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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Music Has Gone From Snow To Grass

Something great happened to me last week. It was the kind of thing that made me realize (yet again) why I like making music so much more than doing corporate marketing for a large company (my prior life). I got this email in my inbox:

Sent: Tue 11/27/12 4:21 PM
Subject: Shades of Red [that’s my old band]

Message Body:

Hello.  A few months ago, someone who had attended the Folk Alliance Festival in Memphis gave me your Shades of Red CD. I connected with your music immediately.  The lyrics, the melodies, the rhythm, your voice.  It moves my soul, for some reason.  I would like to sing Bowl of Seconds and Dream 99 if I can replicate the sound at all with just my guitar and voice.  I do sometimes play at coffee houses and other small events.  Would you give me permission to sing those songs?  Also, I was in an the Nashville airport a few weeks ago and saw a sign for an art exhibit called “Encalmo in Shades of Red.”  I took a photo which you might like to see, but I can’t attach it here.

Thanks for making some great music.

[signed TB – the sender asked me not to use her name in this post]


This mail is sent via contact form on Solveig Whittle
https://www.shadesofsolveig.com

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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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Streaming Music: A 5 Horse Race?

***UPDATE: Google To Launch Music-Streaming Service (Market Watch, May 14, 2013). This could be a game-changer, as Google is a major infrastructure challenger to Apple. Also missing from my analysis below is Amazon, who could also become a major player, and does have a cloud-based music storage system today.

On the eve of the Future of Music Coalition’s Summit, where music licensing is prominent on the agenda, it appears that the horses in the streaming music race are finally lining up. Now, I could be totally off base on this, I’m just an indie musician with a software background and not a lot of insight into the behind-the-scenes happenings, but I think it’s shaping up to be an interesting race. I believe there are some silent bettors, the major music labels and Google, and it’s not really clear (yet) whom exactly is betting on whom. These players are listed in no particular order:

First, we have the apparent favorite, Spotify (16 million active users, 4 million paying,  subscriber-revenue-driven). They’re about to close another $100 million round of investments led by Goldman Sachs, who knows a good investment when they see one, right? Why is Spotify such a good investment when they are bleeding green? Because it reportedly has licensing agreements with the major labels that guarantee it will make a 25% margin, while handing over 75% of its revenue to the labels. Some view this as a millstone around Spotify’s neck, but if Spotify can hold on long enough to dominate the market and achieve some kind of workable cost model, they become a utility: an entity with a guaranteed margin and guaranteed income.

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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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“Entertain, Inform, Be Useful – Or Be Forgotten”

This past Monday and Tuesday, I attended the second annual  Seattle Interactive Conference, a mix of presentations, panel discussions, and performance art that centered around the theme of “Game-Changers” in the digital world. And on the third day I rested. My head, and apparently also David Shing’s hair, practically exploded from the firehose of information, insight and interaction at this conference.  Interactive was the game, and #SIC2012 was definitely the place to be this week.

Presenters and panelists were a diverse mix: entrepreneurs, new media agency professionals, digital visionaries, musicians, venture capitalists, and big corporate marketing executives in the trenches executing on real life campaigns. Themes like mobile, storytelling, relationships, memes, disruptive technologies, the cloud, reinvention and, above all, clever humor, kept popping up like the undead.

“Attention is the new currency – entertain, inform, be useful  –  or be forgotten,” says David Shing (@shingy, AOL’s “Digital Prophet”, a reporter for Huffington Post, and also a musician, by the way). “Humor and creative presentation win every time,” echoed  Ben Huh (@benhuh) of Cheezburger fame.

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How To Collaborate Musically Across The Miles

For me, music is the richest form of self-expression. I find one of the most fulfilling things about being a musician is working with other musicians. I love making things with other people: I love working on school projects, working in teams in the world of business – actually I really love serving on juries. Yes, I love jury duty. I enjoy the process of creative collaboration. Making art with others is thrilling, and emotionally and technically challenging. It requires focus, passion, discipline, vulnerability – and clear communication of goals, expectations, roles and boundaries. Sometimes the excitement of creative collaborative can overshadow attention to the business details like defining process, expectations and roles. That is the stuff of hard feelings that can last a lifetime between musicians.

I’ve discovered that my collaborators need not be limited to musicians who are physically local. Stevie and I embarked recently on two separate collaborative music projects with other artist/producers who are located in LA and England. We just finished a hip hop piece with my stepson, Danny James, a successful musician and producer in LA. Danny took our original song, wrote and recorded three totally new verses sung by another (hip hop) vocalist he has worked with in LA, and then sent us back the project electronically (more on the logistics below). Stevie made a few musical and production changes, and a new song was born (you can watch the lyrics video here, the audio is available for free download on Soundcloud). To have been able to collaborate on a song with a family member who I both love and respect has meant so much to me, I was willing to wait the 6 months it took to complete!

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StageIt 101: Creating An Intimate Experience

It’s hard to tour – expensive, time consuming, and pretty much out of the question if you have kids or a full time job outside the music industry. But what’s an indie musician to do – you have to get out and promote your music, right?

I liken it to live internet porn for musicians, albeit generally G-rated and a much better value for the audience. Streaming your live music shows over the internet is one of the hottest ways musicians can boost their visibility, grow their fan base, and make a few dollars in the process, all from the relative comfort of their own living rooms. And neither they nor their fans have to pay a babysitter either. I’ve met quite a few musicians now who are putting on regular live performances via a streaming music service. There are several different platforms out there including StageIt, Ustream, LiveStream, Google+ Hangouts On Air, Skype, YouNow, Broadcast for Friends for Facebook, and Second Life Music. What are the relative advantages and disadvantages of each? I couldn’t find any articles that compared all the services, so I decided to try researching them myself and sharing what I’ve learned. In this article I’m going to cover the basics of StageIt.

My partner and I experimented last spring a bit with StageIt. We streamed two of our house concerts using it, and I found it quite fun. You start out by joining as a StageIt audience member, which is free. You can join by using your Facebook page, or by entering a StageIt name, email address and password. One advantage of StageIt is it’s dead simple to join. Once you are signed up as a member, you can sign up as a performer, which is a one-click action. To view a show, you purchase “notes,” a StageIt currency that translates 10 Notes = $1 US. To view a show, you purchase Notes in a minimum of 50 increments ($5 US). Notes are used to pay for tickets and to tip performers during the show (more on that later).

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