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It’s not that a Republican won the Massachusetts Senate race; I question how any Democrat could have lost. (Understanding the polictical dynamics is aided by this observation from John Gorman.)

It’s ironic that Attorney General Martha Coakley (D) kept her head in the sand exactly the same way as radio industry leaders have been doing; only, in this instance the impact was immediate. In the case of radio, it’s a long-term growing defeat that won’t get response because, like Coakley, radio industry leaders refuse to look at the facts – or should we say they only look at facts of their choosing.

There are two items of evidence to present on this issue. Here’s the first. After the devastation Lowry Mays brought upon the radio industry, how is it plausable that the Broadcasters Foundation of America created the Lowry Mays Excellence in Broadcasting Award? Jerry Del Colliano has penned the perfect piece on this topic, pulling together all the pertinent facts surrounding this surreal juxtaposition of realities. I’ll simply state that any radio industry publication backing this effort shows its ability to look around the truth. Mays, near singlehandedly, can be attributed with swelling the ranks of radio vets in need of the Broadcasters Foundation to proportions never known.

The second point to exemplify is the Coakley Cloud, defined as an environment for easily grabbing defeat from the jaws of victory. Please read therebuttal article written for MediaLife by Mary Beth Garber, President of the Southern California Broadcasters Association, for a demonstration on how this relates to the radio industry. In this rebuke of a MediaLife article titled “Outlook for radio in 2010,” Ms. Garber (while using select data to back her claim) pulls arguments that have been shattered again and again. Adding to this lackluster defense of radio is her failure to mention relevant items, such as the radio industry continuing to ignore the fact that more and more, advertisers are looking for documented results on their ad spending.

Need a few more examples? Let’s take this line from Ms. Garber’s article: “Today’s radio sounds better than ever due to digital and HD technology.” Sounds good, until you estimate the number of HD Radio receivers being used and the effect it has on listening trends (null). Another item mentioned by Ms. Garber: “Today every computer, virtually every MP3 and iPod, and any cell phone capable of downloading apps is streaming radio’s over-the-air content.” Only, the concept for streaming revolves heavily on NOT placing over-the-air content online. Two entirely different audiences exist with completely different needs. You can’t simply regurgitate on-air content online and expect it to be a draw.

Mary Beth Garber’s statements are akin to Martha Coakley blaming the Democratic Party for her loss in Massachusetts with no mention of the multiple gaffes she herself produced in this Senate run. John Stewart outlines a few, with deserved comments.

Here’s another major line in Ms. Garber’s article. The next time you think about moving your ad dollars out of radio and into the internet, check Nielsen or ComScore for their weekly internet ratings. You’ll discover that in any given week, about 60 percent more people will listen to radio than will log onto the internet.

If you do a thorough check, you’ll notice that internet ad spending is increasing not because of the numbers of people it reaches but because of how those people being reached can be tracked, authenticated, and responded to with appropriate messages designed around the advertising pitch. That is the wonder of being online. Like search engine optimization, it’s reaching a higher quality of prospects and watching them reach back that gives online the edge. Radio could use this online edge if it chose to change.

To quote her, again: Obviously there’s a big disconnect between reality and perception when it comes to radio. Yes, there is. Let’s continue: …the truth is that part of that perception is radio’s own fault, because the radio industry has been slow and quiet in its own defense or to publicize its noteworthy achievements. Not that I’m a naysayer, but if Ms. Garber would provide a list of these “noteworthy achievements” made since consolidation, I’ll reprint them here.

Advertising has changed. Audience desires have changed. Radio is still doing the same thing it’s done for decades, sliding into a much poorer quality product with the killing of newsrooms, voicetracking, and general cutbacks that grow the ranks of the Broadcasters Foundation recipients.

Radio tries to tie itself to elements of new media – for ex., Clear Channel’s announcement of creating “contextual advertising” – but people who know, know the real story. (Read Mark Ramsey’s take on this here.)

The radio industry has been in a Coakley Cloud for too long a time to be ignored, or waved away with claims based on numbers supplied by people standing to lose when the truth is believed.

How did radio lose this revenue race? By continuing to ignore all signs that its gaffes were leading it down a road less traveled, just like the smug Attorney General Martha Coakley did.

Indeed the radio industry is losing respect, ad dollars, and audience participation – three elements required to hold one’s head high.

Long ago the question turned from why radio isn’t winning in a changing media environment to why the radio industry is losing a race it was so well-positioned to win from the get-go.

Blaming it on the pundits has less effect than creating solutions, and it’s quite a bit easier. Which is why we see so little advancement in radio and why many executives maintain the status quo argument that the radio industry delivers what advertisers want, results. Radio just isn’t addressing the growing demand for proof.

(Repost from AG News: Wednesday -1/20/2010)

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New Radio Trends

As the industry changes and corporations are looking for ways to save money two trends appear to be on the rise that could affect radio's PPM negatively…maybe positively. Full time on air slots are being replaced by part time slots at some stations in an effort to save salaries and benefits. This may not be GREAT news for current full timers [...]

via Music Industry, Radio, Record Label, Artists, Music News | radiofacts.com.

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As 2010 begins, many people are anxiously waiting to see what trends will emerge within the music industry. Much of the conversation in 2009 was how technology is being used by independent artist to promote their music. While this is proving to be a very effective outlet, traditional radio is still a powerful medium. One internet broadcaster is making a move to blend the freedom of internet programming to the listenership of traditional radio.

It has long been understood that college radio stations are among the easiest to introduce new formats. College students are also among those who are most likely to listen to internet radio. Since most college radio stations operate under FCC guidelines, artist who are promoting material via college stations are more likely to be able to track the regions where their music is gaining a audience.

I posted an article a few months ago (http://www.wdkkradio.com/2009/11/24/understanding-college-radio/) detailing the overlooked college audience both for listenership and performances. Looking back over the development of  labels such as Motown, Stax and Solar, all who began as independent labels, radio played a major role in establishing the label as major players. As traditional radio seems to be loosing ground, one solution is to give the listeners what they want to hear. One advantage of college radio is that it doesn’t have all the corporate tape to unravel in order to introduce music that isn’t on the playlist.

WDKK RADIO owner D.A. Williams  airs  a weekly program called “Indie City” on WWSU 106.9 FM,  which is run by Wright State Universitiy located in Fairborn Ohio. The college also streams programming on the Univerisities website and D.A.’s program will can also be heard on http://www.wdkkradio.com via simulcast.  The show airs Thursdays at 1PM EST. Indie artist will be featured on the show and will consist of artist who have submitted music to WDKK.

Updates will be posted weekly.

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The other Radio One in the radio industry is from the BBC. Radio 1 is a British national radio station operated by the BBC which also broadcasts internationally, specialising in current popular music and chart hits throughout the day. Radio 1 provides alternative genres after 7:00pm including electronic dance, hip hop, rock or interviews. It is aimed primarily at the 15–29 age group. Radio 1 was launched at 7:00am on 30 September 1967 as a direct response to the popularity of offshore pirate radio stations such as Radio Caroline, which had been outlawed by Act of Parliament.

One of the stations Radio 1 features is Hip Hop and RnB station Radio1Xtra. From what I sampled, their playlist is decidedly British with an occasional American hit. You know they love Rihanna. I found it very entertaining especially their breaks and interaction with callers. However what makes this station unusual is the fact that they promote themselves as BLACK! You would never catch an urban station stateside promoting themselves as a Black radio station especially in a PPM ratings world.

“The best black music from the UK”

“The newest black music and hottest UK talent”

Overall the BBC’s Radio 1 definitely seems plugged into mobile technologies by providing various listening options. You can also catch the BBC main Top 40 station “Radio 1″ on Sirius satellite radio.

(Reposted from URBAN RADIO NATION)

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The First Thing for Radio in 2010 – Change

It’s not been a good week for the radio industry. We’ve had to deal with Citadel filing bankruptcy (and, now, Next Media), a most idiotic stunt gone awry with a more idiotic explanation from the offending station (as if the audience has “stupid” stamped on its forehead), and the babbling of one hired-gun analyst whose primary job is to make radio industry execs feel better.

The bankruptcy was expected, as well as keeping in place the person who led Citadel down its path. Is anyone at radio industry trade publications asking why Citadel Chairman/CEO Farid Suleman should maintain his position? If so, it’s not in any article I’ve been exposed to. Keeping Suleman exemplifies, more than any other single item, why radio is having such a poor time; it refuses to change inept management, and it refuses to ask even the most rudimentary questions about fiduciary responsibility.

By now most everyone in radio has heard about the burning turkey, van, and the injured fireman. Clear Channel’s WFLZ, Tampa, made headlines in The Tampa Tribune with a story akin to the comical WKRP episode about throwing turkeys out of a helicopter; only, WVLZ’s event was serioulsy unsafe. To make matters worse, management at the station came out with this explanation – “Like we’ve done several times in the past, our intent was to show how dangerous it is to cook a turkey in this type of situation.” Message to management: This is radio. Just how are you supposed to demonstrate the dangers to an audience that can’t see what you are doing? According to The Tampa Tribune “The morning show and stunt were streamed live on the station’s Web site and recorded,” though I don’t know if this means a video or audio stream – which doesn’t matter today.

I don’t think this is what we mean when urging the radio industry to better use the internet, nor are these other examples of WFLZ using online video.

BTW, this story is noticeably absent from Clear Channel-owned InsideRadio.com.

The last item to cover does appear at InsideRadio.co, as a headline, “Exclusive: November revenue shows gains.” This is followed by the line “Radio’s embryonic revival continued in November, even if it was fuelled more by easy comparisons than a rebounding economy.”

Author of this analysis, Jim Boyle, suggests: “Due to significant political advertising in the first week of November 2008 in many battleground state markets, an adjustment is appropriate to reflect recurring year-on-year revenue. Using an average 2% to adjust for that political ad onslaught, I estimate November industry revenue was ‘organically’ down by a more subdued 7%.”

So, we have an analyst who discounts a previous year because of the anomaly called “elections.” I haven’t checked, but I’d bet that those elections were used last year to demonstrate that radio had a better-than-expected November 2008.

Boyle was noted in a 2004 Audio Graphics article with these words: Go to Radio Ink or the Radio and Records web site and you will see an article on how Wachovia Securities analyst James Boyle says radio has “hit bottom.”

This was also pointed to in the 2004 AG article: The first thing you notice is that James Boyle is not ranked in the top thirty [when compared with other media analysts in 2004]. The next is that he has a less-than-stellar performance in being right.

As we leave 2009 the only thought that should be on anyone’s mind is how the radio industry can change in 2010. Will we see some of the top execs shown the exit? Will we see radio stations do things that actually contribute to improvement for their communities? Will we begin to get real about just how damaging a rosier-than-reality picture is when painted by a former industry analyst who now writes for a Clear Channel owned industry publication?

If possible, it would be a pleasure to print something that the radio industry did this year that forced anyone connected to it to hold their head high with pride. Besides radio acting as a microphone for bad weather and California fires, I’m coming up empty.

The course set over a decade ago was wrong, is wrong, and will continue to be wrong. The radio business simply cannot continue to operate on self-destruct.

Just getting away from how things are done is change enough, for now. Relative to radio, it’s the only option.

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Citadel Broadcasting Corp., the nation’s third-biggest radio company and parent of Chicago’s WLS-AM 890 and WLS-FM 94.7, is preparing to file a prearranged bankruptcy before the end of the year, according to the Wall Street Journal and later the New York Times.

And, while all this is going on, Chicago Public Radio blogger Robert Feder is reporting that WLS-AM is close to signing afternoon star Roe Conn to a new deal.

The Associated Press reported that Citadel did not immediately return messages left seeking comment as the Journal story broke Thursday. The wire service added that investment bank Lazard Ltd declined comment on the report. Like the Chicago-based law firm of Kirkland & Ellis LLP, Lazard reportedly has been advising Citadel on a possible restructuring in recent months.

Citing unnamed sources familiar with the matter, the newspapers said the proposal presented this week to creditors — and reportedly supported by many — would have lenders trade a substantial amount of the $2 billion they’re owed for 99.5 percent equity in the reorganized company, which would have about $760 million in debt.

Current shareholders would be out of luck.
Farid Suleman, Citadel’s chief executive, would likely get to keep his job, according to the Journal, which said the company needs the support of those holding two-thirds of its outstanding debt as well as a majority of individual debut holders to get final approval in bankruptcy court. A deadline for lenders to sign off on the deal, the paper said, is Tuesday.

Citadel loaded up on debt to fund its acquisition of Walt Disney Co.’s ABC Radio stations, but not Radio Disney or ESPN Radio, in 2006, not a particularly good time to be in radio acquisition mode, it turned out.

Of course, the Journal also pointed out other factors that did not help Citadel, such as the February death of syndicated Chicago-based giant Paul Harvey at age 90.

(Reposted from About.com)

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Black Radio Fights Performance Royalties

by Neda Ulaby

November 24, 2009 -

New legislation in Congress could drastically change music-industry economics. As it currently stands, musicians in the U.S. aren’t paid when their songs are played on the radio unless they wrote the songs, too. Only songwriters get radio royalties, not the folks who play and sing their tunes. Two bills moving through the House and Senate would change that, by making radio broadcasters pay royalties to musicians, too.

Radio broadcasters hate the idea of performance royalties — really, really hate it. They’re speaking up in Congress and on air.

Cathy Hughes is the legendary founder of Radio One, the country’s largest chain of black radio stations. For months, her stations have played her announcements against the performance-rights bill. Hughes complains, on air, about all the work it would take to comply.

“If the performance tax is passed, all radio stations will have to count how many times a song is played each day and each week,” Hughes says in an on-air announcement. (The bills do not really propose a tax.)

Natalie Hopkinson says there’s no escaping Hughes. Hopkinson is an editor for the popular online news blog The Root, which is geared toward African-Americans. She says just about everyone who listens to urban radio has heard Hughes’ point of view.

“Radio One holds more than half of the top 30 black radio markets. They dominate,” Hopkinson says.

Is This A Racial Issue?

In an essay on The Root, Hopkinson writes that she resents Hughes’ attempts to paint proposed financial regulations as a racial, gender and social issue.

“You know, she’s the little woman. You know, she’s going up against the big recording industry,” Hopkinson says. “No, you own 53 stations and this is a huge, huge, massive, multimillion-dollar company that is still bringing in quite a bit of money.”

NPR was unable to get Hughes to comment. But James Winston, who heads the National Association of Black-Owned Broadcasters, says his organization’s members can’t be blamed for not wanting to pay royalties.

“Our revenues have been going down. We recognize we got problems,” Winston says.

Across the industry, ad revenue has dropped 23 percent in the past year alone. Listeners are turning from radio to MP3 players, computers and cell phones. Winston says there’s a giant paradigm shift across the entire music industry, but radio isn’t trying to squeeze more money out of the recording industry.

“Miss Hughes didn’t start the fight. It began with hearings in Congress, where these older performers — most of who happened to be African-American — were brought forward to tell their tales of woe that their songs were being played and they weren’t being compensated,” Winston says. “Now, nobody asked, ‘Well, what deal did you have with your record company? Why weren’t you being compensated by your record company for these records?’ Instead, everyone pointed their fingers at broadcasters and said, ‘You’re the bad guys.’ ”

It’s wrong to think in terms of good guys and bad guys, Hopkinson says. She says she doesn’t want to see radio — especially black radio — making the same mistakes as the recording industry.

“They’re just fighting over the scraps left over at this point, and I really think Miss Hughes’ time would be better spent figuring out a new model and a way to evolve,” Hopkinson says.

Supporting Local Artists

Chuck D has some ideas. He was working at a college radio station back when he founded Public Enemy in the 1980s. He says that, in order to survive, black radio should grow local talent.

“I would love to see artists in Indianapolis and artists in Louisville and artists in Chicago, be able to get played in their own town,” he says. “I mean, so what if the artists can’t get played in L.A. or New York? If they’re coming from Tulsa, Okla., they should be able to be played in that five-state radius.”

But broadcasters would still have to pay those musicians royalties, as Chuck D says they should. He says he’d like to see people who own radio stations be a little less defensive about performance rights. (It should be noted that NPR has expressed concerns about the bills to Congress.) But he says that black broadcasters, like Cathy Hughes, are competing against more powerful networks that lack a real connection to black communities.

“I’m not saying Miss Hughes doesn’t. But in order for her to stay in business, she has to be able to keep her head above the other corporations that probably don’t give a doggone about the black community,” Chuck D says.

In the end, it’s corporations that will largely profit from a change in collecting performance royalties from radio stations. Fifty percent of the money will go to the rights holders — usually record labels — 45 percent to the stars who sing the songs, and 5 percent to the musicians who back them up

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November 24, 2009
A new report from Washington Research Group Concept Capital says that is it becoming less likely that the Performance Rights Act, which would force radio stations to pay royalties for playing music, will become law. In recent months, the House and Senate Judiciary Committees have approved the legislation, and a meeting was held between broadcasters and record labels to engage in mediated discussions over a possible compromise. However, Concept Capital says the odds are dropping for the legislation to pass in the 2009-10 Congress. The research group reduced its estimate from 60 percent to 40 percent odds of the bill passing in the next 12 months.

The report outlines four reasons why the possibility is less likely, first saying that broadcasters are doing an effective job of building opposition to the legislation. The NAB has gotten 27 Senators and 253 House members to sign a resolution opposing the Performance Rights Act. Secondly, broadcasters have gotten traction with arguments that a new fee could have damaging consequences for a large number a radio stations – particularly in a difficult advertising environment – and that a disproportionate share of endangered stations are minority-owned.

The report also notes that we are entering an election year, and individual members are typically more sensitive to broadcasters’ policy agenda as voting season nears. And lastly, broadcasters have new leadership in Washington.  Former Republican Senator Gordon Smith recently took the helm of NAB, and his stature, bipartisan reputation and skill set are a positive factor for broadcasters in the radio royalty battle.

The report from Concept Capital concludes, “We do not rule out the possibility of some kind of breakthrough or legislative maneuver that would allow the bill to move forward. The bills’ chief supporters (the Senate and House Judiciary Committee leaders) remain very committed to moving a bill. And the royalty bill has now progressed farther than it has in any prior congress, so risk clearly remains for broadcasters. But our sense is the momentum has shifted away from passage.”

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November 24, 2009
Arbitron has been invited to testify next Wednesday, December 2 in front of the U.S. House of Representatives Committee on Oversight and Government Reform. The hearing will examine the PPM ratings service and discuss “whether the PPM technology and methodology accurately measure radio audiences and whether PPM has a disproportionately negative impact on radio stations owned by minorities or targeted toward minority listeners.”

In a statement, Arbitron President/CEO Michael Skarzynski said, “Arbitron welcomes this opportunity to discuss the importance of electronic measurement, the effectiveness of the Portable People Meter (PPM) service, the value of the data it produces, and our responsible approach to the deployment of the service. Arbitron looks forward to sharing with the Committee our expertise and insights based on our long history and extensive experience in gathering and disseminating the quality data that is used throughout the radio industry by broadcasters, advertisers, and agencies.”
“Arbitron launched this innovative electronic media ratings service to help support the radio industry’s objective to have relevant, reliable data that enables it to compete for its share of advertising revenue,” continued Skarzynski. “We have been proactive in our efforts to share relevant and pertinent information with our stakeholders, Congress and other state and Federal government agencies and continue to welcome opportunities to showcase the value of radio and the importance of electronic measurement.”

In the announcement of the House hearing, Chairman Edolphis Towns (D-NY) stated, “With an unprecedented decline in ratings among popular minority television and radio stations, we must explore the possibility of methodological flaws in the implementation of the PPM. As it stands now, the current system jeopardizes the future of minority broadcasting.”
“I remain deeply concerned that increased use of the PPM may unfairly threaten the financial viability of minority targeted radio stations whose advertising revenues depend on the size of their rated audience,” added Towns. “In addition, there is a serious risk that certain groups of minority listeners will continue to be undercounted, imperiling minority audience radio stations and decreasing the diversity of opinions in radio broadcasting.”

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Understanding College Radio

NACA and the College Gig
How to Navigate The Educational Market

By Will Morgan

The college gig, in one respect, can be thought of as the generic store brand in the music industry supermarket – only a few people seem to be aware of it, despite its relative value. As a culture of advertising-inundated consumers, we instead reach for the big names on the shelf, or for the purposes of this example, the principal venues with established reputations. And more often than not, especially if you’re a musician, these items are beyond our means, financially and otherwise. Like any business, a musical career requires growing before we can expect to reap the rewards, and a college gig can often be the answer as to where to begin.

For many artists, the college booking process seems to be one shrouded in mystery, and understandably so. Schools do not share the same business mentality as standard venues, and hosting concerts is only a small part of their ongoing effort to keep students content. Not knowing how to approach this unique niche of the touring market can be discouraging for artists. Yes, landing a college performance requires a methodology unfamiliar to many, but it is certainly a revenue source worth tapping into. And thankfully, there is a set of fairly well-established guidelines and channels that will enable you to make the most of eager students and deep pockets.

In effect, there are two standard avenues for getting a college gig. The first is the do-it-yourself method: direct solicitation with press, flyers, music and the like. The second is through cooperative agencies, the most predominant of which is easily the National Association for Campus Activities, or NACA. The Association for Campus Activities (APCA) has also emerged as another helpful organization. So which plan of attack should you choose? The artists who have negotiated the process and the booking agents who understand the collegiate business mindset will quickly point to four important influencers in making the decision – money, reputation, attitude, and entertainment value.

NACA, as its website notes, “links the higher education and entertainment communities in a business and learning partnership.” In other words, the organization serves as a meeting ground for artists and colleges, thereby facilitating the booking process. Among NACA’s offerings are the Artist Matching Service, Block Book It Now (an online service that allows neighboring colleges to view each others’ schedules and book the same artists), and, perhaps most importantly, the Regional and National Conferences. Clearly, performance opportunities abound. Syd, a Boston-based singer/songwriter who estimates he has booked “a couple hundred” shows through NACA’s service, refers to the organization half-jokingly as “musician’s crack.”

Understanding NACA

Joining NACA is costly, but it can also yield you an “astonishing amount of money,” notes Syd. Those artists who decide against membership cite expenses as the main factor. An associate national membership (designed for companies doing business in the college market) costs $632/year at press time. Membership provides access to all the organization’s services and enables you to apply to both regional and national NACA conferences. Syd’s college booking agent, George Hornick from Wally’s World of Entertainment, affirms that conferences are the driving force for membership and are definitively the best way to book shows, especially if you land a showcase opportunity. Terri Mazurek of Peppermint Booking, whose roster includes Ellis, a Midwestern singer/songwriter who has had great success with NACA, echoes Hornick’s sentiment: “If you showcase well, it is THE best way to get attention in the college market.” And indeed, a little research will reveal just how lucrative one conference performance can be. Following Syd’s very first showcase, he ended up scheduling 50 college dates that same day, all paying $500 each. These results are not uncommon.

Be advised, though, that getting a showcase requires serious investment. To attend the conferences as an artist, you must first have a booth and pay the Campus Activities Marketplace fee. Then you must also pay the showcase application fee and, if selected to perform, you must pay a showcasing fee as well. Herein lies the financial trade-off that typifies NACA. Also keep in mind that showcasing slots are not reserved solely for musicians. College representatives are looking for acts that can entertain students, meaning comedians, magicians and other performance artists are also vying for coveted performance slots.

How to Succeed

Be personable and active. Even if you do not land a showcase, it can still be worthwhile to pay the booth fee and make an impression with your music if you have a positive demeanor. Not only does a certain amount of flexibility and a good attitude make you more pleasant to work with, but it will also confirm to prospective college buyers that you can interact well and potentially entertain an audience. This personal effort can have very tangible results, i.e. increased bookings. Mazurek notes that “many students have heard of Ellis because … they just met her at a conference and liked her,” and points to the fact that for “about half of her bookings, the schools are calling me directly asking for her; she has a very large number of repeat bookings.” Hornick mimics her comments, remarking “when it comes to somebody like Syd, his personality and his music have proven invaluable in the NACA eyes. To the students on program committees, they find that endearing.” He continues, “Not only is he talented, but he can also keep a set of students entertained for a period of time. NACA is all about entertainment. Students want to be entertained. To some of them, a musical act is right there with the magician, the novelty, etc.” Syd agrees: “Everyone who’s decent, or charismatic I should say, will have success with it.” In this respect, it becomes apparent how college gigs differ from standard venue performances, in that entertainment value and accessibility are paramount.

Consider an agent. The trick with student activities committees, college program boards, and the like is that they are largely student-run, meaning personnel turnover occurs very frequently. Also, because they still have all their academic worries outside of booking entertainment, “it’s not the most prioritizing thing in their life,” as Hornick puts is. If you are a self-represented artist, trying to maintain relationships with one college, let alone hundreds, can be a job unto itself. Certain agents work specifically with colleges, making sure their relationships remain intact through all the transitions. Again, the conferences are prime territory for strengthening these bonds. Additionally, those agents that have clients with proven track records are very appealing to schools because they can then book not just one, but many acts through one contact.

Use NACA as a springboard. While college gigs can certainly pay well, they do not create the same benefits as a real venue performance. Take advantage of the fact that you have generated interest among a seriously buzz-driven community and aim for playing at a local venue next time around to draw paying fans. Mazurek warns, “if you don’t follow up these shows with ticketed concerts at nearby venues, you then have a whole audience of folks who are now used to seeing you for free. They may not pay to see a show down the road.” She continues, “there is a danger of becoming just a ‘college artist’ and the students may not take you as seriously. It is important to have a balance of college shows and ticketed club shows.” Hornick concurs that “[artists] should use it to financially supplement their tour,” but that having success in the college market shouldn’t be the ultimate goal.

The Grassroots Option

Colleges are not bound in any way to book exclusively through NACA once they become members, and if you can present them with a compelling package, you can have just as much luck as NACA-associated artists. Granted, this method requires significantly more grunt work. Choosing this process is where having an already established reputation can help, as name recognition will often move you to the top of the pile. You may also want to choose this path if you or your group might have trouble competing with the various novelty acts that go through NACA. In this case, you save on membership and showcasing fees by directly soliciting schools. When asked how she approaches colleges outside of NACA, Mazurek replies simply “lots and lots of calls to schools, keeping in touch, and letting them know about open dates of our acts.” Sending flyers and one-sheets is effective when followed-up on. Developing and maintaining an up-to-date list of college contacts will allow you to conduct mass mailings easily; there are various resources for gathering all this information (see the directory that follows). Allegedly, Dispatch, certainly one of the most ingenious groups when it came to grassroots work, made their now well-chronicled entrance into the school market by making a huge list of private schools and contacting each one.

Food for Thought

Both methods take a lot of work and a certain amount of money. Do not spring for either until you are sure you are ready and need to do so. Syd advises curious musicians to bide their time and establish a following prior to joining NACA. Also, in this digital age, industry insiders are beginning to notice changes to the standard formats of booking college shows. Mazurek highlights this shift: “[Conferences] seem to be somewhat less effective recently, with more student reps finding their artists via the internet [MySpace, artist sites, etc.]. It used to be that a successful showcase would result in 40 to 50 bookings, but now it seems like ’success’ is 20 bookings.” Hornick agrees: “There’s not as much co-op buying going on at conferences. Now, you’re lucky to get a couple blocks.” He concludes with an observation indicative, perhaps, of the whole college booking process, stating, “It is a long-term investment; you have to put in three years of sticking with it in order to get turn-around.”

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