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Most PR folks still maintain a buckshot mentality with whom to pitch for editorial content, whom to pitch for exclusives, whom to pitch for premieres, etc. With most PR companies, (including ourselves earlier on in our development) it appears as if everyone is haphazardly casting the widest net possible just to see what they can get. That’s ineffective for the artists, and it exasperates the writer who watches their inbox become a monster. When a writer does decide to feature an artist pitched by a publicist, you then bear witness to posts splattered across the Internet over a number of weeks, while the band’s social networks are not efficiently pointing current fans to an influential writer responsible for good editorial coverage. The band’s social network is not creating the best fan experience, nor are they using their fanbase to help generate new readers to worthy sites with writers who have taken the time to dig into their creation.

No matter how small or large an artist’s fan base is, a structured media roll out has a much greater effect when it’s efficiently managed from all sides – social media, online magazines, blogs, traditional print – across all the visible networks of the artist’s current fan base, as well as our own networks. Correctly implementing this sort of viral sharing, the artist gains a larger potential reach to other fans.

CrashAvenue   Crash Avenue Media & Management, Louisville, United States

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