“Will The Real You Please Stand Up” by @KimGarst: Book Review

What is authenticity? What does it mean to be genuine with your fans, with your customers? How do you know how much of yourself to share on social media? Why do both corporations and individuals find it difficult, yet rewarding (monetarily and in other ways) to be transparent on social media? How has social media changed the way entities, from musicians to social entrepreneurs to multi-national corporations, market their goods and services and engage in value and monetary transactions? How can we use social media to communicate our values, build trust, build relationships and, ultimately, create loyal fans and customers who buy from us because they share our values?

I recently read two books which stirred a great deal of thought on these questions. One is Kim Garst’s Will The Real You Please Stand Up and the other is The Art of Asking by Amanda Palmer. I was struck with the very different approaches these two women took to discuss the science and art of social media in their books, but also convinced that were they stuck sitting next to each other on a flight from New York to LA, they would find much in common in their approaches to building a thriving brand on social media.

This is a review of Kim Garst’s book, with a few examples from Amanda Palmer’s book thrown in to help illustrate some of the key social media principles Garst espouses (although she has plenty of more corporate case studies in the book).

Whether you are a musician, a corporation, or an individual seeking guidance on how to best use social media to build your brand and your business, Kim Garst’s book is a well-written, vital and accessible resource I know I will be recommending for years to come (and that says a lot in the quickly-changing world of social media).

[A podcast review of Amanda Palmer’s book will be appearing later this month as the focus of an extended interview of me by Connie Rock on the University of Washington’s FlipTheMedia.com].

[Tweet ““Authenticity is the game changer that makes good companies great.” – @KimGarst”]This is the fundamental premise of Garst’s book, a business primer which blends both good and bad case studies with a methodical and organized approach toward 21st century marketing online. In just ten chapters and an easy-to-read 173 pages, Garst lays out the key traits necessary to craft an authentic presence on social media. Her principles apply as well to individuals interested in crafting their personal brand as they do to Fortune 100 companies.

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What Makes Jason Webley and Friends’ “Margaret” So Brilliant

As 2014 winds down, I find myself both excited and bemused to write a final music marketing blog about a Seattle indie artist I first met a few years ago. His newest project, Margaret, hot off the press this month, impresses me both musically as well as promotionally (although I hesitate to use that word, and he would probably cringe at it, too). One of the things that characterizes this artist is a fierce allegiance to the creative much more so than the commercial, but perhaps that is a large part of what makes this music project such a great example to discuss.

Watching the way the marketing and promotion of this album has unfolded since I first heard about the project in April of this year has taught me a lot, and I hope you take something from my analysis.

[Tweet “Good music and creativity are at the heart of successful music marketing. “]

Good music and creativity are at the heart of successful music marketing. I have never seen that embodied so clearly. The marketing is important, and executing well is important, but without good music, marketing only takes you so far.  First and foremost, I believe that what drove Jason’s project was making good music that was meaningful to him.

What is good music? Ah well, that is a subjective thing. All I can say is, I know it when I hear it. And I know when I don’t. And so do you, and so do fans. Marketing is just the icing – it doesn’t disguise a bad cake, but it sure makes a good one taste better. Now, it is true that music is subjective, and there are many tastes, many genres, and many niches. However, some music is just well written and well-performed, and even if you don’t like the genre, you can appreciate the musicianship. Most importantly, good music moves the audience emotionally. Passion, combined with creativity and craft, make art that is magical.

[Tweet “Passion, combined with creativity and craft, make art that is magical.”]

The second most important thing to get from this article is that being flexible and listening to what your fans want from you will go a long way. If you start with a great live performance, and then get a clear message from your fans to release a CD, do what they say and they will buy it.

There’s a bit more to what Jason did with this project, however, so I’ve outlined below the 10 elements I think were most effective at propelling the project forward at such speed and with such success.

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Walking The Dog Episode 16: Taylor Swift and World Domination

In today’s 13 minute podcast, I mention that I will be traveling to Portland, OR this weekend to attend the World Domination Summit 2014, an “unconference” for creative types and internet geeks that was started by Chris Guillebeau, author of a book called The Art of Nonconformity.

The main subject of today’s podcast, however, is women in music. Now, I have written a blog post about the challenges of being a female musician, touring, and having children, but the issue that I wanted to address in this podcast is the intense focus on sex and titillation versus the focus on brains and musical talent that seems to follow female musicians in the press more than male musicians.

[Tweet “Kudos to Taylor Swift for having an opinion on the music industry”]

For those of you who don’t follow the music press much, Taylor Swift wrote an editorial piece this week in the Wall Street Journal about the future of the music business, and was promptly slapped in the industry press about her naivete. I also read a pretty scathing response from industry insider Loren Weisman on his Facebook page (see below).

Now, I am not here to critique the content of Swift’s piece, but rather the manner in which her opinion piece has been trashed. I think it is part of the undue focus the press has on female artists and their relationships, what they wear, and scandal around them instead of on their music and what they have to say.

[Tweet “Artists will get record deals because they have fans—not the other way around.”]

Kudos to Taylor Swift and her team (because let’s all acknowledge that she didn’t get where she is by herself) for having something intelligent to say – whether you agree with her assessment of the industry or not. And kudos to all the other female musicians like Amanda Palmer and Sinead O’Connor and Zoe Keating for trying to articulate points about issues that go beyond how much they are wearing or who they are dataing.

What do you think?

The headlines I referred to in the podcast are:

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Musician Elyas Khan: I’m Not Bad, I Was Just Drawn That Way

Occasionally, I like to interview other musicians who strike me as having an unusual thing going on – whether it is their look, their music, or their marketing. I’m always learning, and it’s great to have role models. When I came across musician Elyas Khan and watched his music video, I thought, huh, here’s a guy who has these elements very together in an unusual way that appeals to me aesthetically.

I think there is a lot of marketing to learn from this actor, dancer, musician, singer and performance artist. He has been Amanda Palmer’s backup band, and Neil Gaiman and Sxip Shirey played bicycle bells on one of his newest songs (read more on that below). Now based in Berlin, Khan is  touring Europe in support of his newest release, Brawl in Paradise, produced by Matt Booker. I interviewed Khan via email because I was curious to know more about him and his music. Check out his music video Bells, too, it’s uber cool in so many ways.

Elyas_Khan_by_Pamela_Maddaleno

S: Thanks for agreeing to this interview, Elyas. I was really intrigued when I stumbled across your latest music video, Bells, on Twitter. I couldn’t look away, actually.  Then, when I delved deeper into your background, I was further flummoxed. The biography on your website is fairly brief. Can you give us a little history and background on you as a musician? I see from your bio that you were in the Brooklyn-based band, Nervous Cabaret, for many years, and you have a very international background. Can you give us a little more about how long you’ve been making music? Do you have another career (as many musicians do) in another profession, or have you been a fulltime musician your whole life?

E: Now music and composition are my fulltime job. My history as a musician is truly only 10 years old though…Out of high school I only had fantasies about the whole thing and fooled around with a punk band called “The Sarcastic Brats” but the guitar was sold early on, school was abandoned and I worked various jobs just living for the weekend. Buying records, new threads, getting to gigs, watching other guys chase women around and jotting it all down in massive leather-bound journals was what I was up to…I dabbled seriously in film school for a while and did well with my profs.

As with many things in my life at the time I just could not complete the program. 16mm film, processing costs and the time it took was just overwhelming to me. I was already doing a late night shift for UPS and washing dishes at a local bistro to keep my head above…

I forged many friendships with kids that were going to art school and got to pour over their books constantly and then someone approached me at the bistro. That place, The Loring Cafe in Minneapolis, was run by many Guthrie Theater and Children Theater alumni. They were about to adapt Siddhartha by Hermen Hesse for their new theatre venture. I was young and probably the only person they knew with Indian parents so they asked me to audition. I did, along with several hundred people and got the job. That started a long chain of events including dancing for a Ballet company, setting up my own company in Minneapolis called Famine Chorus, moving to New York and studying at Playwrights Horizon and then establishing a very active performance company called The Dean Street Field Of Operation (F.O.O.) and creating tape based, cut up scores with found sound and badly played instrumentals for our shows. The whole time I worked as a delivery boy of various goods (don’t ask) and as a mover (don’t ask). I got my SAG card and if you watch some old episodes of OZ and a number of shit films from the 90’s you just might spot me. The entire time I was intent on getting my head around finessing story telling techniques, theatrically, with film and scoring.

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Did I Move You? How To Throw A CD Release Party

I did something important this weekend. It was important because I’m dying. Not anytime  soon, mind you, but someday I won’t be here. So, because I could – because it mattered to me – this weekend I did a few things I enjoyed doing a lot. Things on my bucket list. These were all things I’ve never done before, and I did them with people I love and respect. I

  • entertained 50 people (pictures here),
  • performed original music I had created with my life partner, Stevie,
  • opened for Amanda Palmer (@amandapalmer, yes that Amanda Palmer), and
  • kicked off the launch of the first ever Solveig & Stevie CD, Superwoman (available soon via iTune and all your favorite channels and services).

Oh, and I moved people. That is really the most important part of what I did this weekend. I made something beautiful and magical for people I love and for complete strangers alike. How do I know this? Because people haven’t stopped telling me since last Saturday. That is why I make music: to move people. I don’t need to be a star. I don’t need to be famous. I’m old (relatively), and I have three kids.  I think regularly about how best to live the rest of my life, and what kind of meaningful memories I want to leave behind when I am gone. I’ve done my time in corporate meeting rooms. I want to make people feel. I want to touch people and make them think about their own creativity. If I did that for even a few people last weekend, that makes me happy.

Yes indeed. What a night! Could the long term good vibes of the church be blessing our communion ! I’m not the least bit religious but last night was the best feeling I’ve had in a group of strangers since the sixties. – Tim Rounds

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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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