For a schedule of all the fun-filled events and the delicious menus click here.

To book a night at one of the beautiful inns, click here.

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But the tricky question is who should get the exclusive. There are a several approaches to take in considering who should get the exclusive, and, in the end, you have to accept that some media members probably won’t be happy.

In no particular order, here are the approaches:

• Mercenary. This is pretty basic. You pick the biggest or the best media outlet – print, broadcast and online – and give it to them. When you want impact, you’ve got to be mercenary. That means you might end up wounding some other important media relations.
• Small leak. Sometimes, you just want a small bit of publicity for a client, which might be appropriate for a soft launch of a product or service. But you also want it a story that might build a bit. This would be a perfect place for a well-read blog. It might take a few days for the mainstream media to pick up the item. That could lead to maximum exposure for the hard launch.
• Trusted source. When you want to hand over an exclusive that’s sensitive, you need to pick out a media source who you think will be the most objective.  This one seems obvious, but you need to be careful, too. Your job here isn’t to manipulate this person, but simply to provide truthful information that you want reported accurately.
• Relationship building. For low-impact, but interesting sorts of information, you will probably want to pick media sources that you’ve neglected in the past. You don’t want to burn bridges. So if you are in the habit of giving exclusives, you need to make sure that most of your media contacts get one every once in a while.

So I’ll finetune this with some Do’s and Don’ts.

DO use exclusives from time to time, and the media source should depend on your strategy.

DON’T play media favorites. You really do need to rotate exclusives, or you could end up burning a media source or journalist. And journalists talk to other journalists.

DO ultimately make the exclusive information available to other media and work with those media.

DON’T make excuses for why you gave a story to one media person or another. Ideally, you should be able to assure most journalists, bloggers and others that their turn will come.

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Festival Schedule

Monday, July 12, 2010

7:30 PM: Missouri Theatre Center for the Arts: Alarm Will Sound (AWS) Opening Concert

ALARM WILL SOUND IS ”…the future of classical music…” AND ”… as close to being a rock band as a chamber orchestra can be.” - New York Times

Alarm Will Sound kicks off the Inaugural Mizzou New Music Summer Festival with their opening concert featuring the world premieres of W. Thomas McKenney’s Thirteen Ways of Looking at a Black Bird andPura Vida by John Orfe. Alarm Will Sound will perform Derek Bermel’s Hot Zone (1995) based on the tradition of the West African gyil, a 14 to 18-key instrument resembling a Western marimba, from Northern Ghana and Southern Burkina-Faso. Another highlight of the concert is a performance of Martin Bresnick’s BE JUST! (1995), a work inspired by Franz Kafka’s The Bucket Rider.

Tuesday, July 13, 2010

8:45 AM – 12:15 PM: Resident and Faculty Presentations - Fine Arts Building 145 - Open to the Public
1:45 PM – 5:00 PM: Lessons with Faculty
1:45 PM – 5:00 PM: AWS Rehearsals - Loeb Hall 201 - Open to the Public
7:30 PM: Missouri Theatre Center for the Arts: Lisa Moore, pianist

“Australian pianist Lisa Moore is an extraordinary champion of contemporary music. Her playing is both powerful and sensitive.” - American Record Guide

Lisa Moore has dedicated her life to creating a new way to experience the piano. Combining powerful technique with vivid theatricality, her solo concerts are more than ordinary piano recitals. Texts, songs, whistles and screams mix with virtuosic cascades of pianistic brilliance, creating forceful thematic programmes, focusing on a single composer or idea. Featured on Lisa Moore’s solo concert is Martin Bresnick’s For The Sexes: The Gates of Paradise (2001), an extended work for solo piano accompanied by Puppetsweat Theater’s computer animations of William Blake’s (1757-1827) drawings and illuminated manuscript designed and executed by Leslie Weinberg and directed by Robert Bresnick. Other composers featured on this concert are Timothy (Timo) Andres, Sam Adams, Don Byron and Leoš Janácek.

Wednesday, July 14, 2010

8:45 AM – 12:15 PM: Resident and Faculty Presentations - Fine Arts Building 145 - Open to the Public
1:45 PM – 5:00 PM: Lessons with Faculty
1:45 PM – 5:00 PM: AWS Rehearsals - Loeb Hall 201 - Open to the Public
7:30 PM: Whitmore Recital Hall: AWS Composers as Performers Lecture Recital - Open to the Public

Thursday, July 15, 2010

8:45 AM – 12:15 PM: Resident and Faculty Presentations - Fine Arts Building 145 - Open to the Public
1:45 PM – 5:00 PM: Lessons with Faculty
1:45 PM – 5:00 PM: AWS Rehearsals- Loeb Hall 201 - Open to the Public
7:30 PM: Missouri Theatre Center for the Arts: “Composers that Rock” How we got to where we are. A look at cutting edge music through the ages from Schumann to Freund.

” (Kirk Trevor’s) deep understanding of the mechanics of orchestral sound and his seemingly boundless enthusiasm for the music that is being written today have established him as the composers’ advocate of choice.”
- Hilary Tann, OUP composer
This concert features the Missouri Symphony Society Music Ensemble led by Maestro Kirk Trevor and featuring pianist Lisa Moore in a concert including works by Schumann, Stravinsky, Martin Bresnick andStefan Freund. This is an evening about the journey from yesterday’s cutting edge to today’s cutting edge and how popular music styles have inspired composers throughout music history. Kirk Trevor will interview Ms. Moore and musicians on the performer’s role in the playing of new music, as well as entertain questions from audience members about the state of music today.

Friday, July 16, 2010

8:45 AM – 12:15 PM: Resident and Faculty Presentations - Fine Arts Building 145 - Open to the Public
1:45 PM – 5:00 PM: Lessons with Faculty
1:45 PM – 5:00 PM: AWS Rehearsals - Missouri Theatre Center for the Arts - Open to the Public
7:30 PM: Whitmore Recital Hall: AWS Extended Instrumental Techniques Presentation – Open to the Public

Saturday, July 17, 2010

9:00 AM – 12:15 PM: AWS Rehearsals – Closed to the Public due to Recording
1:45 PM – 5:00 PM: AWS Rehearsals - Closed to the Public due to Recording
7:30 PM: Stefan Freund Faculty Presentation- Fine Arts Building 145 - Open to the Public

Sunday, July 18, 2010

2:00 PM: Missouri Theatre Center for the Arts: Eight World Premieres Performed by Alarm Will Sound

ALARM WILL SOUND PERFORMANCES ARE ”….Überhip…” - Entertainment Weekly and ”… spectacular… youth, energy, and talent focused on making us hear what the music is up to.” - Boston Globe

120 composers from around the world representing the People’s Republic of China, France, Spain, Turkey, Korea, Mexico and the United States submitted composition portfolios to participate in the festival and eight resident composers were selected. The festival concludes with the world premiere of eight works composed for acclaimed new music ensemble Alarm Will Sound by the festival’s eight resident composers: Francisco Cortés-Álvarez, Christopher Dietz, Paul Dooley, Moon Young Ha, Edie Hill, Amy Beth Kirsten, Jeremy Podgursky, and Zhou Juan.

6:00 – 10:00 PM: Special Event

All concerts are general admission and will be held at the Missouri Theatre Center for the Arts in downtown Columbia (203 S. Ninth Street).  Visit their website for Tickets or call (573) 875-0600.

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St. Louis Healthy Families is dedicated to the support and encouragement of healthy families and relationships through education and community awareness. Click here to learn more.

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But a few times, I got burned. That story appeared first in competing publications.

In each case, the PR person had some excuse, but it all came down to the same thing: At least two journalists were given access to the same information at roughly the same time.

There might be some reasonable explanations, but journalists really won’t care about them. Promising an exclusive and then not delivering is seen by journalists as a serious offense. Promising an exclusive and then delivering it first to a competitor is an unforgiveable, traitorous offense.

I’m going to spend the next two columns talking about exclusives. In this one, I will define two important terms, then get to my usual Do’s and Don’ts. Next week, by the way, I’ll discuss how you should decide who should get an exclusive.

Exclusive: This means only one reporter has access to critical information that will be published at a certain time. When an exclusive is promised, no other media should have access to the information.

Embargo: This is the date that the exclusive is supposed to be published or aired. Until the embargo date, no other media should have access to it.

So with those in mind:
DO approach one journalist at a time for an exclusive. If the first begs off, quickly move on to the second.
DON’T give one journalist some of the information and another journalist different information on the same subject. An exclusive should be an all-or-nothing proposition.
DO make certain you are in sole control over releasing the information surrounding an exclusive. If others also have that control, you must make sure they don’t share it with others.
DON’T share the information with other journalists until after the embargo is over – even on an embargoed basis. Overly competitive journalists might break the embargo.
DO set clear ground rules. For example, if the embargo date comes and goes without a story, is it permissible for you to shop the story to someone else?
DON’T promise more than you can deliver. Maybe this goes without saying, but I’ll say it anyway: Make sure your client is really willing to share the information before you offer it.

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HOW TO DECIDE WHO GETS EXCLUSIVES

Music is Central

“Music is such a central part of everyone’s life,” Jeanne said. “Radio, CDs, what about the music in Lord of the Rings, Star Wars, Schindler’s List? We know so much music and we don’t even know we know it. And there’s so much new music. So you say to yourself, well, how do we get new music? I was in Vienna doing a series of concerts last year, and think about it Bach, Mozart, Beethoven, come from all over Europe. But Vienna attracted the best composers,” Jeanne enthused. So, she explained, they created a culture for musicians, for composers, for these types of geniuses. “These people were in that particular place in that particular time and people put money up to have orchestras hire composers,” she explained. As a result, these composers’ work was encouraged.

Bringing the Composers of Today Together

“So I started thinking,” Jeanne began, a clear purpose forming in her voice, “Well, maybe you could do it here in America, if it happened in a specific place. You’ve got that great writing place in Iowa, that best opera place in Santa Fe in the summer.” And Jeanne realized what she was going to do, what she could do. “I knew we could do that here in Missouri,” she said. When Jeanne’s vision first began to take shape, it materialized as a statewide competition for young composers in K-12. And not only was the program well-received, the contenders were modern-day Mozarts and Bachs in their youth. “We gave cash prizes to students and to their music programs. The first year we were blown away. One, where do these kids come from? They just crawled out of the ground,” Jeanne laughed. “They were so talented! We did it the next year, and by that time we decided the kids were out there, but there was no place for them to go to get better, so we decided to add a high school summer camp.”

Jeanne’s dream of fostering young composers in Missouri developed further in the third year of the program. “We had this documentary done called ‘Genius Among Us.’ My son’s a movie producer and they were on strike, so he got a bunch of guys to come out and feature the children in our program. It was one of those random good luck strikes, and they won a couple of film awards.” But it was what Jeanne heard the students say in the film that impacted her the most. “What was interesting was that every young composer is all the same. They all say, ‘I hear it in my head.’” Jeanne says she remembers thinking: “You know what, when I get up in the morning, I don’t hear [music] in my head. And,” she said, “that’s what seems to differentiate these composers, these kids. They have this ability to hear new music in their heads.”

Taking It To The Next Level

Jeanne noted after all she had accomplished in the competition and the summer program, she still thought there could be more done, more created, to foster an environment to grow young composers. “We said we have a high school camp, why not add a college camp? Except when we sent out apps, it didn’t occur to us to put age or education limits on the thing. We got eight winners out of 120 applicants. These were world class composers and ensembles and the people who got accepted are the best younger composers. They are all in their 30s, all coming for a camp to have their music performed. It’s really, really hard to get their music performed. Hiring an orchestra is expensive.”

Jeanne remembers her excitement over a future concert with these eight composers. A concert, the inaugural Mizzou New Music Summer Festival, will be held Monday, July 12 through Sunday, July 18 in Columbia, Mo. According to the Press Releases: “The week-long series of events will include four public concerts, culminating in the world premieres of new works written by eight international composers and performed by the acclaimed new music ensemble. Alarm Will Sound at 2 p.m., Sunday, July 18 in the newly renovated Missouri Theatre Center for the Arts, 203 S. Ninth St. in downtown Columbia.”

“What kind of music will they come up with?” Jeanne asked excitedly. “This concert is going to be unbelievable. I think we will have more talent in a single place. And this is a concert performed in Missouri! We have this prize at the university, a big tuition thing, and if you win this scholarship, you also get to write an original piece that will be performed by an orchestra we would partner with. Then things kept going further and the University students were coming and saying: what about us? So I worked with different orchestras – Columbia Civic and others, encouraging them to hire composers, to invite these kids to write original pieces.”

Jeanne might be satisfied knowing her dream has resulted in eight full undergraduate rides for composers. She might be enthused about the coming compositions of the young musicians and composers she is fostering. But really, in her mind, this is just the beginning.

Support for the Composers

Jeanne discussed the opportunities for the composers in her programs. “We have our own ensemble, online or distance learning. There is an on-call composer, and he’ll help.” Jeanne’s program continues to grow, and as the students network with each other and find commonality with other young composers, the vision comes more clearly into focus. With her co-collaborators, she discovers new and interesting ways to tie the arts to music. In an annual contemporary art competition, students will write a piece of music to go along with a piece of art. “I don’t even know how I’d start about picking the music,” she smiled.

Seeing Your Dreams Through

How has Jeanne accomplished what she has for young composers nationwide? “It’s not that you just do something, you’ve really got to want to do it,” she stressed. “I figure if my grandpa can do some of the things he did, no one should use the excuses, ‘well I can’t do that because I didn’t go to the right school,’ ‘I didn’t come from a wealthy background.’ You decide you can or can’t. If you want to be an expert on something, read 100 books. I didn’t major in music, I’m not a composer. But, you can do a lot of things if you’re willing to. People can say what they want about my goal to make Mizzou a Mecca for composers, but I have eight of the best young composers there this summer. The reason our students are getting better is that they now have a bunch of friends like themselves; no one had ever met another composer. But we are developing such great musicians and composers. But we have to grow the kids up and have a place they can have their music performed. We must encourage symphonies to commission new pieces. We have to grow the audience, grow the students. Make it available.”

Jeanne’s passion is tangible. She affirmed anyone can advance causes they care about. For her, it’s been passion, drive, lots of networking and, as she put it, “sweat equity.” “People think it’s about money. Yeah, you need money to do things but you can get a lot done by some money and a lot of sweat equity. You’d be surprised what you can get done just by working on it. You see people all over the country doing amazing things, but it’s all sweat equity.”

“If I can encourage composers . . . well, that’s just what we’re really trying to do, get these areas of interest, of passion, supported.” And, she explained, “These kids are geniuses. Why wouldn’t you want to encourage a genius?”

(Springfield, Missouri)

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Feast is a broad-based, monthly culinary magazine that celebrates St. Louis’ food culture. Its content is a reflection of how people engage with food in their everyday lives. Readers can expect great recipes, restaurant recommendations and trend reporting, but will also turn to Feast for coverage of all aspects of food and cooking, including products, design and lifestyle.

Feast will debut with a circulation of 70,000, and will be free at over 500 locations in the St. Louis region, including Illinois. Catherine Neville, co-founder and former editor of Sauce Magazine, will serve as publisher. Brandi Wills is on board as Feast’s managing editor.

“I am really excited about the breadth of culinary coverage this magazine offers,” said Neville. “It has a national level culinary theme with an emphasis on the St. Louis food scene. Our content will have relevance to our readers’ everyday lives in a way that is accessible and inspiring and makes good food a part of each day.”

The print magazine is the backbone of the Feast Media brand and will be accompanied by a robust online presence at feaststl.com. The site offers continuously updated, local culinary coverage including expanded stories from the print magazine and original content produced exclusively for an online readership, including a rich video library and interactive photo slideshows. Feast will directly engage with the public by hosting culinary events, experiences and classes. In addition, Feast will greatly utilize the social networks Facebook and Twitter to connect with its readership.

Kevin Mowbray, president and publisher of the Lee-owned St. Louis Post-Dispatch, said, “We are proud to have Feast in the Lee family of publications. We anticipate it will find great success in St. Louis and beyond.”

Read it in the news:

STL Today.com – Off the Menu

Riverfront Times

St. Louis Post-Dispatch  – Business Section

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Feast Media is a division of Lee Enterprises, a leading provider of local news, information and advertising in primarily midsize markets, with 49 daily newspapers and a joint interest in four others, online sites and 300 specialty publications in 23 states. Lee’s newspapers have circulation of 1.4 million daily and 1.7 million Sunday, reaching nearly four million readers daily. Lee’s online sites attract nearly 16 million unique visits monthly, and Lee’s weekly publications have distribution of four million households. Lee’s markets include St. Louis, Mo.; Lincoln, Neb.; Madison, Wis.; Davenport, Iowa; Billings, Mont.; Bloomington, Ill.; and Tucson, Ariz. Lee stock is traded on the New York Stock Exchange under the symbol LEE. For more information about Lee, please visit www.lee.net.

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COLUMBIA, MO – Tickets are now on sale for the inaugural Mizzou New Music Summer Festival, which will be held Monday, July 12 through Sunday, July 18 in Columbia, MO.

The weeklong series of events will include four public concerts, culminating in the world premieres of new works written by eight international composers and performed by the acclaimed new music ensemble Alarm Will Sound at 2:00 p.m., Sunday, July 18 in the newly renovated Missouri Theatre Center for the Arts (MTCA), 203 S. Ninth St. in downtown Columbia.

Other public performances at the MTCA will include the festival’s opening concert by Alarm Will Sound at 7:30 p.m. Monday, July 12; a solo performance by pianist and resident performing artist Lisa Moore at 7:30 p.m. Tuesday, July 13; and “Composers That Rock,” a chamber music concert featuring Moore and Maestro Kirk Trevor at 7:30 p.m. on Thursday, July 15.

More than 120 composers, representing countries including the People’s Republic of China, France, Spain, Turkey, Korea, Mexico and the United States, submitted composition portfolios to participate in the festival. Eight were selected to represent a cross-section of the diverse landscape of music being created today. They are:

• Francisco Cortes-Alvarez, who was born in Mexico City and currently is studying music at Indiana University;

• Christopher Dietz, a Milwaukee native who is a visiting assistant professor at the Oberlin Conservatory in Oberlin, OH;

• Paul Dooley, a Californian and doctoral student at the University of Michigan;

• Moon Young Ha, a native of Seoul, South Korea who recently completed his Master of Music degree at the University of Illinois at Urbana – Champaign;

• Edie Hill, who lives in Minneapolis and is composer-in-residence for The Schubert Club in St. Paul;

• Amy Beth Kirsten, a former Chicagoan now living in New Haven, CT;

• Jeremy Podgursky, born in Louisville, KY and now a doctoral fellow at Indiana University; and

• Zhou Juan, a native of Sichuan, China who recently completed coursework for her doctorate in music at the University of Missouri-Kansas City.

  Click here for full bios of the composers.

During the festival the eight composers will receive private composition lessons from guest composers Martin Bresnick, recipient of the first Charles Ives Living Award from the American Academy of Arts and Letters, and Derek Bermel, composer-in-residence of the Los Angeles Chamber Orchestra.  Additionally, they will take part in workshops with Alarm Will Sound, participate in master classes and receive a professional live recording of their work.

The Inaugural Mizzou New Music Summer Festival is part of the Mizzou New Music Initiative, a diverse array of programs launched by the University of Missouri’s School of Music intended to position the school as a leading center for music composition and new music.  The initiative is a direct result of a $1 million donation by the Sinquefield Charitable Foundation led by Dr. Jeanne and Rex Sinquefield.  Their vision is to create an incubator for the composition and performance of new music, and to showcase Missouri as a center for the music of tomorrow.

“The talent of these new composers is staggering,” said Dr. Sinquefield.  “Mixing their talent at the festival with major composers Bresnick and Bermel and Alarm Will Sound will be a crazy, wonderful event.  I cannot wait for the resulting concert.  This is a concert that cannot be missed.  And for the participants, this will be a week they will never forget. Their combined talent is overwhelming. Anyone interested in development of American composition needs to come.”

The participating composers were selected through a portfolio application process by Dr. Stefan Freund, associate professor of music theory and composition, and Dr. W. Thomas McKenney, professor of music theory and composition, electronic music, who both teach at the University of Missouri-Columbia’s School of Music and are resident composers for the festival.  The selected composers each will create a new work up to nine minutes long for Alarm Will Sound’s complete instrumentation, which can be viewed at www.alarmwillsound.com.

Festival passes good for admission to all four concerts are on sale for $35 for adults, $20 for students. Single tickets are priced at $10 for adults, $5 for students for the concerts on Monday, Tuesday and Thursday; and $15 for adults, $10 for students for the final concert on Sunday. Tickets can be charged by phone by calling the MTCA box office at 573-875-0600 or purchased online. (There is a $2 per ticket fee for online purchases; phone purchases will not be charged a fee.)

Click here for a complete listing of the Mizzou New Music Summer Festival events. The programs of the Mizzou New Music Initiative have been made possible through the generous support of the Sinquefield Charitable Foundation. The City of Columbia Office of Cultural Affairs also provided financial assistance for the Mizzou New Music Festival.

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The Mizzou New Music Initiative brings together a diverse array of programs intended to position the University of Missouri School of Music as a leading center in the areas of composition and new music. The Initiative is the direct result of the generous support of Dr. Jeanne and Mr. Rex Sinquefield, and the Sinquefield Charitable Foundation. The Sinquefields’ vision is to create an incubator for the composition and performance of new music, and to position Missouri as a major center for the music of tomorrow.

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Laura Slay – (314) 504-0081
lslay@slayandassociates.com

The University of Missouri New Music Ensemble made its St. Louis debut on Sunday, May 2 with “New Music, New Works,” a concert at the Contemporary Art Museum St. Louis featuring the world premiere of three new compositions written by University of Missouri students especially for the Contemporary’s current exhibition, the Great Rivers Biennial 2010.

The Ensemble, based on the University’s campus in Columbia, MO and directed by Dr. Stephan Freund, includes guitarist Michael Strasbaugh, clarinetist Stephanie Berg, cellist Matthew Pierce, and percussionist Ian Derrickson. They opened the concert with “Crass Menagerie,” composed by Strasbaugh and inspired by Cameron Fuller’s From the Collection of the Institute for the Perpetuation of Imaginal Processes.

Next up was “Paper Guns,” written by Berg in response to Sarah Frost’s Arsenal. “Sarah Frost’s exhibit is not what I was expecting and yet everything I hoped it would be, “said Berg.  “I was aiming to capture the ethereal quality of the motion of the hanging guns in the slow, meditative harmonic landscape of my piece.  The text that I used were my actual thoughts and reactions to the concept of her work as I saw pictures of its progress, since I had to compose the piece before Frost’s work was completed. My focus in this composition is on the expression of the text, as well as the unique coloristic opportunities that the New Music Ensemble has to offer.”

“The idea of translating visual art into music is a new idea to me, and an interesting one – I enjoyed the concert,” said Frost. “I liked Stephanie’s piece, especially the element of spoken voice. Her piece focused on the dark aspects of Arsenal, which she captured well; her piece seemed weighty and monolithic to me.”

The third selection on the program was “1 8 3 9,” a new work by Mizzou Adjunct Assistant Professor Paul Seitz, for which the composer joined the ensemble on violin. The title refers to the year 1839, which Seitz called “a transitional point between old ways and new” and also is the year the University of Missouri was founded.  Martin Brief’s Amazon God served as inspiration for the next composition, “Failure to Communicate,” written by trombonist David Witter. All four performances were introduced by brief remarks from their respective composers.

The Ensemble concluded the concert by playing “Dance of Fury, for the Seven Trumpets,” from Olivier Messiaen’s Quartet for the End of Time. The free event was sponsored by the Mizzou New Music Initiative, the Contemporary Art Museum St. Louis, and the Sinquefield Charitable Foundation.

MIZZOU NEW MUSIC INITIATIVE
The Mizzou New Music Initiative brings together a diverse array of programs intended to position the University of Missouri School of Music as a leading center in the areas of composition and new music. The Initiative is the direct result of the generous support of Dr. Jeanne and Mr. Rex Sinquefield, and the Sinquefield Charitable Foundation. The Sinquefields’ vision is to create an incubator for the composition and performance of new music, and to position Missouri as a major center for the music of tomorrow. Click here to read more about the Sinquefields’ support for the MU School of Music.

PHOTO CAPTION
Dr. Jeanne Sinquefield, New Music Initiative Sponsor – Stephanie Berg, Composer – Sarah Frost, Artist (left to right)

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