Twitter is the canary in the coal mine of public opinion — for celebrities, politicians, and, of course, corporations. When European discount carrier Ryanair lashed out at “lunatic bloggers” after a Web designer reported a glitch on the airline’s site, its online reputation dipped as low as its fares. Conversely, Mars got a sweet treat when it posted Skittles-related tweets on its Web site, learning immediately how people felt about the candy.

Twitter’s explosion from microblogging curiosity to mass-media phenomenon [0] has awakened a lot of companies to just how fast memes spread on the Internet today. Make a mistake like Ryanair’s — or Johnson & Johnson’s offensive Motrin ads last winter — and the response is brutal. Get it right like shoe retailer Zappos and bask in the love. How can you know if your canary is singing or dead? These tools will help you monitor not just Twitter but everywhere the online conversation involves your brand.

TweetDeck [1]. To follow the raging tweetstream, you need a dashboard. This free download splits your Twitter feed into subgroups, letting you follow shout-outs (@replies) in one window and specific searches in other views. For instance, Pepsi could follow Mountain Dew, Gatorade, Tropicana, and Frito-Lay in four different search fields, receiving instant feedback on announcements and ad campaigns.

Scout Labs [2]. Need to monitor feedback on your new product? Scout Labs reads blog posts and social-networking comments from around the globe and judges them by their words and tone. The sentence “I love Amazon but the Kindle 2 is disappointing” gets properly parsed as a positive comment for Amazon but a negative one for its e-reader. This ultra-targeted approach allows clients such as Charles Schwab, HP, and Netflix to follow comments in real time and react quickly. Pricing starts at $99 a month for five searches.

BlogPulse [3]. This free feature from Nielsen Online searches the blogosphere for what’s happening with your brands. Type in a few keywords and track the number of mentions over the past six months, and view them in a handy fever chart. You can also trace the roots of a Web conversation and learn more about key Web influencers.

Vanno [4]. It’s Digg for reputation. Readers vote on news stories, opinion, and gossip about more than 5,800 companies, and Vanno mashes it up into a numerical score. The free site tracks these companies based on 25 topics, including job satisfaction, customer service, and social responsibility. At press time, Cisco was No. 1.

CoTweet [5]. This free service (currently in limited beta) allows multiple people to tweet from the same user name, using software to replicate the success of Zappos’s hundreds of staff bloggers, including CEO Tony Hsieh, within one account. Employees can delegate tasks, track conversations, schedule posts, and best of all, identify the people behind the brand.

TNS Cymfony [6]. If you need a more heavyweight tool (starting at $40,000 a year), TNS Cymfony goes beyond simple keyword analysis across the Web and analyzes grammar. It also includes crisis PR solutions that track key bloggers, journalists, and consumers. (Nielsen Online’s Buzzmetrics [7] service offers similar features.) During the past Super Bowl, TNS Cymfony reported that the teaser for the anticipated summer hit Transformers: Revenge of the Fallen earned seven times the buzz of the average ad during the big game.

Use these seven tools and you won’t have to worry about revenge; your brand will be transformed into an agile, respected member of the Web’s social swirl.

In 1988, three young guys in New York City — an acting student, a magazine researcher, and a software producer — were so happy to see the end of the 1980s, they held a funeral for the decade. They painted their faces blue and led a procession through Central Park; they burned a Rambo doll and a piece of the Berlin Wall. Although they couldn’t have known it, Chris Wink, Phil Stanton, and Matt Goldman had launched what would grow into an entertainment juggernaut. Since opening in New York City’s Astor Place Theatre in 1991, the Blue Man Group has played in 12 cities across the globe. More than 17 million people have seen its shows, and today, tickets go for $43 to $132. Goldman, the onetime computer geek turned impresario, tells the Blue Man Group’s unlikely story.

The Blue Man character is about universal human truths. When we got bald and blue for the first time, we knew instantly that we were on to something really special. It’s not like we sat down and came up with a business plan and followed it from Point A to Point B to Point C.

We played P.S. 122, La MaMa, all these hip, arty venues before we opened at the Astor Place Theatre. So some in the downtown art crowd thought we were selling out. But the work didn’t change. In the beginning, the house was half empty, and we were undercapitalized. We’d show up at the theater expecting a padlock on the door. I set up my office — a telephone, pen, and pad — directly opposite the box office. When I saw someone leave the box office without a ticket, I’d run out and start chatting him or her up. I wasn’t going to let him or her walk away without buying a ticket.

We made all the props ourselves. We found PVC pipe on Canal Street and turned it into musical instruments. But the Jell-O in the show cost $880 a show to make. So our producers said, “Lose the Jell-O.” Phil and Chris were working at the time for Jean-Claude Nédélec, who co-owns Glorious Food, the catering company. We told him our sad story, and he said, “We’ll make the Jell-O.” For three years, Chris and I would take a cab to the Upper East Side to pick up giant Jell-O molds and never paid a cent for it.

We went from six to eight shows a week and did 1,285 consecutive shows. We were sold out eight weeks in advance, but our producer got panicky at the thought of one of us getting sick, so we had one understudy. We never canceled a show. But then Phil cut his hand, and Chris Bowen, our extra, got bald and blue for the first time. It was fine. He’s now our senior performing director.

We realized that if we wanted to grow, we’d have to replicate ourselves. We cast three Blue Men, opened in Boston, and assumed it would go well. But there was no script, no musical score. It was a case study of the wrong way to grow. We realized we had to articulate our vision, so we locked ourselves in a room and spent several days writing the Blue Man manual.

The Blue Man is part innocent, hero, scientist, shaman, group member, and trickster. He doesn’t speak, but he communicates with vaudevillian slapstick humor. He drums and catches gumballs in his mouth that are filled with paint, which he spits onto a canvas to make art. It’s interactive, with music, lights, and lots of colorful liquids that get sprayed on the stage and into the audience.

The whole show is about connecting with the audience — to get to that heightened gestalt when someone scores a goal at a soccer game. That “AHHH!” There’s no intellect involved at all, just chemical secretions through one’s brain and body.

Three is the smallest unit where you can have an outsider; two guys win the third over, or the third guy wins the two guys in. It can go either way, and that tension makes for good theater. It also makes for good business partners — it takes the ego out of it. To this day, we’ve never made a decision based on the majority. All decisions are consensus. It takes longer, but we find if you keep talking things through, you reach a better choice.

We decided to open in Chicago. Before the show, we realized we had no idea how much money we needed. We called the general manager of the Boston show, who is now our CFO, and she did the numbers. To make payroll, we had to open three days early and do two shows a day. We figured, no one is going to know that the whole set could fall apart. They’ll just think, Oh, the Blue Men; they’re crazy. From Chicago we moved on to Las Vegas and later Orlando.

Vegas was a gamble. The theater had twelve hundred seats. We did 10 shows a week, but for the first six months, the theater was half empty. Lots of companies had come to us, wanting to do Blue Man ads. We turned them all down. But when Intel asked for the fourth time, we said, “Let’s talk.”

They said, “We want to get across that Intel is innovative, intelligent, and fun.” We liked that but said, “The ad agency is going to do lame storyboards.” So they gave us signing-off approval. Then we said, “The music is going to be really bad,” and they said, “You can make the music!”

That was in 2000. It was one of the biggest ad buys at the time: The ads were shown at the Grammy Awards, the basketball playoffs, the World Series. Every month, a new one aired. We went from 10 shows a week at 50 percent capacity to 14 shows at 100 percent.

Then we went international. Germany is the second-biggest entertainment market in the world for theater, so we started there. It felt appropriate, because when we did the funeral for the ’80s, we burned the Berlin Wall, and then it actually came down. So we felt personally responsible. We’ve had shows in Amsterdam and London. Today, we’re in Stuttgart and Tokyo.

We have about 70 Blue Men on the payroll. They’re hard to find. A lot of them trained in theater or are good drummers. We have a casting director and hold national auditions. Our Blue Men train in New York before we ship them out to our shows in other cities.

If you invent your own instrument, you’re automatically one of the top three musicians in the world on that instrument. We have made up more than 30 instruments, like the tubulum, the drumulum, and the piano smasher. I can barely hold my own musically, and yet I get to be a rock star. We made several albums; one was nominated for a Grammy.

We created a school in New York with an arts-based curriculum. It’s called the Blue Man Creativity Center. We have 2-, 3-, and 4-year-olds. Next year is our first kindergarten. We’re growing a grade a year. This year, we had 200 applications for 30 spaces.

Some people think that when we get bald and blue that we’re just hiding behind a mask. But we think it’s the opposite. When you get blue, you’re left with just the purest, most vulnerable humanity. And so, about halfway through the show, people start to go, “Whoa, I’m the Blue Man.” And once you get there, you wonder, Are there actually three different characters, or is it three aspects of one personality, so together they’re one character? Those are exactly the questions we want people to be asking.

[via Inc Magainze] by Matt Goldman

Tony Hawk is rich and chief executive of his own company, but that doesn’t mean he’s changed all that much from the skateboarding kid with a junk food diet. In fact, it’s something he says makes him a better C.E.O.

For Hawk, it’s always been about being true to one’s self, or at least his constituency—the skaters.

“You have to be approachable and identify with your audience,” Hawk said. “I never forgot where I came from. I still continue to skate with the kids and see what they’re up to. I still eat at McDonald’s.”

Sky High

Tony Hawk on Authenticity

Watch more interviews with Tony Hawk

Hawk has never lost touch with that audience and doesn’t want to. And that may be the key to the success of his Tony Hawk Inc., a privately held business with 30 employees working from an office park 40 miles north of San Diego.

“(I want to) actually experience it and not hire a marketing group to do it for you and then you’re out of touch and you’re relying on whatever their vision is,” Hawks said.

Hawk started skating at the age of nine and three years later he gained his first sponsor.

Two years later at 14, he turned professional and in the following two years, he was considered the best skateboarder in the world. Over the next 17 years, he won enough contests–enough to think he was set for life.

He launched a skateboarding company, Birdhouse Projects, but it struggled as pubic interest slumped. Hawk slumped, too, financially. But when skateboarding and extreme sports began to grab the spotlight, he seized the opportunity.

His defining moment could be deemed when he went to the 1999 X-Games in San Francisco and completed the first “900″ in skateboarding competition. (A 900 is a jump of two-and-one-half rotations, 360 degrees + 360 degrees + 180 degrees = 900).

“I didn’t really anticipate making (the 900) that night,” Hawk said. “I told myself that night that I was going to make that trick or get taken to the hospital.”

That kind of determination served Hawk in business, too.

“I go with my gut feeling,” Hawk said. “Is this is something that is truly connected with what I do.”

He trusts his instinct because “I do live in this world. I didn’t learn about it through videos or books. I actually did it and struggled with it.”As a businessman, Hawk now has racked up unusual success.

His video game series with Activision has sold more than 30 million copies and the newest releases are frequently among the top 10 sellers in the business. He’s done a direct-to-DVD movie, a clothing brand that’s sold at Kohl’s and last year, the Tony Hawk Big Spin roller coasters made their debut at Six Flags’ Amusement Parks.

That’s all in addition to his skateboarding business and an extreme sports tour called Tony Hawk’s Boom Boom HuckJam, which he started in 2002.

Hawk also founded the Tony Hawk Foundation, which is designed to promote and help finance public skate parks in low-income areas.

The foundation has distributed more than $2.3 million to non-profit groups building skate parks everywhere from Homer, Alaska to Needles, Calif., to Greencastle, Ind., to Livermore Falls, Maine.

[via Conde Nast Portfolio] by Phillip Lee

Would you like power with those fries?

A new garage-engineered generator burns the waste oil from restaurants’ deep fryers to generate electricity and hot water. Put 80 gallons of grease into the Vegawatt each week, and its creators promise it will generate about 5 kilowatts of power.

That’s about 10 percent of the total energy needs of Finz, a seafood restaurant in Dedham, Massachusetts, where the first Vegawatt is being tested. At New England electricity rates, the system offsets about $2.50 worth of electricity with each gallon of waste oil poured into it.

Vegawatt’s founder and inventor, James Peret, estimates that restaurants purchasing the $22,000 machine will save about $1,000 per month in electricity costs, for a payback time of two years.

“You take this waste resource and make it a profit center,” said Peret, who spent four long years cooking up the project in his garage. “When I started telling people, they said, ‘Someone’s gotta have done this.’ I’d run into more people. They’d say, ‘Why hasn’t anyone done this?’ My only response was, ‘I don’t know; it seems like a good idea.’”

While Vegawatt is a small solution, Peret’s invention is a very clever embodiment of several long-cherished alternative-energy ideas: capturing both the heat and power from fuel combustion, making energy where it’s used, and recycling used resources. Big industrial plants that make paper, for example, have long taken advantage of these concepts to save on their utility bills, but the Vegawatt will be the first product that could turn thousands of fast food restaurants into mini power plants.

“Now the restaurant owners are going to be motivated to put every single drop of waste oil into this thing, because it will pay for itself,” Peret said.

And importantly, it provides convenience for restaurateurs or Burger King managers, instead of subtracting it, like so many green solutions seem to.

Restaurants that fry delicious things like chicken and french fries generate dozens of gallons of waste oil that have to be stored in barrels out back. Because used cooking oil is considered a low-grade hazardous material, they haven’t been allowed to just throw it away; they generally had to pay rendering-plant operators to come. But it is now a sellers’ market for grease.

Higher crude prices have made other types of oil more expensive. Biodiesel makers and renderers have become increasingly willing to pay up to 40 cents a gallon for the stuff. There have even been reports of “biodiesel pirates” stealing fryer grease.

In fact, Vegawatt is derived from the home-brew fuel movement that many trace back to Dr. Thomas Reed, who popularized a recipe to convert waste cooking oil into biodiesel more than 20 years ago. Peret converted his truck to run on straight vegetable oil, or SVO to home brewers. But he was troubled by the inefficiency of the process.

“If you want to run waste vegetable oil in your car, it’s not as simple as going behind a restaurant and filling up,” Peret said. “People that do this spend the majority of their free time collecting fuel from restaurants.”

Peret realized he could use the same engine technology to power an on-site generator and defray a restaurant’s electricity costs.

“It’s not difficult to go from spinning tires to spinning magnets,” he said

So he created a test unit — which you can see at the back of his garage in the top photo — that’s basically a diesel generator hacked to run waste cooking oil. It feeds power directly into the restaurant’s electrical system through a 30 amp hook-in.

Vegawatt is more efficient than a typical coal or natural gas plant. Peret said it can capture 70 percent of the fuel’s caloric value. That’s because the generator captures and uses the waste heat it generates.

“All the water [the restaurant] would send to its boiler, instead of sending it straight there from the city, we run it through our heat exchanger first,” Peret said. “Depending on the flow, [the water] can go into the hot water heater at 120 degrees.” (This non-electrical energy savings is included in the 5-kilowatt rating cited above.)

The big power plants, though technically very efficient, waste most of the fuel they burn. After accounting for all the sources of energy waste “what you are left with … is just 27.6 units of usable energy out of every 100 units you started with,” energy researcher Benjamin Sovacool explained in his recent book, The Dirty Energy Dilemma. “In terms of making toast, it would have been nearly four times more efficient just to burn a lump of coal and place your bread over the flame.”

Biomass energy sources — like waste wood, switchgrass or cooking oil — are best when used right near the source of their creation. Dragging the stuff creates more emissions and raises the cost of the fuel. Vegawatt doesn’t have that problem. By company estimates, the Vegawatt generates 50 percent less carbon dioxide than a comparable amount of electricity from a coal power plant.

“In terms of the amount of energy that it takes to transport this waste, it’s a french fry,” Peret said. “You just feed the guy who is picking up the bucket and pouring it into the system.”

Forest Gregg, an alternative-fuels expert and author of last year’s SVO: Powering Your Vehicle with Straight Vegetble Oil, called it a “nifty application and a great business idea.”

Gregg also drew attention to a strong part of Vegawatt’s pitch: that it won’t require “intervention or maintenance by restaurant staff.” That’s because when users buy a system — or lease it for $450 a month — they get a service contract with the company for cleaning and maintenance.

The owner of the very first Vegawatt, George Carey (pictured above), seems pleased with the unit, too. He heartily endorses the company on its website, saying, “The Vegawatt system enables me to significantly reduce my energy costs, generate clean energy on-site, and very importantly, reduce the heavy energy footprint of my restaurant.”

See Also:

• Tapping the Vortex for Green Energy
• Global Energy Network Depends on a Few Vulnerable Nodes
• How A Google Engineer Hacks His Energy Usage
• Biofuel Startup Strives to Meet Obama’s Green Ambitions
• Obama Voices Biofuel Doubts
• Biofuel Solution at Sea, not on Land
• DOE Invests $125 Million in Synthetic Life to Develop Biofuels …
• Food vs. Fuel: Saltwater Crops May Be Key to Solving Earth’s Land …

[via WIRED] by Alexis Madrigal

In late 2006, Justin Vernon, a musician in Eau Claire, Wis., recorded nine songs while staying at his parents’ hunting cabin in northern Wisconsin after a breakup with a girlfriend and his long-time band. He used just a desktop computer with recording software, a three-piece drum set and a guitar.

A few months later, Mr. Vernon posted the songs on his MySpace page, hoping to get some listeners and feedback. He also printed 500 copies of a CD with those songs to sell to friends and fans and send to music bloggers for review.

He got that and much more.

Chelsea Sanders

Justin Vernon of Bon Iver performing at WIUX radio station at Indiana University at Bloomington.

Thanks to the buzz his online tracks generated on music blogs and social-networking sites, Mr. Vernon has played at numerous venues and appeared on the “Late Show With David Letterman.” He signed a record deal in October 2007, and his first album, “For Emma, Forever Ago,” sold about 87,000 copies through mid-December, with about half of those downloaded online. With a band he formed early this year, called Bon Iver, Mr. Vernon is now playing sold-out concerts across the U.S. and abroad.

“The Internet played a significant role in feeding people the music…. It’s like wildfire [how it] spreads,” Mr. Vernon, 27, said before a show earlier this year in Philadelphia, where the band performed to a boisterous crowd of about 500 in a church basement. “That propelled us right into being able to choose what kind of record label we wanted to work with.”

Mr. Vernon’s rapid success shows how small, relatively unknown artists can gain fame via the Web without the large marketing budgets and backing of a major record label. The exposure on blogs, YouTube, social-networking, marketing and other sites can allow them to nurture a following quickly and cheaply.

“It’s about consumers talking to each other and to the artist through the Web and at concerts, where the emphasis on top 40 hits” has disappeared, says marketing expert and author Seth Godin. “Now, it’s about niches.” Record labels, once responsible for making music artists famous, are being replaced by music bloggers who review albums and post YouTube videos of their favorite bands, he adds.

One of the first people to spread the word about Mr. Vernon’s songs was popular music blogger Craig “Dodge” Lile of myoldkyhome.blogspot.com. He was scanning MySpace for music and stumbled across Mr. Vernon’s profile page. Liking what he heard, he posted about it in June 2007 on his blog: “Vernon sings in a perfect falsetto over sparse folk backgrounds on a lot of tracks, but opens it a bit more naturally on this one,” referring to a song called “Skinny Love.”

In the following weeks, other music blogs and sites, including BrooklynVegan.com and Pitchforkmedia.com, gave the songs glowing reviews.

“Big pacemakers out there gave it a good review, and people sort of latched onto it,” says Kyle Frenette, Bon Iver’s manager, in Chippewa Falls, Wis.

And once artists gather a large online following, record labels often start chasing them. Indeed, by the fall of 2007, a number of record labels had reached out to Mr. Vernon. He ultimately signed up with Jagjaguwar of Bloomington, Ind., in late October.

After signing the deal, Mr. Vernon put together a band. Jagjaguwar officially released “For Emma, Forever Ago,” in February 2008, and Bon Iver has been touring almost continuously since.

A big part of Mr. Vernon’s success in the blogosphere and beyond, Mr. Frenette says, was crafting a compelling story to help fans connect to the music even more. Bon Iver’s MySpace page, Web site and CD all include the same story: a paragraph telling how Mr. Vernon wrote the songs while hibernating in the remote cabin in the woods. It outlined why Mr. Vernon’s story was different, what the name Bon Iver means (it’s a misspelling of the French term for “good winter”) and how the songs were made (using microphones and aged recording equipment).

While much of Mr. Vernon’s acclaim has come through buzz on blogs, other musicians are finding outlets and Web tools to help their music get exposure. Artists can use TuneCore.com to distribute their songs to music-retail sites, including iTunes and Amazon. Artists pay a one-time fee of 99 cents a song, plus maintenance and storage fees. At online record store CDBaby.com, owned by Disc Makers of Pennsauken, N.J., musicians can upload their music, which can then be digitized, stored and sold on the site. CDBaby keeps $4 for every CD sale and 9% for every download.

Sonicbids Corp.’s site is an online marketplace that connects musicians with promoters, booking agents and industry professionals. Using the tools on the site, bands can find live gigs and licensing opportunities by submitting a bid — including an online press kit with audio and video tracks, photos and a biography — to concert promoters and event planners who also are members of the community site. Musicians pay $5.95 to $10.95 a month or $50 to $100 a year in membership fees.

One U.K. site, Slicethepie Ltd.’s Slicethepie.com, allows artists to raise money to create albums, directly from fans and investors. Music fans are paid by the site to review and rate tracks uploaded by artists. The highest-rated artists are then placed in a “showcase” where people can listen to the music and invest in artists they like. When the investments reach a certain level, the artists receive the money, minus a 10% cut for Slicethepie. Artists also pay Slicethepie a royalty on the sale of every album or single for a two-year period.

“The Internet has been like the French Revolution for the music business,” says Panos Panay, founder and CEO of Sonicbids. The aristocracy “has faded” as the “cost of distribution, production and even getting connected has come down.” Now, he adds, anyone with “a niche and devoted fans can make a living.”

[via WSJ Small Business] by Shelly Banjo and Kelly K. Spors

I’ve been fascinated by the analysis of the Obama campaign. In many ways, Obama’s campaign and its success is a big, bright, “LCD sign” of the times. New media has come of age in a very public way.

Most people seem to agree that the campaign used a number of techniques to capture an audience and even inspire the traditionally unenthusiastic. Some of my favorite attributions are:

Audacity – the fact that Obama wasn’t afraid to “redefine his target audience” and go after states like Indiana who this November voted for a Democrat for the first time in 44 years.

Mobilizing Large Numbers and doing it “Grass Roots” – unprecedented fundraising success by generating large numbers of small donations rather than small numbers of large donations to raise more than an estimated $600 million (McCain raised an estimated $250 million).

The Message Consistency – the message never waivered from the idea of being an “antidote” to the status quo.

But perhaps the most obvious and (to a techie like me) inspiring elements of witnessing this campaign was its focus on social technology to support and propel all of the other techniques.

The use of “new media” from friend building on Friendster to the seemingly simple text message proved to be a powerhouse for the campaign, as it extended the concept of “Team Obama” far beyond campaign headquarters literally into the hands of millions of Americans who voted and vocalized with their typing fingers.

For all the small business owners who couldn’t help wondering, wow – can I do that? My answer is Yes you can! (Sorry couldn’t help myself).

In taking a closer look, the technologies used form a rather familiar list:

• Official Web site: http://www.barakobama.com and http://my.barakobama.com
• Text messaging strategy – enabled via collecting phone numbers on a mass scale
• LinkedIn: http://www.linkedin.com/in/barackobama
• Flickr: http://www.flickr.com/photos/barackobamadotcom/
• Facebook: http://www.facebook.com/barackobama
• Twitter: http://twitter.com/BarackObama
• YouTube: http://www.youtube.com/user/BarackObamadotcom
• Meetup.com: http://barackobama.meetup.com/

The list reads like a “who’s who” of social media marketing.

But the real power in these technologies is understanding that the goal is not just to “set up” one tool or another, but to understand each tool’s potential. That potential in the Obama campaign was brought to fruition by:

• having a consistent message
• providing free and open access to “making a connection”
• *always* keeping the tool up to date
• providing pertinent digestible bytes of information that could be read, downloaded, passed on
• leveraging the sheer quantity of enthusiasts and supporters on each tool to disperse messages almost instantly across an unbelievably wide, new network of venues and communities that hasn’t been seen since the invention of television.

Think about the leverage that a database of 948,000 people on MySpace and 3.1 million people on Facebook provides when you have a message to communicate (and consider that vs. McCain’s 221,000 on MySpace and 600,000 on Facebook).

As you think about your business and consider the challenge to build brand, generate buzz and stay on the radar as a small business owner with limited time and a limited budget, there are some very simple lessons to learn here:

1. everybody needs a team. Whether you’re trying to build a team of millions of voters or a few thousand supporters of your business, build a team by building a venue for them to get involved. Even the simplest involvement can be powerful.

2. email, the Web, and cellular technology have created an unprecedented venue for that involvement. Know who should be on your team and know the different ways they like to be involved.

3. Use wisely. Learn how these technologies work and learn by example how they can be leveraged to build a community of supporters for you.

This is an advantage that won’t last forever. As businesses gain competency in these techniques and learn to invest wisely, these techniques will slowly become standards rather than competitive advantages.

But it is possible for a growing small business to build a strategic, cost-effective and impactful social media campaign. As “Team Obama” has shown – yes you can.

Another great article about Obama’s Viral Marketing in TIME MAGAZINE.

[via Inc Magazine] by Maisha Walker

If you’re not thinking of yourself as a brand, you need to start now.

Fast Company explains what to do when you’re branded.

A Kick In The Career: What Do You Do When You’re Branded?