The Ultimate Guide To Creating Your Band’s Facebook Page

Posted by Mike McCready | March 30th, 2015 | No responses – 

Social marketers are concerned with Facebook’s organic reach and ways to adjust messaging strategies to reach the biggest audience. Hootsuite has published a step by step guide to maximizing your Facebook page.

Guest Post by Olsy Sorokina on

This wouldn’t be much help if your business hasn’t completed the first step of the process—setting up a Facebook Page. So this time, we’re taking it back to the basics, and going over every element in your business page on Facebook.

To get you started, we have created a Facebook Page template that includes all important sections to fill out.

7 important areas of the Facebook Page template, explained

Create a Page

Creating a Facebook page is as easy as clicking a button: you can either make a separate page that you and your colleagues manage, or make a page out of your existing Facebook profile. The latter is recommended for personal branding; and even then, consider pros and cons heavily before making the switch—do this only if you plan on doing absolutely no personal communication over the network.

An important step in Facebook Page creation is determining the category of the Page. Choosing the most appropriate category to describe the nature of your business will help users find your Page on the network. The category name is displayed to the right of the profile picture, so it’s one of the first things a user sees when they visit your Page. Make sure the description is accurate: you don’t want people to be unsure about whether they’re on the right Page!

If you have already set up your category upon creation, but later decided it wasn’t reflective of your current strategical pivot, you can change the category of your Page in the About section. Under Page Info, hover over Category until the Edit button appears, and adjust accordingly.

Unlike Twitter, Facebook provides plenty of space in the About section for businesses to describe their company, mention their products and services, and any relevant information that a user might seek on social media. A must-have for any brand Page is a link to the official website, a contact phone number and email address—these fields should be mandatory for filling out, since your current and potential customers need to know different ways they can reach you. If you own or run a brick-and-mortar business, you can include the address, hours of operation, and even parking information in the About section of your Page.

Call to action

A feature recently introduced for Facebook Pages is a call to action (CTA) button. The button is located at the top of the Page, next to other action buttons such as Like and Message. Administrators can choose the text of the button, such as Sign Up, Shop Now, Contact Us, etc. In order to determine which CTA is best suited for your Facebook Page, it helps to know what business goals you set out to achieve with your presence on the network.


Whether it’s your profile picture or photos you share on your Page’s Timeline, you should use high-quality, well-composed images. If you’re promoting a piece of written content as part of your Facebook content marketing strategy, choose the image that can show off the value of the post—for example, if you have a chart illustrating the most interesting numbers, let your Facebook Page fans preview that.


Similar to the personal Facebook profile, the central part of your brand’s Facebook Page is the Timeline. This is where your customers will see the latest posts from your brand, announcements of the events and product launches, and public messages from other customers. You want the Timeline to tell a cohesive story of your business, so pick the best photos, videos and written content to feature on your Page.

Monitor your customers’ posts to your Page, and try to respond to them in a timely manner: whether it’s resolving an issue, answering a question about your product or service, you want to address a customer’s need quickly. Not only does this help the customer, it also shows other visitors that your brand cares about its online audience.

Along with the standard view of the Timeline and the About section, there are other tabs you can add to the top section of your Facebook Page. In order to add, remove, or change the position of the tabs as seen by you and your Page visitors, click on the More button and choose Manage Tabs. Then, select the desired tabs from the pop-up menu, or install new apps.

For example, the Hootsuite Facebook Page has a Community tab, which takes the user to an installed forum-style app that lets our customer success advocates interact with users. If you think that Facebook can be a good channel for customer service, perhaps a similar app is something you’d want to consider installing.


Finally, while this is section is not part of your public-facing Page, it’s an essential element of a successful Facebook presence. Your Insights page will give a summary on the latest likes, post reach and engagements, as well as the performance of your recent posts. You can also see a detailed breakdown of your audience, which includes your fans (people who liked your Page) and people who have seen or interacted with your posts. Monitor this section regularly and carefully, and adjust the frequency and content of your posts accordingly. If your posts are not getting your business the results you want, Facebook gives you an opportunity to boost posts directly from the Insights tab.


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Jay Z’s Tidal Streaming Service Launches With Push From Beyoncé, Kanye, Jack White, Nicki Minaj, More

Posted by Mike McCready | March 30th, 2015 | No responses – 

Jay Z’s newly purchased high-fidelity music streaming service Tidal is being re-launched today. The rollout began with many high-profile artists, including Beyoncé, Kanye West, Nicki Minaj, Rihanna, Madonna, and Coldplay, as well as Jack White’s Third Man Records, changing their social media profile pictures to a turquoise square. Many also posted about the service.

At 5 p.m. Eastern, Jay Z is making a “special announcement” at a New York launch event.

Tidal offers lossless CD-quality audio and video. There will be no free, ad-supported plan; monthly subscriptions cost $19.95. The service has deals with all of the major record labels. It also offers expert-curated playlists and editorial. Tidal is being positioned as a rival to Spotify. For example, Taylor Swift’s catalog is available on Tidal. (She removed it from Spotify last fall.)

Together, we can turn the tide and make music history. Start by turning your profile picture blue. #TIDALforALL

— KANYE WEST (@kanyewest) March 30, 2015

“The Tides They Are-A Changing” #TIDALforALL

— Mr. Carter (@S_C_) March 30, 2015

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When should you release your new music?

Posted by Mike McCready | March 27th, 2015 | No responses – How independent artists can work with (or around) World Release Day

The International Federation of Phonographic Industry (IFPI) has announced that starting this summer, “new albums and singles will be released at 00:01 local time on Fridays.”

In the US, we’re used to new releases coming out on Tuesdays, but the IFPI is making Friday the international standard for a couple reasons: 1) they hope that releasing new music on payday will equal more music sales, and 2) since everyone is online these days, staggered release dates don’t make a whole lot of sense anymore.

According to Benji Rogers (president of PledgeMusic), in a recent interview he gave on the subject of World Release Day:

… the shift will work well for the major labels that have been lobbying for such a move, since they will continue to receive the lion’s share of attention…

Attention on social media will likely cater to the ones putting significant ad dollars behind it, creating a funnel effect where everyone vies for attention at the same time.

The obvious outcome is that it’s going to unfortunately become too easy for some artists to get lost in the process…

In this way, it’s important for artists to begin to think outside the box when it comes to approaching their releases.

What does Benji mean when he says “outside the box?”

Basically he advises that because all social media, press, and advertising on Thursdays and Fridays will be focused on new releases from major artists and buzz bands, you might want to launch YOUR next single, album, or artist experience at a different time on a different day — preferably a time when your fans are highly engaged online that doesn’t fall on a Thursday or Friday.

“This is an industry-wide decision, but personally I have to question the logic of everyone doing something at the same time,” says Benji. “The Internet just isn’t about that.”


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Troy Carter’s Atom Factory Appoints Everdream as Studio of Record

Posted by Mike McCready | March 25th, 2015 | No responses

billboard.comCourtesy Photo


Last March, James Khabushani and R.J. Collins were a couple of graduate students at the University of Southern California’s Marshall School of Business when they spent $1,500 on a commercial for Tesla that quickly went viral. The clip, which features a boy imagining his father’s luxury electric vehicle as a spaceship, caught the attention not only of Elon Musk but of the Atom Factory’s Troy Carter, who was shown the video while giving a lecture at their new media class. Shortly thereafter, Carter enlisted Khabushani and Collins’ video production company, Everdream Studios, to make a heartwarming video for his client John Legend’s “You & I (Nobody in the World).”


7digital Earnings Show Sharp Revenue Decline from Downloads, New Focus on Streaming

Posted by Mike McCready | March 25th, 2015 | No responses

billboard.com7digital is following consumers and clients into streaming. The digital music service company’s earnings release on Tuesday was its first since merging with UBC Media Group in May, and the first since being listed on the London Stock Exchange. In both numbers and written word, the release was an argument for making its catalog of 32 million tracks available to a growing number of subscription and digital radio services.

Where else could 7digital go? Download sales revenue declined 8.7% in the U.S. last year, according to RIAA figures released last week.

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‘Empire’ Cast Reveals Dream Guest Stars for Season 2

Posted by Mike McCready | March 20th, 2015 | 1 Response

billboard.comChuck Hodes/FOX

The first season of Lee Daniels and Danny Strong’s Fox hip-hop drama Empire featured seemingly every soap opera trope under the sun. There were breakups and affairs, cat fights and cutting words, mistaken paternity and murder. But it wasn’t just the core cast of the hip-hop musical who were able to play out some of the juiciest storylines: Guest stars and musical collaborators fleshed out the world and added even more decadence — and drama.

As Strong told The Hollywood Reporter, the writing staff on Empire’s first season was open to a number of different power players coming in to perform alongside the likes of Terrence Howard, Taraji P. Henson, Jussie Smollett, Trai Byers, Bryshere Y. Gray and the rest of the Empire cast. And it was a good thing they had that attitude, as the show had everyone sitting up and taking notice.

“Jennifer Hudson wanted to be on the show before we had even aired! We wrote [Michelle] for her because we heard she wanted to be on it, and we were all so excited because she’s so talented and such an amazing singer. It was like, ‘Sign us up!'” Strong says.

That kind of open-minded approach is something the red-hot series will carry into its previously announced second season. With that in mind, THR caught up with the cast of Empire to see who they wanted to see on the show in season two.

Smollett was the first to bring up Oprah Winfrey. When THR talked with him for Jamal’s coming-out episode (“The Lyon’s Roar”), he half-joked that Jamal should be sitting down with Winfrey for an interview. But of course, he’s not the only one who would want Winfrey to appear on the show — in any capacity. Kaitlin Doubleday (Rhonda) said she didn’t care who Winfrey played, she just wants “to learn about life” from her on set. And Daniels himself has admitted to courting her, noting he is “wearing her down.”

Another name that came up often was Denzel Washington. He and Byers worked together on Antwone Fisher, and Byers wanted nothing more than for Washington to somehow be a part of Andre’s storyline. “Maybe he could play a doctor — a doctor trying to help Andre. He knew me well when I was younger, and he would be trying to help Andre now.”

Grace Gealey (Anika) also picked Washington as her dream guest star, though she didn’t specify that she had to be in a story with him if it ever came to pass. “I just want the genius that is Denzel; I don’t care who he plays!” she laughed.

For the most part, though, the cast kept coming up with names of those who could double as dream musical collaborators for various characters. Smollett rattled off Mariah Carey, Janet Jackson, Kanye West and Brandy Norwood in quick succession, giving an excited “Hell yeah!” when asked if he wanted to sing with any of them.

“Did you think I wanted them to just come on and cameo and walk around in the background? No, we have to do a song! Father Lee needs to pick up his damn contacts on his phone!” he said with a laugh, adding that Jamal still has to release his album and will need collaborators on the record.

Doubleday seconded Smollett’s choice of Jackson but added Missy Elliott and Justin Timberlake to her wish list, keeping it all in the Timbaland family. “I grew up on music like Timberlake,” she says.

Gealey thinks Beyonce could add some flair and give diva Cookie a run for her money, and Byers agrees. Byers also wants to see Beyonce’s boy Jay Z come with her, as well as the great Aretha Franklin. “How amazing would that be?!”

Although Gray showed love for Queen Latifah, Keke Palmer and Black Thought in the dream guest star/collaborator capacity, he was quick to note that he was open to anyone. “Just talent,” he said when asked what he was looking for in a dream guest star. “Just talented actors and talented performers who will continue to make the show great.”

Who is on your wish list for season two? Share your thoughts in the comments below.

This article originally appeared in



Music Week’s 30 Under 30: This year’s list revealed

Posted by Mike McCready | March 19th, 2015 | No responses

musicweek.comWith more than 300 nominations from the wider industry this year, Music Week can today reveal its annual 30 Under 30 list for 2015.

The young executives named below have all achieved great things during their time working in the music business, and look set for even brighter futures.

Our special feature, sponsored by recruitment specialists The Music Market, is aimed at celebrating the industry leaders of tomorrow.

You’ll find the full feature in the new Music Week magazine, released digitally today and in print tomorrow – including a number of deserving names that just missed out on this year’s final shortlist.



Excerpt from Maximizing Music Xray

Posted by Mike McCready | March 18th, 2015 | No responses – Maximizing Music Xray is based on an analysis of over 2000 song pitches and 300 Target opportunities. You will learn:

  • What Music Xray is, how it works, what it gives you as a writer/performer.
  • The Pitch. What works and what doesn’t.
  • What do buyers really want? Don’t waste money aiming at the wrong targets.
  • Selling the song? Or yourself as the performer? Two different goals, two different pitches.
  • Special songwriting tips for international users, and instrumental / soundtrack writers.
  • .MP3 sound slip-ups you must avoid. Be Careful.
  • Formatting your lyrics for maximum impact.
  • Where and how to get help with Music Xray.
  • How NOT to shoot yourself in the foot.
  • An INSIDE, behind the scenes, look at how the Buyer hears and evaluates your songs.

This book gives your songs a head start getting into the marketplace of the music industry. 


Maximizing Music Xray pays for itself when it gets you in one right door, or keeps you from blowing a once in a lifetime opportunity.


Click any page for more information about this #1 Bestseller in Amazon’s music business category.

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The Music Industry Says Farewell to Freemium

Posted by Mike McCready | March 17th, 2015 | No responses

Tweet BY: Jason Ventura

Maybe Rob Wells doesn’t really get the idea of cannibalism. I don’t agree with him on this, because streaming has hurt the one-track sales and the buying habits of the consumer. We see that in a reflection of the dropping sales in the iTunes marketplace and other content providers that have dwindling sales. In the November 2013 MIT Sloan Management Review, Wells explains that he does a lot through charts to get people on his side and a lot of the senior staff at the label seem to be less tech savvy, so it is hard to convince and persuade the senior level staff.

Well used the example that he had to introduce senior level executives to Snapchat and Vine. He could tell if they were interested if they were engaged in the conversation, if not they would ignore him all together. This seems very frustrating, time consuming, and ineffective.

Wells needed to educate the workforce at UMG about digital strategies and tools. The former CEO at UMG, Doug Morris, believed in the traditional ways of the classic music industry and was reluctant to implement digital strategies. It seems as though the music industry is hesitant to make a move on implementing new ideas and platforms that are made up in house, yet Wells states in the interview that UMG has never turned down any deals from outside parties, however they have a “how about this” approach. Wells made it seem like he was always fighting to get his point across and make things happen on the digital side, however when second parties came along the label never said no, for example, the Nokia deal. Nokia brought and pitched their idea to UMG, to this day that platform is alive and well in China.

Wells said when dealing with the music industry you have to get people on board slowly. You have to prove the value of the deal, when you prove what and how it can change the industry on a day-to-day basis. Wells stated that charts are the best way to do things in the music industry, they show factual information and there is no questioning that. The challenge is presenting a new concept or service to senior management. He states that the risk is the fear of buying the machine, going to the service, and dragging down more of the value then we paid. Wells explained the unlimited music service becomes the bell curve that the consumer tries to download as much as they can at the beginning stages of the subscription, while at the half way point they seem to get bored and the downloads die down. At the very end stage of the consumer’s music subscription they download as much as possible, because the subscription service is about to end.

They made it seem like he was dated and could not bring anything else to the table. If you look closer, it seems as though he was frustrated, because he was trying to get people to see is point of view everyday.

At the present state, streaming isn’t sustainable and has not been profitable. The major labels that exist have deals that have been lopsided and are in favor of the larger artists and not the independent. The Black Keys were the latest to leave Spotify, because of the so-called “cannibalism.” The labels have more to gain from Spotify than the artists. UMG has a stake in Spotify and receive upfront licensing fees. Patrick Carney of the Black Keys stated, “There’s a lot of stuff about some of these services that people don’t really know, it’s set up to be little more fair for the labels than it is for the artists, and that’s why we made that decision.”

The only way that streaming will not be in the lines of cannibalism, is when the business model is changed with content limitations, release limitations, and when higher streaming payouts for artists are implemented. Then streaming may have a true chance at sustainability and making a profit. Until then, it’s a rough road for all parties involved. A UMG insider said, “It’s time to figure out how to drive up the value of our content.” Instead of getting pennies to the dollar, UMG needs to look at media perspectives in a broader view and within a platform. The music industry must be more innovative and creative to find alternative distribution platforms in a way that appeals to consumers wants and needs in a more convenient fashion. After looking at the big picture, Lucian Grainge explained that ad supported subscriptions weren’t working for anyone, but streaming services and music fans. This would make perfect sense that Rob Wells was fired for supporting Spotify and their freemium models. Well’s believed the freemium models would help, he stated, “The argument that streaming harms records sales is absolutely bogus.“ He didn’t leave out of frustration; he was fired because he was a firm believer in streaming, which hasn’t had a sustainable and profitable model to date. Even though he was fired for his thoughts and misconceptions, Well’s interview at the 2013 MIT Sloan Management Review is still proof that the music industry is very hesitant and resistant to adapt and innovate new technologies, digital platforms, and strategies. I guess Grainge agrees with my views on streaming services and freemium is dead in 2015, just as I predicted in my beginning of the year predictions.


Why the ‘Blurred Lines’ ruling may change the music industry

Posted by Mike McCready | March 12th, 2015 | 4 Responses – NEW YORK (PIX11) – Robin Thicke and Pharrell Williams crossed legal lines, according to a California jury, which found their song “Blurred Lines” ripped of the Marvin Gaye Classic, “Got to Give it Up.”

Williams and Thicke were ordered to pay $7.4 million to Gaye’s estate. But the chart topper “Blurred Lines” follows in a tradition of hit songs that seem to be heavily inspired by past musicians.

Many said Sam Smith’s “Stay with Me,” sounded eerily similar to Tom Petty’s “I Won’t Back Down.” Vanilla Ice’s “Ice, Ice, Baby,” reminded listeners of Queen and David Bowie’s “Under Pressure,” and Mark Ronson’s current single, “Uptown Funk,” has drawn comparisons the style of Prince.


PIX11 News recently visited the famous Quad Studios in Manhattan to ask music industry insider Alaska Gedeon if the “Blurred Lines” ruling would ruin the music industry, or if the next hit song might be stifled because an artist is afraid of a potential lawsuit.

The comparisons between “Blurred Lines” and “Got to Give it Up” were appropriate, Gedeon believes. “The first time I heard the record, I was kind of like, yo, that’s Marvin Gaye,” he said.

Gedeon believes artists often draw inspiration from classics, especially once they get focused in the recording studio. Typically, then record labels step in before music is released to make sure no copyrights are infringed upon. Gedeon says the producers of “Blurred Lines” may have been excited and let the song slip through the cracks, “it was a great record, everybody was just feeling it.”

“Once you hit play you forget everything when you have a great record.”

For future artists, Gedeon believes “Blurred Lines” will be a $7.4 million wakeup call, “at the end of the day you have to know where the music comes from,” he said.

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