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
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(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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