV and radio programmes. Pay attention to fellow musicians who are making the headlines. Musicians often have a special page on their website about the media attention they received, in the recent and more distant past. This may give you ideas about how to present your own activities to the media, but perhaps also for new projects you might start up. Also make a page on your own site about the media-attention you received.
Media planning and media approach
Means There are various ways of approaching the press: - Press release. - Pre-announcement. - A direct question to one (or more) specific journalist(s) for media attention, either by telephone or by e-mail. - Presentation for the press or a press conference. - Networking: conversations with journalists at receptions, after concerts or on other occasions, but for example also by telephone or e-mail if you have some news.
Choice of means and planning If you intend to organise a project, your marketing and communication plan will of course also contain a paragraph about the media. In this you indicate the actions you plan to undertake (press release, press presentation, approach by telephone, etc.) to approach the media and when you will do this.
88 Take a wide margin when you are planning these activities, especially if more people are responsible. It could easily take one or two weeks to have a press release sent out, from the moment of writing it to the actual distribution.
In some cases, especially when it concerns larger initiatives such as festivals, it may be necessary to send a pre-announcement to the media. You can do this several months before the event, for example when the definite programme is known. The actual press release can be sent two to three weeks before the event. If it concerns a concert or a number of concerts, you can also take about two weeks.
If it concerns a larger initiative it may be useful to contact the music editor or general editor early either by telephone or e-mail, in order to find out in what way the newspaper can pay attention to the activity. You can also do this after you have sent your press release. But make sure you don’t do this for every activity you organise, because some journalists hate people who keep calling them. So think about whether your activity is important enough and try to get the right dosage for your telephone calls about media attention!
A presentation for the press is rather unusual. Often it concerns important issues, in which you expect the media to be interested. You could organise a presentation for the presentation of a CD for example and invite the press as well. But a large event could also be presented to the media separately. Always think carefully about whether a presentation is the right way. It could be useful to consult one or two media contacts about if they would come or whether they would prefer a press release and/or an appointment for an interview. Sometimes you may get more good media attention from a number of good interviews that you have done separately with journalists than from a number of articles inspired by a presentation. At which time you have to plan a presentation depends on the subject. A CD presentation will take place right after the CD has been released. The presentation of a festival will take place as soon as the programme has become known and before ticket sales will start.
You will find an example of a media planning in the appendix.
89
The importance of a good list of media addresses Make sure the list of media addresses you have is accurate and make frequent updates. It should contain: addresses, e-mail addresses, names and telephone numbers. You will find a current overview of all Dutch media in the ‘Handboek van de Nederlandse Pers en Publiciteit’, which comes out twice a year (public library). ‘ANP Pers Support’ is a press service that will arrange the sending of your press releases for payment to the most accurate press address list, national and/or international. The websites www.medialijst.nl or www.adresdata.nl will give you a current list of all relevant addresses in the field of culture in the Netherlands (and Flanders), against payment.
If you have no budget then culture venues or organisations in your own region will probably be able to provide a good list of addresses. Some organisations may be willing to share their information. There are quite a few professional organisations who manage their own media address list. You will also get a long way via the internet by googling search words such as ‘media addresses’, ‘press’ in combination with ‘culture’, ‘classic’, ‘jazz music’ etc. For an overview of Dutch and international media you can visit www.battl.nl/start/ or www.kidon.com/media-link/nederlands.php under media. On www.kidon.com/media-link you can choose from which countries in the world you would like to have a media overview. The website www.missmag.nl gives an overview of all Dutch magazines. There are also portals such as www.kranten.startpagina.nl or www.tv.startpagina.nl. If you have a list of media addresses which is relevant for your artistic product then keep this up to date and work on the relationships with the journalists/editors on your list.
Media on the internet For many people the internet has become their most important source of information. The traditional media made use of this by making their own websites, next to their newspaper, TV or radio programme. This also goes for some specialist magazines in the field of music or the organisations behind them. You can also find news media and webzines on the internet, such as www.nu.nl. For musicians of course the agenda’s and cultural pages are also important. These websites have their own
90 editors and are updated on a daily basis. Don’t forget these media when you send out your press releases. You may consider sending an abbreviated version to web editors.
Then of course there are also the weblogs, portals, forums and online communities you can use for your marketing. These sites however do not have (news)editors. A weblog or an online community gives you the opportunity to share your information. And what might happen is that something emerges on this site that is taken over by journalists. You will read more about this in chapter 8 about the internet.
Websites of musicians often have a separate page for the media. You can make it easy for the journalist by placing downloadable photos and a CV in several languages on your site and make sure you refresh the site regularly. Under the heading media attention you can put everything that has been written about you in the press.
Guidelines press releases, interviews and press presentations
Guidelines for press releases • Decide for which medium your message is interesting (who are the viewers, readers or listeners? National or regional?) and adjust your heading and story to this. Also decide for which media it might be interesting. Is the activity too limited and too regional, then do not send out a press release to the national media. • A press release deals with not more than one subject at a time. • Make sure your press release is right on time. Don’t send it out too late and don’t send it out too early. • Check out other activities that are taking place and that might compete with yours. Based on this, decide when you are going to send out your press release.
91 • Sometimes it can be useful to call journalists after you have sent out a press release. Make sure you do not do this too often and run the risk of irritating people. • Send out a press release preferably before noon, because of deadlines. • Send a press release per e-mail. Many companies and (large) cultural organisations make use of ANP Press Support against payment, in combination with distribution via e-mail. • Make sure there is enough background information available via your own website. This could be photo or video material and up to date CV info journalists can download. Make sure you update your website before the press release is sent out.
How to write a good press release • Put ‘PRESS RELEASE’ at the top of the page. • Indicate clearly who the sender of the press release is. • Put a clear and boldly printed heading at the top of the message. Make sure your heading is brief and interesting. Research shows that a journalist on average decides in about 4 seconds whether he/she will read on. • Add a sub heading if appropriate (or a chapeau / teaser) as clarification below (or above) the heading. • Make sure there is a date on your press release. • Treat the five W’s in your message and possibly the H in de lead (the first paragraph), which is usually printed in bold print: o Who o What o Where o Why o When o How • After this put a white line and begin with the body text, starting with the most important news. • The body text consists of a maximum of 2 to 3 text parts, separated by white lines.
92 • Use sub headings for the text sections, if appropriate. • You should be able to roll a press release up. If you should ‘cut it off’ after a white line it should still give a complete picture of the activity. This applies to every white line, so every paragraph should be a complete story. The most important section comes first. • If there are activities in various regions, then treat these in separate paragraphs. • Don’t give too many details, be complete, but make sure you are brief and to the point. In general, stick to a total length of no more than A4, if possible. • Avoid using too many adjectives, such as ‘fantastic’, ‘unique’, ‘very special’ etc. • Be clear and avoid jargon (specialist language). • End the press release with the name of the person who can be contacted for more information (phone number and cell phone number). Also mention the person’s e-mail address and the url of the website. And make sure you are available! Make sure you put ‘ Not for publication’ before the name and telephone number. Otherwise you run the chance that this information is published as well. You would not be the first person to end up with their name and telephone number in the paper. • Let someone read the press release for possible corrections and suggestions. • Make sure you send it out without any mistakes!
For an advance announcement the same guidelines apply. Instead of ‘PRESS RELEASE’ you write ‘FIRST ANNOUNCEMENT’. You will find examples of press releases in the appendix.
You need publicity Try to adjust, if possible, to the agenda of the journalist if you need the publicity. Keep in mind that the media have deadlines.
93
The returns of the interview are in the preparation Think about what your central message will be before the interview. What would you like to say and how are you going to say it. Anticipate possible questions and make a Questions & Answers-list. Consider beforehand how you want to formulate your messages and think about how it might sound interesting to the journalist. Also think about what you would like the public to remember. Make sure you don’t take a reactive role in the interview, but an active one and that you recognise the moments that give you room for your own input. ‘Never mind the question, just give the answer!’ Give the most important part of the answer immediately after a question, so it will not be cut in a radio or TV interview. Think in sound bites! You can train yourself for media contacts, by the experience of doing it, but also by reading about it.
A journalist also needs a chance to prepare. Make sure you have a press file with several photos, a current CV, previously published reviews or articles and if you have it a CD or a demo. Of course you can also make a digital press file and send it per e- mail prior to the interview. Think of making a link to for example your MySpace page, where the journalist can listen to your music.
What kind of interview is it and what segment or programme? Make sure you know beforehand what kind of article it will be, what segment or programme it concerns, what the formula is. You can ask this at the medium concerned. You can also ask which questions (generally) you will be asked, so you can prepare well.
An inspirational and professional representation in word and visuals The image you expect a musician to have can be described with adjectives such as inspiring, enthusiastic, authentic, creative, perhaps eccentric but certainly also professional. This applies to the literal representation in visuals (the way you dress!) as in word. The journalist in front of you is your intermediary to the public. He has to get the impression that you are a passionate musician who knows what he is talking about and can talk about it in an inspirational way. An exception may be the image of
94 the musician as an alienated eccentric, but he has to have a great deal of talent to be able to intrigue people.
Body language and use of your voice Try to make sure you have a positive and enthusiastic facial expression and energetic body language. This goes for radio and TV, but it is important for a newspaper interview as well. Concerning your voice it is important to pay attention to your tempo, intonation and articulation. Be aware of these things, but don’t overdo it. Try to be yourself. A journalist and also a viewer or listener easily picks up when you are ‘acting’.
Fascinating background information Have your story ready and make sure you have enough background information available concerning the programme, the participating musicians and possibly a good anecdote. Don’t make it too complicated but tell people how good it is what they are going to see. Metaphors, comparisons, short sentences make sure your message is remembered. Exaggerating a little is no problem! All this is especially important when it concerns radio and TV. If it concerns publicity for an ensemble then always decide who is the most suitable person to do the talking.
Straightforward language and the power of repetition Don’t give answers that are too complicated and make sure your story is appealing and straightforward. Make it attractive for the potential visitor. The audience has to have the feeling you are speaking to them. When possible, repeat the most important thing you have to say a few times during the interview, preferably in brief, powerful (prepared) sentences.
Double interview If possible you can also do the interview with two people. Often the atmosphere created this way is more relaxed and moreover, two know more than one.
95 Let people know you are happy with the interview It will do you no harm to compliment a journalist about an article or after an interview. An e-mail is quickly sent. Think how you also like positive feedback after a concert! It will also be good for the relationship with the journalist. (Don’t overdo it!)
Read the article prior to publication, if possible If the interview concerns the written press you can ask to read the article before it is published, for example to check whether it’s accurate. Journalists will not always allow you to do so. If there are differences of opinion about the interpretation of things you said, that you perhaps meant in a different way, you can try to negotiate about this. You are, however, dependant on the willingness of the journalist to make changes. Be aware that you will jeopardise the relationship by entering into a discussion. So weigh carefully whether this is worth it.
There’s no such thing as off-the-record During interviews with journalists you know well, you may be tempted to tell things you would not like to have made public. As a fictional example I mention the remark of the member of an orchestra to a journalist about problems in the internal organisation of the orchestra. Disagreements, financial problems: it will certainly interest the journalist. So don’t do this. Even if the interview was already finished, the journalist remains a journalist with whom you are doing an interview.
Difficult questions As a musician you will usually deal with the media if you have something interesting to say about a project. Mostly these are not very controversial issues. Yet you may have to deal with situations in which you will have to answer difficult questions and where you don’t trust the interviewer entirely (or not at all). A few guidelines intended to keep you in control: • Never get angry, always stay calm. • If the interviewer makes a false assumption, then try to gain control by saying things such as: “what you are saying is not correct”, “I have a different opinion about this” followed by something like: “I will tell you what the situation is really
96 like”. Or: “These are your words, but what is more important…” After this you can tell your own story. • If the interviewer continues on a sideline you consider less important, then try to gain control of the situation by saying things like: “I can imagine that you have questions about this, but what is much more interesting is…” or something like: “You have a point, but what I would like to add to this is…” • If you do not know the answer at once, then wonder if it is something you should have known. If not, then indicate that it is not possible for you to answer the question. If you should have known, then ask the interviewer to repeat the question or clarify or repeat the question yourself while you think about the answer. • If an interviewer is rude or even aggressive to you, you can say: “Of course I cannot answer a question like that. What I would like to say however is…” followed by the story you want to tell yourself. • If you keep getting interrupted, indicate that you would like to finish your answer.
If you are relatively inexperienced in contact with the media, then read these guidelines every time you do an interview. Some points may appear to be obvious, but it is not certain that you will remember them without preparation just before or during the interview. It would be a pity if you hear, read or see your interview afterwards and regret you did not prepare better!
How things go with a TV interview or performance A radio interview can take place in a studio or ‘on location’ and be broadcast live or be recorded. In the studio you are in a room with the presenter, while the technician is behind glass in another room. You are at an interview table with microphones on it and sometimes you get headphones, just like the presenter. Pay attention to the presenter’s introduction and concentrate on his or her questions. This will help you be less nervous and is also important when the interviewer, as sometimes happens, goes through his papers and appears not to have much attention for you. So concentrate on what you hear! With a radio interview, especially if it will still be edited, it is important to first give the most important part of your answer. Don’t make
97 this the final conclusion, because then you run the risk it will be cut. With a performance, just like with a ‘normal’ performance, you will often have to be present a little while before the programme begins to do a sound check.
When the interview takes place ‘on location’ make sure there are no disruptive background noises. For an impression of the atmosphere the sounds of a rehearsal in the background, provided they are not too loud, can create the right mood. For the contents of the interview, stick to the guidelines above.
How things go with a TV interview or a TV performance - In the studio In a TV studio a whole team is working on the effective operation of the broadcasting. The producer or the production department is the organiser who makes the planning and the appointments. The director decides what, who and when appears on the screen. If programmes are recorded there is also editing and cutting. If you are a guest you will first deal with the editors who decide whether you or the project you are working on, is interesting enough as an item for the TV programme. If you passed this selection, then in the studio you will have to deal with a member of staff who will escort you to a waiting room, with the make up and finally, during the interview, with the presenter of the show. Before the interview begins they will pin a microphone on your clothing, after which you are ready. Try to stay relaxed and sit up straight during the interview, and don’t ‘talk with your hands’ too much. If you are performing on the show, you will probably be expected to be present some time before it begins, just like with a ‘regular’ performance.
- On location A TV crew shooting a news item ‘on location’ is made up of a reporter, a camera and sound person. The reporter in this case is the producer, director and interviewer combined. He/she is present to see which issues have to be filmed. You could also make suggestions for this, because you are after all the expert and ‘at home’ at the location. The reporter decides with you what would be a suitable background for the interview. Try to discuss (preferably before his arrival) which questions he will ask, so you can think of what to say. It is pleasant for both parties if the interview is
98 interesting and runs smoothly. Look the interviewer in the eye and be as clear as you can. For the contents of the interview, look at the guidelines for interviews above.
Guidelines press presentation As mentioned, a press presentation does not occur that often. If your subject is important enough for the media and you choose to do a press presentation, then keep the following in mind:
Date and time Keep an eye on deadlines and consider when you want your item in the media. If you want your item in Saturday’s newspaper, then do not organise your press presentation late Friday afternoon, but on Thursday afternoon. Check the deadlines of the cultural supplements of various newspapers.
Location Choose a location that is easy to reach and that matches the atmosphere of your item. It could be either formal or informal, a café, small room or concert venue. The size of the location should match the number of guests you expect.
Table placement This also has to do with atmosphere. Do you want a number of people who tell something while they are sitting behind a table (never more than 3) to a number of listening journalists? Or do you choose a placement of tables in a circle, which is more inviting for a conversation. If you want to keep it informal then you can choose a sort of reception where people stand, and where the people who do the talking do so from behind a higher table.
Programme The programme for a press presentation begins with a formal or informal welcoming of the guests. If it concerns a very formal press presentation, journalists have to identify themselves. If you should ever become very famous, then you can afford to do this, for example for security reasons. Especially when you combine the presentation of your CD with one for both press and relations it may be a good idea
99 to keep track of who were there. You may arrange for someone to stand at the door during the reception, or walk around yourself and greet everyone who comes in personally wherever possible.
Then the official part of the presentation begins. Make sure there is someone who takes the role of host or hostess. This person can open the presentation and take the role of leader of the discussions. It could be someone you know from your business or someone from the band or ensemble. Think carefully about who you could ask to do this. The way things are organised depends on the subject. Make sure the most important issues are dealt with first and these could return several times, phrased differently. In general a press presentation lasts about an hour, of which at most half an hour is taken up with talking and every speaker takes about ten minutes. Think also about what you will need for sound and visuals. If you have a CD presentation you could hand a first copy to a ‘highly placed person’ or someone with standing in the cultural profession. It would be nice if this person would also say a few words. Of course it would be a good idea to have a brief musical performance in the programme. A performance with one or two songs from the CD or items of the festival programme could result in a few good photos for the newspaper. After this there could be an informal part with drinks and snacks. Arrange to have a table where the guests can get their copies of the presented material or hand it out. Make a checklist beforehand of all practical issues and a plan for this. Prepare a press presentation in the same way as an interview and anticipate possible questions. Send the invitations for the press presentation out in time.
100 10. Sponsoring and fund raising
There are different ways for cultural organisations to obtain funds for their initiatives that could also be interesting for a starting musician. Funds may come from:
1. Government in the form of subsidies 2. Companies in the form of sponsoring 3. Funds 4. Private investors in the form of gifts or as contributors
General tips
• What applies to all four options is: use your network . Through family, friends, acquaintances or work relations the chance of success is often greater than with so called cold relations, relations you still have to create • You don’t always have to invent the wheel yourself. Find one or more volunteers who can help you and exchange experiences with colleagues. You can find a volunteer yourself, for example a family member who would like to help you with the sponsoring and fundraising. But you can also try to find someone who would like to work on a voluntary basis for an initiative like yours. You can do this by putting a request in the E-letter to the people in your address book of visitors and/or relations. A request on your website could work as well. Make sure when you take on these people that you know which jobs they could do for you. • Make the fund raising target as concrete as possible. In general support of projects is preferred to donating money to organisations. Think carefully about elements in your activities that could be sponsored and find a sponsor (company, fund, etc.) of which you already know that the project matches their criteria. This could be a series of concerts, concerts at schools, a DVD production, an interdisciplinary collaboration or a multicultural initiative. • Take into account that a project should have a solid foundation. Sponsors often ask for a transparent budget and a project and publicity plan .
101 • Let them know what happened with their money. Funds and government organisations often require a financial report and a project report after the project, but also sponsors (in a letter, report, presentation or conversation) and contributors of one time gifts (e-mail to contributors / friends) want to know if their money has been spent well. The giver should feel pleased about his or her gift. • Take good care of the valuable relations you have. Be considerate with them and be reliable! • It may be a good idea to periodically organise a special concert for which you invite money lenders, relations, sponsors (and possibly contributors of smaller amounts) and afterwards there is the possibility of a chat with drinks and snacks. Purpose of this is doing something back, keeping each other informed and keeping your contacts warm. You could also spread this over more concerts for which you send out invitations, which allows you to divide your attention better. The festive nature of a special concert for relations will however disappear to the background in this situation.
Funds and subsidizers
• On a national level there is the Raad voor Cultuur (Culture Council) and on regional (and sometimes also city ) level there are art councils that give out subsidies. • In Groningen the Kunstraad (Arts Council) controls several funds for the municipality and the province of Groningen. In the Kredietenboek Cultuur en Welzijn (Credit Book of Culture and Wellbeing) that you can download on the website of the province of Groningen, you will find information about all kinds of possibilities for subsidies in the province and the criteria for this. If your project takes place (partly) in other provinces, then look into (first via the website of the province or council concerned) what the possibilities for subsidies are. • The Netherlands has a small number of large (culture)funds and a great diversity of smaller funds, that all have their own criteria and aims. In the list of
102 links at the end of this paragraph you will find several sites with a lot of information about the various funds and what you have to do to get them. • Funds and subsidizers / government organisations all have their own criteria and aims. Find out whether your project fits within the framework of the fund or the subsidizer and write your proposal in such a way that it becomes clear why your project meets the aims and criteria. Never copy an application for one fund into an application for another without changes. Make a fitting application! Look into what other information materials are needed. Concert programmes, folders, posters or flyers of earlier concerts, an overview of CV’s, CD’s etc. Try to make the information you give as comprehensive as possible. • The quality, the audience you reach and the money you invest yourself are important general factors for which the application is assessed. • Don’t be too quick in excluding funds. If your project has social, multicultural or internationalisation aims you may try other funds besides cultural ones as well.
Finding sponsors
• Sponsoring is given by a company or organisation based on an advantage for both parties . The company may get publicity for sponsoring a certain project. The project will contribute to a certain desired image to the target groups of the company and to the general public. • Compile a complete and attractive information set as an addition for the sponsoring proposal. This is the formal letter you will send the sponsor after there has been some kind of contact already (either oral, by Telephone, e-mail or possibly someone who acted as an ‘intermediary’). The letter consists of a project plan with a description of the project and a general financial plan. It would be good to indicate in this which amounts have already come in and which are still to be expected. This may stimulate other investors to contribute! In the project description you tell things about the programme, the organisations involved, the musicians, the targets, the target groups and the approach. The plan also contains a general description of the level of ambition and a description of how you intend to handle publicity. This information can,
103 depending on what is available or appropriate, be completed with posters, flyers, brochures and/or reports of earlier projects, (promo)CD’s or DVD’s etc. • In exchange for sponsoring funds, you have to give something back . Depending on how much money you receive you can make agreements about how much and about the nature of what you will give back. These agreements can be put down in a formal letter or a sponsoring contract. Examples of elements of such sponsoring agreements are: prominent or less prominent use of logo (depending on how high the sponsoring amount is) on posters, flyers, programme booklets etc.; a special concert with an after-party with the musicians for the relations of the company; offering the company the possibility before the concert, perhaps during the break or after the concert to receive their own guests in a special room; an introduction preceding the concert for the guests of the company; a settled number of complimentary tickets for employees or relations; the possibility to put banners, information boards or other promotional material of the company on concert locations, make a number of CD’s by the participating musicians available for relations or employees of the company; a company’s name could be mentioned at one or more concerts. It is also possible to try and obtain sponsoring in kind or in the shape of a discount on a product or service, that is needed for the production of your project.
Contributors/friends
• Try to get a group of regular contributors (friends), who give you structural financial support. You can add a page for ‘friends’ in the menu of your website, in which you put information about finding contributors. • Make a good database with Name Address Residence information and e-mail addresses. This does not have to be expensive. You can do quite a lot with Excel. This way you can also send out a newsletter periodically.
104 Websites
These websites will give you information about how to obtain subsidies, funds and sponsors. A number of these sites work with a subscription. Research the possibilities carefully, but do not lose yourself in the large amounts of information on the internet. Stay focussed! www.provinciegroningen.nl/informatiebalie/subsidieadviesloket www.kunstraadgroningen.nl www.beroepkunstenaar.nl (also information about business aspects musician) www.kunstenaarsenco.nl www.prinsbernhardcultuurfonds.nl www.vermogensfondsen.startpagina.nl www.subsidies.nl www.fonds.org / www.psfi.nl www.subsidieshop.nl www.fondswervingonline.nl www.subsidietotaal.nl www.fondsenboek.nl www.sica.nl (a.o. helpdesk international cultural initiatives)
105 11. Glossary
Action planning Schematic overview of who, when, which (communication, marketing) actions to be undertaken with which deadline.
Advertisement Paid publication about an organisation (musician, ensemble, orchestra) in media, selected by the organisation based on the target group of subscribers/audience, with as purpose to inform, announce or to induce people to buy a product/service (for example concert tickets).
Adwords Advertisements given by the world’s most used search engine Google, next to the search results when you use certain search terms. Costs will be charged on a cost- per-click basis, which means that you only pay when someone clicks on the advert and not for the showing of the advert itself.
Banner A framed clickable visual element of a website, used to announce something, to lead the visitor to a separate page with more information or as advertisement.
Biography Life description, a complete overview of personal, education- and career information, often in the form of a summing up/list with several (sub)sections.
Blog See also weblog.
Branding The process of creating a brand-name for a service, product or organisation and of the presentation to the market and target groups in a recognisable, distinctive and attractive way.
106 Brand name Name used by an organisation (musician, ensemble, orchestra) to profile itself and be recognisable to their target group. An organisation often uses a brand name in combination with a visual brand in a logo, in a fixed colour and font.
Briefing Information given by the client to suppliers of services/products such as designers about the aims, target groups, the market, nature, atmosphere, image and other wishes concerning a desired product. A programme of specifics based on which the supplier can make the service or product in such a way that it meets the requirements and targets of the client.
Broadcasting Broadcasting via radio / TV to a wide audience.
Brochure A printed type of communication consisting of more than one page, often in the form of a book with a staple in the middle. Purpose: giving information or presentation of (a) product(s) or service(s), possibly from a commercial perspective.
Committee of Recommendation A Committee of Recommendation consists of people who have a certain standing or position in a specific branch of the music profession, who are prepared to connect their name to an initiative that they have warm feelings about or think is important from a social/cultural perspective. A Committee of Recommendation could be mentioned on publicity materials and means of communication with as purpose to give a mark of quality or the ambition-level of the initiative, which can be important for, for example, obtaining sponsors or funding and publicity in the media.
Communication Communication is the exchange of information between people. In the communication profession it concerns the planned sending of a specially designed
107 message to a recipient via specially chosen channels with the purpose of generating a desired response.
Content The contents of a website, consisting of text, visuals and possibly video or audio materials.
Content management system (CMS) Tool/software, provided by the web builder, with which organisations or persons can keep their own website up to date with text, visuals and sound (content) in a user friendly way (without use of HTML).
Corporate identity A collection of aspects of graphic design (combination of logo and brand-name, use of visuals and text) an organisation uses in order to distinguish itself and be recognisable for her target groups and the general public. These aspects have usually been put down in a handbook and are used in all communication materials of the company (correspondence, folders, website etc.) and for larger organisations this also includes signposting, tableware or furniture.
Corporate logo Recognisable and distinctive combination of brand name and brand visual, applicable in many forms and on many materials.
Corrections Adaptations and improvements in word and visuals given by the client to the graphics designer during the design and production process of communication materials (such as a brochure)
Cover The cover (outside) of for example a programme book or brochure. Related term: interior pages.
108 CV Life description. A concise, attractively written description of personal, educational and career information in which the most important achievements receive extra attention.
Design Design of printed or digital communication material such as posters and brochures, made to look attractive by their layout and use of text and images. Related terms: lay- out, graphical design.
Digital newsletter / E-letter A message, usually in a standard lay out, in which a number of news-facts are described, which is sent by e-mail. It is possible to send the message in the e-mail itself, or to make an attachment (PDF) which the recipient has to open with specific software (acrobat reader).
Domain name Website address, registered by a provider. Related term: url.
Download Copying a file (text, visual, audio/video) from a website to your own computer.
E-letter Digital newsletter. A message, usually in a standard lay out, in which a number of news facts are described, which is sent by e-mail. It is possible to send the message in the e-mail itself, or to make an attachment (PDF) which the recipient has to open with specific software (acrobat reader).
Flyer Small poster for easy distribution. Communication material of one page, printed on either one or on both sides, intended for distribution in large quantities in many different locations. Purpose: announcing, informing, presenting.
109 Folder Folded print matter. Folded and printed communication material, usually printed on both sides in which, compared to a flyer, more information is given. Purpose: informing or presenting of (a) product(s) / service(s), possibly with a commercial intention.
Free publicity Publicity in the form of (editorial) messages in the media which, as opposed to advertisements, do not have to be paid.
Full colour Printed according to a procedure in which all colours can be used. In contrast to the cheaper black and white with one or two support colours.
Fund Money lender. A fund can act as an intermediary for a government institution or be a private initiative. Funds provide money for, for example, cultural initiatives, orchestras, musicians etc., based on certain criteria.
Graphic design Design of printed or digital communication material such as posters and brochures, by making them look attractive through the arrangement of text and visuals by the designer. Related terms: lay-out, design.
Homepage The ‘reception’ page, where visitors ‘enter’ the site and from where they can look for other information which is relevant to them on the other pages.
Hosting Offering web space (on a server) by a specialised company to organisations who want to present themselves on the internet via a website. Related term: provider.
110 Identity An identity, as opposed to an image, has to do with the (quality of the) actual service, product or achievement of an organisation or a person, which do not have to be in concord with the image the general public has of it.
Image The profile of an organisation or a person, related to the impression the general public has of the organisation or the person. There can be a discrepancy between the actual image and the desired image.
Interface The visible user-level of a software or internet application. The collection of all parts you see and use as a user of a computer programme or a visitor of a website and the design of these parts and their graphic environment.
Interview A question-directed conversation, which is recorded live in a studio or on location for radio and/or TV, (either recorded live completely or edited) or written (newspapers, magazines) and reported by the media.
Interior pages The pages of, for example, a programme or a brochure. Related term: cover.
IP address Unique number combination for every computer and server on the internet.
Lay-out Design of printed or digital communication material that is used for posters, brochures, websites, E-letters, by making them look attractive through the arrangement of text and visuals by the designer. Related terms: graphic design, design.
111 Logo Symbolic reflection used by an organisation in combination with the brand-name, together forming the corporate logo. An example is the shell for the multi national Shell.
Mailing Sending communication materials either digitally or by post to (a) target group(s) in larger numbers with as purpose to announce something, to inform or to incite people to ordering a product or service. Also: direct mailing.
Marketing Instrument organisations use strategically to approach public groups and relations and to build up a relation with them with as purpose the offering and selling of a product or service.
Marketing mix, 4 P’s: Product, Place, Promotion en Price Planned use of the four P’s (marketing tools) with the intention to achieve a maximum effect at the lowest possible cost. Sometimes a fifth P is added, for Personnel.
Marketing strategy Marketing plan in which marketing targets and how to achieve these are described for a certain fixed period.
Master An edited/mixed version of a CD or DVD made ready for reproduction
Media Information channels with a news room, that appear in print, digitally or on the internet and try to reach a certain audience with informative messages they write themselves and commercial messages from third parties (advertisements).
112 Mission Primary goals, focus areas and priorities of an organisation described in general terms, often concerning a certain fixed period.
Name and Address information Name, address and residence. Information you need when setting up and updating digital address files.
Narrowcasting The opposite of broadcasting. The purposeful approach of certain target groups on a certain location via media directed towards this, such as information screens or illuminated news trailers.
Navigation The method(s) by which various groups of visitors of a website are referred through to information that is relevant for them. Menu’s, links, banners, etc.
Networking Making contact based on shared areas of interest or business interest with the intention to exchange information or to obtain/give help, provide a service and/or support in the near or far future.
Online community / social network Website on the internet, sometimes based on a certain profession (like MySpace), where people contact each other through their profile pages, and which gives them the opportunity to profile themselves. (Hyves, MySpace, Friendster, LinkedIn)
Podcasting System with which audio and video (radio shows, music etc) can be downloaded from the internet so the user can play them on their own music players or computers and listen to them when they choose. A podcast can, if the user so chooses, be put onto his computer automatically (via an rss feed) as soon as the broadcast becomes available.
113 Portal Website intended as a starting point for searching the internet for information about a certain topic, grouped into categories with links. Also called a webportal or start page.
Poster Poster which you hang in visible places indoors or outdoors in order to bring a certain message to a/the audience or to announce an event.
Press conference / presentation A meeting for which the media has been invited by an organisation or a person, with the intention of drawing the attention of the general public to a subject, event or happening of sufficient importance.
Press release Written news message to the media with which an organisation or a person wishes to draw the attention of the general public to a subject, event or a happening.
Printed matter Communication material such as posters, folders and brochures that are printed by a specialized company on paper.
Programme A booklet or brochure with a description of the programme of a series of concerts or a festival. A programme is offered to the visitor of the concert against payment or for free. A programme paper has the same function but is often distributed free of charge, sometimes door-to-door, on location or as a supplement in a newspaper of a free local paper.
Promokit Set with promotion materials, such as CV, photos, CD or DVD, used by musicians and ensembles to generate concerts/work and establish their names.
114 Promotion All efforts made in order to establish someone’s name and generate publicity, from using advertisements, posters and flyers, to media attention.
Provider Specialised company which offers web space to organisations that want to present themselves on the internet with a website. Related term: hosting.
Public Relations The regular upkeep of relations with public- and other target groups of an organisation with the intention to inform, convince and influence.
Publicity materials Written materials, such as posters and flyers but also press releases, published by an organisation, a musician, an ensemble or an orchestra aimed at various public- and media groups.
Ranking The place a website has in the list of search results via certain search words with search engines. Through use of all kinds of techniques it is possible to obtain a high place on this list, preferably on the first page.
Relation management system A digital database in which address and contact information of relations are managed per target group, possibly with the option to add relevant information (for example order information, for which concert someone bought tickets, and when, etc.).
Search Engine Friendly (SEF) Easy to find for search engines.
115 Search engines Web services with which you can look for information on the internet with search words. Examples of very popular international search engines are Google and Yahoo. A popular Dutch search engine is Ilse.
Sitemap A hierarchic overview of all pages in the structure of a website. A Google sitemap has as purpose to let the search engine Google make an inventory of the contents of a website quicker.
Sponsor Moneylender. Usually a company. Sponsors often support initiatives that they feel are a good match with their own corporate philosophy, with target groups that (partly) coincide with their own target groups or sometimes on an ad hoc base, for example based on an existing personal relationship.
Stationery Writing-paper and envelopes in different formats, to be used for sending letters to individual persons or sending out a mailing to larger groups of people per post.
Subsidizer Moneylender. Usually a (semi) governmental organisation that decides, based on certain criteria, whether an organisation (ensemble, musician, orchestra) has a right to a financial contribution in the form of a subsidy.
SWOT-analysis (strengths, weaknesses, opportunities and threats) Analysis to make clear the strong and weak points of an organisation (musician, ensemble) and the opportunities and threats, and to weigh these against each other.
Tags Title-tag: short description of a web page at the top of the screen in the blue bar of the web-browser, in which the most important search word is put to the front as much as possible. It appears as a link text in search results of search engines.
116 Description meta-tag: short description of a web page, sometimes the first paragraph. Often appears in search results of search engines under the link-text.
Treatment of visuals Distribution of various elements on a surface (in for example a poster, advertisement or website page) and the design of these elements.
Typography Text treatment by the designer. The kind, the size and the colour of the font that is used.
Unique Selling Points (USP’s) Elements with which an organisation wants to distinguish itself in a positive way and profile itself towards its target groups in relation to its competitors.
URL (Uniform Resource Locator) Unique file location. Address that indicates under which domain/sub domain, on which server and perhaps under which directory a file or a web-page can be found. Related term: domain name.
Web-counter Provider of count services for websites. These are statistics concerning the number of unique visitors, page views per day/week/month and where they come from is registered by these companies in a professional way, free of charge (simple service) and against payment (more comprehensive service).
Weblog Also called Blog. A website which is updated very regularly with contributions that are highly personal and/or specialised in a particular subject. The most recent posting is at the top of the web page. Originally this was a log/diary published by the owner (Blogger) on the internet.
117 12. Appendixes
Appendix 1
Wizard: The ‘five‘five----minute’minute’ marketing and communication plan
Introduction
A brief project description, followed by a description of the starting position concerning marketing and communication aspects of the project. To what extent is your brand name known, in which regions, which target groups are you reaching at the moment and has there been research (among the public) into this? What has been done concerning marketing and communication so far?
Goals & targets
General description of the ambitions compared to the possibilities. This is to say: strengths and weaknesses, pros and cons, opportunities and threats. Which qualitative ‘sales arguments’ can be used in the communication to the audience and other target groups? Make marketing targets concrete: what is your desired image, how does the project/organisation wish to profile itself, which level or which market does the project/organisation wish to target, size of audience, other target groups, such as media and relations.
Target groups
What is known about the current target groups: age, origin, level of education, income, home situation, interests, etc? Do you know these in percentages?
118 It may be a good idea to do research among the public doing short interviews (at random) or short questionnaires concerning the issues mentioned above. Determine new target groups based on the formulated ambitions. Work out per target group what their characteristics are, to which aspect of the project/initiative they will respond. Also indicate per target group how they rank as ‘opportunity’, of which you can expect most. This way you get a clear picture of which target groups you should put most energy into.
Image and profiling
What is the message you want to put across to the different target groups? Which points need stressing? Make a general description of the consequences this would have for the communication instruments you want to use, which these are and what they will look like.
Action plan: use of marketing and communication materials
This aspect is about reaching your intended target groups, which materials and means you can use, and discuss these. There will probably be an overlap in target groups and in the communication means you can use to reach them. It may therefore be a good idea to make a schedule of which target groups you would like to reach through which communication means and possibly when this would happen. This would also give you a clear picture of which target groups you give relatively more or less attention.
See example on the next page:
119
Communication means and media 1. Website 2. Sending out a brochure 3. Distribution of brochure and poster 4. Pre-announcement 5. E-letter 6. A0 posters, triangular boarding 7. Free publicity 8. Advertisement in regional newspaper 9. Distributing posters among student associations 10. Free publicity in regional newspapers and free newspapers in Northern Germany 11. Distribution of German flyers and posters in border regions 12. Press release 13. A telephone round among media 14. Online communities, internet forums and other relevant sites concerning music
Target groups Communication meanmeanssss and media Relations 1-2-3-4-5-6-7-8-14 Friends 1-2-3-4-5-6-7-8-14 Customers/visitors 1-2-3-4-5-6-7-8-14 Residents city 1-3-6-7-8 Residents other urban areas in the 1-3-6-7-8 region Students 1-3-6-7-9-14 Families 1-3-6-7-8 Elderly 1-3-6-7-8 Residents border region North 10 – 11 Germany Media 1-2-3-4-5-6-8-12-13-14
120
In this example the media were put into one section, but in practice they should be subdivided into regions, specialist publications, weeklies, daily newspapers, free newspapers, radio and TV and media on the internet.
Time path
The final element of the action plan is a time path in which you indicate from week to week what has to happen when and who is responsible. Make sure you make a subdivision of activities. For a brochure you need someone to write the text, the visuals have to be collected, the design has to be made, the printing process has to be supervised, the proofs have to be checked, etc.
Budget
Based on the action plan, you can make an overview of which marketing and communication means you will use and what they cost.
121 Appendix 2
Example ppublicityublicity planning
Example publicity planning festival: summer school and concert series, 1 st week August
Means December Januari February March April May June July
Info letter recruitment Mailing participants
Advertisements
Website Updating
Concert brochure Mailing
Posters Distribution
Tickets Administration/sending out mail
122
Programme book Mailing for the press
A-0 posters Make reservations!
Arrangementen Deciding how / what Approach media / Handing in Placement make appointments material
Approaching the press PB mailing VP VA Mail Press PB Mail Press PB Mail Press
1. Press release specialist publications summer school 2. First announcement 3. Press releases and telephone calls
Preparation: text, design, print, production
Distribution, mailing or publication
123 ApApAppendixAp pendix 3 Examples of poster and flyers
Posters ‘Betoverend’ and ‘Buitengewoon’ (Enchanting and Extraordinary) Combination of a strong visual, slogan/key word and mentioning of target group (classic, opera, operetta; youth & family).
Posters ‘Dig this’: ‘Kraak en Smaak’ & “New Cool Collective’ from De Oosterpoort Focus on typography, use of black with one colour and a striking approach to the visuals (Design: Studio Frank & Lisa, Groningen).
Poster ‘Cordoba’ – Strong visual combined with striking typography of title ‘Cordoba’.
Flyer ‘Cordoba’ : matching variation in which visual elements are repeated: the colours black and brown, the title in the same typography, the pattern.
Poster ‘Zinnetent’ – Focus on a strong and alienating image and on the effect of the colours black, red and white with a nuance tone in brown.
Design : Studio Frank & Lisa, Groningen
125 Examples corporate identities & visual-/word symbols
Poster Noord-Nederlands Toneel ‘Dantons Dood’: Recognizable approach with the use of a photograph combined with the corporate identity of the NNT.
Design Frank & Lisa, Groningen
Advertisement Summer Academy Peter the Great Festival: use of a strong byt playful visual, combined with text.
Digitaal Ontwerpen, Groningen
126
Poster mother’s day concert: combination of a strong photographic visual and mentioning of target group (family concert). Poster Top Size Conducting: striking approach to visual with focus on slogan ‘Top Size Conducting’ and on typography.
Poster ‘Jong Talent PCC’: Photographic approach within the guidelines of the corporate identity of the Hanze University. Poster Herfst Palet: combination of strong visual with the focus on the term ‘Herfst Palet’. This design is also within the corporate guidelines but with more room for the unique character of the concert. This applies to the two posters above even more.
Design : RCLM, Utrecht Design: Above left, above right and below right: Digitaal Ontwerpen, Groningen 127 Appendix 4 Examples Websites
Homepage Izaline Calister, vocals Jazz & Afro-Antillean music What stands out: • Visuals, colours and typography match the Music style • Use of atmospheric photo’s as background • Item ‘News’ in a prominent place in the middle of the homepage • On next pages you see the content (the information) in the centre you keep seeing the menus • Two side menus with amongst others the biography, discography, agenda and media
128
Homepage Mike Stern, jazz (fusion) guitarist What stands out: • Use of a relatively neutral photo of the musician as background, no clear relation with the music style; the focus is on informing the visitor and not so much on the design of the site. • Relatively simple, though clear lay-out • Focus on selling CD’s: ‘Order Now’ • A top menu for the most important items such as news, biography and tour dates • A side menu for the ‘practical’ menu items such as contact and a mailing list • On the following pages there is a lot of information. Tour dates are in chronological order. It would be better to put the upcoming performances at the top of the page.
129
Homepage Matangi Quartet, string quartet What stands out: • Use of a photo of the quartet in the most prominent place above left • Centered lay-out, the content is in the middle of the page • A top menu for the most important items such as info about the quartet, agenda and web shop, the menu items light up when you touch them with the mouse • Possibility for listening to music via a menu on the left of the homepage • Headlines in the side menus (brief news items with a link for more info) and a news overview, a press kit, repertoire list and the possibility to subscribe to the newsletter of the Matangi Quartet • On the following pages varying colours are used two per page • The text in the menu buttons is not very clear everywhere because of the choice of colour d
130 Appendix 5 Examples Press releases
ExaExamplemple Press release 1:
PRESS RELEASE
Concert Prince Claus Conservatoire in St. Jacobiparochie
Groningen, 17 March 2008 – On Sunday 30 March students from the Young Talent class and bachelor students of the department of Classical Music of the Prince Claus Conservatoire will perform in the Groate Kerk of St. Jacobiparochie. On the programme are works from Haydn, Pleyel, Brahms, Grieg Pfitzner and Mendelssohn. Students from the Young Talent class of the department of Classical Music will perform before the intermission, after the intermission you will see students of the regular Classical Music course. The concert begins at15.30 hours, tickets are € 7,50 (children up to 12 years € 2,00). Tickets are available at the venue before the start of the concert.
Supervising and stimulating young talented musicians is very important to the Prince Claus Conservatoire and for this it introduced a Preparatory Programme for various courses. This offers secondary school pupils the opportunity to develop their talent. This Preparatory Programme offers two options: the Young Talent class for talented secondary school pupils and the Preliminary Year, which offers a direct connection for admission to higher education and which tries to prepare candidates in one year for the entrance examination. You will find more information about the Preparatory Programme on the website of the conservatoire: www.hanze.nl/prinsclausconservatorium
Not for publication For more information please contact ….……., of public relations for the Prince Claus Conservatoire, e-mail: ………… / Tel. ……………….
131 Example press release 2:
PRESS RELEASE
On Friday 1 February the Big Band of the Prince Claus Conservatoire -part of the Hanzehogeschool– will perform during a festive matinee for thousands of guests to celebrate the birthdays of Her Royal Highness Queen Beatrix en Her Royal Highness Princess Margriet. 150 young musicians and dancers from nine conservatoires and other performing arts schools will perform in theatre Carré. The Prince Claus Conservatoire, under supervision of principle subject teacher trumpet Kurt Weiss, will play Blues for Stephanie by John Clayton and Magic Flea by Sammy Nestico during this event.
The Big Band of the Prince Claus Conservatoire is made up of students of all years and departments of the conservatoire. The international nature of the institute is reflected in the nationalities of its members; they come from Italy, Bulgaria, Rumania, Germany, Spain, Slovakia, South Korea, Indonesia and, of course, the Netherlands. The Big Band rehearses every week under supervision of trumpet player Kurt Weiss. Weiss played in orchestra’s with Ray Charles, Artie Shaw, Glenn Miller and Jimmy Dorsey. Thee Big Band performs regularly, not only during projects of the Prince Claus Conservatoire, but also at regular concert venues and during festivals.
For more information you can contact .………….., of public relations for the Prince Claus Conservatoire, e-mail: ………… / Tel. ……………….
132 Example press release 3:
Press release
Don Braden (tenorsax) David Berkman (piano)
‘New York comes to Groningen’ for the 25 th time De Oosterpoort
th Groningen, 15 oktober 2007 ––– A unique jazz concert will take place for the 25 time on Wednesday 17 October in the Binnenzaal of De Oosterpoort in Groningen. Under the name ‘New York comes to Groningen’ four teachers of the Prince Claus Conservatoire - Joris Teepe (principal study teacher Jazz and bass player), Don Braden (tenor sax), David Berkman (piano), and Gene Jackson (drums) – will perform on stage together. All musicians live in New York and come to the Netherlands once every eight weeks in order to teach at the conservatoire. Four times a year the ensemble performs in De Oosterpoort where the New York Jazz scene is presented in different ways by (one of) the musicians mentioned above, alongside Dutch musicians or sometimes with musicians who are travelling through the Netherlands. During the past six years there have been 24 concerts, of great artistic variety. The concert begins at 20.30 hours. Tickets are € 12,- (excl. adm. cost
133 De Oosterpoort). For more information, please visit: www.de-oosterpoort.nl or call 050 - 368 03 68.
New York comes to Groningen: travelling teachers Starting September 2001, a special jazz musician has been coming from New York to Groningen every week during the teaching course to teach at the conservatoire. The jazz department of the conservatoire therefore is called “New York comes to Groningen”. The following eight musicians are involved: Joris Teepe (double bass), Don Braden (tenor sax), Ralph Peterson (drums), Alex Sipiagin (trumpet), Dena DeRose (vocals), Mark Gross (alto), David Berkman (piano) and Freddie Bryant (guitar). The teachers all live in New York and teach in Groningen during one week on a rotating schedule. This way one of them is always present and they return every eight weeks. Every Monday someone arrives from New York and takes over from the other teacher; they always leave on Friday. Every teacher shares his/her professional experience in the field of theory, music history, solfège, ensembles, big band and master classes directly with the students.
On the back of the press release:
New York comes to Groningen: thththeth e musicimusiciansans
Joris Teepe (bass) Bass player Joris Teepe is a very versatile jazz musician. He was born in the Netherlands and moved to New York in 1992. Here he quickly made a name for himself and he worked with many internationally renowned jazz musicians such as Randy Brecker, Mike Stern, Tom Harrell and Rashied Ali. As a band leader Teepe made seven albums. As a musician, composer and arranger he worked on more than 40 other recordings. Furthermore he was also the founder of the unique education programme New York comes to Groningen at the Prince Claus Conservatoire, Groningen (Netherlands).
Don Braden (saxophone)
134 As a musician Don Braden worked with many well knows artists, such as the Harper Brothers Quintet, the Wynton Marsalis Quintet, the Mingus Big Band, the Dizzy Gillespie All-Stars and the Carnegie Hall Jazz Band. He has collaborated on close to fifty albums as a sideman and produced eleven albums as a leader. Braden was also the composer of the CBS sitcom 'Cosby' for four years. In 2000 he received a composer scholarship from the Doris Duke Foundation.
David Berkman (piano) After pianist David Berkman moved to New York in 1985, he became an important part of the jazz community. He performed many times with the bands of Cecil McBee, Tom Harrell and with the Vanguard Orchestra. He also worked with many other great names, such as Sonny Stitt, Hank Crawford and Joe Lovano. As a solo artiest and band leader (from duo to quintet) Berkman was asked as ‘artist in residence’ by many educational institutions and festivals in the USA, the UK, the Netherlands and Germany.
Gene Jackson (drums) Jackson worked with many of the ‘jazz greats’. In 1991 he toured with the Herbie Hancock - Wayne Shorter Quartet and he also worked with Terence Blanchard on the Music for Spike Lee’s ‘Malcolm X’ in 1992. In the same year he started teaching at the famous Drummers Collective in New York. Next to various tours with Herbie Hancock he also toured with the Dave Holland Quartet and with Christian McBride. Jackson is certainly very versatile, and is able to adapt his playing to every music style he comes across.
135 Appendix 6 Example of a network letter or ee----mailmail
The nature of the letter or e-mail of course depends on the intention you have. Would you like to make an appointment for a first meeting or do you have a concrete aim or a specific question you want to ask someone? The letter should make clear what your motivation for the appointment is and there should be a connection between your activities and the person your letter is directed to. This is an example that you can adapt according to the situation:
Dear… I would like to ask your attention for… I received your e-mail address from… He/she advised me to contact you for advice concerning…
Or:
We met a few weeks ago at… A few aspects of the conversation we had stayed with me. I am especially interested in… and I would like to exchange thoughts with you about this some time.
Or if you don’t know the person and there is not (yet) a connection:
On your website I saw that you are working on… I read about your work in… In a (number) of conversation(s) I had about… (perhaps with…, for example a conservatoire teacher or a musician you have worked with who knows the person) your name came up. I am very interested in your work / I am very impressed with your work, especially… / in your ideas and experience concerning…
I would very much like to make an appointment with you to discuss… / exchange ideas about… / for a brief, informative interview, especially about… I have a few specific questions I would like to have an answer to, that concern… I would appreciate if you could give me some time at an opportune moment.
136
In the next section of your letter you should include information about yourself, your ensemble, your work or your plans. The purpose of this is to show that what you are working on is promising and interesting and that it may be worth the person’s trouble to invest some time and energy in a conversation with you. Write for example about your latest concert, with whom you worked together, perhaps a quote from a review, a short description about your music and/or your plans. You can use unique selling points here, but don’t overdo it. This section is very personal and depends on your specific situation, activities and experience as a musician/ensemble.
I am the guitarist/drummer for…, an ensemble of young musicians with various cultural backgrounds (Rumanian, Korean, Indonesian). Our musical approach is contemporary and our identity unpolished. We are open to new influences and our profile as an ensemble is still developing. Last year we were selected from 14 ensembles to take part in a project for young, talented jazz musicians. This project offered us a unique opportunity to work and perform with the world renowned American saxophone player and composer Dick Oatts. Moreover we also recorded a CD with Dick Oatts. We have enclosed a copy with this letter. This project has been a very inspirational experience for us and we are looking for possibilities to maximise the results of the project. Because of your expertise and experience in the field of…, we would like to have your professional advice about… and we would like to hear whether you have practical ideas or tips for us.
Closing…
I will contact you shortly / next week / month to hear whether it is possible for you to make an appointment with us. I appreciate your advice, in whichever form, very much and look forward to meeting you / hear about your knowledge and ideas about…
Thank you for your trouble, And with best regards (kind regards / yours sincerely)
137 ApApAppendixAp pendix 7
Examples CV’s
The following made-up examples are CV’s from musicians in various phases in their careers. A starting musician in general will have fewer subjects to put in his or her CV than an established musician. But CV’s from established musicians can be a good starting point when it concerns contents, style and structure. Try to collect a few CV’s for yourself to use as examples while writing your own CV. Use a standard structure for your CV, add recent achievements and initiatives in the near future and update your CV regularly.
Example 1
‘‘‘Jolijn Katwijk distinguishes herself by her exceptionally expressive musicality; artistic expression and technical expertise form a real unity in her playing.’ This is a fragment from the jury report when she received the prestigious (name award) in 1999. Clarinettist Jolijn Katwijk (1977) graduated cum laude with (name principal subject teacher) at the (name conservatoire). After this she studied with (name teacher) at the (name conservatoire) in (New York, Paris, London, etc.) with a (name scholarship). She received first prizes in several contests, such as (examples). Jolijn Katwijk performs regularly and has been on several television and radio programmes. She made her debut with a recital in (name venue) in 1999, after which a great many concerts followed. She worked with (names well known musicians). Jolijn is also very active in chamber music and works with (names ensembles) with which she performs both nationally and internationally. With (name ensemble) she recently performed in a concert series with (name famous example), about which the media were very enthusiastic. In the coming season she will play in a number of chamber music projects with (names musicians). As a soloist she played with various orchestras (names orchestras).
138 Example 2
Although he spent part of his saxophone studies in Paris, Sietze Kramer’s musical roots are firmly planted in the Frisian HaFaBra. The successful productions he initiated after his graduation cum laude in 2005 with (name principal subject teacher and conservatoire) are perhaps a result of this versatile foundation. As a member of (name ensemble) Sietze Kramer is actively involved in chamber music. He performs frequently with (name ensemble) in all parts of the Netherlands and also across the borders. The ensemble’s repertoire varies from (name composer) to (name composer). After two years of working with this ensemble on a regular basis, last year a CD was released with work by (names composers). After the successful presentation of this CD the ensemble is now preparing for a series of concerts. Sietze Kramer is also active as a soloist and is regularly asked by orchestras such as (names orchestras). He received several awards of which (names awards) are the most remarkable.
Example 3
Dutch trumpet player Harm Winkel (The Hague, 1975) is an outstanding example of the modern virtuoso who is as much at home in traditional as in modern day repertoire. He can be described as a lyricist with a great feeling for performance. Since his solo debut in London with the (name work) by (name composer) in 2001 he has been a much asked soloist in traditional concerts by (names composers). Next to this he is also asked regularly as a soloist in modern work by composers such as (names composers). After he graduated cum laude with (name principal subject teacher) at the (name conservatoire) in (year) Harm Winkel continued his studies with the well reknown (name teacher) in Paris. Of the many awards he received the (names awards) mean the most to him. After he received this last award he decided to specialize in modern day trumpet repertoire. This resulted in (examples of master classes, concerts and collaborative initiatives).
139 Chamber music is Harm Winkel’s other great love. Together with pianist (name) he frequently gives recitals and he is also a member of (name ensemble). Harm Winkels’ activities (concerts, festivals, master classes) took him to many countries in Europe, the USA, Japan and other oriental countries. A personal highlight for him was the (example) in the summer of (year) when he performed for an audience of more than (number) of people. The CD’s he recorded since 2000 on various labels received very good reviews. One of his most recent projects concerns (describe appealing example).
Example 4
The great guitarist (name) wrote, ‘David Barnett is a brilliant young guitarist and composer. He is a versatile musician skilled both in jazz and classical music receiving his Master's degree in classical guitar from the (name conservatoire). While at school he was recording with jazz artists such as (names) while leading his own bands. These bands have featured (names musicians) along with many others. David is currently very active in the Dutch jazz scene where he works with (names ensembles). He is also on the first call list of many singers and musicians because of his sensitive accompanying guitar. His most recent CD is with (describe the ensemble, musicians or music). The (name ensemble) has performed throughout the country with great success.’ (Name newspaper) wrote: ‘Barnett guides his band through some of the most technically and emotionally dazzling music I've ever heard.’ His most recent highlights include a performance (describe) and a production (describe).
140 Appendix 8
Relevant links & literature marketing & communication
Career, marketing, communication www.musiccareernetwork.org (English, advice career musicians) www.musicbizacademy.com (English, advice entrepreneurship and marketing musicians) www.musicbizacademy.com /knab/ (English, advice entrepreneurship and marketing musicians) www.menc.org/information/infoserv/careersinmusic.htm (English, career advice musicians) www.communicatiecoach.com (Dutch: Articles, checklists, links) www.em-cultuur.nl (Dutch: Publisher performing arts agenda/almanak and more) www.kunstenaarsenco.nl (Dutch: support and advice artists/musicians) www.beroepkunstenaar.nl (Dutch: support and advice artists/musicians) www.artistshousemusic.org (English: career advice musicians, articles and films) www.mbsolutions.com (English, career advice musicians) www.artsmarketing.org (English, news, articles and lessons marketing art sector) www.musicbusinesstoolbox.com/marketing.html (English, music promotion)
General www.aecinfo.org (Links to a wide variety of international organisations active in music and arts) www.muziekcentrumnederland.nl (Coordinating association active in classical, jazz, pop and all other music styles, Dutch) www.donemus.nl (Dutch) www.gaudeamus.nl (Contemporary music, Dutch) www.dekamervraag.org (Chamber music, Dutch) www.jazzorganisatie.nl (Jazz, Dutch)
141 www.dutchjazzconnection.nl (Jazz, Dutch) www.jazzarchief.nl (Jazz, Dutch) www.npi.nl - Nationaal Pop Instituut (Pop music, Dutch)
Jazz (both Dutch and international) www.jazzserver.nl www.jazzweb.nl www.jazzimpuls.nl www.dutchjazzconnection.nl www.europejazz.net www.europeanjazzcompetition.com www.dutchjazzcompetition.net www.jazzmasters.nl www.jazzorganisatie.nl www.jazzflits.nl www.jazzpodium.nl www.toonbankrecords.nl (sale of CD’s) www.jazzdag.nl (Foundation JazzNL) www.jazzenzo.nl www.draaiomjeoren.com www.jazzdienst.nl www.dutchsound.nl www.jazz.startpagina.nl www.riad.usk.pk.edu.pl/~pmj/jazzlinks
Classical music www.classical.com http://www.classicol.com http://www.classicalusa.com
142 http://www.musicalonline.com http://www.classical.net/music/links www.impulse-music.co.uk/ www.gaudeamus.nl (Dutch) www.klassieke-muziek-evenementen.startpagina.nl (Dutch) www.radio4.nl/jouwtalentop4 (Dutch) www.dekamervraag.nl (Dutch) www.kamermuziekserver.nl (Dutch)
Agenda’s www.dan.nl (Dutch) [email protected] (Dutch) [email protected] (Dutch)
Fundraising & sponsorship www.fund-raising.com www.artscouncil.org.uk www.sponsorscape.com www.nonprofit.about.com www.starpolish.com www.lulu.com/content/2269673 (e-book: writing a perfect sponsorship proposal)
Dutch websites: www.nfpk.nl (Nederlands Fonds voor de Podiumkunsten) www.provinciegroningen.nl/informatiebalie/subsidieadviesloket www.kunstraadgroningen.nl www.prinsbernhardcultuurfonds.nl www.beroepkunstenaar.nl (ook informatie over zakelijke aspecten musicus) www.kunstenaarsenco.nl www.vermogensfondsen.startpagina.nl
143 www.subsidies.nl www.fonds.org / www.psfi.nl www.subsidieshop.nl www.subsidietotaal.nl www.fondswervingonline.nl www.fondsenboek.nl www.sica.nl (o.a. helpdesk international arts projects) www.lulu.com/content/2269673 (e-book: writing a perfect sponsorship proposal)
Recommended literature
Abramsom, Lion (2008) Writing the Perfect Sponsorship Proposal (Highgate Global)
Beeching, Angela Myles (2005) Beyond Talent, Creating a Successful Career in Music (Oxford University Press).
Bennett, Dawn (2008) Understanding the Classical Music Profession. The Past, the Present and Strategies for the Future (Ashgate Publishing, Abingdon, Oxon, UK)
Nevue, David. (2007) How to promote your music successfully on the internet (Midnight Raid Productions, US).
Spellman, Peter. (2000) The Self-Promoting Musician. (Berklee Press, Boston, US)
Spellman, Peter. (2002) The Musician’s Internet; On-line Strategies for Success in the Music Industry. (Berklee Press, Boston, US)
144 13. Bibliography
Beeching, Angela Myles (2005) Beyond Talent, Creating a Successful Career in Music (Oxford University Press).
Boorsma, M. (1998) Marketing van theater en andere kunsten; Vergroting van publieksdeelname in theorie en praktijk (Broekmans Stichting, Amsterdam).
Broere, F.P. & Heuvel, J. (1994) Marketing voor non-profit organisaties; Naar een grotere klantgerichtheid. (Wolters-Noordhoff, Groningen).
Cashman, Stephen (2007) Thinking Big! Praktijkboek strategische marketing kunst en cultuur (Lenthe Publishers, Amstelveen)
Huijskens, Charles & Istha, Dig (2006) Het media handboek; Alles over de omgang met de pers. (Bert Bakker, Amsterdam).
Kotler, P. & Scheff, J. (1997) Standing room only: strategies for marketing the performing arts (Boston MA, Harvard Business School Press).
Kotler, P. & Armstrong, G. (2006) Principles of marketing (Upper Saddle River NJ, Pearson Prentice Hall).
Michels, W.J. (2001) Communicatie Handboek (Wolters-Noordhoff, Groningen).
Nevue, David. (2007) How to promote your music successfully on the internet (Midnight Raid Productions, US).
Nijs, de, P. & Heling, M. & Gaalen, van, M. (2007) E-marketing (Den Haag, Academic Service).
Noordman, Th. B. J (2007) Cultuurmarketing (Reed Business, Amsterdam)
145
Riel, van, Cees B.M. (2002) Identiteit en imago (SDU Uitgevers, Den Haag).
Tesselaar, S. (1996) Theatermarketing (Eburon Academic Publishers, Delft).
Vlugt, van der, R. (2002) Marketing van kunst en cultuur; Hét publiek bestaat niet (Kluwer, Deventer).
Wit, de, M. (2003) Segmentatie, hoe doe je dat? (Kluwer, Amsterdam).
Websites
Bureau Promotie Podiumkunsten, Amsterdam www.promotiepodiumkunsten.nl
Kunstenaars & Co, Amsterdam www.beroepkunstenaar.nl
EM-Cultuur, Amsterdam www.em-cultuur.nl en nieuwsbrief e-marketing em-cultuur
Network of Music Career Development Officers NETMCDO, US www.musiccareernetwork.org
Music Biz Academy, US www.musicbizacademy.com
146