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October, 2006
 
Are You a Media Fan?
CSN&Y Exercise Their Freedom of Speech by ICX Do you keep the radio on all day? Switch channels on TV and stop to learn the personality of the news anchors or an interesting reporter? After the show ends, do you try to read the credits to get names of contacts? Do you read at least one newspaper daily and know the names of the music reporters? Do you pick up unfamiliar magazines at the newsstands and try to figure out different writers’ tastes? What are your Web-browsing activities? If you spot a writer's positive reviews of artists you like, do you decide to read more of his articles? Artists should build their media contacts. Once we think we have a vibe on those writers, contact them either through a managing editor, a website contact or leads from friends or publicists. Call them or jot an e-mail. Tell them you've seen their work and are interested in sending them your music. "You liked the Strokes and the Scissor Sisters; I want to believe you'll like our band." Or "You did an interview with Kirsten Hoffman; Joe Deninzon arranged the strings for her album, FREE. And he's coming to town; may I send you a kit, please?" Most of the time the journalist will be receptive. I hope they're happy because you're aware of the hard work they put into their writing. They may not end up your best friend, or even an ally of your music, but the best reporters will at least be respectful when you call. And you should be respectful to them. They know how the media works—specifically their outlet, the publications that their friends write for, and maybe some media companies in their town. The media, the music industry, the entertainment world, and your own neighborhood are each a small world. People share information with each other. They're emotional in how they respond to others, because they're as human as you are. I think it's also important to study techniques, not always the content of media people. As musicians, you can improve your writing from how journalists work. Their articles start with a hook, the middle moves the story along and then concludes. Two of my favorite writers are at the New York Daily News. David Hinckley calls upon popular culture and a love of humanity to create his Critic-at-Large columns. Jim Farber sculpts poetic and energetic articles. Bands might not like his criticism, but he's always an enjoyable read. Sports writers also are great writers, with beginnings that start with the most important consequence or result of an athlete’s conflict. Good television personalities—whether you agree with their content or not—know how to be calm and make eye contact with the camera. They craft a question the way a musician might arrange a song. They also are aware of time limits, and therefore have mastered the art of wrapping up a segment and going to a commercial without making it seem clunky. Ironically, both Fox News’ Bill O'Reilly and his archenemy, MSNBC's Keith Olbermann, are dynamic, intimate and aware of their surroundings, show prep and time limits. (I have issues with O’Reilly because he demands "yes" and "no" answers too much, and that does not allow for an informative interview.) As radio is an oral art, it's important to make each moment on your show dynamic but coherent, and also moving. This is significant to help musicians with creating songs that catch people's ears. I have not listened to Rush Limbaugh in years, but I remember how masterfully he blended a variety of sound elements and was always on a quest to create new bits. His political opposite, Randi Rhoads, also uses dynamic sound bites, a wide, emotional vocal range, and music to entertain her listeners. Obviously, both of them are shortchanging their listeners, because they do limited research, but their audiences trust them because of their entertainment value. Try to analyze the creativity, not the content, of media people and it might influence a new song or approach to your career. |