Promotion

We have an upcoming show towards the end of January so we will need to consider appropriate methods for promoting it. One of the most effective ways to do this might be to invite people via a Facebook event page. We have created an event page allowing each performer to act as an administrator. This means that we can invite whoever we want. This page allows administrators to control the content that is posted on the page. Anybody will be able to post pictures, comments and videos on the page, which may influence other people's decisions on whether to attend or not. This may include clips of previous gigs that members of the acts have performed at. 

We have a poster displaying necessary details for the gig. This includes the name of the event, date, venue, band names and even logos for the bands. I have pinned up a few posters around college in noticeable areas to attract students to the gig.

The whole show will be filmed, which means we can use clips for promotions for future gigs. This could either be a montage of highlights or simply short clips for each band.

We have decided that £1 is an appropriate price for entry. We could've included discounts for some tickets but as £1 is a small price to pay there shouldn't be any need.

A potential problem we may encounter during the promotion stage of this gig is finding enough people to attend. We have left the promotion of this gig quite late so people may be reluctant to attend if they don't know much about it. However, the Facebook event page will hopefully allow us to increase numbers fairly easily. Word of mouth around college will probably bring more people.

How music journalism has changed over time

Before recorded music was made possible after the invention of the first sound recorder in 1877, music journalists only reviewed music that is now considered as classical music. These highbrow reviews could rarely be questioned as there were no sound recordings and the journalists were well respected by the public. They were trusted with an authority to give reliable opinions as it was their job to do so.

Music magazines have been around since music journalism began. "Der Getreue Music-Meister" by Georg Philipp Telemann began in 1728. It was the first magazine that was dedicated to reviewing music. This was written by music specialists and was aimed primarily towards musicians however so it was unlikely to be understood by the general public. 

Since the 1840s, journalism altered to appeal to the general public as well as musicians. Music critics didn't need to be professional musicians in order to write reviews anymore. 
Pop music was, and still is by many, regarded as a less sophisticated style of music. Since The Beatles hit success in the 1960s, pop music was embraced by journalists and so reviews gradually changed to fit the popular culture. Reviews for classical music declined and journalists began focusing on up and coming artists and big name bands. There was more money to be made by targeting a younger demographic who were more likely to visit concerts and buy music. Popular music fans also wanted to know more about artists themselves, as well as the music they created and performed. Press conferences were broadcast on television with famous artists answering questions about their songs, their lives and anything else that may have been of interest to the public.

By the 1990s, reviews for albums and concerts were recurrent within the media. 30 years since the breakthrough of rock bands and popular music was still the main focus for music journalists. There was still the most money to be made by keeping these artists in the public eye.

Nowadays, the internet has become a key tool for promoting and reviewing music. With most households across the UK owning at least one online device, the internet seems to be the ideal place for journalism. It has become possible for anybody to post blogs, videos and music online for anyone to see and as a result, professional music journalists may find it tougher to be noticed. Music fans now post reviews of albums, concerts and celebrities within the media without the intent of making money. This means that rather than just a few reviews written by journalists in magazines, there could be thousands of reviews written about one album. People are unlikely to spend money for a review if they can see a variety online for free.

Since music and video streaming came into popularity with websites such as Youtube, music consumers have the choice to listen to an artist's music as well as watch live performances that have been recorded by fans at previous concerts. This means that they can make up their own mind on whether to purchase music or visit a concert without having to rely on somebody else's opinion. All music is subjective which means no review is 100% factual.

Although music is mostly advertised and reviewed online in the modern age, there are still ways for journalists to lead a successful career. For example, newspapers and magazines still have regular buyers and there is always space for music sections. Web 2.0 may have become detrimental to an aspiring music journalist's hopes but people will always be interested in music. Journalists may just need to find more innovative ways to get their views across.

What might be needed for a live event?

Any successful gig requires proper preparation. This means that the right equipment is brought along and functions properly. Below is a list of equipment and items that may be necessary for a live performance.

Instruments - Performers with electric instruments, such as guitars or keyboards, may feel the need to bring more than one just in case there is a malfunction. Woodwind and brass players wouldn't encounter this problem although they may need to bring a cloth to clean out their instruments between songs. Drummers may need to bring their own drums with them unless they have arranged to use another band's drums.

Basic equipment - Each member is responsible for bringing their own items. This includes guitar straps, leads, effects pedals, tuners and earplugs.

Amplifiers/PA systems - Some venues provide these items themselves, although without testing them out first they may be unreliable or inappropriate for the style of music. If amps are brought from home then it gives the guitarists more time to attain their desirable setup.

Microphones - Singers might want to bring their own mics because they may be more reliable and more hygienic. They may also want to bring a spare just in case one breaks.

Backups - Any equipment can break from mistreatment or overuse. Spare items will be needed if this does happen. It would be impractical to bring an extra amplifier to a gig due to the extra weight and spatial requirements from transport. As long as the amp has been checked beforehand it should be alright. Spare guitar strings, guitar leads, guitar straps, drum skins or cymbals could be required at any point if one were to break. Spare plectrums are handy to have nearby because if one is dropped whilst playing then it's quicker and more dignified to pick up another at arm level rather than off the floor.

Monitors - Many performance venues will have their own monitors, however this should be checked beforehand. Speakers or in ear monitors may need to be brought along.

Lighting - If a band or artist has their own lighting display, they might need to bring their own lights to a gig. However, many venues will provide this themselves.

Mixing desk - Although this wouldn't be used by the band, the sound engineers need an effective mixing desk to control monitor and speaker levels.

Transport - Band members need an effective way of getting to and from an event; either using public transport such as trains or by driving. Drummers bringing their own kit may prefer to arrive in a car or a van as there may not be enough space on public transport.

Money - Band members may need to bring enough money to buy food, drinks and possibly a taxi fare.

Merchandise - In order to make more money and promote future events, a set of merchandise including t-shirts and CDs could be brought along and set up in a stall.

Camera equipment - Somebody reliable might be hired to film or photograph the band during performance. They would be expected to bring their own equipment.

Health and safety

Although health and safety is often down to common sense, it is important to make clear the possible dangers at a venue. During this post I will list potential hazards at a gig.

During Performance

Whilst performing, water is necessary to stay hydrated. Dehydration at an energetic performance can lead to headaches and at extreme levels it can lead to fainting.

Band members, audience members and staff are all responsible for their own drinks. Not only can spilt liquids lead to slippery floors but they are also hazardous to electrical equipment. Performers on stage should leave their drinks in a safe place where they are least likely to be spilled. This might be in front of the kick drum on a raised platform or alternatively to the side of the stage on the floor. If drinks are left on top of amplifiers, the vibrations can knock them off. If drinks are placed inside tubs then the liquid will be contained if they are knocked over. Water bottles are preferable to cups to prevent spillages.

Guitarists and singers need to ensure that their leads are long enough to allow them to move across the stage. A short lead may cause an amplifier to be pulled from its stack and onto a band member or into the crowd.

Some venues, such as outdoor festivals, may allow people to smoke. If this is done on stage there may be pyrotechnic equipment nearby depending on the venue. These could cause injuries if exposed to a lit end of a cigarette.

Drummers commonly throw drum sticks into the crowd at the end of a performance. Although this rarely causes an injury it is still possible to hit somebody in the eye.

Fire exits should be unobstructed by equipment. This means that in the event of a fire everybody can leave the building unharmed. The audience should also be made aware where the nearest one is in case of a fire. If the venue's capacity has been exceeded then it will be more difficult for people to leave, causing danger to everyone at the venue.

Before Performance

Cables should be checked for damage before any performance. Open wiring can cause damage to equipment as well as electric shocks.

During stage construction it may be dangerous to stand directly beneath overhead PA speakers and lighting equipment. Although it is usually perfectly safe there have been instances where an item has come loose and fallen onto the stage.

Heavy equipment may require more than one person to handle. If so, wait for someone to become available before attempting to lift. If it doesn't, lift from the knees with a straight back to prevent back injuries.

Catering staff should ensure that food and drink is safe to consume to avoid illness for anybody at the venue.

Apart from the ones that require free movement, all cables on stage should be taped down by thick tape that is unlikely to come undone. This will prevent people tripping over them. This is essential if there is stage smoke involved in a performance because people on stage are unlikely to see wires.

Venue owners may want to prohibit glass bottles. Broken glass can cut skin and cause injuries. It may also be difficult to clear up during a performance if the venue's capacity has been reached.

Equipment cases should be left in an appropriate place with the lids down and butterfly catches fastened. With the amount of people required to construct a stage for a large venue, open butterfly catches could cut people. Open lids may close on people's hands if they don't handle cases responsibly.

The importance of a musical director

A musical director is somebody who leads a band either during rehearsal or live performance.

For a live performance a musical director could be a conductor of an orchestra or a brass band. They are required to keep the beat and to indicate how sections of a piece should be played. This is essential for a band because it means they are all playing at an appropriate pitch and tempo. Without the conductor acting as a metronome it could all fall apart.

Smaller bands such as rock bands may hire a musical director to make time efficient decisions and constructive suggestions in order to make the most of their time. For a rehearsing musician time is valuable; especially for those with a tight schedule or a paid rehearsal space.

A musical director can be a member within the band itself. This has its benefits and possible flaws. It saves money and also means that the nature of the song has already been identified. To explain to someone else what they require from a song may be time consuming and difficult to convey accurately. On the other hand, a member of the band, who may not direct rehearsals professionally, may be slow to reach an acceptable outcome. They may also be biased in certain aspects. To have somebody unrelated to the band making additional suggestions, they have an honest opinion of how a member of the public may perceive the music.

A musical director needs to demonstrate a set of qualities in order to achieve an outcome. They need to be honest with band members, even if it means dealing with stubborn ones. This means telling them what they're doing wrong and how they could improve. They shouldn't be afraid to stop a band playing a song instantly if they need to make suggestions. The director should be able to discipline the group and be willing to reject ideas put forward by other band members with the best interests in mind.

Louis Armstrong and Duke Ellington Comparison

Louis Armstrong and Duke Ellington were both regarded as pioneers within jazz music, each bringing notable changes to the way jazz is performed and written. Both achieved monumental success despite having entirely different upbringings.

Louis Armstrong
Armstrong was born on August 4th 1901 in New Orleans, widely recognised as the birthplace of jazz. Armstrong experienced a tough childhood after his dad abandoned the family soon after his birth leaving his mother, Mary Armstrong, and his maternal grandmother responsible for looking after him. Mary often had to turn to prostitution to make money. Louis began working at a young age to help towards the family's living costs. This work included singing on street corners for spare change and working on a junk wagon.

Whilst exploring New Orleans, Armstrong was exposed to a variety of contemporary music. From honky tonk blues bars to brass band parades and funeral processions, Armstrong no doubt picked up countless influences during his childhood.

After obtaining a cornet, Armstrong taught himself to play and dropped out of school aged 11 to join an informal music group. However, on December 31st 1912 he fired his stepfather's gun to celebrate the new year and was arrested. He was consequently sent to the Colored Waif's Home for Boys where he studied music and received further tuition for his cornet. He became the leader of the school's band playing cornet and bugle. It was here that Armstrong developed his true passion for music.

In 1914 Louis Armstrong was released from the home and resumed working. By playing music part time at every available opportunity he became respected as a skilled blues player. He caught the attention of Joe "King" Oliver, who became his mentor and taught him new tricks for horn playing.

In 1918 Oliver moved to Chicago leaving a space available for Armstrong in Kid Ory's band. The next year Armstrong began playing for the Fate Marable band and remained there until 1921, spreading the sound of New Orleans. During this period he progressed his skills at reading music, working full time within music and met legends such as Bix Beiderbecke and Jack Teagarden.

During his career, Armstrong went on to perform trumpet and vocals across America whilst his fan base continued to grow. He gained privileges that would usually be reserved exclusively for whites. This included staying at hotels that condoned white only policies and dining at restaurants that rejected African-Americans. He was widely accepted amongst white citizens in America during a period of strong racial discrimination.  

Armstrong gained recognition throughout his career for his unique growling voice and his development of scat singing. He was respected by, and influenced, his most celebrated contemporaries, such as Bing Crosby, Ella Fitzgerald, Frank Sinatra and Duke Ellington.

References

http://www.biography.com/people/louis-armstrong-9188912#younger-years

http://www.allmusic.com/artist/louis-armstrong-mn0000234518/biography

http://www.pbs.org/jazz/biography/artist_id_armstrong_louis.htm

wikipedia.org/wiki/Louis_Armstrong


Duke Ellington
Edward "Duke" Ellington led an equally successful career to Louis Armstrong, although his upbringing was vastly different. Whilst Armstrong gained fame as a virtuoso trumpet player with a unique singing style, Duke Ellington made his name as an ensemble composer and a pianist.


Ellington was born on April 29th 1899 in Washington DC into a middle class family. He was introduced to music at an early age by his parents, both of whom were deeply interested in music themselves. His father, James Edward Ellington, worked as a White House butler, ensuring a steady income for the family. Duke began learning piano at the age of seven and picked up valuable inspiration from great contemporary pianists. Fats Waller, Willie "The Lion" Smith and James P. Johnson were amongst the range of musicians who influenced Ellington's early compositions, including his first piece "Soda Fountain Rag" at the age of 15. 


Ellington's strong interest in music influenced his decision to drop out of high school in 1917 to pursue a career in it. He began by hiring musicians to perform in bands around the Washington area until he eventually moved to New York with his five-piece band The Washingtonians in 1923. The band gained a residency at The Hollywood Club (later known as The Kentucky Club) at Times Square. During his time in The Washingtonians, Ellington searched for musicians who were renowned for their notable styles of playing. Bubber Miley and Joe Nanton were hired to join the band for their original playing styles on trumpet and trombone respectively. Miley used a plunger to create a "wah" sound on trumpet and cornet whilst Nanton had a distinct "growl" within his trombone playing. Cootie Williams, Rex Stewart and Johnny Hodges were amongst the musicians who played for Ellington's band. 



Throughout his career, Ellington incorporated elements of Tin Pan Alley, Blues, Ragtime and other styles to create a unique sound. His innovation as a composer, band leader and a pianist earned him his popularity and fame.

References

http://www.dukeellington.com/

http://www.allmusic.com/artist/duke-ellington-mn0000120323/biography

http://www.biography.com/people/duke-ellington-9286338

http://www.pbs.org/jazz/biography/artist_id_ellington_duke.htm

Largo Embargo - Bristol

Largo Embargo is a ska/reggae band based in Bristol. They formed in 2010 and show strong links to the Bristol music scene. This is displayed in various aspects of their performance and their lyrical content.

Their repertoire includes "Points West" - a song dedicated to their love of the south-west of England. Lyrics such as "this is my home" and "I'm never gonna be alone" show a strong connection to their audience, who can relate to them. Continuing this unique bond with their audience no doubt maintains their popularity amongst Bristol, increasing their chance of a wider fan base.

https://www.youtube.com/watch?v=SieSpf-3-o4

The song repeats the message that the south-west is the place to be, which in turn hypes up the crowd by giving them all something in common.

The band's EP "Groin Grabbingly Good Live EP" features a whole set performed by the band in one night. The EP depicts what a typical night out in the south-west might be like. The singer, Dr Elephonté, is heard throughout the EP interacting directly with members of the crowd as if he recognises the faces. Such an intimate venue perfectly demonstrates the party atmosphere that the band aims to promote.

Largo Embargo combines elements of ska and hip hop amongst other genres. They no doubt took inspiration from other artists performing in similar venues around them as these musical styles are ubiquitous in Bristol. They have developed their own original style from a mixture of styles that are popular amongst the south-west and are therefore likely to receive a positive reaction. They clearly display energy and passion for their live shows with the aim of entertaining their crowd as best as possible.

Not only do they write their own music but they have performed covers of songs, altering it to their own style. Below is their cover of "Ready Or Not" by The Fugees - performed in the style of ska.

https://www.youtube.com/watch?v=qTvuBr5fgvI

Roles needed for a live event

There are a number of roles needed to ensure the success of any live performance. Below I will mention some possibilities.

Artist/Band
An obvious example would be the band members themselves. Not only are they responsible for learning and often writing songs, but they may also be responsible for bringing their own gear. For obvious reasons, the performers have some of the key roles for putting on a good show. They must also be dressed appropriately for the venue.

Merchandise
People are likely to be willing to spend more money on band related products at a gig than they would elsewhere. Somebody needs to run the merchandise stall to ensure payments are correct and that nobody attempts to steal anything. Stalls can be run in the same room as the performance or just outside, depending on the size of the venue. 

Security
Any good live event will have a team of security to ensure safety is maintained. Depending on the venue there could be a number of different roles within security. Many venues have bouncers on the door, who decide who enters or who gets turned away. They are usually responsible for checking identification and sometimes responsible for an initial ticket check. They are also responsible for checking passes for backstage or for VIP areas.

Venues often have security inside as well as on the door. If it is a big venue with big names performing, there will probably be a few members of security between the crowd and the stage. Their role is to prevent anybody climbing on stage or to bring crowd surfers to the front and send them back round to the back of the crowd.

Larger venues have members of security who will check people for illegal substances or dangerous items, such as weapons. They may be permitted sniffer dogs as well if the venue requires them.

All members of security are expected to escort potentially dangerous individuals away from the venue, whilst maintaining safety for everyone around them.  

Bar staff 
If the venue has a bar then it will need a team of people to run it. If there is a large number of people attending a gig then there will most likely be people buying drinks throughout. The more people there are working behind the bar, the more efficiently everybody gets served. If the venue has tables, such as a pub, then bar staff will probably double up as waiting staff to serve customers food. This may not be directly related to a live event however it is essential for the smooth running of many venues.

Roadies
Most bands will have a team of people who help them set up equipment before a gig and help them remove it at the end. Band members often contribute to this task themselves or ask favours from friends to save money. Their main priority is to ensure that equipment is positioned appropriately on stage as quickly and efficiently as possible. Roadies may be employed by the venue owners or by the band themselves.

Drivers
It is likely that a band member might take the role of driver for a performance as it saves money, however if this isn't practical they might think it is a better idea to hire somebody to do it for them. The driver would need to drive the band wherever they need to go. This means before and after events and also means they need to drive them to hotels.

Sound Technicians
Sound technicians are responsible for controlling the sound of a live performance. This means checking the levels of each individual piece of equipment before a performance and to maintain it throughout. Technicians need to make sure that the audience is hearing everything at optimum sound quality. This means they are usually located in an appropriate position to judge this. For example, sound technicians for a main stage at a festival are usually seen in a structure directly in the centre of the audience area or in the middle at the back. This means they have a realistic idea of what the audience is hearing.

One role of a technician is to provide sound for the band members themselves. They control the levels of stage monitors that face the band. This means ensuring the band can hear what they are playing. For example a vocalist would need to hear themselves clearly in order to stay in tune with the rest of the band. All members need to clearly hear the drum beat in order to keep in time and give the best performance possible.

Bigger artists and bands may have technicians for their equipment. These people are responsible for ensuring equipment is in working order. This includes restringing and tuning guitars and setting up drum kits to fit the specific requirements of the drummer. Maintaining instruments is an essential part of concert preparation. If a problem occurs during a performance, such as a guitar string snapping, then it can potentially ruin a set.

Promotion
Any successful gig will need effective methods of promotion. This may include various separate roles. Somebody might produce posters, flyers and other physical versions of promotion. 

There is usually some aspect of online promotion for performances nowadays. Somebody might be liable for online promotion such as social networking or advertisements. Facebook is a helpful tool for promotion because it is so widely used. Someone could set up an event page online and allow people to invite whoever they want. This can lead to a larger number of sales. Facebook pages are also useful to post videos of a band's previous performances or pictures.

The general public play important roles themselves to promote events. Word of mouth will always be an effective method of promotion.

When organising an event, somebody needs to decide the costs involved. The venue owners will most likely decided the price of drinks and the set time for each band but they might discuss ticket prices and discounts with the performing acts.

Any member of the band can take responsibility for promotion or ask a friend to do it for free if they have the skills to do so. In most cases it is best to get somebody with the relevant experience to take care of it because the best level of promotion means the most people turn up for an event.

Photography/Video
Employing a photographer and a video recorder can be useful if the performers are intending on performing again in the future. As previously mentioned, videos can be helpful for promotions because it gives the viewer an idea of what to expect. By picking out the best bits of a video and posting small clips, a band can attract the most attention.

Photographs may be used for not only promotion but possibly for merchandise as well. Band posters of live performances are common amongst big name artists. Album artwork also includes pictures of live performance.

Tour Manager
When a band tours their own country or tours abroad they need somebody to organise and take care of everything. This involves arranging places for the band to stay, arranging for food and transport and deciding the best venues for performances. A well organised tour manager is vital for a successful tour.

Lighting/Pyrotechnics
Most live events will have some sort of lighting. It could range anywhere from a basic spotlight to a complex light show. Either way, somebody needs to take control of this and follow set instructions.

Pyrotechnics would only be used for bigger events as they are expensive and dangerous to use within small areas. If they are used however, somebody needs to take the time to carefully set them up whilst following health and safety procedures.