datamusicata

I have been getting a lot of mail from folks who have specific questions like the post on Wednesday. Here is another post, this time regarding regarding publicists and media appearances:
If you could get a publicist to schedule media appearances and
interviews for you, and only charge you when they achieved a result,
what would you be willing to pay?
For example,
1. what would it be worth to you to appear on a local-market TV
morning show? (A show like Good Day Kansas City on your local CBS
station)
2. What would it be worth to have an article written about you in the
press?
Obviously, not all shows and newspapers are created equal, but shoot
me an email with a price for each that would make you excited about
doing it.
Your fan,
Curious George
PS - In case you're wondering, a publicist usually charges $300-800
per week, with a 3 month commitment, and offers no guarantee of any
results.

Publicity is a very tricky thing. And for it to be impactful, it has to be part of a much larger plan. In the past I have made the mistake of buying one ad in a magazine; having a wonderful journalist write a terrific article about me while I have no new CD to take advantage of the attention; hiring a publicist for a tour where I was the opening act and wasn’t really promoting anything but my appearance that one night in that one town.

I was on tour with Robin Trower. I hired a publicist for the whole tour. I was in every paper in every town on the cover of the entertainment section with a photo, often color. At the shows, I always interact with the audience. And I asked them if they saw the article. Their response? “What article?”

I always do a very popular morning show in a large Midwestern city the day of or the day before my concert. And I’ve asked the audience if they came because of my appearance. The answer has always been no. Now it’s possible that I just suck, …but then why would they keep having me back?

Here’s my take on publicity.

It has to be a part of an integrated plan to do something specific for you. Say you have a new CD out. Okay, you want airplay, you want articles in the papers and magazines, you want reviews, you want a tour, you want visibility and you want it over and over again.

One ad, one TV appearance, one article will have no effect. Unless you are already famous, most people are not even going to read the article that you get published. I have heard that in order for articles on an artist to have impact, the artist must be seen at least three times.

Unless you have an unlimited budget, the way to go is to not spend a dime until you have a plan in place. And the plan will be determined by the budget. To launch a national campaign is prohibitively expensive, so I suggest a two prong approach.

1. the internet. Internet stations to play your music; internet reviewers to review your music; internet sites to sell your music; a webpage dedicated to each project; a webpage dedicated to you as an artist; and a schedule of posts to your constituency…your fans.

2. pick your area. If you can’t afford national, go regional. If you can’t afford regional go statewide. If you can’t go statewide, go for your hometown. I know I keep harping on this but, spend your money where it will do the most good. And don’t spend it til all the ducks are in a row.

New CD; release party; articles wherever you can get them published in your chosen arena; airplay in that area; performing appearances in that area on stage and on the radio and local TV if you can swing it.

The important thing is for all this to happen simultaneously. That is the key. Without the coordination, you have no more impact that a pebble in a pool. A little splash that is gone almost as fast as it occurred.

Make a plan. Don’t release your CD until you have an airplay plan, a tour booked, an internet campaign in hand and ready to go and at least press releases to all the folks who might do you some good. Do it all at once. Do any one component by itself and you’ve wasted your time and your money unless you get really lucky. But don’t bet on it.

I received his letter yesterday and thought that the answer might be of interest to everyone. Many times the places that we play don’t have the facilities we had hoped for or don’t have any at all. Here’s the post:

“I need some guidence from you: The woman I've been corresponding with obviously doesn’t deal with performers...which is rather alarming given that this is the opening of an arts center...so here's my trouble.

i'm not gonna have any amplification...and as yet, I don’t know what the stage set up is...specifically acoustics and backstage set up...

i've sent an email...that was a few days ago...i'm gonna send another one, but if I dont get to check out the place before the day of the event...any tips on how to handle playing when I can’t measure the acoustics before hand?”

In a situation like this, the best that you can do is to get to the venue as early as possible…even if you have to call her and ask if you can be let in early. I always arrive early and do as much time as I can on the stage where I’ll be performing. Gets you accustomed to the room and the space, so that you are more at home when you do the performance.

You are also dealing with someone who doesn’t have the kind of experience that you would like, so you are going to have to treat her gently. You don’t want to rattle her, or confuse her. You want to make her feel comfortable in the knowledge that you know what you are doing; you’ve done it before; and whatever you are asking for, you are doing because that will make for a better show.

Without being arrogant or condescending you need to communicate to her what would make for the best possible evening. If she’s new to all of this, then there are going to be gaffs and more than likely, the publicity for the event will not be comprehensive or impactful, so you have to handle some of that yourself as well. Just be diplomatic as you inquire as to what she’s done to promote the date, or who she’s hired to promote the date and then offer your assistance and if she’s up for it, your suggestions. But first back to the room.

Do your warm up on the stage exactly where you will be performing, in order that you can determine how alive the room is and how hard you are going to have to sing., which brings up a whole other problem.

When you sing without amplification the tendency is to sing as loudly as you can…this is a sure fire way to blow out your voice before your set is over. Make certain that you have done the proper warming up. Once my voice is warmed up, I can take it almost anywhere. I suspect that you will find that also true.

I discovered when I played bars, that while my first hour was difficult, the next two hours, were amazing. My voice opened up and my musicality was simple impeccable. I couldn’t get it wrong musically.

As for the set itself, with no amplification you really have to put it together in the most impactful way you can. But you must be careful, as you need all your chops to last the entire set. I have blown my voice out on occasion and there is not much you can do once your voice is gone. Radio mime is not very popular for a good reason.

You probably want to start the set with something both lively and short and then move into the quieter stuff building back up to a finale that is designed to knock their socks off and make them want to bring you back for an encore. So build the set so that you have someplace to go and then make certain that you get there.

I hope that this helps you, at least a little.

I had an interesting question from an artist in Nashville last week. He wanted to know how you acquired discipline. For me it is an ongoing fight to implement discipline, to employ discipline, to even get it to show up.

When I say I am going to practice, or go to the gym, or do taxes, or whatever, my brain starts looking overtime for any kind of diversion…thirst, head call, phone calls, hunger, cup of coffee, how bout a game of solitaire before I start? Anything to keep me from wandering in the studio and practicing, or sending out the notification for an upcoming date.

And my mind also starts trying to divert me…as tho it’s me and someone else in there. You don’t want to go for that run; you’re depressed; you don’t want to go to the gym; you don’t have to practice again today; you don’t have to write the blog so often…really, it’s amazing. And sometimes I actually get into a dialog, where I am talking back to myself. I shamefully admit this stuff in the hopes that when you too experience this incredible waste of your time and energy, you will know how to combat it.

Here’s what I do when I go for a run or to the gym. I have to get up, right out of the bed, relieve myself, put on my running clothes and then out the door. And the whole time I am doing the above, my mind is giving me reasons why I shouldn’t, can’t, mustn’t, don’t want to…do what I am doing.

You have to ignore those voices in your head. Most of the time they don’t have your best interests at heart. When you make a plan, the way to stick to it is to ignore those voices and to create some kind of schedule for what you are going to do. Don’t listen, and if you must listen, keep doing what you are doing even while the voices are telling you not to. Disregard them. And when they do convince you, as soon as you recognize it, go back to what you were trying to do.

People who work a straight job have a routine imposed on them and it actually makes it easier to impose other routines, like getting up an hour earlier and going for a run, or going to the gym. They already have to have some organization in their lives.

As artists, we don’t have that. We must create our own organization, our own routine, or else our lives get away from us; and the most precious commodity we have, time, is wasted. You can get back your wasteline; your chops; even your memory somewhat (take large doses of lecithin liquid gels); but you can’t get your time back. When it’s gone, it is gone.

So here is what I suggest. Make a list of the things that you must do every day, followed by a list of what you must do each week, followed by each month and then for the year. These are things that you must do. And this needn’t be a long involved list. For instance, gym/jog for health; one hour every day for practicing your instrument; one hour every day for emails, etc. Each week you must, say, call your parents, go to your post box, etc. Each month, you must…whatever. You get the idea. Fill in those things with your own personal commitments.

Then make another list of what you want to do, what you want to have happen, what you want to accomplish. This is your goal list. This is really important. Now integrate them. Allow time first for what you must do, then the things you can do, and finally the things you want to do.

You do need to see where you want to be, what you want to accomplish, and it also helps to put down where you are right now as well. Write that on a separate sheet of paper and then put that one aside to look at once a month or so. You will be able to gauge your progress from that sheet.

Lastly, don’t give yourself so many goals and tasks that it is so daunting that it paralyzes you. Start out with something you know you can accomplish. When you do accomplish it, your discipline self will get some strokes. And that will actually make you want to do it again.

You can’t just be disciplined. You have to become that way, one small task at a time; one small commitment at a time. You can do it. As for me, I haven’t practiced in three days, so I am re-taking charge once again.

It’s all we can do.

Having just spent the last four days in Nashville at board meetings for Folk Alliance International, and also as a house guest, I thought that it would be prudent to write more about being a house guest.

First of all, most of you have a cel phone, so be certain to keep your host or hostess in the loop. If the plane is delayed or if you are going to be later than you told them for any reason, let them know. If they are gracious enough to let you stay there, then they are gracious enough to alter their lives a little to accommodate your visit. Don’t hang them up.

Secondly, always bring a little something if you can. It doesn’t have to be much, just a demonstration that you were thinking of them before you got there. A bottle of wine, a bouquet of flowers, a book that you know they would like--just something. Whenever I don’t do it, I feel weird. It is a wonderful gift that they are offering, so demonstrate your gratitude.

Get to your space in their home and keep everything in that space. I have said this before but it is really important to remember and to put into practice. Keep Consolidated. This is their space and you are invading it. Think about how people behave in an elevator. They all make their space and move if someone gets too close. Magnify that need when you are their guest in their actual home and not just a space in an elevator. Keep Consolidated. This also helps when you are leaving, as you don’t have to go all over their home looking for all your stuff.

It has been my habit, whenever possible, to come in a day early for the gig. This is a perfect opportunity to take your host/hostess to dinner; someplace that they love or get them to pick the place. Make certain that you pay the check. Sometimes I actually excuse myself as though I am going to the bathroom and then corner the wait person and give them my credit card, so there is never any chance for your hosts to take over the bill.

If taking them to dinner is a bit much for your budget, then learn to cook something and do that for them. You buy the groceries and you cook it. People seem to love being cooked for in their own home. And there are lots of simple dishes that don’t take more than thirty minutes to prepare that are delicious. If you can’t find any, email me and I’ll give you some of my recipes.

If you start to read something in their library, even if it is a magazine, do not take it with you unless they invite you to do so. And then make certain that you mail it back with a thank you note. People are always amazed when I return a book, particularly through the mail. Most folks, just never return a book they borrow, but I pride myself on getting it back to them.

Bathroom etiquette is very important. If they have a glass shower door, make certain that you squeegee down the glass when you get out. If they don’t have a squeegee, then use a washcloth. And always use a washcloth when you are washing yourself in their shower. They don’t want to find your pubes on their soap; makes a bad impression, trust me.

Keep the door closed while you are in there and make certain that you can come out of there without embarrassing them; robe or pants and shirt. When you sit down in there, make certain the fan is on, or the window is open and if they have those dreadful little aerosol things, spray it. Just hold your breath, as they don’t do great things to humans. Numbs the olfactory senses I have heard. And make certain that you flush and that you don’t leave any paper floating in there. As the American Indians say, leave no footprint, particularly with caca on it.

Strip your bed of the sheets and pillowcases. Put all your dirty linen together with your towels and washcloth and bring it all down to the laundry room. Let them know it’s down there so that the washcloth or wet towels do not turn into living, stinky things.

Call them when you get safely to your next destination to let them know that you’ve arrived and thank them again for their hospitality. And send them a note. Email if you must, but an actual post is pretty great.

And finally, when you are bucks up, think about the folks that have helped you on the way. Just send them a basket of fruit or a wine and cheese basket; something to demonstrate your gratitude and something that arrives in their lives when they aren’t helping you. It will knock their socks off and they will always be glad to see you.

Well, I can’t believe it, but I learned something else this weeked doing some dates in the Sacramento area and in Santa Cruz. You keep thinking that you have it together and then life, your wife, your career…something shows you that “everything you’ve ever learned in life, …you have to learn again.”

First let’s talk about the drive from Los Angeles to Sacramento. My plan was to leave at 9 am, but I left at 10:20, so I ran into traffic where I wouldn’t have if I had left on schedule. Secondly, there was a major accident on the 5 near Los Banos. If I had left on time, I would have been throught it and yes, it’s true I had no way of knowing there would be a major pile up, fire and 5 closed, but the point is, I gave myself a schedule and disregarded it and paid the price. An extra three hours driving (and at four dollars a gallon here in California, that’s substantial).

    1. Make an informed, expedient plan and then stick to it.

Secondly, when I got the the house concert venue, I decided to unload everything and set it up the night before the concert, as I had a 9 am live radio show on KVMR to do. So I put all my posters, mailers, CD’s, postcards, etc in the room where the concert was to be held. Needless to say, when I got to the radio station the next morning, I had no CD’s, no posters, no “nuttin” to give to the radio station or the DJ.

2. Do an idiot check before you go to a gig, a radio station, a meeting, …even the beach. Do the check.

The last time I played Santa Cruz, I left my glasses on the night stand at a friend’s home, because I put on my sunglasses (also prescription) when I started loading the car, so I never looked for, picked up or used my regular glasses. They had to overnight them to me…and that’s really going to endear you to your hosts. Well, I did it again in Sacramento. Exactly the same scenario. The first time, hey, things happen. The second time,…I’m just an idiot. And I did my idiot check without my glasses on, so I didn’t notice my frameless glasses, OR the case. Stupid.

Fourthly, I had planned the show around my new CD. I like to do all the songs from a specific CD in the first set and then during the “meet and greet” whenever anyone asks about a certain song, I just say that all the songs I sang are on this CD. It makes it so very easy for them to decide which CD they want to purchase. What I didn’t remember was that even though the CD, The Eternal Contradiction (www.jamesleestanley.com/eternalcontra.html) was not released until the end of June of 07, I already had copies with me when I last played the room in March of 07, so the audience that came mostly already had that CD.

If I had made set list when I was done with the show, or God forbid, made up a set list BEFORE the show, I could have just looked at it and then known which songs and stories to do this time. You see, with over twenty CD’s released, I can do a show from any of them. And if you have already done that show for that audience, why in the world would you do it again. I could have taken any of the songs from my other twenty CD’s and put together a different show…and sold them a different CD.

As it was, I did a show that I was very proud of and the audience seemed to genuinely love it…and then to a nearly sold out house, I sold only five CD’s…instead of 30. So my recommendation to you, and this should be touring 101, is to keep your set lists from every gig and when you return to a room, make certain that you don’t do the same songs from the same CD.

    3. Keep a record of your gigs, and the sets and look at them before you return to a room.

The easiest way to sell CD’s to your audience is to do the bulk of the songs in the first set from one CD. In the second set (which is always my favorite—I’m warmed up and tuned and so is the audience) you can be more spontaneous and adventurous. Now of course you can do this in the first show, but if your second priority is selling the maximum CD’s, then do yourself a favor and make it easy for them to make up their minds.

If you do any song from any of your CD’s and then have to tell each person who comes up that this song was on this CD and that song was on that CD, then you are going to spend too much time explaining yourself and too little time getting your music into their homes, cars and hopefully, their hearts. And frequently, the audient can’t make up their minds, so they buy NOTHING. And though they say that they’ll do it on line, or at a store (if any are left), the truth is that they don’t.

If you sell them a CD, then the next time you come to town, there is a good chance that they will come and see you again. That’s the cool thing, to build an audience of people that not only love you, but with whom you have a relationship. It’s so much more rewarding than the anonymous twenty five cities in thirty days tour.

So there are a few more tips from someone who considers himself a pro, but still makes those amateur mistakes. It is very humbling being me.