Results tagged “Christina Jensen” from Life's a Pitch

Since I'm going to try to keep my trap (fingers?) shut all week, I'll just say two quick things now:

One. Last night at the bar Union Pool in Williamsburg, I received the best response yet to my response to the question, "So what do you do?" 

"So what do you do?" "I am a classical music publicist." "That sounds difficult." (The usual response is, "Oh. Cool. What does that mean?") This guy went on to ask what media opportunities there are for classical musicians, and of the outlets that do exist, how many of those translate to concert ticket sales? Photographer Jeremy Sachs-Michaels from Union Pool May 24, 2009 (whose stuff turns out to actually be good), you are correct, sir: it is difficult.

Two. This week, we'll be hearing from other NYC-based classical music publicists with whom I have worked to varying degrees. Let whatever record there is show that I have, without exception, found my co-publicists in the city to be supportive and collaborative. I have asked for contacts, sought out advice, and bounced story ideas off them and received feedback without a trace of animosity or competition. So here-we-go...First up is Christina Jensen, who had the unfortunate experience of me shouting about journalists "toeing the line" on our first phone meeting. We worked together when her client ACME performed four Wordless Music shows at the Whitney Museum last summer. That seems like a very long time ago.

_____________________


Christina Jensen officially founded her PR firm in 2007 after working day jobs for six years in marketing, fundraising, and orchestra management at various Boston and New York arts institutions, and moonlighting as a freelance publicist. She played the violin through college and for a little while afterwards, and had brief affairs with the flute and piano. At this moment, she represents 15 classical music clients including André Previn, Simone Dinnerstein, Chamber Music Society of Lincoln Center (tours and recordings), Lisa Bielawa, the Chiara and Cypress string quartets, ACME, Jefferson Friedman, and more.

 
What is the purpose of a press release? And what, in your opinion, is the most important aspect of a press release?  How does that element accomplish the purpose?
 
A press release serves a couple of purposes which I think are equally important, in most cases. An event or concert related release should inform the calendar editor of the answers to the 5 Ws (who, what, where, when, why) in a simple and unfussy manner. For the features editor, freelance writer, or critic who might read further, the release should give some insight into the artist's mission, motivation and personality. A press release should tell the artist's story from the angle that you are emphasizing at that moment in the artist's career.

 
Similarly, what is the most important aspect of an artist biography? How long should a bio be, ideally? Should it include press quotes? Why or why not?
 
Again, I think the most important aspect of an artist's biography is his or her personal story, and a description of the projects/repertoire they are currently exploring.  Artists need bios in a few different lengths - short, medium and long - for use in program books of different sizes, on the web, in press releases, etc. I think it's fine to include press quotes but I try to pick juicy ones that convey something, rather than just strings of adjectives.  I will say that artists' bios, at least for me, are a process of negotiation with the artist and manager. Managers I have worked with tend to want to include more lists than I tend to include when left to my own devices - lists of performance halls, lists of conductors worked with, lists of orchestras soloed with, lists of teachers, lists of concertos played, etc. - which I have been told is helpful in the booking process because it lets presenters know where artists have been, where they're going, and what they can do.  


How far in advance of a CD release or concert do you send/e mail press releases? How many times do you usually follow-up journalists after sending the release?
 
For a CD release, I like to mail promo copies to longer lead magazines four months in advance if I am going for review coverage, and even further in advance if I am hoping for a feature about an artist who may be unfamiliar to the contacts to whom I'm sending the CD.  I mail to radio and short leads six to eight weeks or so before the release date.  For concerts, I send press releases at six weeks in advance for larger cities like New York with a follow up release for calendars and short leads three weeks in advance.  I try to jump on long lead magazines for concerts as well, months in advance.  In smaller markets I just do one release at four weeks out.  I follow up with journalists twice after sending the press release - three times if I'm particularly keen on a story, just really hopeful, or if they've been out of the office.


In 2009, what do you consider successful coverage for a client's concert? How has the definition of "coverage" changed since you started working in PR? For example, do artist's personal blogs/websites/Twitter feeds count as media coverage?
 
The definition of successful coverage changes for each of my clients, for each of their concerts. Artists naturally have higher and lower profile performance dates within one city, and you must prioritize which dates you are really going to go for. For a high profile performance, I consider the coverage to be very successful if I can get one or two feature articles placed in print media or on a well-read webzine or blog, event listings preferably with photos in print and online media, a radio interview, possibly a news television interview, a review in the "paper of record," and a couple of reviews in online sources like blogs or webzines.  The addition of online media as desirable and valued places for coverage is what has changed most in my time working in PR.  I don't think that artists' personal blogs/websites/Twitter feeds count as media coverage, but I do think they can help gain media coverage by providing a personal link to the artist. Also, if someone re-blogs or writes about an artist's blog, I think that might count as coverage - right?