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help you find a big agent once you get enough national press mentions
and articles. Please keep me in the loop every time national media does a
story on you so I can keep track. If some information here seems a little
complicated then find a fan or friend to walk you through it. Please don't
expect me to write your releases. I've done that before and the bands
never learned to do it themselves.
Dive in, have fun, learn as you go. Out work your competition and you
will win. :)
FOREWORD
My name is Jim Rose and I own a freak show The Jim Rose Circus.
It's my job to convince the world that their life is incomplete if they don't
buy a ticket, get in their car, go to a venue and see something their better
nature tells them not to. Only PR can make this a successful venture.
Publicists are very expensive so I learned to become one myself. It soon
became apparent that circus technique works for many types of
businesses, especially for artists.
THE WALL STREET JOURNAL did a feature story on me. FAST
COMPANY magazine put me on the cover with a feature story as well.
The best selling business book THE DEVIANTS ADVANTAGE featured
me in its first chapter.
Salvador Dali is an inspiration, because he coined the phrase self
mythologizing and embodied it with his self promotion stunts, so I have
included some of his examples in this offering.
In chapter 10 THE ART OF PUBLICITY STUNTS, some of the
information I'm giving you is extreme. The reason for this is to take away
your fear of manufacturing stories for the media. What most people don't
realize is that the media doesn't care as long as it's a good story. Never
tell them that you're goofing because they need deniability.
P.R. is easy, free and accessible for anyone. It takes understanding of the
rules, along with inside information on how the media works.
Having no budget for it does not mean a business must go without - it
only means it must get creative. Hiring a public relations firm doesn't
guarantee you media space, but it does guarantee you will still have to
pay them. Most of them won't accept you as a client unless you sign on
for at least six months and commit at least $3,000 to $5,000 a month to
the campaign, with the larger firms expecting you to spend $12,000 a
month or more.
So why not do-it-yourself? After all, who knows more about your
business than you?
JR P.R. TRAINING MANUAL will show you easy steps to attract all the
media attention you need to become more profitable, and generate free
publicity that you can implement straight away.
CHAPTER 1
WHAT IS P.R.?
1. DEFINITION
Public relations is the practice of getting attention and shaping public
opinion. Its tools include publicity, advertising, public affairs forums,
lobbying public officials, and any and every other means that gets a
message out to the public. Some of the main goals are to create, maintain,
and protect the organizations reputation; enhance its prestige; and
present a favorable image. Mostly however it is about placing positive
stories in the media about a person, a company or a product. This gives
the illusion that the client's message is simply the product of impartial
journalism rather than advertising with which the consumer is more
familiar and resistant.
A strong story placed in the newspaper, picked up by everybody else, will
actually have more impact than an advertising campaign. Unlike
advertising or marketing, with which it is often confused, P.R. is more
soft sell than hard sell. It emphasizes information, persuasion and
diplomacy as opposed to packaging, paid media and force.
The Chartered Institute of Public Relations (CIPR) says Public
Relations is about reputation - the result of what you do, what you say
and what others say about you. Put simply, PR is a way of reaching
people and influencing how they see you, using a range of activities from
seeking media coverage to strategic partnerships to cultivating a good
relationship with local press representatives.
P.R. uses many of the tools of marketing and may be used to promote a
particular product, but it is also employed in pursuit of a slightly different
goal: to attract investments, influence legislation, raise companies' public
profiles, put a positive spin on disasters, undermine citizens campaigns,
gain public support for conducting warfare, and to change the public
perception of repressive regimes. Owing to its subtleties, it is
occasionally viewed as propaganda or, in more current jargon, spin,
the intentional manipulation of public opinion without regard for what is
accurate or true. That is why by necessity the industry keeps a very low
profile. Public relations is very much an invisible art and some PR
companies are unknown to the public; it doesn't serve their purpose to
reveal how much they manipulate journalists and the public.
JR P.R. Training Manual 1
2. P.R. ADVANTAGES
Public relations is what the words say: Relations with the Public. Without
any relations with the public, you may as well close your doors.
With advertising, you talk about you. With PR, the media talks about you.
You need people to know about you in order for them to buy your stuff,
attend your event, etc.
Know what public relations can do for you:
. Credibility
Paid advertising increases name recognition; media relations increases
credibility. Media consumers believe that news stories are objective and
that translates into greater influence, better sales and improved public
awareness. When people read a story about the excellence of your
organization in a newspaper or see a story praising your company/your
band on television, they are much more likely to have a favorable opinion
of your organization/band.
. Best way to launch a brand
P.R. is also considered by many as the best way to launch a brand or new
product. Through the media, many startups, small businesses and artists
are often transformed from little unknown companies to famous
brands.When something is new the media often will write about it
because of its news value. Because of its versatility, the media can place
you in the spotlight at almost any time and in any place you choose.
. Stretches your marketing budget
Every day radio, TV, newspapers, and e-zines give away millions of
dollars in free publicity. Because the media does not charge for news
coverage, the relative cost of a good program is a lot less than for paid
advertising or a direct mail campaign.
. Reaches the public in large numbers
The media can tell your story to thousands of potential customers, maybe
even millions. While you would probably benefit by taking your message
individually to persons who might be interested, it is much faster and
more effective to reach the public in great numbers.
Coverage in important publications or on TV can make your organization
look much larger than it is, and your good reputation can spread far and
fast, virtually overnight.
. Impact
P.R. is persuasive. It can shape public opinion, mold personal images and
even reverse negative attitudes. Because public relations increases
credibility, it helps you attract those who want the best. When people
have heard of you and have a favorable impression of you, it is easier to
attract and hold their attention while you tell your story.
. Longevity
P.R. offers longevity by providing you with a permanent record. Once
you have been mentioned in the media, you can show the clipping to
potential clients, quote it in your advertising, or use it as a means to
garner more publicity.
3. HISTORY
Public Relations has been around for centuries. There is evidence of it
scattered through history.
In ancient Rome, the force of public relations was evident in phrases such
as vox populi, vox Dei (the voice of the people is the voice of God),
and res publicae (public affairs), which means republic. Julius Caesar
carefully prepared the Romans for his crossing of the Rubicon in 49
B.C.E. by sending reports such as Caesars Gallic Wars (52 B.C.E.) on
his epic achievements as governor of Gaul. Most historians agree that he
also wrote his Commentaries as propaganda for himself. Recognizing the
power of news to mold public opinion, Caesar published a daily paper
called Acta Diurna (daily acts or daily records) that continued for
400 years.
When Christianity emerged at the height of Roman influence, the
teachings of Jesus and his apostles took center stage in the battle for
religious dominance in the public mind. Once the Christian church took
shape, it relied on eloquent speeches and letters, such as Pauls epistle to
the Romans, to win converts and guide the faithful.
In Biblical times Moses is revered as the greatest miracle worker of all
time. According to legend, even Moses experienced some rough sledding
at beginning of his career. He couldn't give a ticket away. Precious few
people came to his shows. You could catapult a boulder through his
crowd and not hit anyone. In despair, young Moses decided to have a
brainstorming session with a publicist. They went over several marketing
ideas, but nothing seemed right .
Suddenly out of nowhere Moses said "What if I could part the Red Sea?"
His publicist replied "Moses, if you can part the Red Sea, I can get you
two pages in the Bible." He got his feature story and the rest is history...
There are some milestones in the history of public relations, such as the
press release being created in the 1800s and the creation of Public
Relations Society of America formed in 1948.
A number of American precursors to public relations are found in the
form of publicists such as P.T.Barnum, who specialized in promoting
circuses, theatrical performances, and other public spectacles.
Also in the United States, many early public relations practices were
developed in support of railroads. In fact, many scholars believe that the
first appearance of the term "public relations" appeared in the 1897 Year
JR P.R. Training Manual 2
Book of Railway Literature.
In early 20
th
century Sigmund Freud's nephew, Edward Bernays, an
innovative thinker and the pioneer of modern public relations, said, The
three main elements of public relations are practically as old as society:
informing people, persuading people, or integrating people with people.
Of course, the means and methods of accomplishing these ends have
changed as society has evolved. Bernays is said to have also coined the
term 'public relations', and to be the father of 'spin' - the art of portraying
oneself in a somewhat distorted, almost manipulative manner.
At the turn of the 20th century, "muckraking" journalists were stirring up
public dissent against the powerful monopolies and wealthy industrialists
who ruled the day. Early public relations firms fought the bad press by
placing positive stories about their clients. Using press releases they'd
feed newspapers "the facts" about their misunderstood clients, namely the
railroad and tobacco industries. PR professionals became so good at
whitewashing even the darkest corporate sins that they earned a
reputation as "spin doctors."
Much time has passed since those days, and to label today's P.R.
professionals as dishonest would be to ignore how prevalent and
important their work has become to people and organizations of all
shapes and sizes -- small businesses, artists, authors, musicians, activists,
universities, and non-profit organizations -- not just big business and big
government.
Over time, with the creation of the telephone, and again with the
invention of the internet, P.R. has changed and adapted with the changing
technology. Consumers want their information faster and more of it, and
with this changing demand, public relations has become a standard
operation of companies and corporations worldwide.
4. DEVELOPING YOUR P.R. PLAN
While communication is the essence of public relations, an effective P.R.
campaign is ultimately based on actions.
A public relations plan is a layout of how you intend to inform the public,
both consumers and non-consumers, about your company, your products,
and the important events pertaining thereto. Marketing experts will tell
you that a well researched public relations plan is often far more effective
than advertising.
There are plenty of ways to create a winning P.R. plan that also supports
your existing marketing, just as there are many opportunities to develop
impactful P.R. without breaking your budget.
Here is a guide to formulate a clear and defined plan that will help your
business achieve optimum results in the media:
1. Objectives: It is first most important to define and write down your
objective for your publicity or media plan.
Will your public relations campaign be designed to:
Announce a national tour? Create and reinforce your brand? Assist you in
introducing a new service or product to your market? Establish your
expertise among your peers, the press, or your potential clients or
customers? Generate sales or leads? Build goodwill among your
customers, suppliers, or your community? Inform and create good
perceptions regarding your company and services? Moderate the impact
of negative publicity and/or crisis?
With a clear objective in mind you have laid the ground work to complete
the following steps.
2. Goals: Define your goals in achieving this objective. It is important
that your goals be specific, measurable, results-oriented and time-bound.
These goals must be in-line with your overall business, marketing, and
sales objectives.
3. Target Audience: Determine who your target audience consists of.
Who is it that you want to reach with this campaign? What do you want
your key message to be?
4. Schedule: Develop a schedule for your public relation campaigns.
Create synergy by coinciding your public relations plan with other
marketing and sales efforts.
5. Plan of Attack: Develop your plan of attack. What communication
vehicles will you use to get your message to the public? Examples may
include: Press releases, Articles, Letters to the Editor, Radio, Television,
or Press Interviews, Event Sponsorships, Seminars, Speaking
Engagements or Media Tours, etc.
6. Results: Put measures in place to track the results of your P.R.
Campaign. Manage a portfolio by creating a binder that includes your
P.R. plan, media contacts, media clips and press releases. Analyze the
results of your activities and compare them against your plan. Study what
worked and what didn't and build that into your next P.R. program.
7: Crisis planning is also an essential part of your business's P.R. plan.
This should include all possible negative scenarios and the appropriate
responses to them. Ensure that other members of your business are aware
of crisis procedures, and take time to do a test run to help iron out any
inconsistencies or holes in your plan.
Always remember to put your goals and objectives in writing; this will
JR P.R. Training Manual 3
help you stay on track throughout the year and evaluate your success.
Planning your P.R. strategy now will not only help generate new ideas
and opportunities for you and your business to shine, it'll give you peace
of mind in your day-to-day operations. Additionally, identify potential
media opportunities that could occur during the year, such as product
launches, expansion activities and new service offerings, and develop a
calendar that lists the events. If you can, try to organize major news
events all at once to create the most buzz.
While P.R. plans are always subject to change, planning ahead will
enable you to stick to your overall goals and maintain your focus.
Press Clipping Service
Youll want to know if syndicates and wire services are picking up your
story. Thats where a subscription to a clipping service can help. These
services scan thousands of newspapers, magazines, and Web sites and
monitor television talk shows and news programs looking for mention of
your company or product. You can also provide them with key words
thereby keeping up to date on your industry or competition. There are
services that still manually clip articles but there are also Web-based
services that scan electronic versions of publications and deliver your
"clippings" in electronic form. In either case, having these clippings
enables you to judge whether your news is reaching your target audience
and if your P.R. plan is effective.
You also can Google your name or product and do a customized search
in the last 24 hours or last week or last month, and see if there are
any new articles written about you.
CHAPTER 2
BUZZ MARKETING
If the Freak Show is coming to town and you create a sandwich
sign that reads "Freak Show at the Marquee this Saturday!" - that's
advertising. If you put the sign on a 400 pound female sumo wrestler and
walk her around town - that's promotion. If the female sumo wrestler
wears the sign while feeding her face at an all-you-can-eat restaurant -
that's publicity. If you get the restaurant manager to laugh while serving
the sumo another tray of fried chicken with all the fixings - that's public
relations. If you get everyone who witnesses the spectacle or hears about
the story to mention it to their friends, family and coworkers - that's buzz!
And if you attend the show that Saturday night - that's The Jim Rose
Circus!
"Buzz" is my favorite four-letter word. Just thinking about it sends
shivers down my spine. Whenever I talk about buzz, I always speak in
my most fervent evangelistic tone because I want my disciples to feel the
awesome power that this concept embodies down deep in their souls. Can
I get an Amen!?! In the Freak Show business, it pays to cultivate rabid
fans who can't wait to spread the gospel far and wide.
When I unleash my buzz, I want my disciples foaming at the mouth,
barking at the moon and speaking in tongues about how the Jim Rose
Circus transformed their life. Amen, brothers and sisters!
Amen! Buzz will set you free!!!
1. SO WHAT EXACTLY IS BUZZ?
Buzz starts conversations; it is a word-of-mouth viral marketing
technique. It captures the attention of consumers and the media to the
point where talking about your brand or company becomes
entertainment, fascinating and newsworthy. Buzz enables you to tap into
people's natural networks for distributing information. We all have
networks of friends, family, coworkers and acquaintances. Inevitably, a
handful of people in each network represent the trend setters for the
remainder of the group. These trend setters influence their peers and are
constantly looking for ways to stay one step ahead of the pack. Buzz
gives them the edge they either consciously or subconsciously crave.
To make people talk, you have to give them an exciting story that pushes
buttons be it taboo, unusual, outrageous, remarkable, funny, or secret
(kept or revealed).
The media has the consumer's attention and is credible. Capturing its
attention is valuable, but when you combine media buzz with consumers
word-of-mouth, it is priceless; it catapults your brand.
My Freak Show is proof positive that empowering trend setters with buzz
can literally transform a niche performance art into a cultural
phenomenon.
2. HOW DOES BUZZ WORK?
A word-of-mouth endorsement from your coolest friends is far more
effective than traditional television or print advertising because it
possesses the energy and sincerity of a personal endorsement. Who are
you more likely to believe, a respected friend who raves about a
phenomenal personal experience like witnessing a live performance of
the Jim Rose Circus or a distrusted, faceless multinational marketer
hawking a revolutionary new tampon? The key to creating an effective
buzz is that it must have an organic feel. By organic, I mean pure,
unadulterated and sincere. If there's even a hint or scent that it's contrived
JR P.R. Training Manual 4
or manipulative, buzz will fail miserably. Think about it. People have low
opinions and expectations of used car salesmen, personal injury lawyers
and members of Congress because they're generally perceived as
disingenuous, self-serving and deceitful. As a result, you discount or
disbelieve almost everything they say. My target markets for a buzz
campaign (fans, alternative press and the media) are skeptical and
particularly sensitive to deceptive practices. When I craft a buzz
campaign, I plan with meticulous precision and consider every
conceivable angle. I've always focused on building brand loyalty for my
Freak Show, so I never want to jeopardize all the goodwill we've
established over the years. Nothing is contrived, but I do spend
considerable time thinking through all the ramifications of a buzz
campaign. Above all, I strive to make each contact with a member of my
target market a unique, serendipitous encounter. I have no choice in the
matter if I want to remain one of their coolest friends.
3. HOW TO CREATE BUZZ
My underground strategy for creating buzz can be broken down into its
component parts.
First, offer an incomparable product or service. Second, focus on the
cutting edge and how the product or service can be characterized as
innovative. Next, tell a great story to trendsetters who will generate word-
of-mouth buzz. Finally, always look for opportunities to create a little
excitement with buzz.
Generating a buzz is infinitely easier if your product or service is
revered as the industry leader. In each network, the coolest friend always
has the inside track on the "latest and greatest." Even if you're not yet
regarded as the industry leader ("the greatest"), you can create a buzz by
promoting what's new or innovative about your company ("the latest").
Make it easy for people to get in on the ground floor of an exciting new
revolutionary product or service. In Hollywood, there's incredible
competition to discover "the next big thing" in music, apparel, hair styles,
automobiles, video games, vacation destinations and everything else
those trendy Californians think about all day. Tap into this dynamic.
Buzz is rooted in the dramatic arts. We all have a story to tell, but
some are certainly far more interesting than others. Every story worth
telling requires a hook that somehow excites, intrigues and captures the
listener's imagination. If the hook is familiar or predictable, you can
count on the story to generate yawns and gain an instant "buzz kill" label.
Focus on the attributes that differentiate your business from the crowd.
My best buzz-generating hooks always appeal to the inherent human
fascination with ancient secrets, unexplained phenomenon, mysterious
customs and the supernatural.
When I first introduced Mexican Transvestite Wrestlers and four hundred
pound Female Sumo Wrestlers to the world, the reaction was
magnificent. People were astonished, mesmerized, even humbled. It was
like they were viewing a bona fide alien for the first time. They were!
After one show in Nashville, I heard one guy remark: "I haven't seen a
sight like that since the time I saw Bigfoot and Elvis drive past me in a
pink Cadillac!"
I constantly look for opportunities to create buzz about the Freak Show.
Several tours ago, I realized that I had to come to grips with a vexing
problem. My solution was perfect and incorporated a healthy dose of
buzz.
Here's what happened: Once the venue doors open for one of our
performances, the fans immediately occupy the floor area between the
stage and the sound board. This created a problem because the Freaks are
inevitably forced to mingle with the fans. Even in a crowd, the Freaks are
easily recognized. More importantly, I've always felt that a performer
shouldn't mingle with the audience prior to a show because it detracts
from the pent-up anticipation that should precede every live performance.
But I still needed the Freaks to do some of the organizational tasks like
checking on the walkup ticket count, making last minute sound and light
changes and escorting VIPs backstage. To maintain the element of
surprise and allow the Freaks to circulate freely within the venue, I
decided on a novel solution that allowed me to generate a little buzz. I
had each of the Freaks don an all black Ninja outfit complete with black
ski masks. The Freaks went about their pre-performance tasks and no one
could ever determine whether a Ninja was a Freak, a stage hand or an
Asian assassin. The appearance of a Ninja always sent ripples of
excitement throughout the audience and reinforced one of the
fundamental attractions of our live shows.
Our audience always wonders what's going to happen next?
4. THE BUSINESS OF BUZZ
In the business world, buzz provides a highly effective strategy for
gaining momentum. If you're running a Freak Show, don't settle for
momentum. Go for acceleration. Look for opportunities where you can
create a super-double buzz! When you're able to mount an effective
word-of-mouth campaign, your customers become some of the most
animated and committed ambassadors for your business.
A buzz campaign is cheap, especially when you harness the potential of
the Internet. When I started the Jim Rose Circus, I had no choice but to
utilize my creativity and guile to build a grass roots following. We simply
didn't have enough funds to mount anything resembling a traditional
promotional campaign. Expensive print ads in prestigious newspapers
and magazines were out of the question. The cost of assembling mailing
lists of potential fans was prohibitive. In the early days the Circus was so
strapped for cash, I required the Freaks to donate their shoe laces so I
JR P.R. Training Manual 5
could at least claim that an advertising budget did exist! Out of necessity,
I decided that we had to develop a word-of-mouth campaign that would
connect with our three principal target markets: fans, the alternative press
and the media. Twenty years later, we still don't have a flashy advertising
budget and can do without one. The buzz building strategy that I
developed still resonates to this day. I continually look for ways to refine
and perfect my strategy. Every time I embark on a new project, I rely on
my time-proven system for spreading the word around the nation and
increasingly the world.
It's worked for me and it will work for you.
5. MEDIA BUZZ
Long ago I decided to become a media darling. The media loves buzz,
especially when it involves breaking news or a controversial subject.
Earlier I explained that trendsetters want to find the next big thing.
Members of the media are some of the most prolific trendsetters in
existence. They're always scanning the horizon for their next big scoop.
They can't wait to break a hot new story and be lauded as the journalist
who helped launch the next cultural sensation. So if you're the leader of
your business entity or aspire to become the leader, it's crucial to develop
an ability to tell your company's story to the media. I am the very visible
CEO of my Freak Show. I seldom miss an opportunity to tell our story,
especially when I sense that the journalist's story will create a buzz. I'm
topical, quotable and make it easy for the journalist to connect the dots. I
also strive to make my Freak Show business relevant in the broader
business environment.
In fact, I've become such a valuable resource to certain members of the
press that they call me whenever they need a quote or insight into a
variety of topics. They know I will help them out when time constraints
and their editor places them behind the proverbial eight ball.
6. INTERNET BUZZ
The Internet provides an incomparable communication medium for
creating buzz. In many networks, the trendsetters are the Internet geeks
who surf the bleeding edge of this incredible technology.
Through web sites, email, blogs and forums, we connect with our target
market in a manner that's simply wasn't possible when we were limited
by personal appearances.
When we're not on tour, the official Jim Rose Circus web site becomes
our principal method for connecting with fans. The URL is
www.jimrosecircus.com and www.facebook.com/jimrosecircus. We
constantly update and revise the site to keep it fresh and ensure that our
fans visit on a frequent basis. Since I can't invite all our fans over to my
house to hang out, I want to provide them with a place they can call
home. Over the years, this type of commitment has enabled us to build a
worldwide community of Freaks who have a vested interest in our
success. Whether I meet our fans in person or online, the relationship is
meaningful and goes both ways. Whenever I'm able to post something
that I feel the fans would find interesting, we put it on the web site. The
response from our fans has been very gratifying. We now average
150,000 visits per month. I'm starting to think we're on the verge of a
Freak Show revolution...
In quick succession, let me touch on three additional technological
applications for implementing buzz campaigns.
If done correctly, email buzz campaigns can become viral. When buzz
become viral, it runs rampant and spreads in ways that few people can
anticipate or fathom. As always, the success of an email buzz will depend
on the same factors discussed earlier in this chapter. You must create a
personalized organic message that enables a trendsetter to remain one
step ahead of the crowd and influence the people within their network.
The ability to reach a substantial portion of your target market in a matter
of seconds coupled with the absolutely nominal cost of an email blast
make this application one of my personal favorites.
In a buzz campaign designed for chat rooms, an individual assumes an
identity appropriate to their target audience and proceeds to spread the
news about their product or service.
Blogs present another innovative way to reach trendsetters on the cutting
edge. The key to successful blog buzz is to select a blog that has a high
degree of credibility with the network.
How can your company use these applications to create a cultural
phenomenon?
CHAPTER 3
THE ART OF SELF MYTHOLOGY - From
Dali to Donald
Warning! This next strategy should only be attempted by supremely
confident, thick- skinned individuals who harbor an incandescent desire
to back it up. If you're not at least a borderline megalomaniac, this
strategy is doomed to fail and you'll find yourself melting away like a
Dali watch. So if your tendency is to think in a small or conservative
manner, think again.
JR P.R. Training Manual 6
Self mythology is not for you. I'll start this analysis of self mythology
with the master, then highlight the exploits of one of today's premier
practitioners of the craft and conclude with a few of my own myth-
making secrets.
At a time when celebrity-worship has become a worldwide obsession, the
art of self mythology represents an incredible tool for an entrepreneur
hellbent to establish a business empire.
1. SALVADOR DALI
Salvador Dali was the undisputed master of self mythology. For seven
decades, this world class Surrealist and eccentric extraordinaire drew
attention to himself by weaving an ingenious tapestry of words and
actions. Dali's ability to seize the public's attention with self-laudatory,
bizarre and controversial moments is truly legendary. His persona was
calculated to create scandal and to make people always talk about him.
He got away with it because of his great art and eccentric dress and
mannerisms. For many of his most infamous pronouncements, there was
absolutely no basis in fact - only a desperate desire to draw attention
toward himself. Dali was Dali, provoking the world with surreal
inventiveness and his own bizarre personality.
Dali was the first to coin the phrase "self mythology." He's always been
one of my biggest influences for countless reasons, but here's the most
compelling: Dali inspired me to transcend the cubicle that traps the
unwary and uninspired. It's a debt that I'll never be able to satisfy other
than by paying homage to this eccentric exhibitionist.
How does one become "larger than life?" It doesn't happen by accident.
Rather, it is by design. Salvador Dali systematically created a character
that was so compelling, like Frankenstein, it could not be denied. He
constantly took liberties with the truth and fabricated it
beyond recognition over and over until his creation became the truth.
Depending upon your perspective, this talent or perversion was the secret
to Dali becoming one of the world's foremost cunning linguists. He used
his heritage to craft a larger-than-life persona.
This next passage contains one of my favorite Dali quotes which draws a
distinction between himself and a madman. This kind of chutzpah is the
stuff of legend. As you will see, audacity can be very liberating.
"I completed my first painting at the age of six and have always felt that
the best things that can happen to any painter is to be Spanish and to be
called Salvador Dali. If you focus on mythologizing yourself with every
fiber in your body it will come to be. The sole difference between me and
a madman is that I'm not mad. I enjoy being the subject of controversy.
One of the principal objectives of self mythology is to establish instant
notoriety when you saunter into a room. As you'll see, Dali seldom
waited for a second chance to make a first impression. Don't settle for the
old adage "clothes make the woman/man." Concentrate on a dynamic
look and grand entrance that makes a definitive statement about you. If
you're content to be a wallflower, the self mythology strategy will never
work.
Salvador Dali wasn't afraid to admit his influences. He had the courage
and audacity to put it on display for the whole world to dissect. He
thrived on controversy. To successfully create a larger-than-life persona
through self mythology, you must possess an ironclad commitment to
words and actions that are provocative, memorable and above all,
controversial.
Howard Stern may claim to be the King of All Media, but Salvador Dali
was the original Shock Jock. His personal pronouncements were always
calculated to create scandal and solidify his place as the topic of a very
lively conversation. Let's face it, a pretender with less prolific artistic
achievements or inferior eccentric mannerisms would have been stoned
to death. At the end of the day, the only person who ever stood a
snowball's chance in Hell of topping Dali was Dali. In his later years, he
reflected on the challenges of his self mythology campaign. "It is not an
easy matter to hold the full attention of the public for a whole half hour. I,
however, have succeeded in doing it every single day for the past twenty
years. My motto is: 'Dali must always be talked about, even if nothing
good is said about him.' For twenty years I managed to have the
newspapers publish the most inconceivable news of our times, relayed by
teletype."
An event provides a rich opportunity for a motivated individual to shine.
But you just can't wait for an event to happen, you must be the catalyst
for the event. In order to shine with the brilliance of a Dali, you must
carefully plan and choreograph for maximum impact.
Here's a sampling of Dali's most notable events.
PARIS: Dali gives a lecture at the Sorbonne on the "Lace-maker" by
Vermeer and the Rhinoceros. He arrives there in a white Rolls- Royce
filled with a thousand white cauliflowers.
ROME: Dali is reincarnated in the torch lit gardens of the Principessa
Pallavicini, bursting out unexpectedly from a cubic egg covered with the
occult inscriptions of Raimond Lulle, and makes a dynamic speech in
Latin.
VENICE: Gala and Dali, disguised as twenty-seven-foot-tall giants,
descend the steps of the Bestegui Palace and dance with the crowd which
gives them a wild ovation in the Piazza.
NICE: Dali heralds a film to feature Anna Magnani, "The
Wheelbarrow of Flesh" in which the leading lady falls madly in love with
a wheelbarrow.
PARIS: Dali marches through the city parading a fifteen-meter long
loaf of bread, which is laid in the Theatre de l'Etoile. There, he delivers a
hysterical speech on Eisenberg's "cosmic glue."
MADRID: Dali makes a speech inviting Picasso to return to Spain,
JR P.R. Training Manual 7
opening with the statement:"Picasso is a Spaniard - so am I! Picasso is a
genius- so am I! Picasso is a communist - neither am I!"
BARCELONA: Dali and Luis Miguel Dominguin have planned a
surrealist bullfight, at the close of which a helicopter, dressed as an
Infanta in a balenciaga gown, will transport the sacrificed bull to Heaven,
to be laid on the sacred Mountain of Montserrat and devoured by
vultures. Simultaneously, in a makeshift Parnassus, Dominguin will
crown Gala, disguised as Leda, while at her feet Dali will emerge, naked,
from an egg.
NEW YORK: Dali, dressed in a golden space-suit, lands in the
celebrated "ovocipede" of his invention - a transparent sphere affording a
new means of transportation, which found its inspiration in the
hallucinations aroused by intra-uterine paradises.
During another New York adventure, Dali took a walk in the streets.
He carried a bell which he would ring whenever he felt people were not
paying attention to him. Why? "The thought of not being recognized was
unbearable."
Like Dali, I've relentlessly honed my ability to massage egos. Call me
Machiavellian, but an effective self mythology campaign requires that
you empower others to facilitate your end game.
Dali remained true to himself to the end. He delighted in following
Catalonian television's bulletins on the state of his health during his final
days in Barcelona. He wanted to hear people talking about him, and he
also wanted to know whether his health would revive or whether he
would soon die. One of Dali's last pronouncements confirmed his life's
mission in dramatic fashion. It was provocative, memorable and
controversial.
2. DONALD TRUMP
One man occupies the pinnacle of self mythology in today's business
world. He's known simply as "The Donald." Donald Trump built his
global reputation as a billionaire real estate developer with cunning
business savvy, a steadfast commitment to thinking big and unrelenting
bravado. Throughout his high-profile real estate career, Trump has
molded a larger-than-life public image through the deft use of his
dramatic business ventures, the media, and his many self-laudatory
books. Modesty doesn't exist in his vocabulary. He insists on stamping
his name on nearly everything he touches - Trump World Tower at United
Nations Plaza, Trump Taj Mahal Hotel and Casino, and even the defunct
Tour de Trump and the defunct Trump Shuttle airline. In Trump's book,
How To Get Rich, he said: "Show me someone without an ego, and I'll
show you a loser."
When Trump's reality TV show, The Apprentice, became a sensation, a
whole new realm of possibilities emerged. Trump's megawatt celebrity
power now transcends all. For example, Trump cut a deal with Graff
diamond sellers to get his fiance's $1.5 million engagement ring for free.
In exchange, Graff jewelry was featured in an episode of The Apprentice
and Trump's fiance did some modeling work for Graff. Long ago real
estate ceased to be Trump's primary product. Donald Trump is.
3. USING SELF-MYTHOLOGY TO CREATE A
BUSINESS BRAND
I borrowed a page from The Donald. After the inception of my Freak
Show, I realized that the line-up would invariably change over time.
Freaks can be more skittish than a virgin transsexual on his/her wedding
night. I didn't want to invest time, effort and money into a production that
could ever be crippled by the departure of a Freak for greener pastures (or
more likely a dark, foreboding alley). The dynamic nature of my troupe
led me to conclude that there was tremendous value in creating an aura
around the brand name "Jim Rose." Using my own name to brand the
Freak Show has paid dividends ever since.
I incorporated the Jim Rose brand and liberal portions of self
mythology into one of my earliest print advertisements. At the time, our
show was starting to get traction around the burgeoning Seattle grunge
scene. I wanted this ad to make a statement, create buzz and result in sell-
out performances. In 1991, this simple ad became the lighted fuse that led
to the powder keg that brought down barriers and forever changed the
world.
The advertisement features a photo of me lying on a bed of nails while
three people from the Barcelona, Spain audience stand on my chest (with
a "Photo by Roy Gumpel credit), a photo of me escaping from chains
(with the caption "Watch Him") and the image of an ancient Egyptian
hieroglyphic. At the bottom of the ad is a one word summation:
"EXTRAORDINARY!" The text of the ad is where I generated
fascination and speculation about this strange entertainer who burst onto
the Seattle scene:
He Is Not A Geek*
In the USA some mistakenly call him "Jimmy the Geek" because there
is no category for him. The Jim Rose performance is, in reality, an
exhibition of history's most dazzling and bizarre human feats.
You will be astonished by the variety of unusual and seldom witnessed
marvels of human discipline.
He started off in Amsterdam, studying with contortionists to help with
his interests in escapes from chains, handcuffs and straight jackets.
During a six year street performance tour with his escape show, he
studied with some of the best modern primitives and sideshow marvels
of our time, all the while expanding his act to being the most complete
and world represented show ever performed by one man.
JR P.R. Training Manual 8
Remaining completely unscathed Jim Rose brings you:
Fire eating from Fiji;
Escape from chains and handcuffs, Letting raccoon trap shut on his
hand and "The Human Blockhead" with sixteen penny nail and hammer
from the USA;
Contort from straight jacket... Holland;
Internal Juggling; swallowing to the back of his throat four razor
blades then thread and coughing them up tied to thread... Spain;
"The Bed of Nails"... India;
Eating glass and putting face in broken glass while a member of the
audience stands on his head... Republic of Yemen;
Bending nails with his teeth... Brazil.
He uses no blue smoke or mirrors and won't hide in a box. Done with
humor at an intimate venue. No small children unless accompanied by
adult.
* geek (gek), n (archaic) Carnival sideshow name for performer who
ate live chickens...
The "Geek" ad and our subsequent performances generated such a
strong turnout, I began to worry that our show would suffer from
overexposure in the Seattle market. We performed five or six times per
month for about six months. Then I was jolted back to reality. Our
attendance began to slip - Seattle was saturated. A brick wall loomed
unless I devised a way to break out of the Seattle market. In addition, I
had aspirations that extended well beyond the Emerald City of the
Northwest. If you remain a local curiosity for too long, the likelihood of
ever making it big begins to diminish. In the entertainment world, there's
a definite window of opportunity. I was determined not to let this
opportunity slip through my hands and I certainly didn't want that
window to slam onto my fingers either. I desperately needed to buy some
time to stay relevant in Seattle long enough to generate some buzz in
other markets. It was time to give self-mythology another whack.
At the end of our shows, I announced that the Jim Rose Circus had
just gotten a call from the David Letterman Show and that we had been
invited to appear the following month. I told the audience to be sure to
tune in, because: "I was going to give that gap-toothed goof a run for his
money and pound a nail in his nose." This always brought the house
down.
I would then proceed with the fervor of a backwoods preacher delivering
a Fire and Brimstone sermon to an overflow congregation of wayward
sinners:
"You see, my friends, things are happening, and they're happening
fast! Radio, television and newspapers. Soon you will not be able to go
anywhere without people coming up to you, you, you and you (pointing
wildly across the crowd) and saying: "Did you see the Jim Rose Circus?
Did you see those Freaks!?!"
And you'll say: "Jim Rose Circus? I know them! They're friends of
mine!! I can prove it. Look, I've got their t-shirt!"
At this moment, I would unveil a brand spanking new Jim Rose t-shirt.
After holding the prized garment aloft for the crowd to admire, I'd sell
them right off the stage faster than a Louisiana minister saving souls at a
French Quarter revival on Ash Wednesday.
With t-shirt sales booming, word began to spread. In a matter of weeks I
was contacted by a Canadian promoter who arranged our first tour of
Canada. It was successful beyond my wildest expectations (which is
saying something!). Upon arriving back in Seattle, I quickly booked
shows with the less-than-subtle pronouncement "The Legend Returns!"
By this time my little Freak Show had caught the eye of Sally Jesse
Raphael. Our appearance on her show led to interest by Perry Farrell's
Lollapalooza Festival and the rest is Freak Show history.
We all self-mythologize, but each of us have our own comfort level about
it. The circus teaches you at an early age that the big rewards come when
you mythologize your act or brand.
The WALL STREET JOURNAL decided to do a front page story about
me, so I met up with a reporter before my show in Salt Lake City. After
the interview he went out into the audience and was pushed up against
the stage during the show. I could see he was trapped there so right when
the lights went out for intermission, I leaned down and whispered into his
ear: "This is a sold out show, the line stretches all the way to the Mormon
temple; they are turning thousands away". That quote made it into the
article. Of course it was all BS, I mean self-mythologizing!
CHAPTER 4
CREATING NEWS
Editors and producers have the tremendous challenge of coming up with
new stories to fill their pages and air slots day after day, week after week,
month after month, year after year. It isn't always easy to fill all that
space. Therefore, you become their ally. The media needs an endless
supply of fresh material.
But don't expect the media to drop everything and report on you, just so
you can get some free publicity. Many editors shy away from blatantly
promotional pieces. One of the biggest mistake that most PR novices
make is to pitch an advertisement for their business. The media is not
your personal marketing department. Remember to blend with their
agenda of reporting news and serving the community.
JR P.R. Training Manual 9
All media love human interest stories. In fact, the number one topic of
talk radio is relationships. If you have a compelling human interest story
that others would find interesting you're on your way to getting lots of
free publicity.
To allow your business the best chance of being covered by the news
media, give them what they are looking for. Generally speaking, each
medium is looking for specific types of news events.
Newspapers deal more with ideas and what people said. Newspapers like
to educate their readers with timely news and articles that people will
find interesting and educational. Make sure you have some informative,
colorful, or pithy comments ready for the reporter that calls.
Radio is a bit more loose and has an "anything goes" type of style. Radio
stations like information that is controversial, funny, or weird. One radio
programmer once told me "if talk radio doesn't have controversy, it's
dead."
Television gets excited about anything that can provide great visuals.
That's why you see the mayor opening a new store with a giant key or the
CEO of a business giving a giant check to a charity.
1. NEWS ANGLES TO PITCH
While many media outlets are looking for heart-warming stories, they are
a dime a dozen. It helps to have an extra twist; look for a strong news
hook, a current trend, a good back-story, an ironic turn of events, a
celebrity connection, anything that is unusual, proximity to a location,
compelling, heartwarming, controversial, or anything else that elevates
your story pitch above the run-of-the-mill. Think visually: can your story
be illustrated?
Understanding why journalists would find your story interesting is the
key in getting recognition. Identify your angle and make it different.
The media's appetite for what's newsworthy is slightly different from the
consumer's. Year after year the five most frequently written news stories
are the following:
news weeklies
general interest
consumer
business
city
etnic
trade
fraternal
Television
network
local
cable
satellite
pay-per-view
closed circuit
in-flight
video
Radio
network
local
syndicated
Others
newsletter
5. WHO DOES WHAT
Print & Publications
Editor, executive editor, managing editor - determine overall editorial
stance of the newspaper and the general drive of news gathering.
Executive Editor - The top editor sometimes has the title executive
editor or editor-in-chief. This person is generally responsible for the
content of the publication. An exception is that large newspapers usually
have a separate editor for the editorials and opinion pages to separate
news reporting and editorial content.
The executive editor sets the publication standards for performance, as
well as for motivating and developing the staff. He is also responsible for
developing and maintaining the publication budget. In concert with the
publisher and the operating committee, he is responsible for strategic and
operational planning. The executive editor is effectively the head of the
newspaper and has considerable influence on its content.
City Editor - In North and South America it refers to the editor
responsible for the news coverage of a newspaper's local circulation area.
A city editor makes day to day decisions on what to cover and who will
do it. He can refer you to the reporter who covers your beat. He's
responsible in the daily changes of a particular issue of a newspaper that
will be released in the coming day.
Metropolitan Editor directs and supervises personnel engaged in
selecting, gathering, and editing local news and news photographs for
edition of newspaper. Reviews news copy and confers with executive
staff members regarding allocation of news space. Sends copy to copy
desk for editing. May write or direct writing of headlines. May hire and
discharge members of reporting staff. May perform other editorial duties
as required. Designated State Editor (print. & pub.) when working with
State news and National Editor (print. & pub.) when working with
National news.
Editorial Page Editor oversees the coverage on the editorial page. This
includes chairing the Editorial Board and assigning editorial writing
responsibilities. The editorial page editor may also oversee the op-ed
page, selects the letters to the editor, the columns that run, and lays out
the page. Editorials in many papers are written by an editorial board.
Assignment Editor - An assignment editor is an editor either at a
newspaper, or radio or television station who selects, develops and
plans reporting assignments, either news events or feature stories, to be
covered by reporters.Whatever the case, it is his job to determine what
news tips and news releases are the most newsworthy, and then decide
which reporter to assign a story to. Those assignments are often
JR P.R. Training Manual 34
determined based on the reporter's experience, skills and his/her beat
(e.g., police, courts, schools, city hall, county, etc.). Typically, an
Assignment Editor will sift through press releases like you go through
your mailover a wastebasket.
An assignment editor often fields calls from the public, who give news
tips, or information about a possible story or event to be covered.
If a major story develops such as a disaster or economic development
an assignment editor may enlist several reporters (in addition to whoever
usually covers that beat) to cover various angles of a story.
Columnist
A columnist is a journalist who writes regular commentaries and opinions
called a "column" on current issues for publication in a particular field of
interest, as politics, theater or etiquette. Columns appear in newspapers,
magazines, trade journals and the Internet. Some Internet columns are
called blogs or weblogs.
National political columnists are often syndicated.
Some columnists appear on a daily or weekly basis and later reprint the
same material in book collections.
Reporter
Reporters gather their information in a variety of ways, including tips,
press releases, sources (those with newsworthy information) and
witnessing events. They perform research through interviews, public
records, and other sources. The information-gathering part of the job is
sometimes called "reporting" as distinct from the production part of the
job, such as writing articles. Reporters generally split their time between
working in a newsroom and going out to witness events or interview
people. Most reporters working for major news media outlets are
assigned an area to focus on, called a beat or patch. They are encouraged
to cultivate sources to improve their information gathering.
Editorial Calendar
An editorial calendar is published by the advertising divisions of
magazines. It is basically a calendar of editorial coverage planned for the
year. You can find an editorial calendar on a magazine's website (check
the advertising media kit).
Radio Producer
A radio producer is instrumental in all aspects of generating radio shows,
from the initial concept, content, research to the final production and
distribution. He may work for a small independent station or a national or
international organization. If the radio station follows a music format, the
producer is normally expected to know the audience and their tastes. He
frequently creates the playlists for each show based on demographics and
research. He also may produce recorded content, from shows to radio
commercials and commercial bumpers.The contests and promotions
frequently associated with popular music stations are generally crated by
the radio producer.
The job of a radio producer on a station dedicated to news, talk radio or a
morning drive (which is the most popular listening time) is different than
that of music. It is his responsibility to make an informative and
entertaining show that generates and holds a dedicated audience of
listeners. He is commonly required to procure guests of interest to
specific hosts and audiences. Once a guest is booked, he is customarily
expected to suggest questions and topics to make the guests interview
compelling. Some are involved in research and writing work. If a talk
show accepts calls from listeners, the radio producer is frequently the
person who screens the calls before passing them on to the talk show
host.
TV Producer
A television producer is in charge of planning shows, news segments,
documentaries or episodes to air on television. Generally it is the
producer who is accountable for the show's general excellence and
survivability, though the roles depend on the particular show or
organization. He's responsible for a show's overall quality and ensures
that all programs stay on schedule. He's responsible for gathering all of
the important components needed to produce a program, including
research materials, scripts, shoot management, fact checking and props.
He closely supervises his crew in order to ensure that production runs as
efficiently as possible and stays within a set budget and timelines.
Some producers take more of an executive role, in that they conceive new
programs and pitch them to the networks, but upon acceptance they focus
on business matters, such as budgets and contracts. Other producers are
more involved with the day-to-day workings, participating in activities
such as screenwriting, set design, casting, and even directing.
CHAPTER 8
INTERVIEW TIPS
In the quest for publicity, the main objectives is to be granted a media
interview. So it does make sense to be well-prepared when the occasion
arises.
JR P.R. Training Manual 35
1. THE TELEPHONE CALL
There are four basic reasons the media might call you:
1) to verify information in your press release
2) to get additional details about you or your company
3) to get a quote to go along the story
4) to arrange an in-depth interview.
Should you get such a call don't underestimate its importance. The way
you handle the initial query can make all the difference in how your story
is covered.
As mentioned earlier, for radio and television the first telephone call will
actually be a disguised audition or pre-interview interview designed to
see how well you would perform on the air. What you say and how you
say it will become the criteria for choosing you as an interview subject.
So be enthusiastic, respond with short & lively answers, speak up clearly
and don't sound like a commercial.
2. HAVE YOUR ANSWERS READY
Anticipate questions that journalists might ask. Prepare and practice your
answers so your statements will flow smoothly and confidently. Consider
writing a list of suggested questions or topics to cover. Ask permission to
send this list to the journalist prior to the interview. If used, your list will
direct the interview in the way you hope. However since the majority of
journalists prefer spontaneous statements, they might not divulge the
nature of their questions in advance.
3. HAVE INFORMATION AVAILABLE
Above all, make sure you are ready and available to provide
supplemental information. The entire point of a media announcement is
to get the editor interested and on the phone with you. Often times a
reporter will call you hours or minutes before deadline. Fail to get back
with them quickly, and your story will be skipped. You're going to be
asked for supporting information or materials on any story pitch. So do
yourself a favor: from screen grabs to sample copies and supporting
videos, make sure all of these materials are prepared well in advance and
are ready to be provided to journalists at the interview. This could include
an expanded version of your media release with a list of questions they
can ask you. You can also provide the answers to the questions.
4. BREVITY & ACCURACY
A short, simple answer is usually the best answer. One or two sentences
are adequate. If the journalist wants to hear more he will ask a follow up
question.
Get your facts right and use them to enhance your remarks. If the reporter
detect a lie he will stop using you as a source.
5. SOUND BITES
In taped or recorded interviews, a great deal of the information is
condensed for print or broadcast purposes. It is therefore important to
keep your statements brief and to the point. Practice to speak in sound
bites of 13 or 15 second remarks that make a point clearly and
effectively. Even if it means to use a stopwatch, it pays to learn how to
make every word count.
6. BE QUOTABLE
During the interview, one of your goals should be to say something
significant that the media will attribute to you in a quotation. To do so,
incorporate the question into the answer.
For example:
question: What advice do you have for others who want to open their
own bookshop?
Weak answer: Sign a short lease.
Quotable answer: For anyone who wants to open a bookstore my advice
would be sign a short lease.
7. ANECDOTES
Be prepared to tell brief and colorful anecdotes and short stories during
the interview. Think of the funniest thing that's happened to you in the
course of running your business; or the most positive results you've had
since you began offering your service or product, etc. Find a way to mix
one or more of your three main marketing messages into each anecdote.
If you are telling a humorous anecdote, be sure that the joke is on
yourself and explain what you learned from the experience. Similarly,
resist the temptations to tell negative stories.
JR P.R. Training Manual 36
8. ON THE RADIO
Be upbeat.
Remember that radio is entertainment and wants people with personality.
If you land an interview be prepared to entertain the audience in addition
to informing them. Be energized, personable, friendly, excited,
outrageous, flirtatious, funny, morbid, something that the audience won't
expect. And do it in a big way. Because there are no pictures to aid
listeners to stick around, your personality must shine for the emotion to
get across the airwaves. Show hosts/producers are often disappointed by
guests who say they will be entertaining, but don't deliver.
Spirited dialogue and committed guests are what keeps an audience tuned
in. Moreover, the more relevant the message to the audience, the more
likely they will stay attentively focused.
Keep responses brief.
Radio listeners don't have large attention spans. Neither do moderators.
Dead air is awful. Boring air is next worst. So keep responses relatively
brief - not staccato - but brief enough so that you are not a bore. When
through, stop.
Be an authority.
Like TV, radio demands spokespersons who are categorical in their
answers. You have been invited on as an "authority." So act the part, and
don't waffle, waver or weasel out of stating your frank viewpoint.
Persuade the listener, rather than the caller.
Radio talk show callers are notoriously ideological - 10 times more so,
according to research, than those who listen and never call. So your job is
to speak "beyond" the ideologue who made the call - and transmit your
remarks at the faceless but attentive listeners in the audience.
Always show respect to callers.
Just because some callers are borderline defective doesn't mean you diss
them. So no matter how obnoxious they may be, treat all callers with
civility, meaning talk directly to them. The host will arbitrate if he feels
the need. So leave it to him to divert your telephonic conversation.
Politely agree to disagree and move on. On the other hand, don't let
callers dominate the discussion. Talk radio is a vast reserve of caller
wannabe entertainers, who crave the spotlight. So once you've heard
them out, don't be reluctant to respond and move on.
9. YOUR TELEVISION IMAGE
If your interview will be televised, you've scored a home run in the P.R.
game. And regardless if it is local access cable, evening news or national
talk show, you want to look your best.
. Body Language: Remember to look at the interviewer, not the camera.
Never exhibit any nervous mannerisms; find a natural resting position for
your hands
. makeup: It is necessary to use makeup because television lights are
very intense. The brightness of the lights improves the quality of the
picture, but at the same time it overpowers the natural color of the skin,
making it look unhealthy. So ask if a makeup artist will be available, if
not you'll be responsible to do your own.
. clothing: As a rule of thumb, dress appropriately for your type of
business; wear the colors and styles that are right for you. Remember
that solid colors are preferred over prints, geometrics, plaids or florals.
But avoid wearing solid white. It flares causing a shutdown of the
camera iris which in turn will make you look dark and shadowy.
Don't wear something too extreme that will create a distraction to the
viewers.
. Accessories: Keep your accessories conservative. The ones that dangle,
move, glitter, shine or create noise are inadvisable. If you wear
eyeglasses, ask the camera operator what you can do to reduce the glare.
CHAPTER 9
WAYS TO MAKE THE MEDIA LOVE YOU
One can't afford to go about gratuitously burning bridges, and it's
imperative to establish the same healthy working relationship with
reporters that you would with anyone you work with day in and day out.
1. Treat the media like gold. It's vital to be trustworthy, considerate and
professional in all dealings with the press. In any oral or written
communications, you should be friendly and approachable, articulate and
concise, and willing to go that extra mile to give everything a personal
touch.
Answer their questions in a forthcoming manner, in a respectful, pleasant
tone. Do not disparage others and be careful about making negative
comments. Be willing to answer reporters' questions, even if you have to
research the answers and get back to them. (Don't be afraid to say you
don't know but can find out, and never give an answer you're not sure is
accurate.) Do not lie or provide exaggerated claims. Just like you, media
people appreciate those who take the high road.
2. When the media calls, stop what you are doing and give them your full
JR P.R. Training Manual 37
attention. That's right. Maybe you're having lunch. Or in a meeting.
Guess what? The media waits for no one.
3. If you're running an event or a tourist attraction, let the press in for free
to cover it.
4. Spend some time getting to know your local reporters - take them out
to lunch, drinks, whatever. They will appreciate a little special attention -
especially on a reporter's salary. And the next time you call to pitch a
story, they're more likely to remember you and return the favor.
5. Be realistic about coverage. You have control over advertising; you
have minimal control over P.R. That's the difference between paying for
something and not paying for it. A reporter can interview you for an hour
and you might only have one line in the media. Or none. It may focus on
an angle you don't like. The reporter determines what angle to use,
depending on his/her needs, space available and information you provide.
The reporters owe you nothing for your time. Be pleasant and
understanding in future dealings with them.
6. It pays to respect media members' opinions. If they don't feel a story is
a fit, acknowledge it and move on instead of going for the hard sell. It's
perfectly OK to ask "why" so you'll be better-equipped the next time you
have an angle to pitch.
7. Stop complaining. Sometimes, after a phone interview, you will be
misquoted. Unless it is truly a libelous or slanderous comment, you
should take it in stride. Do not decide to complain to the reporter, or you
will certainly not be getting any press, at least not favorable, in that
media again.
8. Give them several contact numbers, including day, night and weekend
(including mobile, vacation/out-of- town contact info). A member of the
press could be in a different time zone, or might want to call you before
or after your business hours.
9. Be realistic about when the media will cover you. Typically, daily
newspapers, radio and TV have a one day to three month coverage
window. Magazines have a 2-3 month to one year window. The lead
times vary depending on editorial calendars, seasonal coverage and
breaking news. In addition, the media chooses when they want to run a
story; you have little control over when they run it, unless it is tied in
with a timely event, such as a holiday. While you would love to see
yourself or your organization on the 6 o'clock news or the front-page of
the business section, the media may have other stories slotted for those
options, or they may need to fill a space in another segment. Similarly,
you might want your story to run immediately, but the media may hold it
for months, if there is no urgency in running it.
10. Remember to thank any reporter or blogger who gives your product a
mention. Media people, just like you, enjoy a pat on the back once in a
while. They work very hard and are always open to hearing your
feedback and appreciation. And to be remembered even more, put it in
writing. By putting effort into developing media relationships, you'll
increase your chances of current and future public relations success.
11. Pick up your own copies of your articles or tapes. Do not ask the
reporter for a copy. He/she will be offended! Pick up a copy of the
publication or call the media outlet to order a copy or tape.
12. Finally, know the deadlines and publication schedules of the media
you deal with, and understand their importance.
CHAPTER 10
THE ART OF PUBLICITY STUNTS
Sensationalism can be traced to the early 1800's when circuses traversed
the world. Many of the most memorable hoaxes and cons can be
attributed to one of my heroes, P.T. Barnum.
The following are my favorite publicity stories that have taken place in
the last twenty years. They have all been orchestrated by me and /or my
old friend, Mark Borkowski, a London publicist.
Barnum inspired me and I hope these stories will push you further toward
the fringe.
1. A NIGHT AT THE OPERA
In 1993, the Jim Rose Circus embarked on our first world tour. I made a
strategic decision to book venues that would summarily kick me out once
they realized that my show was, in fact, a freak show in every
conceivable, distorted sense. Of course, I had back-up venues and
publicity posters ready to exploit the controversy.
The Opera House in Oslo-Norway provides a representative example.
The government- subsidized venue was controlled by the Opera Society. I
JR P.R. Training Manual 38
arranged for a friend to alert the Society about my circus performers. As
predicted, we were summarily banned. The story made front pages and
was the catalyst for lively debate in the editorial section. But a funny
thing happened on the way to the Opera House. The letters to the editor
were staunchly in my favor. Many Norwegians were upset that the Opera
Society had the power to determine what constituted "art" in a
government-subsidized venue. The Society flat-out refused the public's
pleas to reconsider.
Their intolerance didn't surprise me in the least. Instead, I took pride in
the fact that my back-up venue sold out immediately. Since I no longer
needed the press, I decided to wind-up the Opera Society with a red-hot
poker in their collective eye. I responded to the relentless media inquiries
by saying: "I'm putting my international attorney, Fred Reilly, on this
case. So rest assured, it won't be over until the fat lady sings". I doubt it
translated humorously, but Fred and I had a good laugh at their expense.
Note: Finding the balance between controversy and fame can be like
walking a tightrope. Always strive to present publicity in an innovative,
creative manner that will rise above the chatter. But never forget to
measure the potential risks (i.e., outrage, backlash or castration by media)
before you launch a publicity campaign.
2. SHOOT ME
Prior to embarking on my 1997 European tour, I decided to employ a
fresh angle to wind-up the press. While in Holland, I put out a press
release detailing my newest act, "The Bulletproof Vest Demonstration."
After donning a bulletproof vest, I would provide audience members
with a handgun and invite them to hit me with their best shot. Before you
question my sanity, realize that I knew that real firearms would never be
allowed in a theater. I thrive on the cutting edge, but I'm not stupid.
The press release made some sense to Europeans because of their
perception that all Americans carry firepower. I expected nothing more
than a paragraph in gossip columns and a terse letter from a government
official. Once again, I was reminded to never underestimate public
outrage. It turned into a full blown showdown with law enforcement. The
release was issued on a Friday morning and timed for the weekend
editions. By noon I was swamped with the calls from all the major
English newspapers informing me that they had dispatched writers and
photographers to cover the Friday night show in Amsterdam. Due to
deadlines, the publications had all left big blanks in their Sunday papers
that were to be filled with my story and photos. The pressure was on. I
had two hours to figure out what to do before they arrived.
First, I went to the Dutch promoter and asked if I could do the act. The
promoter didn't say a word, but if looks could kill J.R. would have
outlined me in chalk. Then I took mud flaps off my bus, washed them,
duct taped them together and applied a thick coat of black spray paint.
I sent circus members out to buy a toy gun. They reluctantly reported that
the Dutch don't believe in guns as toys and the only available facsimile
was a fluorescent orange squirt gun. I also spray painted it black and
glued a metal strip to one side.
The press straggled in, but I insisted on delaying the backstage
demonstration until they had all gotten there. Once assembled, I said:
"Ladies and gentlemen, thank you for coming on such short notice.
Unfortunately my act has just been banned and my equipment
confiscated. I know you have blanks in your papers so I've put together a
re-enactment on this stage for your photographers. First, are there any
questions?"
"If you are banned in liberal Holland, how do you expect to do this in
England?"
I responded with: "I always expected resistance in Holland because
guns are not part of the Dutch culture. Based on my knowledge of
geopolitical dynamics, I anticipate a different reception in England. Let's
face it, you chaps are much more familiar with firearms due to your
rather impressive history of civilizing the world at gunpoint."
At this point, the visceral reaction of these Fleet Street wags told me
they were hopelessly hooked. I laid it on even thicker as the queries came
fast and furious.
"Why would you want to do this act?"
My response: "The bulletproof vest is the greatest advancement for
law enforcement since the fingerprint. People should experience its
effectiveness in person.
"Have you done this act in the United States?"
I pondered this question for effect and then responded: "Oh yes, but
you should always remember, the people in the Colonies are free spirits.
Americans insist on lining up with their own hand guns to shoot me.
Even grandmothers!"
I knew the reporters were under the gun so to speak and didn't have
time or the inclination to verify my angle. Anyway, it was an
entertainment news and a good story. I took special pride in the
subsequent photo opportunity because it produced one of the best name
branding images of my career. This is one photograph that was worth
10,000 words in the London tabloid press. On the left side of the photo, a
hand holds the pistol. The center depicts my banner with "Jim Rose
Circus" in large print. On the right side, I'm sporting mud flaps and
illuminated by a pinned red stage light. I wore headphones over my ears
and a bandana covers my eyes. To further enhance the visual, I put a
cigarette in my mouth, had my arms tied behind my back and my head is
cocked. We taped firecrackers to the metal strip on the back of the gun.
When lit, the firecrackers created a violent spark and smoke effect. The
result was pure synchronicity. The photo was awesome.
JR P.R. Training Manual 39
When we arrived in England later that week, law enforcement
immediately informed me that the act was banned. Although my
carefully-executed little scam created massive amount of free publicity, I
craved more. I pretended to negotiate with the authorities by offering a
worthy compromise.
"I understand and appreciate that you don't want fire arms
indiscriminately discharged in a crowded theatre. What if the guns were
welded to an unmovable brace and trained on only me?"
The authorities summarily dismissed my attempt at compromise and
attacked me personally with the kind of official venom traditionally
reserved for soccer hooligans and adulterous members of the Royal
Family. Looking back, I should have sent them a handwritten thank-you
note. Their condescending attitude toward all things "Jim Rose" didn't
escape the press. Pardon the pun, but when the gun smoke cleared the
controversy over my compromise offer extended the news cycle an extra
24 hours. Instead of playing the turkey in a West End turkey shoot, I
celebrated our sold out European tour.
Note: Initiating a dispute with a public official can be a perfect public
relations vehicle. Public conflicts are newsworthy and most people
secretly relish someone taking on "the government." Frequently, the
government takes an official position that can be easily challenged in a
way that makes you more popular than Robin Hood. Be sure to know
your facts, pick your fights carefully and always be magnanimous toward
public officials. Sure, many are rigid, narrow-minded and completely
unrealistic. But at the end of the day, they're just people trying to do their
job. They also share another universal trait: long memories.
3. LIGHT MEAL
Several years ago, I had a photo taken of me crumpled on a stage. I put
out a press release stating that I had eaten too many glass light bulbs in
Belgium, collapsed on stage and was rushed by ambulance to the nearest
hospital. I knew entertainment reporters wouldn't waste their time
tracking down someone to translate gargled Flemish to verify the story.
For added hoopla, I embellished further by stating that I had turned down
the surgical procedure advocated by my prominent gastric physician in
favor of an ancient Hindu remedy that required me to eat bananas and
perform yogi gut exercises until I finally shat a chandelier.
This clever little vignette made front pages worldwide including
U.S.A. Today and produced tons of radio including "The Rest of the
Story" with Paul Harvey. Jay Leno even got in on this one by making a
joke about me on the Tonight Show. No shit!
Note: Creativity and photos are the essential ingredients. Create a
newsworthy package that can be easily disseminated to the electronic
media. As always, make it easy for them to use your story to fulfill their
need for content.
4. SUPERGLUE DISPUTE
The media adores a good dispute. By monitoring current events and
issues, you can pick a fruitful publicity fight whenever an opportunity
arises to spike interest in your business.
Corporate publicity departments are trained to respond to inquiries.
Here's a story chronicling how I used this information to sucker a few.
Superglue is a generic name that no single entity owns. Superglue was
invented to seal wounds quickly in Vietnam. There are five or six
companies that use this brand name. The Superglue industry is
dominated by cutthroat business practices and it's no secret that these
competitors loathe each other. Armed with this knowledge of the
product's history and the Superglue industry, I sent a short, but sweet
letter to all the Superglue manufacturers.
"Dear Sirs, there is a new star in the Jim Rose Circus called
"SuperGlue Man" who uses your product to glue household items to his
body. This sensational performance is in need of a sponsorship. Our
suggested slogan is "A stitch in time to save lives, put Superglue in your
shaving kit". Would you be interested?"
Naturally the companies responded with terse letters refusing my
gracious offer and chastising me for misuse of the product. I turned their
letters over to the media and it became news.
For your information, I actually have someone in my show that does this
act. I also have a performer who balances a running lawn mower on his
chin while the audience throws heads of lettuce at the blades. The
resulting shower of salad on the stage is both hilarious and low in
cholesterol. I got loads of press for this culinary innovation when lawn
mower companies refused my sponsorship offer. To this day, I cannot
understand why they didn't grasp the marketing opportunities for my
visionary new use of their product. "Take the mower out of the shed,
clean off the cobwebs and use it in your kitchen!"
5. MONKEY BUSINESS
Here's one I've done many times that could be a no brainer for almost
any business. First, insert a monkey into your company logo. If you don't
like a monkey moniker, you can change it back to your preferred
stodginess after you get thousands of dollars worth of free publicity. Find
a local monkey handler and retain him for the use of his simian and to go
JR P.R. Training Manual 40
along with your story.
Take the monkey on a leash to a popular public park. Climb a tree with
the monkey and tether the leash to a branch so the chimp can't wander.
Upon returning to terra firma, notify the local media that your monkey
has gotten away in the park. You suspect that the monkey may be hiding
in a certain tree, but you're waiting for the Fire Department's arrival to
coordinate search and rescue efforts. It's crucial to wait twenty minutes
before calling the Fire Department to give the journalists time to get to
the scene (trust me, they will all come for this story). When the firemen
arrive, tell them you only need the ladder. Then allow the monkey
handler to effectuate the rescue.
After safely retrieving the chimp, tell the media this monkey is your
business mascot that modeled for your logo. Be sure to appear excited
and flabbergasted instead of polished and professional. It will work.
6. LOST SCORPION
Bb the Circus Queen allows live scorpions to crawl into her mouth.
We once demonstrated this aspect of her act during an appearance at the
venerable British Broadcasting Company. After the demonstration, we
advised a BBC executive that the mischievous scorpion had escaped. The
executive immediately instituted a frantic search that shut down the entire
network. Twenty minutes later, a circus member who had hidden the
critter in his pocket pretended to find it. Later in Spain, we had an entire
beach in Spain cleared while people searched for one of our lost
scorpions. Fortunately, we somehow managed to skate around any
residual fallout from these lost scorpion debacles and miraculously our
performances in both markets sold out.
7. LOOK ME IN THE EYES
Sometimes it's better to share press than it is to get none at all. Find an
entity with the same goal and work the project together. For example,
zoos and reptile houses are always looking for free publicity. When I
arrive in a new city, I call the marketing department of a zoo to let them
know that I'm an accomplished animal hypnotist and offer my services
for free. I ask them to find an animal that is having a problem
procreating, then suggest that together we can solve the problem and
procreate press. This situation is usually consummated with a photo
driven story. Looking into the eyes of a lion is a good image. I actually
can hypnotize animals and have helped many zoos over the years.
8. ELSEY THE ELEPHANT
About ten years ago Mark received a call from an old friend who was
taking his circus out for the last time and asked for some publicity help.
The spectacle was down to its last ring; a monkey, two horses and an
elephant were about all that he had left to offer. The circus was
stationed in Calais, France and was ready to be transported across the
strait of Dover into England. Mark promised a bunch of journalists a
surprise provided they would join the circus in Calais. When they arrived,
Mark had them board a ship. He plied them with alcohol while deftly
dodging their questions about the reason for the trip. Finally he took them
down to the hold to see the animals. The journalists were disappointed
and upset. They looked at Mark like he killed the Lindbergh kid and
demanded an explanation.
In a classic Mark moment, he exclaimed grandly "Come on guys,
don't you get it? Your headline is written. NOT SINCE NOAH!"
The story got some coverage, but wasn't impactful. After the first
show, it was obvious that the circus needed more press. Mark put out a
release stating that Elsey the elephant had sucked up the key to the safe
through her trunk and now the circus employees couldn't be paid.
This generated great press. The next day Mark asked the English
equivalent to the National Guards for assistance in solving this odd
dilemma. The photo of uniformed stooges passing a metal detector along
Elsey's stomach made front pages everywhere. Elsey became a national
obsession that demanded a saga. The story carried on for days. It was her
final season, she always loved children, blah, blah, blah...
I have hundreds of stories about self publicity. My final story is one of
my favorites from Mark Borkowski. If you would like more info on this
subject order his book, Improperganda - the Art of the Publicity Stunt.
There are many great stories in Mark's book which are accompanied with
photos about some of my exploits that haven't been included in this
chapter (staged injuries, herding sheep and other creative feats that
generated free press).
9. THE TAP DANCING DOG
In the early Nineties, Mark was doing public relations for a London
novelty show. Since the production wasn't getting much traction, he
decided to put out a press release to ignite some interest. After much
thought, he announced that a tap dancing dog was to be included in the
line up. According to his glowing press release, this amazing canine
could not only tap dance, but also bark in tune to the music with perfect
timing. The results were predictable. The media went wild and clamored
JR P.R. Training Manual 41
to preview the dog act.
Mark repeatedly postponed their requests and insisted that the press wait
until opening night just like the general public. Interest became so
intense, Mark quickly realized that the credibility of his public relations
company would be in jeopardy if he couldn't come up with a solution. He
was in a jam, especially since he didn't have a tap dancing dog.
While drinking tea one afternoon, the answer materialized. Late that
evening, he made a clandestine mission to a local roundabout where he
had often noticed road kills. Like a modern-day grave raider, he spirited
away a fresh dog carcass. The following day, Mark placed a leash on
the dead dog, transported it to the entrance of the East End theater and
placed it next to the curb.
Between anguished sobs, Mark used his cell phone to quickly organize an
impromptu press conference on the sidewalk. He explained to the stunned
media horde that the world's most talented dog had heard a car radio, ran
off the curb to dance to "Living On A Prayer" and was then nailed by a
speeding taxicab. Mark's performance at the press conference was
absolute mastery. Not only did he cry like a baby, but he displayed the
new leash that had been jerked from his grip when the dog bolted for its
last tango. The press conference created massive amounts of press for
days due to the mourning period and intricacy of the funeral
arrangements.
All who attended the service and the bereaved who read accounts of the
funeral in the newspapers took comfort that Mark's eulogy was both
eloquent and moving.
Okay, I know what you're thinking: "I wear a suit and tie. Deception isn't
acceptable in my line of work. My mother would disown me.etc."
I respect the fact that integrity is crucial to most people reading this
manual. But creativity is acceptable in every industry. It pays to be pro-
active. Any business can create an effective public relations campaign by
constantly seeking situations where you can shine. You may have to
temper your ability to be extreme, but that doesn't mean you can't find a
creative way to differentiate your business from the herd.
Publicity is the art of differentiating yourself from the herd. It is possible
in every business including yours. Unless, of course, you're content with
the sights and smells associated with following the herd.
I have been chastised for the "deceptive" nature of the publicity stunts
chronicled in this chapter. I remind people that a little bit of P. T. Barnum
lives in all of us. Above all, publicity is about getting your story to your
target audience despite all the endless chatter competing for their
attention. Your challenge is to determine what your customers expect
from your industry and competitors. Then find a creative avenue to reach
them in a way that grabs their attention. If the nature of your business
depends on integrity and a pristine image, craft a publicity campaign. If
the nature of your business allows you to skate closer to the fringe, stage
publicity stunts.
CHAPTER 11
INSPIRATIONAL HEADLINES
In conclusion, I've listed some of my favorite quotes from featured stories
around the world. Armed with creativity and an ability to spot an
opportunity, you can generate your own headlines. It's my divine hope
that these examples will provide some inspiration.
"The absolute must-see act is the Seattle-based Jim Rose Show" -
Rolling Stone -
"Freakmania is spreading unabated" - Newsweek -
"The line in Salt Lake City stretched all the way to the Mormon
Temple. They had to turn hundreds away" - Wall Street Journal -
"His delivery is brutally comic. He plays the highly-strung audience
like a violin" - The Independent, London -
"Amazingly, it is actually fun. It may not be everyone's idea of
entertainment, but then what is? It certainly does not deserve to be
banned" - The Times Magazine, London -
"If the body of performer Jim Rose is indeed a temple, he has
perfected its desecration to a fine art" - Spin Magazine -
"Selling out shows across a thrill-hungry nation" - Peter Gilstrap,
Washington Post -
"His contribution to world culture: Made the world profitable for
Mexican transvestite wrestlers" - Fast company Magazine -
"Jim Rose is a pop culture Icon" - San Francisco Weekly -
"The main attraction was the Jim Rose Show, a post-punk freak show
from Seattle"- Jon Parales, New York Times -
"The audience is on their tiptoes, moans and shrieks, some people
cover their eyes, others cast furtive looks at their companions" - Ann
Japanga, LA Times -
"A showman in the classic Barnum style, he's obsessed with the best
and the strangest and with providing genuine entertainment" -The
Toronto Star-
"This word "freaks" could be a contentious one, however Rose
defuses my discomfort with a short laugh" - Sydney Morning Herald -
"The show attracts a wide range of audience members; you see an
artist sitting next to a cowboy next to a rocker next to a person in a
business suit" - LA Life
JR P.R. Training Manual 42
"We all went home satisfied, entertained and suitably appalled to the
depth of our being" - New Music Express, London -
"I've seen a lot of things in my time. I must see 40 circuses a year, but
this lot...They came on in their street clothes and then...They're beyond
anything I've ever seen. They shocked me" -Gerry Cottle - circus
proprietor - in Sunday Telegraph, London -
"Jim Rose is a cult hero" - Tucker Carlson, CNN -
"Muzzing the line between art and outrage" - Time Out, London
"All of this is not necessarily pretty, but it is wonderful because it
genuinely causes the mind to wonder" - Katherine Dunn, author of "Geek
Love" - LA Times -
"Audience reaction is largely that kind of revolted amusement more
commonly associated with tourists at a bullfight" - Melody Maker,
London -
"Report backstage" . That was the first hint that the incredible,
stupendous Jim Rose show was about to begin" - New York Post -
"Creating the biggest wave of this mania is the Jim Rose show, a
Seattle-based rock styled live act comprised of a half-dozen attractions" -
New York Newsday -
"Lollapalooza's word of mouth hit attractions" - USA Today -
"Hot business suit, Jeans, Jim Rose t-shirt, Reeboks" - Richard
Linklater, director of Slaker for Rolling Stone's "Hot List"-
FINAL THOUGHTS
Be persistent and ride your way to media limelight.
These P.R. techniques will multiply your chances of getting media
coverage amidst fierce competition. Success comes when you
consistently look for ideas or events to tell the media about. Once you
start promoting your business, dont stop. A sustainable public relations
strategy is a long-term endeavor. It can take months to capture the
attention of targeted media. Plus, its important to remind the press about
your business on a regular basis so they dont forget about you.
Use creativity and don't be ashamed to be an opportunist!
ABOUT THE AUTHOR
Jim Rose is the founder of the Jim Rose Circus since 1990. The circus
troupe has toured the world for many years, and appeared in every
medium of the media. Here are some highlights.
TELEVISION: Jim Rose was featured in an episode of The X-Files, the
Season 2 episode Humbug which was set in a community of sideshow
and former sideshow workers.
Homer Simpson runs away and joins the Jim Rose Circus as The Human
Cannonball on an episode of The Simpsons.
The Jim Rose Circus Sideshow video tape (1993 American Recordings)
was re-released in 2003 as a DVD by Moonshine Music.
The Jim Rose Twisted Tour was a seven episode series that debuted
March 2003 on the Travel Channel. It was released in 2006 on DVD,
which includes all 7 episodes.
MOVIE: Jim Rose appeared in the movie "Outing Riley", a film by
HBO's Project Greenlight alumni.
VIDEO GAMES: Jim Rose voiced the character Psymon Stark in the
snowboarding video game SSX Tricky and Sled Storm 2. The reason he
was chosen was because he was best suited for Psymon's psychotic nature
and stunts.
BOOKS: Jim Rose wrote the autobiographical Freak Like Me (Real,
Raw, and Dangerous) (Dell 1995 ISBN #0440507448) He also released
the book Angles in 1999 and Snake Oil (Life's Calculations,
Misdirections, And Manipulations) in 2005.
Rose was written about extensively in several Pearl Jam books and
Marilyn Manson's autobiography 'Long Hard Road Out Of Hell'. The
stories refer to the 1994 'Downward Spiral Tour' with Marilyn Manson
and Nine Inch Nails.
SPOKESPERSON: Rose served as a spokesman for Gordon's Gin in
1996.
In 2008 Rose was hired as spokesperson and performer for Dos Equis in
the Jim Rose: Most Interesting Show In The World U.S tour.
FESTIVALS: Jim Rose was also the top ticket of the Melbourne
(Australia), New Zealand and Edinburgh (Scotland) Fringe and Comedy
Festivals for many years.
Rose has been hired by corporations including Microsoft and regularly
speaks as a consultant for PR firms; in this regard he has been pictured on
the cover of The Wall Street Journal and Fast Company magazine,
and is featured in the marketing book The Deviants Advantage.
He currently lives in Washington state.
Table of Contents
JR P.R. Training Manual 43
Foreword................................................................................................1
Chapter 1. WHAT IS P.R.?.........................................................................1
1. DEFINITION......................................................................1
2. P.R. ADVANTAGES...........................................................1
3. HISTORY............................................................................2
4. DEVELOPING YOUR P.R. PLAN.....................................3
Chapter 2. BUZZ MARKETING ..............................................................4
1. SO WHAT EXACTLY IS BUZZ?.......................................4
2. HOW DOES BUZZ WORK?..............................................4
3. HOW TO CREATE BUZZ..................................................5
4. THE BUSINESS OF BUZZ................................................5
5. MEDIA BUZZ.....................................................................6
6. INTERNET BUZZ..............................................................6
Chapter 3. THE ART OF SELF-MYTHOLOGY - From Dali to Donald 6
1. SALVADOR DALI..............................................................7
2. DONALD TRUMP.............................................................8
3. USING SELF MYTHOLOGY TO CREATE A BUSINESS
BRAND...................................................................................8
Chapter 4. CREATING NEWS .................................................................9
1. NEWS ANGLES TO PITCH............................................10
2. ADDITIONAL IDEAS TO CAPTURE THE MEDIA .....11
Chapter 5. P. R. OUTREACH..................................................................11
1. VIRTUAL MEDIA ACCESS ...........................................11
2. WRITING AS A PUBLICITY TOOL...............................14
3. CREATE YOUR OWN OPPORTUNITIES......................15
4. BROADCAST MEDIA.....................................................18
5. OTHER PROMOTABLE IDEAS.....................................21
Chapter 6. THE PRESS RELEASE.........................................................22
1. FORMAT ..........................................................................23
2. RELEASE DATE ............................................................23
3. THE HEADLINE .............................................................23
4. THE BODY.......................................................................23
5. STYLE ..............................................................................24
6. FACTS, FIGURES & QUOTES.......................................24
7. PHOTOGRAPHS..............................................................25
8. CONTACT DETAILS .....................................................25
9. DEADLINE.......................................................................25
10. WHEN TO SEND THE PRESS RELEASE ..................25
11. HOW TO DISTRIBUTE YOUR PRESS RELEASE......26
12. FOLLOW UP YOUR PRESS RELEASE ......................28
13. ADDITIONAL TIPS.......................................................28
14. MUSICIANS PRESS RELEASE SAMPLES.................28
15. FINAL NOTES................................................................30
Chapter 7. CREATE A TARGETED MEDIA LIST.................................31
1. TARGET YOUR AUDIENCE .........................................32
2. RESEARCH YOUR PUBLICATION...............................32
3. ORGANIZE YOUR LIST ...............................................33
4. OVERVIEW OF THE MOST ACCESSIBLE AND
EFFECTIVE MEDIA............................................................33
5. WHO DOES WHAT .........................................................34
Chapter 8. INTERVIEW TIPS.................................................................35
1. THE TELEPHONE CALL................................................35
2. HAVE YOUR ANSWERS READY..................................36
3. HAVE INFORMATION AVAILABLE.............................36
4. BREVITY & ACCURACY...............................................36
5. SOUND BITES.................................................................36
6. BE QUOTABLE................................................................36
7. ANECDOTES...................................................................36
8. ON THE RADIO...............................................................36
9. YOUR TELEVISION IMAGE.........................................37
Chapter 9. WAYS TO MAKE THE MEDIA LOVE YOU.......................37
Chapter 10. THE ART OF PUBLICITY STUNTS..................................37
1. A NIGHT AT THE OPERA ..............................................37
2. SHOOT ME.......................................................................39
3. LIGHT MEAL...................................................................40
4. SUPERGLUE DISPUTE..................................................40
5. MONKEY BUSINESS .....................................................40
6. LOST SCORPION............................................................41
7. LOOK ME IN THE EYES................................................41
8. ELSEY THE ELEPHANT................................................41
9. THE TAP DANCING DOG..............................................41
Chapter 11. INSPIRATIONAL HEADLINES.........................................42
About The Author ................................................................................43
JR P.R. Training Manual 44