Hot Artist & Band Press, Promo Kits!

Who’s been signed this time, was a common question and theme at William Morris Agency while I was there as an agent. While the agency was always on the lookout, of course with the major heavy weight record labels, knowing which artist would ultimately get the deal was not always an “in the bag” known quantity. As one of the younger up and coming agents, I often learned many valuable lessons from some of the most seasoned and quite honestly almost intimidating agents, not because of personality conflicts, but because of their breadth of both knowledge and weight within the industry. One of the most valuable lessons that I learned from these agents was all things being equal, image and their press kits were as much a part of the deal signing as the actual music performed by the acts. If that’s one of the keys, especially in the beginning phases of a “baby act” trying to break in to the music industry, then why do we see such half hearted attempts and mediocre press kits and promo material out there? I don’t know if I can answer those questions, but I will certainly try to help you gain some insight into what a quality crafted press and promo kit ought to look like.

You would think that with the age of the computer and with very affordable software that press kits would get better. “Flashy” perhaps, but the actual depth of the material being offered into today’s press kits is usually the same with very little emphasis on the needed verbiage and elements and filled with the same old clichés of where they grew up, this that and the other. It’s got to be more than that if you want to grab the attention of music industry professionals. At ReelMusician.com we are bombarded by this type of press kit day in and day out, knowing that some of these acts are fairly credible, but without the right image and marketing materials, that being their press kits, that they probably won’t make it. So what does make for a solid press kit? Let’s look at some ideas and concepts.

First off, understand that most individuals, good writers or not, aren’t cut out to write press kits. Like marketing, there is a special niche of writers who know what moves, sells, and what ultimately delivers in the final analysis. You might be a great writer emulating other press kits or material that you’ve gathered, but you have got to know what, where and when, when you are creating such marketing pieces. At ReelMusician.com, we understand that while each act and group is unique, that there are marketing differences with each and every bio and press kit that we write and produce.

As you begin to create your press kit, you will want to have a note pad and you will be jotting down ideas on probably a number of pages. On your first page you will be noting exactly what you want to accomplish with this press kit. Are you going for a record deal, or are you an older act that doesn’t necessarily care about the record deal, but would like to obtain more booking dates and so you will craft your press kit around club owners, venues, and booking agents, etc. You need to figure out exactly who and where this press kit will be going.

Your next step will be to write down exactly what you will be including in your press kit and why. Why are you going to include certain elements? They very well may be needed, but why? This will help not only make concrete what you already are more or less thinking, but it will also give you an advantage when you begin writing to create goals for why you are including what. There has always got to be a driving reason behind your press kit. It is not a slap it against the wall and stick mentality, it is a very well thought out marketing arm, aimed at your desired goals. Therefore, it begs your attention to implement specific marketing principles with a very well thought out marketing plan.

Now that you’ve decided what main categories of items that you will be including in your press kit, you are ready to write down short descriptive items under each category that you will expand upon when you are writing. This may take you awhile. But take the time and think through what you should include. Be imaginative. Some ideas can look bigger than life when written well. Those just starting out, it’s not as easy to do as those who have been in the business awhile simply because of experience and lack of realistic, music career oriented material. That’s why it’s almost that more crucial at the beginning stages of your career to have these professionally written so that your marketing isn’t as limited as it might seem otherwise. You have got to put more than where you grew up and musical influences. There has got to at least have the appearance of more experience and weight in your marketing which is done through carefully, crafted and targeted writing.

When you have finished with your initial ideas, you are now ready to sit at the computer and start writing your press kit. I couldn’t possibly address every issue or your own writing style here, but do understand that there are marketing words to use, that words do have meaning, and that you want to ultimately demand a call to respond in some way. You want the reader to be saying, “Sign this act now,” or “Maybe we can call them to open for so and so.” That’s what is needed. Not just a, “these acts influenced my writing” – that won’t get it. You have got to be writing for a call to action. Marketers on the web with any experience at all are writing for a call to action – usually for you to purchase something. So keep this in mind. Please don’t hesitate to email or call us with any questions. We’d love to know how you are doing and answer any questions you might have.

About Author:
Mr Gauger is a former talent booking agent with the William Morris Agency and founder of http://www.ReelMusician.com You may contact the author at tgauger@reelmusician.com Free e-books “The Jingle Singer’s Guide,” and “Secrets To Great Song Demos,” may be downloaded at http://www.ReelMusician.com

Article Source: http://EzineArticles.com/

How To Make A Winning Press Kit

Before I start talking about what to include in a press kit, I want you to stop and think about something. I want you to put yourself into the shoes of an A&R scout or any other industry person. Just for a moment, try to imagine how many press kits these people receive. Just keep that in your mind.

Now, let’s pretend you are that A&R scout. Imagine yourself standing over your desk with stacks of press kits. You finally have 10 minutes to grab a press kit, look through it and listen to a song or two. Are you still imagining this? Ok, select a press kit. Go ahead and envision yourself doing this. Which press kit did you grab? Was it the one with the big, obnoxious writing? Or was it the one with the cool band name? Wait, was it that envelope with all those stickers on it is screaming to be opened. Which press kit do you think that A&R scout would’ve grabbed?

Always remember how many press kits these industry people receive. When you put yours together, think of ways that yours will stand out. It needs to draw attention to itself. It can stand out because of its professional appearance, its off-the-wall presentation, well organized appearance or from the envelope it came in. It’s up to you to come up with a press kit that gets chosen.

But before you get too wacky, remember that you are trying to work with the label, booking agent or manager. Be eye-catching but you also have to be professional. These people need to make you money, but they also need to make themselves money. Make sure they see personality, professionalism and marketability.

Ok, let’s go over what you need in your press kit.

1. Cover Letter – This should go out with every press kit. You should address the letter to the person you’re sending it to. It should contain no more than 2 paragraphs, explaining why you are sending the press kit. Is it to get signed, get a review, get a booking agent or get radio play? Let the person know your intent and give a few reasons why you think they would want to work with you. Again, keep it short and to the point.

Also, if you have a manger, he/she should be the one who writes the cover letter. They should date and sign the letter, as well. Make sure it contains their contact information.

The letter should be attached to the outside of your kit with a paper clip. It should be on the front of the folder that contains the items of your press kit.

2. Bio – This is one of the most important parts of your press kit. The bio (biography) needs to contain information that makes someone interested in listening to your music and interested in working with your band.

To me, the first paragraph is the most important part of the bio. It needs to intrigue the reader. It needs to capture the reader’s interest. Make them want to read more.

Make sure the person reading the bio knows what your band sounds like. I always find it helpful to include well-known bands that you sound similar too. This usually will help label the genre of music you play. There are a million genres of music out there so listing a few bands that you sound like helps the reader.

List the band members, their ages and what they do in the band. Briefly explain how the band came together. If the members were in more popular bands, list those.

Try to express the band’s uniqueness. That can be in the form of your live show, lyrical content, look, sound, online marketing or whatever else. There are a million bands that sound like this or that but what makes your band different?

Tell the reader what projects are coming up and what you’ve done in the past. Briefly talk about your bands accomplishments.

A rule of thumb that I always believed in was that you always want to make your band seem bigger than they are without lying. Most of the claims you make in your press kit can easily be looked up. If you claim you’ve sold 5,000 CDs but you have no tour history and you’ve only sold 20 CDs online (SmartPunk, InterPunk, iTunes), then something doesn’t add up. Hype up your band but make sure you have the facts to back it up.

Include quotes from industry people. That includes your manager, booking agent or producer. Incorporate the quotes with the topic of the paragraph. Don’t get carried away but a few quotes from the people that work with you will show you have contacts and that people want to work with you.

3. Photo – Always include an 8X10 photo of your band. You can use a color or black & white picture. If you are sending it to a newspaper, always include a black & white picture, just in case they want to print the picture.

Also, make sure the picture represents your band. If you are an indie rock band, you don’t want to be wearing all black. If you’re a metal band, you don’t want to be holding flowers, wearing polo shirts. This is your first (and sometimes, last) impression to make on the person looking at your press kit. First impressions mean a lot.

4. The Demo – Most sources tell you to include a demo with no more than three songs on it. Well, if you have a pressed CD, go ahead and send it. But most people reading your press kit won’t have time to listen to the full CD or search for your best songs.

I would also include a three song CD-R of your most marketable songs. This is a quick reference CD. If they like what they hear, they can easily access the pressed CD to hear more. If you’re low on CDs or your budget, you can just send the three-song demo. But, I recommend sending the pressed CD.

If you have an EP, there is no need to include a CD-R. Just use a white label and stick it to the CD itself. And then list your three suggested songs. Again, most industry people are short on time. This is your chance to tell them what songs are your most marketable. But make sure that first song is your most marketable song.

Make sure you put your contact information on the demo! I can’t tell you how many bands forget that. You have to realize that your CD will end up on a desk, mixed with other demos. Label everything.

Make sure your songs are professionally recorded. If they are just garage demos, then your band isn’t ready to send out press kits.

You want to have your three most marketable songs on your demo. One big tip for selecting your three best songs is to have your friends/fans give you a list of their favorite three songs. Bands are HORRIBLE at selecting their most marketable songs. The fans are the ones that will buy your material, anyway, not you. Fans are usually the best A&R scouts. They know what they want. After all, they are your fans because of your music.

Make sure that first song grabs the listener’s attention within seconds. No one has time to listen to a 30-second intro. So many bands make that mistake.

Another thing that helps with saving time is to take the plastic off your CD. The people that review press kits have limited time. Save them time by having your CD open and ready to go. I LOVE that.

5. Fact Sheet - This is a new addition to the modern press kits. The fact sheet gives the reader a quick reference to your bands accomplishments. It includes tours, album sales, big shows, festivals and radio play (internet, college, FM). Bullet points should be used. Don’t lie about your information. Also, laminate the fact sheet to make it stand out.

The fact sheet is optional and should only be used if you’re an experienced band. Otherwise, the empty space will make your band look green.

6. Press – Include any press (newspaper, magazine, internet) that your band has received. But include no more than 3 press clippings. Always include the whole article. Also, make sure the articles are copied with high resolution so they are easy to read. If you have more than three press clippings, include the ones from the biggest publications and the most recent. If it takes more than one piece of paper, staple the press sheets together.

If you have limited press coverage, include CD reviews in your press kit. Any press is good press.

7. Organization – You don’t want the person that opens your press kit to see a jumbled mess of papers and pictures. You don’t want them to wrinkled, either. You want everything to look professional.

The easiest way to do that is presenting your press kit in glossy pocket folders. Don’t buy the cheap, flimsy ones. I think the price difference is about .30 cents for the cheap to more sturdy ones. It’s worth it.

8. Presentation – If you have a band color scheme (such as your album cover), try to make your press kit go with that. It’s easy to buy a folder that matches your album artwork. You can even create a header for the pages of your press kit that matches.

Be creative. Make your press kit stick out. First impressions can help (or kill) your band.

Keep everything organized, as well. If you have to staple pages with the same theme, do it. For example, the copies of your press clippings should be stapled together.

9. Proofread – Make sure you re-read your press kit several times. Have your friends and other band members re-read your press kit. Look for grammatical errors. No, this isn’t an English test but you do want to look professional.

10. Label Everything – Believe me when I say that once your press kit is opened, it’ll never be put back together again. You may have your CD in the person’s CD player with the bio on the floor and the press photo on the desk. Put your band’s name, contact info (email, phone number) and website on everything. I can’t tell you how many blank CD-R’s that I have on my desk, right now. I have no clue what band they came from.

11. Envelope – This could be the single most important thing about your press kit. Do you know why? It’s the first thing the potential industry person will see. Go back to the first few paragraphs. Do you think the A&R guy will pick a manila envelope when there are a hundred on his desk? Or will he pick that one envelope that sticks out amongst the rest? I think you know the answer.

Just use a little creativity. Don’t go overboard but be creative. I know a band that spray painted their press kit, hot pink. Now, that did cause the paint to rub off when you touched it but it did make the press kit stand out.

You can use stickers, markers, colors or whatever else you can think of to stand out.

12. General Information – Sending your press kit out without contacting the label/person is usually a waste of money. Now, I’m not saying that the person won’t eventually get to your press kit. But I would estimate that about 85% of all press kits never get opened.

Make sure you follow each label’s press kit submission policies. Most indie labels have their submission policies on their website. You can go to our links section to get a link to the major indie labels.

I understand that it’s hard to get an email contact with A&R scouts. A simple google search can reveal several of them. Don’t hesitate to email the label and ask for an A&R contact and/or permission to send your press kit. Once you establish contact with someone at the label (or magazine, newspaper, etc.), the person will most likely look for your press kit. Also, most major labels don’t even accept unsolicited press kits.

After about 2 to 3 weeks of sending out your press kit, do a follow-up call/email. Be patient and courteous. Take any constructive criticisms you get in stride and use it to improve your band. But don’t take anything personal. There have been many, many huge bands that were passed up by several A&R scouts. It’s just one persons marketing opinion. Just because I don’t see potential in a band doesn’t mean there is someone higher up in the chain that does. Don’t give up!

About Author:
Tim Towner - I've been in the music business for almost 6 years. I've toured, managed, tour managed and do A&R scouting for labels and other industry people. http://www.thedailychorus.com

Article Source: http://EzineArticles.com/?expert=Tim_Towner

The First Question You Must Answer When Promoting Your Music

This article is excerpted from Bob Baker's Guerrilla Music Marketing Handbook.

I'm going to use up this entire article dealing with one subject, because I think it's vital to the success of your music promotion efforts. Every day I see the same mistakes being made in this area and feel I owe it to you to drive this crucial point home.

Suppose you walked into your local record store and one of the employees (a complete stranger to you) came up and handed you a box filled with CDs and said, "Here, these are extra promo copies. You can have any CD you want out of the box."

Now let's pretend that you were not familiar with any of these artists. As you picked up each CD to consider whether or not you wanted it, what would be the first question to pop into your head? In other words, what basic question would you need to answer first before you could make an intelligent (and quick) decision on which one you'd take?

Would it be "Who produced this CD?"

No.

Would it be "What record label put this out?"

No.

How about "What are the names of the musicians and what instruments do they play?"

No.

Would it be "I wonder how great these folks think their own music is?"

No.

Is That Your Final Answer?

Hopefully, you've come to the same conclusion that I have. The first question that anyone asks when encountering new music is: "What kind of music is this?"

I've used this box of free CDs example to make a point: This is exactly the same position that music editors, radio program directors, A&R people and music publishers are in when they receive your unsolicited recordings along with dozens of others. Even though it's great to think that everyone already knows who you are and what you do, the sad truth is that most of your contacts will be clueless. That's why giving them the first (and most important) clue up front is essential.

Human beings need some way to process information and file it away in the proper place in their heads before proceeding to any follow-up questions, such as "Where is this band from?" or "What unique spin do they put on this genre?" Without creating a mental category or comparison to something fans are already familiar with, it's nearly impossible to get to these important follow-up questions. And if you can't move this sorting-out process along in a swift manner, your music marketing efforts end up dead in the water.

Why, then, do so many people who promote music either ignore answering this fundamental question -- "What kind of music is this?" -- or bury the answer so deep in their press materials that the reader gives up out of frustration before ever uncovering it?

Unless you are (or are working with) a well-known artist, the people receiving your promo kits will be in the dark as to who you are and what you play. Your job, therefore, is to answer that first all-important question right off the bat: "What kind of music is this?" It should be one of the first things people see when viewing your press package.

Straight From the Slush Pile

Here's an example I randomly pulled out of the overflowing box of review CDs in my office not long ago when I was a music editor. When opening the package, the first thing I see is a cover letter. Here's how it reads (I've changed the name of the person, label and band to protect the misguided):

"My name is John Jones, vice-president of Widget Records, here in New York. I'm writing to announce that one of our bands, the Losers, will be playing in St. Louis on July 24."

It's important to Jones that he announces who he is and what he does right off the bat. I'm sure this makes him feel good about himself. But how does this introduction move him closer to his goal of getting media coverage for the poor Losers? At least I know about the St. Louis date, something that should matter to me. But since I don't know what kind of music this is, I'm not impressed. On to the next paragraph.

"The Losers' music is already on national college and commercial radio."

Excellent. His mother must be very proud of him. But is this jazz radio? Alternative radio? Polka radio? Ten stations? Eight hundred stations? Huh? I'm still being kept in the dark.

"The Losers are a new band founded in 1994 in New York City. These shows are part of the year-long tour to promote their debut album."

More senseless background details before I even know what kind of music this band plays. But one thing I do know is that Jones sure likes talking about his band and its accomplishments. Now I'm starting to doze off from reading this.

The Music Needle in the Haystack

Finally, I come across this line ...

"The Losers' music combines Celtic violin with punk-influenced distorted guitars and melodic rock vocals ...

What? A description of the music? Say it isn't so! And I only had to wait till the fourth paragraph to get it. And it ends up being a pretty cool description: Celtic violin with punk guitars. Now that's different. That's something I'd like to pop in the CD player and check out. What a great media hook for the band.

Unfortunately, the label's vice-president has done the group a disservice by burying this vital piece of information in a dreary cover letter. Most media people would have given up on it long before they got to the intriguing description.

But this never occurred to Jones. It was much more important for him to pound his chest and proclaim his name, title, city and the fact that his as-yet-undefined band was getting radio airplay. What a missed opportunity! Don't make this same error.

How much better it would have been if his letter went something like this:

"Dear Bob,
When we first told people we had signed a band that combined Celtic violins with distorted punk guitars and melodic rock vocals, they told us we were crazy. But we proved them all wrong with the Losers, a band that is now on a major roll. Last month alone, over 325 college stations around the country were playing cuts off the band's new self-titled CD. And now you can experience the Losers for yourself when they come to St. Louis on July 24. I think your readers would get a kick out of hearing about this unusual Celtic/violin/ punk/melodic mixture ..."

This version (though it could probably be reshaped and made even stronger) pulls you in and lets you know what you're dealing with quickly and interestingly -- as opposed to Jones's dry resume listings.

Are You Guilty of a PR Felony?

Now take a look at some of the promotional tools you're using right now. What's the first thing you see? Your address? The band members' names? The record label name? Some vague reference to how impressive your music is without a specific definition of it?

Stop beating around the bush and start getting to the heart of the matter. Media and industry people are partly overworked and partly lazy. Don't shroud your message in mystery, hoping it will tease people and make them read further. Remember this important rule: No one will ever be as interested in reading your press materials as you will. So give them what they need up front, fast and simple.

And answer the most important question first: "What kind of music is this?"

About Author:
Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

It’s All Good: There Is No Such Thing As Bad Press!

It’s one of the oldest riddles in the history of music: If a band rocks hard in the forest and there’s no one there to hear it…did it ever really happen? It’s a fact: you may be the most talented musician in the galaxy, but if no knows about you, you’ll probably never advance past playing to your one and only fan in the mirror in your mom’s garage.

Writing, recording and performing terrific music is half the battle, but the other half may be even tougher than the challenge of creating a #1 hit…the task of publicizing it. Without publicity, your great opus might very well sit, gathering dust on your closet floor with the other 999 copies you had printed, cased and shrink-wrapped. Getting your name/your band’s name out there is quintessentially the most crucial step to: gigs, management, fans, radio, label exposure and rock ‘n’ roll stardom.

But what if your new found press is not-so-positive? Should you turn away a chance to pimp your band to the masses if the article is entitled, “Worst Bands In The History Of Sound” or “CDs You Wouldn’t Listen To If They Washed Up Next To You On A Desert Island”? Is all press “good press”? Is it always a positive move for your band if the average music lover reads your name in print; even if the article’s content is not exactly what you’d frame for your dad on his birthday? In a word, “Hell Yeah!”...Well, that was two words.

The following are a few tips that may help you to utilize both the positive and the negative press that may come your way:

1.) Never Turn Down Press---If people are talking about you, you’re doing something right. Don’t throw away free exposure by becoming your own publicist and deciding who can say what about you. Brittney Spears can afford to hire a PR genius to nix an upcoming article on “Overweight Pop Stars Looking For A Comeback After Two Kids.” You, however, should tell your vocalist to pooch out her gut, grab her babies and smile for the camera. The only thing more important in the music business than who you know is who knows you. So, remember, “bad press" is good and “good press” is outstanding.

2.) Make Sure They Print Your Name---The single most important key to success in entertainment is the recognition of your name. A magazine may print, “The John Smith Band sounds like a toilet flushing.” Weeks later, most people will only remember that they have heard the band name. This is the beauty of press. Plus, even if rabid music listeners now associate your band with potties, they will probably check you out just to see if you’re really that terrible. How many songs/bands do you think are horrific yet, when they come on the radio, you listen anyway? Name recognition is essential to the success of your band. Whether they’re praising or dissing, everybody needs to be talking about you.

3.) Turn Bad Press Into Good---There’s no way around it…bad press happens. Even the hottest band in the world has just as many hate sites as fan sites. But what reads to you as bad press doesn’t always have to translate as bad press in your press package and mailers and on your web site. There are two easy ways, to turn bad press into good. First, edit it. It’s your press after all and not every word can be bad. Simply omit the parts that make you want to run screaming and leave the rest to make up at least a decent review. Second, interpret the negative as positive. No matter what’s in the article, act like you think it’s a great thing. Turn criticism into irony, insults into humor, and bad ratings into humility. Make it seem as if the reviewer was on your side and don’t let on that it upset you at all. Again, in the long run, it will only matter that you got the publicity nod in the first place.

4.) Complaining Only Makes Bad Press Worse---Bad press will come and go, but your making an issue out of it will surely last longer than the review itself. Press is only as current as its latest issue and soon enough, what feels like the ruin of your band will be replaced by the ruin of someone else’s. But, repeat mentions of it on your websites, My Space pages, etc. will keep the negativity alive as long as you refuse to let it go. I realize that your art is precious to you and that you’re easily hurt by bad press but continuing to ruminate on it, only serves to keep the wound open way past the original issue date. The energy you put into bad press should be focused onto getting newer, better press for the band. You will remember the bad press long after everyone else has forgotten about it so let it go and move onto more positive things.

No one every said that the music business was going to be all sugar and spice and everything nice, so it should come as no surprise that you’ll probably garner as much bad press as good. Foster the positive publicity as much as you can and chalk up the negativity to a small pothole on your road to success. It’s true that it doesn’t matter what they say as long as they’re talking about you so be thankful for the free PR, take the high road, and let the bad reviews roll by your band and into oblivion where they belong. It’s unrealistic to think that you can get everyone to like your music, so make it your goal to get everyone to remember your name.

About Author:
Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians’ assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com.

Extra! Extra! Read All About You!

Extra! Extra! Read All About You!

By Carla Hall, MusicDish.com

MusicDish Network Sponsor

What the hell is a press kit? It's your demo, photo, and bio. Who needs a press kit? You do. Also known as a promo package, a press kit will open doors to a record deal, gigs, and press interviews. Create your own marketing ruckus, and the industry will be on you like stank on sh*t.

Since your press kit is your calling card, you better take the time to decide what you want people to know about you. Ruff Ryder's Eve makes sure that her photos are tight. She says, "I want the photos to show that I'm sexy, strong, and feminine." And way before Nelly Furtado hooked up with Missy and Timbaland, she walked into soon to be manager Chris Smith's office with a package that reflected her personality. "She took a lo-fi approach to her kit, which was about $9 worth of photos from one of those booths in the mall, and an essay which was just stream of consciousness writing of what she thought, and how she felt about music," says Smith, "It wasn't about 'This is the best shit since such and such, and I'm gonna take over the world because I'm good.' The photos were very spontaneous, and the free form writing thing was just touching, and people fell for it."

Get Your Paper. Imagine an A&R person's desk, covered with tapes and press kits. Which one will get listened to first? To create inexpensive stationery, have a creative friend design a letterhead for you and take it to a copy center like Kinko's. Or for a special touch, bring along paper from www.paperaccess.com. Some of the hottest kits are color folders with your materials in the pockets. According to Ariel Hyatt of Ariel Publicity, whose roster includes Parliament's Bernie Worrell, "Stationery makes you look more professional. Would you take a company seriously if they didn't have any letterhead?"

And You Are? Your bio is next, and should read like an article. Many editors are swamped for time, and may quote your bio word for word. No longer than one page, it should say who you are, while avoiding a lot of hype. Describe your music in a unique way early in the bio, so editors don't have to search for it. If you decide to write it yourself, have someone else check it for misspelling and over-hyped clichés. But Ariel adds, "You may be a great musician, but you may not be great at capturing how you sound on paper. If you hate writing, or you're not down with it, get someone else to do it."

Smile Pretty. Whether you're a thug Romeo or a downtown diva, your photo is an opportunity to show your personality as an artist. When you're trying to get press in your hometown newspaper or Billboard magazine, it's important to have a clear, professional quality photo. A black and white, 8 x 10 picture will do the job, just make sure that your music and your image are consistent. Jonathan Mannion, whose portfolio includes Ja Rule, Jay-Z, Eminem, and others, believes that it's not difficult to find a photographer that fits in your budget. He says, "Be resourceful. Sometimes the assistants of the heavy hitters are incredible photographers in their own right. You can also find people at art schools that have a good eye."

Weed it Out. Filling up your press kit with club ads of your performances is a waste of space, and no one wants to read them but you. If you only have a bio, that is enough to start. When you start getting press, limit your clippings to about five of your best, and work on getting more new ones. Ariel continues, "Press clippings should be no more than four pages of white double sided press clips, and leave it at that."

Work It. Take the time to present a consistent image. Says Chris Smith, "You need the music to back it up, but you should be well-rounded. The photos, your music, and the information you give about yourself should be connected."

Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission