True Lies About "Guaranteed" Radio Airplay

As a radio/video promoter and media publicist, I
am often asked by prospective clients if their
airplay will be guaranteed and, if so, how long it
will last.

Another common question is, how long it takes
before radio stations respond.

I have provided responses below that I recently
gave to clients and I, sincerely, hope that my
responses enlighten many artists who are
confused on the processes and related issues on
how radio airplay and press coverage can go
(or, not go).

Thanks,

Kenny Love, Publisher/Editor
"The B# Newsletter"
http://yahoogroups.com/group/bsharpnews
http://www.myspace.com/jazzman795
*(please send a MySpace "Add Friend" request)*
(936)545-0381
_________________________________________

[---Question 1---]


"Kenny, I am curious to know that, with your
promotion of my record to radio, if the airplay is
guaranteed and how long it lasts for the number
of weekly payments?

Thanks,"

Jerry K.

=====

[---From: Kenny Love---]

Jerry:

Please understand that, even though I have
what I feel to be a great track record with
getting radio airplay, video airplay, and print
media publicity for my clients for almost 20 years,
there is never and should never be a guarantee
of airplay or publicity implied by promoters or
publicists on any particular stations or print
media.

In fact, the ONLY way to "guarantee" airplay is
by paying for and running advertisements and
public service announcements on stations and in
newspapers, in reference to songs being aired or
reviewed.

However, in order to obtain and retain clients,
more than a few unscrupulous promoters and
publicists do make such ill will promises and
guarantees. And, unless they are running ads
or PSAs as I mentioned, this is an illegal act.

And, if they are discovered, they can be
indicted, fined, and/or sent to federal prison for
this crime, which is referred to in the Music
industry as "payola."

In fact, just a year or so ago, one of the largest
record labels was found guilty of doing just this
with one of the world's most famous singers, and
was fined millions of dollars.

In almost 20 years as a professional commercial
Music promoter, I have never resorted to,
participated in, nor endorsed this unlawful act.

And, no promoter can or should ever make such
a guarantee to a prospective client unless the
previously mentioned conditions of advertising
and public service announcements are what are
actually being conducted.

[---How "Guaranteed" Airplay/Publicity Works---]

I am going to pull the proverbial covers back now
and expose how this illegal process works...

Promoters and publicists who participate in
"payola" charge their clients astronomical fees
amounting to thousands of dollars per month.
However, with most musicians being unaware of
what constitutes fair rates for promotion and
publicity, they do not question the high rates of
the promoter or publicist, otherwise, believing
the rates are normal and fair.

Promoters and publicists who charge thousands
of dollars per month then take a portion of the
client's money and illegally "buy" airplay and
press coverage by paying radio station music
directors, programmers, deejays, influential arts
and entertainment magazines, and music
publications a certain amount of money per "spin"
for rotation and print media coverage in the
forms of artist interviews or music reviews.

These large fees are enough to cover the airplay
"buys" as well as put a decent amount of money
in the promoter's or publicist's pockets. And,
with enough clients at these high-end rates,
such a promoter or publicist can not only make a
good income, but with enough stations or press
being paid "under the table," so to speak for
airplay and press, the promoter becomes a
"savior" in the eyes of the unsuspecting client.

And, anyone who charges a far less rate (such
as ME!) is, occasionally, viewed with suspicion
by prospective clients, particularly, if the client
has researched several promoters or publicists
who have quoted similar high-end rates.

The sad fact is that the uninformed musician
being represented by the promoter or publicist
is completely unaware that he/she is, in fact,
"buying" airplay.

And, when the promoter also provides a report
verifying top stations are playing the client's
music, the client naturally believes the airplay
has been acquired as a result of his or her
popularity because the station personnel liked
the recording being presented, that music
listeners liked the recording and responded with
requests for more airplay, the magazine editor
or writer liked the music enough to feature or
review it, or all of the above.

The fact is, the client is, in part, being lied to
and tricked...not about the result, because the
report, airplay monitoring, and press coverage
readily serves as proof and verification that
media coverage was obtained.

But, the client is being lied to about the honest
interest (or lack, thereof) from radio station
personnel or print editors, along with the fact
that the client's own money "paid" for the airplay
or press coverage.

And, when the client's money runs out,
"coincidentally," so does the airplay or press
coverage. And, in this scenario, nothing could
be further from the truth, and this is a staunch
example of the phrase, "true lies."
_________________________________________

[---Question 2---]


"Kenny, we plan on getting you to promote our
latest release in a couple of weeks. After you
make contact with stations, how long does it
take them to respond?"

Sara B.

=====

[---From: Kenny Love---]

Hi, Sara:

The honest answer to your question, is that
every project response is different. Truthfully, I
have seen radio station and print media editors
respond in as little as 30 minutes after my
initially contacting them. On the other hand, I
have seen media responses take, at least, a
week (if not longer) before any reaction was
forthcoming.

Many artists feel that, since promoters and
publicists have connections that they have
established through the years with the media,
that the promoter can guarantee that every
single media contact will connect with the
recording. But, this is not always so, because
other factors come into play as well, such as:

* Stations frequently change personnel, and
promoters must form new relationships with their
replacements

* Stations often change formats

* Regardless of the established long-term
relationship between promoters and media
personnel, the final decision lies with the media
contact, and is largely based on how that media
contact feels the recording fits their own current
criteria for their station or print media

* While promoters' media contacts may also like
the recording, the media contacts, almost
always, have supervisors who may not feel the
same way and, thus, may not approve the
recording for being added for airplay or press
coverage

Also, keep in mind that simply notifying radio
or video stations, or the print media of a
recording is only the first major step.

The second major step is following up and
tracking of the recording, which is what most
artists lack in either experience on how to do
so, or don't have the time to do with each
station or print media source, particularly, if the
artist is performing regularly and consistently.

And, the media also requires a "waiting period"
of, at least, 3-4 weeks after receiving press kits
before promoters or publicists are allowed to
follow-up with tracking to learn the status of
the recording.

As you can see, there is a lot more 'behind-the-
scene' decision-making and various levels to go
through in order to obtain the desired result of
airplay and/or media coverage.
________________________________________

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