Likable Business by Dave Kerpen (Book Review)

Likable Business Pyramid Dave KerpenThis is a book review of Dave Kerpen’s second book, Likeable Business: Why today’s consumers demand more and how leaders can deliver. Kerpen is the co-founder and CEO of Likable, a social media and word-of-mouth marketing firm in New York. He has also been named the most social CEO of the Inc. 500. I read Dave’s first book, Likable Social Media, and was so enchanted with it that when I heard that he had written a second book, to be released fall of 2012, I ordered it right away. Since the thesis and case studies in Kerpen’s first book seemed directly applicable to businesses of every size and kind, it seemed natural that his consulting experience with companies and social media would easily translate into a more generalized business strategy book.

The gist of Likable Business is that the same key principles of effective business use of social media – to listen, be responsive, and tell stories – apply beyond social media, to business in general. The book is written for marketers and executives at small, medium and large companies who wish to “reorganize not only the way they do business around their customers, but the way they empower their people to become likable leaders.” (6) As Kerpen states up front, this is not a research-based or analytical book – “for data junkies, something will be missing” (6) – nor is it a list or manual for the latest tools to optimize the online presence of a business. You could, however, call it a manual of business etiquette for modern companies of every size, from one-person consulting shops to large multi-national corporations.

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8 Things Indie Musicians Can Learn From Taylor Swift’s Red Release

**If you like this post, you may also enjoy my follow-up post 5 Things Indie Musicians Can Learn From Taylor Swift’s 1989 Release**

Album sales may be plummeting in the music industry overall, but Taylor Swift’s latest album hit the number one position on iTunes’ Top Album charts within 36 minutes of its release last month and remained there for the past three weeks. First week sales were 1.21 million copies, according to Nielsen Soundscan – the biggest first-week figure for a new album in more than a decade. None of this was an accident – it was the result of a carefully orchestrated and deeply creative yet disciplined launch. What lessons can indie musicians take away from the way the upstart Big Machine Label Group marketed Taylor Swift’s “Red”? Sure, Swift’s label probably spent millions of dollars of marketing budget and had relationships with huge retail chains, but there are some lessons for smaller music marketing budgets.

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Identifying Your Super Fan

“Indie band marketing is similar to marketing a small, consumer-focused businesses: a marketing budget that is probably zero to little, and the objectives are finding new customers, keeping existing customers happy and identifying brand.” […more]

I’m so excited to have published my first guest blog post on the digital music distribution site, Ditto Music. These guys are a great source of information for indie musicians, and they also might be a one-stop solution for you if you are looking to license and distribute your music online.

In my guest post, you’ll learn about some simple online tools to help you profile your Super Fan – you know, the fan who loves your music so much they help you market it to others without you even asking. Word-of-mouth is still the way most things go viral on the internet, but it’s also just good marketing to know to whom your music really appeals.

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TAXI Road Rally 2012 Flashback

For those of you not familiar with TAXI, it’s a 17-year-old company that helps unsigned songwriters and composers submit their music for a variety of opportunities in film, TV, movies, and with labels. This is very helpful for aspiring artists like me who do not have deals with publishing houses or music supervisors. It’s also a great way for music supervisors to license new music cheaply from unknown artists. I’m just too old to be a rock star, frankly, but I’d love to create a revenue stream from my music via TAXI.

Membership in TAXI costs $300 a year (discounted if you bring others to the service), and there are small per-song submission fees as well. The Road Rally is TAXI’s annual member conference. Michael Laskow, who runs TAXI, said that they have about 10,000 members, and that 2700 of them registered for the conference this year. I have heard others say that the Road Rally conference is one of the best things about being a TAXI member, and I tend to agree. Although free to attend (members can bring one free guest, also), it’s certainly not free when you count travel expenses and your time. There are so many music conferences these days, it’s important to budget for them and to ask yourself if they are really worth attending. We spent a about $1100 per person in real money, as well as the time away from our clients and our own music creation. I always come home with some new information and insights from the TAXI Road Rally, though. Sitting in LAX thinking about the last three days I spent at the Rally, I thought I’d share why I feel it was well worth both my time and money.

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12 Amanda Palmer Lessons (Not About Kickstarter)

Naked Picture of Amanda Palmer She TweetedI’m not a huge fan of Amanda Palmer’s music, in fact, I admit I haven’t listened to her newest album. This is particularly embarrassing because I was a supporter of her Kickstarter campaign.  But what drew me to donate, and what continues to intrigue me about Palmer, is less her music, and more the gestalt of her success. As an indie artist myself, I got to thinking lately about what differentiates Palmer in a sea of indie musicians. Why has she risen above the noise in such a big way?

By writing this list, I am not suggesting that every artist should emulate Palmer, and I certainly don’t plan to myself. Instead, like David Byrne, I believe we should be inspired by her to think creatively about how to gain exposure for and market ourselves, not just our music. This is what fans really want: they want to be intimate with artists, to connect, to feel moved emotionally through experiencing their art, to feel they know them. All human beings are attracted to (and frankly a little afraid of) people who are unusual, creative and dynamic. As musicians, we may choose, like Palmer, to use that attraction to create exposure for ourselves and our music in an increasingly cluttered musical landscape, with an audience that has a shorter and shorter attention span.

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An Interview With… Me.

Play It Loud Music Podcast Aaron BethuneI am so pleased to post this podcast interview of me by my friend Aaron Bethune of PlayItLoudMusic.com. Yes, Aaron interviewed me (not the other way around) this time.

Aaron is the founder of Play It Loud Music, a boutique management and booking agency run by a tight knit team of industry specialists and musicians. They have an extensive music licensing catalog, and they also offer an “a la carte” menu of services including marketing and branding to artists, labels, producers, studios, and businesses looking for a creative edge.

I met Aaron through Twitter (an example of just how amazing social media can be at bringing people together), and we hit it off right away. Last week, he asked (perhaps a bit innocently) if he could interview me. Frankly, I was flattered, because Aaron interviews some of the most influential people in the music industry, people like author and music licensing guru Sarah Gavigan, branding expert Marty Neumeier, music supervisor and journalist David Weiss and many others on his blog and podcast, Above the Noise. I hope you enjoy it. Aaron and I talk about my past life as a technology marketer, and what I’ve learned about the similarities between the music and software industries. Please feel free to comment on the interview, I’d love to hear what you think.

Above The Noise Music Industry Podcast with Recording Artist & Software Developer Solveig Whittle

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Can You Fall In Love Through Social Media?

I have never met people in bars or laundromats or hiking clubs. All my relationships since college have heavily involved online communication. You know, the first batch of communication is purely professional, and then at some point it moves to the personal… and the line is irrevocably crossed. Of course, all of my online relationships continued on fairly quickly to become in-person relationships, some of which resulted in marriage, cohabitation and kids. Sometimes I wonder if I didn’t self-select for people who were more comfortable with online communication than in-person interaction. Or, it could be me who is more comfortable with online communication, which would explain a lot.

Until fairly recently, my online communication tool of choice was email, because I’m from that generation, and because it is private. More recently it’s been texting. Social media has upped the complexities of online engagement for me. It’s seductive and addictive: richly multi-media and immediate, global and yet anonymous. I think there are some very real pitfalls with social media, however, that are not as pronounced with other forms of online communication. Unlike email or texting, social media allows stalking and lurking – and that seems inherently fraught with the dangers of a sustained, one-sided infatuation. It’s less accountable, and thus more prone to the (less than attractive) pitfalls of Jungian projection. (I hope you didn’t click on that link and get lost. This really isn’t a psychology post. Well, it is, but only sort of.) On to the real meat of the issue.

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Interview # 2 With Brian Thompson of Thornybleeder

This is the second half of my hour-long interview with Brian Thompson (theDIYDaily.com), a Vancouver-based music industry entrepreneur, record label owner, artist manager, marketing consultant, digital strategist, brand architect, web designer, blogger, podcaster and industry speaker. Formerly the corporate head of buying and marketing for a large Canadian music retail chain, Brian faced a crossroads when his long-time employer went bankrupt. Using social media, Brian has since re-created himself over the past three years to become a well-respected voice on the convergence of independent artist development, music marketing, social media and technology.

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Personal Branding in a Digital World

What is branding? Is it a tagline, a visual icon, a jingle? Or does it stand for something more? What is personal branding? How are our deepest and most personal values – what we stand for – reflected in what we do online and how we present ourselves in a business context?

I just attended the first in a series of workshops facilitated by Michael B. Maine (whom I met through Twitter). Michael is a specialist in socially responsible marketing and social entrepreneurship, and is both staff and student at the Bainbridge Graduate Institute (BGI), a pioneer in the sustainable MBA degree.

There are so many good things to say about this workshop. The majority of the attendees were members of Michael’s cohort or instructors at BGI, and I have to say: Wow, I have never seen a group of MBA students more excited about being in MBA school. (I am not affiliated with BGI in any way, this is just my personal observation from one evening). I was nowhere near that excited about getting my MBA!

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Interview # 1 With Brian Thompson of Thornybleeder

As a student of social media, I am interested in the role that content plays in the development of a personal brand. To get some firsthand insight into the processes and dynamics that are involved, I interviewed a social media marketing influencer I met through Twitter, Brian Thompson (of theDIYDaily.com).

Brian is a Vancouver-based music industry entrepreneur, record label owner, artist manager, marketing consultant, digital strategist, brand architect, web designer, blogger, podcaster and industry speaker. Brian’s been in the music biz for twenty years. Formerly the corporate head of buying and marketing for a large Canadian music retail chain, Brian faced a crossroads when his long-time employer went bankrupt. Using social media, Brian has since re-created himself over the past three years to become a well-respected voice on the convergence of independent artist development, music marketing, social media and technology.

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