How To Succeed With Twitter

By, Tony Guidry (www.aScratchyThroat.com)

twitter iconMarch 2013

Twitter is an essential tool in your social media strategy. With 250 million unique users monthly, and over 500 million registered users, this is a platform where you definitely need to establish your presence. Today our focus is on the best ways to use twitter to reach people who share your profession or area of interest. In other words, we’ll be focusing on how you can use twitter to interact with people in the music industry, in order to learn from the professionals.

I chose to start by sharing with you ways to interact with ‘decision-makers’ and people who influence the music industry because for most aspiring artists there is a NEED to be educated about the business of music.

You may want to start by following the CEO’s of major record labels & their subsidiaries. You may think that if they hear your music they’ll sign you. Well the music industry doesn’t work that way. (But that’s another article for another time & place). As an aspiring artist, the people who influence and choose what goes on in the music industry – the people that are REALLY important to you – aren’t the CEO’s. You’re going to want to follow the DJ’s and club promoters and venues in your area, and the legitimate publicists, managers, etc who offer the guidance you may need.

You’ll also have to determine if these people actually use twitter regularly or not. LA Reid (@LA_Reid), CEO of Epic Records mostly tweets quotes and doesn’t really interact with other people much on twitter (he doesn’t need to). While a person like Wendy Day  (@RapCoalition), who helps build independent labels and artists’ careers, is on twitter throughout the day, everyday. Wendy interacts with her followers and gives them insight and instruction on how to reach their goals in the music industry. But, if you send her something that looks like this:

twitter spoof

I GUARANTEE that she won’t answer you. This is called ‘spamming your link’ and it is TOTALLY ineffective. Only amateurs consider this marketing or promoting. Spamming your link only gets you blocked, muted or unfollowed.

None of the “quick” fixes work. Buying followers doesn’t work. All the social media platforms give you “instant access to millions” – but establishing yourself on twitter requires you to dedicate some time and effort to what you say, how you say it, who you interact with and when you speak (tweet).

WHAT TO SAY

Say nothing at first. At first you LISTEN. The key to growing your base on twitter is to connect with the the people who have similar interests. You can only find these people by listening, watching, and paying attention to what others are saying FIRST. Engage with these people based on the things you have in common. Talib Kweli (@TalibKweli) recently followed me because of our shared interest in the plight of Leonard Peltier.

When you do start tweeting, say what YOU think and how YOU feel. Once you’ve started using twitter regularly, you should easily learn twitter etiquette and find other  people with similar interests. If you’re an aspiring rapper and you befriend other aspiring rappers and follow each other, you’ll have a million followers in no time!!!

Tweet about your interests and your day to day activities. Twitter is a place where communication (back AND forth) is REQUIRED. If you constantly tweet your video link or ReverbNation URL, it’ll be extra hard to have meaningful interaction with others. Who likes talking to someone that’s always self-centered and talking about themselves? NOBODY.

So, you want to mention the things that actually interest you as a person. It’s as simple as being yourself in your tweets and sharing who you are as a person and artist. Follow the people who interest you and some of them will follow you back. Read the tweets of the people you find interesting, and comment accordingly. As long as you’re consistent, you’ll see the number of your followers begin to build. Even more importantly, you’ll meet people with similar interests and goals from different cities, states & countries – and maybe you can network with them to further BOTH of your goals.

Don’t get caught up on the total number of your followers. Follow the people you can learn from and interact with them. If you follow someone who is well respected in the music industry like @RapCoalition, you’ll see that she tweets a lot of good info on the music business and other issues , don’t tweet AT her about your new single or video. Listen first, read her tweets, learn about her and what she does…then when she tweets about something of interest to you, engage her in a conversation on that topic.

The more you use twitter as a tool to converse with others, the more you’ll learn and improve your ability to really network with people. Your mastery of this ability will place you in a position to meet new people who can really help you move forward with your goals in the music industry.

Social Media is only one piece of the pie in promoting your music. You’ve got to tie in street promotions, performances, press, promotional touring, etc with internet marketing in order to maximize the potential of your music. A Scratchy Throat ensures that you have a powerful & professional online presence.

Tony Guidry is Senior Marketing Manager for A Scratchy Throat. A Scratchy Throat – the brainchild of industry mainstay Wendy Day – provides professional social media marketing specifically designed for today’s aspiring artists.

By, Wendy Day (www.SlavesNoMore.com music industry how-to site coming soon…) Before you read this article, please make sure you’ve already read this primer: http://bit.ly/100VB2r about the basics of securing radio spins.

Radio is still the most misunderstood aspect of this industry. I see people lose tens of thousands of dollars constantly in this industry because they either trust the wrong radio promoters or they don’t know what they are doing. I can’t teach you whom to trust, but I can tell you how I successfully pursue radio for my artists.

radio-money

I am NOT a radio promoter, I am a consultant. I help people start labels and make money with their music, so one of the many things I do is hire and interact with radio promoters. I have relationships with 10 or 12 different top independent radio promotion people all across the country. I trust them. They have all delivered results for my clients in the recent past. But just because they do a great job for me doesn’t mean they will do a great job for you. [I protect my connections at radio, so if I don’t know you well, I won’t share an introduction with you. Don’t even ask!]

There are MANY variables with radio: time of year, how crowded the radio market is, money, your song, sound, subject matter, money, tempo, features, who’s behind it, the artist, work ethic, money, how established the artist is, how likable the artist is, how likable and knowledgable you are, money, relationships, power, experience, catchiness, money, frequency of your releases, your money, their money, competing labels’ money, etc.

I’m going to assume you’ve done these things before you start spending money at radio:

1. You’ve gotten your single hot on the streets and in the clubs in your region (not just your city, but in the cities that are within a 5 hour driving radius of where you or your artist live) because you’ve already read http://bit.ly/ZvYfJu and maybe even had the chance to read http://bit.ly/YXtwUN as well.

2. You have a radio ready song that’s not only marketable for radio and fits the format, but is mixed and mastered to compete with everything already at radio such as Kanye, Jay Z, 2Chainz, Rihanna, Ke$ha, Lil Wayne, etc. There’s no cursing, the song is around 3 and a half minutes in length, and the subject matter is palatable (even clean versions of songs like “I Wanna F#ck Your B#tch” are harder to work than songs about love and respect, for example, especially for new artists who are scrutinized more harshly).

3. If you have a feature from an established artist on the single, you’ve already gotten the necessary clearances, in writing, from both the artist AND the label to whom he or she is signed giving you “single rights.” If an outside producer (someone not signed to your company) produced the beat, you have a contract with that producer saying you can use his production.

4. You have a good reason for wanting radio play–to sell single downloads, to increase awareness and build show opportunities, etc. By the way, just wanting to hear yourself on the radio, or because you want to be famous are really bad reasons to spend $15k to $100k on radio spins. If you only have one song to work, and no plan, you are wasting everyone’s time and your money.

5. You have registered every version of your single with both MediaBase and BDS. If you don’t know how, your radio promoter can help you do this. You’ve established your ASCAP and/or BMI, and SoundExchange registrations. If you don’t know how to do this, add “.com” to the end of each company and do the research online (such as BMI.com).

Once you’ve accomplished the basics, it’s time to decide which markets are best to break for your artists. The majority of artists that I consult are southern in their sound, so I usually focus on radio in the south initially and then spread into the Midwest. I choose which radio promoter to use based on my target markets.

Each radio promoter has key relationships, and what you are buying IS his or her relationships with program directors in key markets. You also need relationships with multiple radio promoters because when one is overwhelmed with a lot of records to work, you don’t want to hire him or her to work your record. It could easily get lost.

I always focus on a workable area so we can back up our records with contests, give-always, performances, etc–for example, I don’t really want the single spinning simultaneously at radio in San Francisco, Las Vegas, Miami, and Baltimore. They are too spread out for a small label or an indie artist to affordably work them. I prefer to stick to regions: Southeast, or Mid-south, or Midwest. I back up the radio spins by continuing to promote on the streets (promotional tours work wonders) in each area where we get radio play.

I don’t initially go after major markets like Houston, Dallas, Chicago, or Atlanta. I secure the surrounding smaller markets and then build into the larger cities once we have a story to tell about the single–once it has legs. I do NOT have people call in to request the song because I believe real reaction is superior over fake results. I do, however, print thousands of flyers with radio request line phone numbers for each market to inspire fans to request our song. I also use targeted social media to encourage my artist’s fans to support our single.

With rap music, there are 3 radio formats we can target depending on the sound of the song (and subject matter): Urban, Rhythmic, and Top 40 (Pop). Urban is the easiest to get added, Rhythmic a bit more challenging (and more costly), and Pop is the hardest (and most expensive). Think of them as 3 steps, provided your song fits at all three formats; you can start at Urban, grow into Rhythmic stations, and then expand into Pop. Again, IF the sound of your song warrants that–most do not.

I’ve never seen a record climb backwards, meaning I would never go after Pop radio and then try to secure Rhythmic or Urban. Urban, Rhythmic, then Pop. If your song is more mainstream, I’d bypass Urban and go right to Rhythmic and then Pop. In charting single sales, Urban spins rarely turn into single download sales, while Rhythmic and Pop almost always directly correlate to single sales. Urban spins do help build a rapper’s initial popularity at securing shows or being able to increase his or her show price.

Each radio format has a limited number of slots for songs. These slots are filled by hit records and the most well known artists. Remember, the goal of the station is to keep people from changing the station to the competition and most listeners want to hear songs they know so they can sing along. Each week there are usually only one or two slots available yet the Program Directors receive many songs vying for those slots. It’s very competitive at radio and the best songs don’t necessarily survive.

Once you’ve got an idea of your territory and chosen the radio promoter, it’s time to start getting the spins. The radio promoter will give you an add date at radio (always a Tuesday). This date will be chosen based on the timing of what else is dropping in the marketplace, so your record doesn’t get passed over for the superstar records (a risk that is always there) or lost in a sea of other priorities. The reality is that if it’s a choice between your record or a major label record, the radio program director will most likely support the major label because there is a strong relationship there. Major labels have been supporting radio for many years before your one little record, and will for many years after your one little record. Having said that, a hit record has value to everyone and gets attention.

Program Directors (PDs) are the decision makers at radio stations that choose what gets played on the radio. Music Directors (MDs) are the people directly under the PDs who usually suggest music and often meet with artists and labels. They are rarely the decision makers but run interference for the PDs.

Payola is illegal. There is not one radio station in this country that will take money from you to play your record. There is not one radio station that will even make a move that could be interpreted as payola (like accepting a gift, or swapping a performance for increased spins, etc). But you will pay the radio promoter. You police the success of your record via BDS or MediaBase reports that track the amount and time of your spins daily and/or weekly.

If you hire a radio promoter to get you spins on twenty stations, he or she will. Whether those stations benefit you is another story, but you got what you asked for–spins on 20 stations. It’s human nature to go where there’s the least resistance, so those 20 stations might be the easiest ones to deliver, as opposed to the best stations for your project. It’s YOUR project, so it’s your job to know which stations are beneficial and which stations are not. You must know what your needs and goals are and work with the promoters to deliver what you need and what you can best afford. Radio is an expensive game. You also need to work within the realistic confines of what the radio promoter can deliver. It’s not like you make a list and say “I want these stations at this time everyday.” Those would be advertisements.

Radio is a wonderful medium to reach large amounts of people, mostly women, with your music. You focus on one single at a time and the life of a single at radio is 12 to 16 weeks. Make sure your timing is right and make sure you can back up that single with street promotions, Internet promotions, a promo tour, etc while the song still has life in it.

I work my records slowly–meaning I spend slowly at radio. I never give a radio promoter $75,000 and say ‘go get me the south.’ I test my records, usually spending around $10,000 initially to see if my record has legs. This tests a few good markets and I can see if the record stays only in the overnight slots or if it moves into better day parts. I want to see if it’s “reacting.” I can see if the Program Director embraces the record (it increases in spins naturally every week) or not. My plan is that if I’m going to lose money on a single at radio (which is unlikely because it has a strong street and club buzz, so I already know fans like it), I’m going to lose as little as possible.

Much of what I want to teach you, I can’t because it’s based on feeling. You learn to feel records and you can tell when they are reacting or not. You light the spark and then hope it catches fire. Sometimes emotion and our own love of a record can cloud our judgment of whether or not we have a strong single. I’ve seen many people chase a record and spend $50,000 or $75,000 only to learn that the single did not react at radio. I’d rather learn this after $10,000 or $20,000 is spent. The ONLY folks who determine if a song is a hit record are the fans–the listeners. You don’t know, I don’t know, your consultants don’t know, the radio station doesn’t know. Only the fans can determine if it reacts or not by whether they embrace it or not. You can’t really force a hit…I’ve tried.

Lastly, radio is a great way to reach a large amount of people at once, as long as people continue to listen to the radio. Your BDS or MediaBase reports tell you how many thousands or millions of people are potentially hearing your record. If your goal is to get a deal from just radio spins, you haven’t done enough research on how to get a record deal. If you think you can spend $20,000 to get 500 spins a week at urban radio, you haven’t done enough research on how radio works. If you don’t have a goal for your radio play, you’re wasting your time and money, and taking away the few open slots at radio for those of us who have a goal and a plan! Get out of the way.

If you’re an artist  waiting to be “discovered” or hoping to be given a record deal based on your perceived talent or the “uniqueness” of your sound, it’s time to educate yourself on the basics of the music business. The belief that major labels are LOOKING to sign new artists because of their talent is very far from the truth, and the sooner a person who desires to be an entertainer learns this, the better.

The process of getting “on” doesn’t require a co-sign or “hook-up” from an established artist or record label executive. You get on by building relationships with people who like your music, support it by buying it, and actually listen to it – these people are called FANS. When you get enough fans talking about you and your music, you’ve created a buzz. how to succeed

If you’re able to create a buzz around your music you’ll first attract the scammers, douchebags and con-men. These bottom feeders are the people who want to “sign” you to a “development” deal, or in other words, they want to pay for your studio time in exchange for owning half (or more) of what you create. If you’ve educated yourself on how the business of music works you’ll be very wary of these types of offers. Today’s artists have NO EXCUSE for getting shafted.

All aspiring artists coming up in this “internet age” have heard of or read about the ways that artists have gotten used, abused, and swindled in the past. From the earliest days of recorded music all the way up to the latest headlines, the music industry has been a place where you lose everything if you don’t know the business. Too many of our favorite rappers who were once superstars are living day to day or paycheck to paycheck because they made the hit music while someone untrustworthy handled the business. You’ve seen it happen enough to KNOW that you need to learn how the business works in order to protect yourself.

Succeed-620x350

Now, more than ever, whether you’re a musician, singer, rapper, producer or other kind of recording artist, you can earn a living doing what you love. Don’t let the desire to be “popular” override the necessity of getting paid. If you’re doing music for fun or “for the love” then these words aren’t for you. I’m speaking to those people who aspire to be professionals in the music industry, the people who expect to be properly compensated for their hard work and talent. Believe me, if you’re making music only “for the love”, there is no shortage of people in this industry who will make sure that you get ALL the “love” (i.e. attention) you desire…..as they walk away with the money.

Tony Guidry is Senior Marketing Manager for A ScratchyThroatA Scratchy Throat – the brainchild of industry mainstay Wendy Day – provides professional social media marketing specifically designed for today’s aspiring artists.

written by Wendy Day (wendyday.com)

money2Marketing is the overall image and awareness that is put forth by your brand as you advertise, promote, do interviews and basically spread the word about your music (which is your product). One of the keys is to know exactly who will buy your music, and tailor your marketing campaign to them. The best method to draw in fans is “word of mouth,” so therefore your goal should always be to spark positive conversation (word of mouth) about you and your music.

Who Is Your Potential Fan?

Taking it outside of music for a minute, can we all agree that the person who shops at K-Mart is different from the person who shops at Neiman Marcus? The person who drives a Hyundai, may have different interests from the person driving a Bentley? So back to music now—the person who is listening to or buying Justin Bieber’s music is different from the person who supports Trae. Beiber has a younger audience, more pop music, radio, and internet driven, while Trae makes music to ride and/or smoke to—meaning the fan is older and probably more likely to be male. They are also more likely to buy a CD at the local Swap Meet or the Car Wash, while a Bieber fan may be more likely to download his music to an iPod, smartphone, or MP3 player, or buy the CD at the Best Buy next to the Mall for $9.99.

So, if I was marketing a young pop artist, I might try to book him on Nickelodeon shows and set up a high school or Mall tour. With a rapper who doesn’t appeal to a teenage demographic, I’d probably do more of a college tour, and club dates reaching a 21 and older crowd. So, it’s important to know who is buying your music. You need to be able to figure out the demographic for your music or your song, and that will let you know the direction your marketing needs to take. If you are not able to determine who your fan base is yourself, you need to find someone around you who can. But they better be right. If you are making music that appeals to white skateboard twenty-something kids and you market to young inner city teens, you are fucked in the gate!

When I was out on the road with BloodRaw in February of ’08, I kept dragging him to college campuses because he makes anthem type party raps, and he kept telling me’ “Let’s go to the ‘Hood.“ It’s not that one is right and one is wrong, but that he knows who buys and listens to his music. In this case, we blitzed the ‘hoods first and then grew out to the college and party crowds. He had a perfect understanding of who his market is.

How Will You Reach Them?

Once you know who will buy your music, it becomes pretty clear what your image needs to be to reach your market. In Young Jeezy’s case, he’s that dope boy turned rapper who’s about making money, partying in the clubs, buying material items, and driving expensive cars. In Jay Z’s case, he’s that Billionaire Mogul running his own empire and living the life that this brings. Kanye is the intelligent around-the-way guy who dropped out of college to pursue a dream and feels a need to voice his opinion about everything publicly. Lil Kim and Foxy Brown are the old school ‘hood chicks that every guy knows and loves while Nicki Minaj is the new “Barbie” on the block. Odd Future are the zany “I don’t give a fuck” guys who act a fool and hate everything. Wiz Khalifa is your boy who all he wants to do is smoke weed.

In terms of imaging, Jeezy could rock a suit, but you’d assume he was going to court. He’s much more at home in some high end black jeans and a white or black T shirt with some Gucci or Prada shoes. Jay Z is more likely to be recognized in a button down shirt with cuff links or an expensive Italian suit. Image is a big part of marketing. What is your image? What sentence would a fan use to describe you? Is that description unique or does it fit ten other rappers?

Now, as you promote your image to the masses to gain awareness, it’s important that your message is clear, concise, and easy to understand. A flyer with 20 things crowded on it, and no empty space for the eye to rest, is a waste. Having things mis-spelled or grammatically incorrect is terrible too. Photos that are too low resolution that they look grainy and out of focus make you look cheap and clueless. The look of your promotional materials says a lot about who you are as a person. It would be easier for Yo Gotti to get away with something grimy and street than Jay Z or Puffy. Image is everything, and yours should be consistent.

If you have no understanding of design or aesthetics, find someone who does. If you suck at writing copy, find someone who has that talent to write the words for your flyers, social media pages, website, bio, and CD booklets (liner notes). Find people who are good at what they do and hire them to help you. Know your role and play it. Don’t try to do everything yourself. Teamwork is key here.

When you choose your own lane, try not to bite what has come before you. There is already a Jay Z, already a Lil Wayne, already a Drake. Try not to copy their style or image or sound. Usually the one who does it first, does it best, so be unique.

I suggest to small labels all of the time that they use one image of the artist to have consistency in marketing. First of all, you don’t have the budget of a major label who can afford to market Rick Ross in a suit, a sweatsuit, as well as street clothes. Pick one image and use that for your CD cover, vehicle wrap, website, flyers, posters, etc. It is very rare that a fan recalls a new artist’s name. There are just too many new artists. So very often they will go into the store asking for the kid who is rapping next to a Lamborghini on his posters, or that kid who is into skateboarding, etc. Make it easy for people to figure out who you are. Use one strong image that stands out to market yourself, and sets you apart from everyone else.

When I first started working with TMI Boyz in 2008, our t-shirts were so ugly that I would never wear them. We gave out like 10,000 of those ugly shirts. Finally, we had the logo and shirts redesigned. We had everybody asking for our shirts and wearing them (including me). We even had folks offering to buy them from us (truth is t-shirts are more expensive to print, so we should sell the t-shirts and give out the CDs for free. Ha ha ha ha).

Your marketing mix should consist of whatever you can afford from the following–

Promotions:
Street promotion
Radio promotion
Club promotion
Retail store promotion
Internet promotion
Social media marketing
Publicity (blog, magazine, and media mentions)
Promotional Tour

Advertising:
Magazine ads
Billboards
Cable TV
Radio Ads
Internet Banner Ads

Tools:
Videos & Behind-the-scenes footage
Snippet CDs
Mixed CDs
T-Shirts
Wrapped Vehicles
Posters/Flyers/Post Cards

Don’t forget to incorporate the internet as part of your campaign. While we still aren’t 100% digital yet in this era, it is a crucial part of your marketing mix. To those of you with no budget who think free internet promotions is enough to build an artist, you are wrong. It is exactly what it is: inexpensive promotions, but just one part of your whole marketing pie. You still need the streets, clubs, and real world promotion.

I can’t stress enough the importance of your imaging and marketing. Make sure your messages are clear, well designed, spelled correctly and grammatically correct. And most of all, make sure you are reaching the people who will buy your music, with your imaging, your design, and your marketing mix. This should put you one step closer to success whether your plan is to stay independent or to attract legitimate deal offers from established record labels. (2/2013)

“I can post my music to facebook and reach millions of people.”

While it’s true that over a billion people visit facebook every month, you must have a strategy and plan in place if you’re trying to get a portion of them to actually view your page and listen to your music. There are tried and tested methods that will boost your exposure on Facebook. Today, we’re gonna look at the more basic ways to bring attention to your page and your music so that you can get more “likes” and “listens.”

First, just posting your music to your Facebook page and hoping that people listen is not enough. Posting a link to your song or your video on your friends’ pages is NOT networking and DOESN’T work. (To be honest, when you post links to people’s pages or inbox them your link unannounced, it gets deleted – the reality is that most people aren’t going to your Soundcloud or Reverbnation link just because you post it on their page.) You have to establish a relationship with a person first in order for your networking efforts to be successful. Any unsolicited links you “give” them are considered SPAM!!! You don’t need to spam your music to gain new fans. You only need to learn how to use the social media tools Facebook makes available to you.

So I hope you understand that uploading your music on Facebook is only seen by the people you interact with–and you hope they listen to it. Your closer friends will probably like and comment on your music (they like everything you post anyway). You won’t engage many new people this way though– and what’s the point in posting your music online if you’re not going to reach new people? Of course you could just stick to street & club promotions (which can be very effective), but what’s the purpose of making music if you’re not doing what you need to do in order to MAKE SURE that new people give it a listen?

Secondly, the reason you want Facebook “likes” is because they may eventually lead to sales, and in the BUSINESS of music, money needs to be made in some way shape or form. So whether you use your likes to ask people to buy your music, attend an event, or purchase a T-shirt or whatever it might be, you’ve got to find a way to make money from your craft if you’re in the music BUSINESS. If you’re someone who makes music just for the love or as a hobby, then this post AIN’T for you.

Now, for those artists, managers, or label owners, etc, who are interested in using Facebook to get seen and heard……..let’s talk about the simplest ways to get facebook likes.

I’m sure that most of you have seen an offer to buy “likes”. The websites selling the “likes” promise hundreds or thousands (or tens of thousands) of likes for a low cost. I’ve seen it range from $30 for 1,000 to $1200 for 100,000 likes. These so-called services promise you likes in a “few days”. Which leads us to the question: do these services work? Well, they work to get you likes, just not the ones you’re looking for. The problem is that with fake likes you don’t have a genuine fan. A fake like will never listen to your music or buy your song. A fake like will never tweet or post a status about your music so a fake like is worthless in the music industry. Add to that fact that Facebook, as a company, will remove the majority of fake likes eventually, making you look worse than before! Buying fake likes won’t solve the problem of marketing your music–just like most business shortcuts, it’s non-effective and likely to do more harm than good.

So what’s the most effective way to introduce new people to your music and reach the people who are interested in what you make?? You pay for it.

Facebook Ads for business are the simplest way to reach new people on Facebook. The setup is simple. Facebook literally walks you through the steps:

Take your time and pay attention as it’s all laid out for you: from how to build and customize your page, to how to invite your friends to like and interact with you. You’ve gotta START with your friends, and build from there. Fortunately, Facebook gives you the key elements necessary to get started.

Once you have your page setup, start posting content. Invite your friends to like your new page first and do NOT just spam links of your music or videos! Have conversations with the people who like your page, engage with them, share interests and insight. Again, Facebook gives you insight on how to do this effectively:

So far, everything we’ve covered is free. You can research and learn how to build your followers and likes from here. You don’t NEED to pay for anything at this point. Once your page is created, you have to consistently post interesting statuses.

Eventually you’ll reach a point where investing into targeting other markets makes sense, and when that time comes you’ll want to start an ad campaign for your page. Don’t jump the gun here though. Be consistent in posting to your page and talking to the people who’ve liked your page.

Before you even think about buying ads to draw people, you will want to have at least 100 legitimate likes from friends, etc. Remember, you gotta have those 100 likes before you even think about taking it to the next level.

Setting up your ad is simple and, again, the folks at Facebook have everything laid out for you. At first, it may seem confusing when you’re asked if you want to:

Get More Likes
Promote Page Posts
Advanced Options

You’ll make your decision based on what you’re trying to do. (I know that you have goals, right?) So depending on your goals, you’ll choose to promote individual page posts, or to expose your page to as many people as possible, or simply to get more likes. Once you make that decision, you can move on to deciding WHO to reach.

You can choose to target a city or even a particular zip code INSIDE a city (so u can target an actual neighborhood if you want to!). You also have the choice to target people with certain interests. You can target people who like Pop music or R&B; or you can be more specific and target people who like Rihanna, Beyonce, Lil Wayne, or Drake, for example. You can target married people, single people, or people who love sports. There are numerous categories that allow you to really pinpoint the people most probable to like your page.

Below is an example of a campaign designed to target Facebook users in Jacksonville, FL (including 25 miles outside the city):

If you noticed, the target audience is aged 13-40, with an interest in Music– specifically Hip Hop/Rap and R&B/Soul music. Our choices have narrowed down potential fans in the Jacksonville area from over 457,000 people to almost 172,000. This isn’t a bad thing because it targets people who list music as an interest and these people are more likely to become a fan.

So what will it cost?? Well, that’s totally up to you. The good people at Facebook allow you to choose exactly how long you want to run your ad, how much you’re willing to pay for people to see your ad, and how much money you’re willing to spend per day on your ad campaign.

As you maneuver through the options available, you’ll be able to cater to the appropriate audience for you. It’s not hard to get your Facebook ads started. It will take some tweaking and tinkering to get the best results but with the right effort, focus and determination you can build an ad campaign that converts clicks to your page into likes and likes into fans who you can THEN reach out to and ask to listen to your music or watch your latest video.

At the end of the day, your Facebook page and any ad campaign associated with it is only a small part of the total work you’ll need to do in order to succeed. Internet presence is becoming more and more important in today’s digital age.

Tony Guidry is Senior Marketing Manager for A Scratchy ThroatA Scratchy Throat – the brainchild of industry mainstay Wendy Day – provides professional social media marketing specifically designed for today’s aspiring artists.

6 lessons in launching a branded YouTube channel

By: Michael Estrin, reposted from http://ow.ly/hBbvO

Everywhere you turn it’s hard to escape the idea these days that brands are becoming publishers. Or at least, it’s hard to escape the idea that brands are trying to become publishers.

Only time will tell whether this is a new paradigm or a passing trend. But whether we’re talking about Facebook pages, Twitter feeds, or even a plain vanilla website — how old fashioned! — the conversation has shifted toward a heavy emphasis on content that brands either produce or curate and then distribute on their very own platform, bypassing a media intermediary.

The idea, in a nutshell, is that brands of all categories must adapt to the new publishing model and morph into something akin to their entertainment cousins if they are to survive and thrive in a media environment where it gets harder everyday to capture a consumer’s attention. Brands that had their own YouTube channels were viewed as cutting edge 18 months ago — or maybe even a little beyond the cutting edge. Today, few people ask whether a brand should have a YouTube channel. Instead, the question is, what should a brand do with its YouTube channel?

While that’s ultimately a question for each brand (and the agencies that handle their business) to answer, there are several larger questions brands should be asking about their YouTube channels. After all, a handful of brands are clearly engaging as if they’ve been in the content business for years, but many more are quite obviously stuck in neutral. So to help your brand take a look at its YouTube channel with fresh eyes, I’ve asked several agencies to share what they believe are some of the fundamental concerns to focus on when planning a YouTube channel.

Start with the basics

In a lot of ways, there’s nothing quite like YouTube. But from a marketing perspective, it’s important to approach YouTube as you would any other campaign, explains John Montgomery, CEO of Threshold.

Montgomery advocates approaching the idea of a branded YouTube channel with the following fundamental questions: “Who is your target audience, and what types of content do they seek out? What does your brand stand for, and what content is a natural extension of your brand’s DNA? What are your overall marketing goals, and what do you hope a YouTube strategy will accomplish for you?”

Often times, the answers to these questions will dictate strategy. But just as important, they can help focus your team around a larger question: Should we have a YouTube channel?

That question may seem like heresy in a world where it’s now assumed that all brands are — or should be — content producers, but the truth is a little more nuanced, and what works for one brand may not work for another. Or, put another way: It may be true that all brands need to think like publishers, but not all publishers produce the same material on the same platforms.

“With the various types of content that you can produce, and that are invariably popular on YouTube (short-form humor, episodic webisodes, TV ads, DIY videos, product tutorials, kitties doing pretty much anything, etc.), it is key to establish a long-term plan for the type of voice, tone, and purpose that your brand will commit to,” Montgomery says. “Purpose is one of the most important filters, because you will need to decide if you are trying to entertain, inform, educate, or inspire your budding audience.”

Have a strategy, make a plan

It may sound surprising, but many brands still use their YouTube channel as a holding place for repurposed television spots and one-off videos that may or may not have earned the brand much attention. But while it’s nice to see the brands on YouTube, Christopher Kingsley, CEO of 42, says brands need to do more than just put their content on YouTube.

“Individual or one-off videos produced for YouTube can be great, but having a comprehensive content strategy that covers how YouTube…