#publicty

[blondebrainpowered]

Frank Buck's elephant using a giant Underwood Elliott Fisher Co. typewriter at the New York World's Fair, 1940.

[treadaypr]

You have to know how to #PICK + choose your #battles as well as what areas of PR to practice 🤔 As Public Relations veteran who’s seen and tried it all I’m so excited to share my experience, tools and #valuable insight in my NEW @pruniversitylife #FALL WEBINAR SERIES including: Picking Your Perfect Field of PR to Specialize in🌻! With so many options and to choose from, my 1 hour informative and exciting lesson session will help you explore the ups, downs and special nuances of Public Relation Sectors: •Sports •Entertainment •Fashion/Beauty •Politics •Non Profit •Corporate •Automotive Attendees will learn about themselves and the various PR sectors and #ENGAGE in a candid discussion on the importance of showing your unique colors and being true to BRAND U! COMING OCTOBER, 2018 Registration details coming soon! #work #lifeofateacher #prpro #pr #publicty #publicist #yes #publicrelationsagency #love #movie #epk #press #media #internship #intern #interning #PRIntern #socialmedia #allnew #live #webinar #pruniversitylife Hit me up for more info! https://www.instagram.com/p/BoJ_sEcgqe4/?utm_source=ig_tumblr_share&igshid=xuk53k7y2p3s

[giovannargalvao-blog]

Cartaz de série desenvolvido no curso de Publicidade e Propaganda

[theatremarketinginsights]

No One Reads Your Press Release!

Every week LocalTheatreNY.com gets dozens of press releases via email from Off-Broadway, Limited-Engagement, and Off Off Broadway shows. We barely read them.

Sometimes, out of curiosity, I will open one (usually from a friend or someone in the industry I might know) just to see if there is anything different about this press release, and I will still be disillusioned by how bad they are. It’s always the same boring use of adjectives like “ground-breaking,” “timely,” “shocking,” followed by listing their unknown talent, information that barely creates a ripple or inspires anyone to write about them. Even worse are those press releases that provide nothing more than the who, what, why, and where. Those are in abundance, sometimes written by the playwright herself in an effort to save marketing dollars. Which is smart in a way, but really shortsighted.

Okay, I sound jaded. But bear with me. It’s not that I am, at all.

Press releases - on their own - are the worst scam in the history of modern theatre. I know. I set out to change this a few years ago by offering my services as a publicist at more affordable fees, and realized the system is broken and I couldn’t really fix it by being a better writer or creating and sending out to a longer contact list. Those days are gone.

One theatre publicist I know promotes his business by boasting that the press agent is the one and true reason behind the success of any show. He’ll publicize your show by getting you reviewed on one of the two or three (ugly) blogs he manages. Most of his clients don’t realize this, but being reviewed in a relatively unknown blog (or three) that barely makes a blip on the radar is not worth $2000 or for that matter, $200! But still there he goes…charging to write the press release, send them out (via email), and then create useless “hits” (a term for the number of media hits or coverage your publicity efforts generate) on a barely-read blog. And he boasts about these hits as iff he were getting full page articles in the New York Times! 

Other publicists don’t go the boasting route, but instead maintain that this is the way things are, it’s a “hit-or-miss” part of the business, and then blame the media and all the editorial cutbacks that have changed the media land-scape. At least they have that part somewhat right. I admit that I’ve used that reason on more than several occasions. It really is frustrating to spend hours trying to get reviewers and no one responds. 

For all the press releases we’ve received over the years, let me tell you that there are two big things missing right off the get go:

A Pitch! Almost no one ever pitches us a story. I think one rep in the last five years actually bothered to call us and explain why her story should be covered. One! Publicists must only be pitching the big media because they ain’t pitching us.

An Angle. Some idea of how to approach yet another story about another new show that is being offered to the public with no thought behind why audiences would need or want to see it! Zero!

Publicity and PR remain a big part of the mix for producers, but the days of big reviews creating critical successes have shifted to the big boys: Broadway and big name talent. The media landscape has changed. It just has. Big newspapers have eliminated hundreds of editorial jobs, some of these folks have then moved on to blogs, and podcasts, and vlogs. With the number of shows now being produced in a city like New York, how many plays can these limited number of reporters and writers have time to write about? Think of the logistics. And even if they do, most only write about these shows if said shows advertise. It’s a pay to play deal.

For Broadway (and some OB), the appeal is still there and that’s why there’s plenty of stories out there about them. But what about everyone else?

While we figure this out and experiment by creating our own stories, making a splash on social media and digital platforms, we’ve decided that in certain instances we will offer our publicity services free to certain clients. Instead of just dishing our releases, we are exploring stronger relations with media contacts (if they stick around long enough) and focusing on how we can make their jobs better. We’ve dived in head-first on learning how to capitalize on the changes in the media landscape, rather than use them as an excuse for an old system no longer working. And that’s what we are doing right now. Unless you folks have any better idea.

In the meantime, start fixing your boring press releases, start pitching your stories... and, most importantly, learn what makes a good story. Email me at [email protected] if you have any questions about your show.

RG

Please follow us on Instagram: @TheatreMarketing2019

[ultimatemegax]

Why I’m excited for Koe no Katachi’s committee

Recently, the official website for A Silent Voice/Koe no Katachi‘s film updated with a full listing of the members of the production committee. They are (in proper financial contribution order):

Kyoto Animation Pony Canyon ABC Asahi (not to be confused with TV Asahi, the Tokyo TV station) Quaras Shochiku Kodansha

KyoAni, Pony Canyon, and ABC Asahi worked together for the Free!/High Speed!/Phantom World productions, but this is the first time that Quaras, Shochiku, and Kodansha have worked with Kyoto Animation on a production committee. I’ll detail what their companies do and why this excites me.

Quaras was once known as “Big Shot,” and helped advertise the works that Kadokawa published (Full Metal Panic, Haruhi Suzumiya, Lucky Star, Nichijou, Hyouka). They were also involved in helping plan production/advertising for Sound! Euphonium along with Takarajimasha (Eupho’s publisher). They’re pretty good at creating advertising for productions, so seeing them listed on this committee is great news for its advertising.

Shochiku is a film distributor/producer in Japan. They’ve led several anime committees as well, so they have been well represented on committees, especially films. Shochiku distributed all of the previous Kyoto Animation films excluding the Munto film and Disappearance and advertised said films in the theatres with huge displays/trailers. This however, is the first time they’ve been included on the committee itself. Likely, they saw good demand from the previous films to pay for production and earn additional money from other methods. Of note, there have been several theatres that have paid to re-screen the KyoAni films over the past couple of years, showing good and constant demand for them from Shochiku.

Kodansha is a huge publisher in Japan and publishes the manga for A Silent Voice. They’ve already shown the benefit of having a publisher on the committee; Kodansha has promoted the film in magazines and with their connections to other publications like Comic Natalie, MantanWeb, and other news websites. They’ll be a big help promotion wise.

I was extremely excited to see Kyoto Animation take on a bigger role in the financial production of their animation production. Over the past 4 years, they’ve created a new system that keeps them afloat easier and allows for more profits to come to them instead of going to an outside company that would hire them. They also have more freedom to adapt what is more viable for them as a company (such as Euphonium and A Silent Voice) instead of what TBS or Kadokawa wanted to do. The huge flaw with this was publicity. While die-hard fans follow internet sites and the company itself, more casual fans depend on advertising to become aware of new shows/productions. This is why High Speed! had such a slow start; Pony Canyon was very slow to advertise it outside of the re-airing slots for Free! they had bought.

With three companies that do well at advertising, we should see good things from A Silent Voice. Quaras will bring in many tie-in campaigns, Shochiku should run the teaser trailer in front of many films they distribute, and Kodansha will keep talking about it in their magazines. This helps bring awareness of the work without the need for a Tokyo TV station to promote it (like Fuji’s notaminA films or NTV with their productions/Hosada’s films/Evangelion). As soon as I was alerted to this update, I started to get excited knowing how this will help the film be spread to a much wider audience than just late night fans. The theatres are bought, so this should help fill them more.

[thesmithgreg-blog]

Give a jackass a microphone, and all you get is a loud jackass.

In our media-driven culture, we confuse visibility and celebrity with quality and credibility. It is easy to fall into the error of believing that the media world is the real world: that what happens online and on TV is what really matters.  If you say ridiculous or offensive things to a few people, and you’re an annoying crank. If you can reach a million people, you become a voice that deserves to be heard, and your lousy book, song, movie, or speech has gravitas and becomes a work of art.

If the Internet has taught us anything, it is that a bad idea remains a bad idea, no matter how many times it gets repeated or how many people have heard it. Media attention alone cannot and should not sanctify anyone. We should never be afraid to judge people, concepts, or art based on merit, not on prevalence and popularity.

[kate-mcf]

This role play needs a co-admin. there is plenty of wonderful members already. They have a wonderful admin right now and shes just looking for another flawless member to join !