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MOD 3: CREATIVE DIFFERENTIATION - BECOMING AN ORIGINAL - HACKING MUSIC: HABITS OF HEADLINERS GROUP TRAINING SESSION DECK
The document outlines a comprehensive guide for artists, focusing on branding, creative differentiation, and strategic frameworks to help them thrive in a competitive landscape. It introduces concepts such as the Agile Artist, SWOT analysis, and the Blue Ocean strategy, emphasizing the importance of uniqueness and adaptability. Action items throughout encourage artists to reflect on their careers and make informed decisions that promote originality and growth.
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MOD 3: CREATIVE DIFFERENTIATION - BECOMING AN ORIGINAL - HACKING MUSIC: HABITS OF HEADLINERS GROUP TRAINING SESSION DECK
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- 3. Module 1: LAYINGTHE FOUNDATION • Section 1: Your Brand Words • Section 2: Know Thyself (Your Superpower) • Section 3: The Artist Audit • Sect 4: 3 Gears • Section 5: The Entertainment Ecosytem • Section 6: Content vs Platform • Section 7: Time - Talent Matrix • Section 8: Strategy And Tactics
- 4. Module 2: ARTISTAS HACKER 1. Forgiveness > Permission 2. Team > Talent 3. Missionaries > Mercenaries 4. Different > Good 5. Future > Nostalgia 6. The Third Way 7. The Cupcake Hack 8. The KPI Hack: The Power Of Measuring 9. Resourcefulness Beats Resources 10. Fight Beats Want
- 5. MODULE 3: CreativeDifferentiation 1. THE AGILE ARTIST: THE ARTIST OF THE FUTURE 2. SWOT MATRIX: TELLING YOURSELF THE TRUTH 3. RED OCEANS VS BLUE OCEANS: BECOMING AN ORIGINAL 4. THE E.R.R.C. FRAMEWORK 5. CASE STUDY: Journey’s Answers 6. GETTING U TO A BLUE OCEAN
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- 9. You either haveto be first, better or different. — Loretta Lynn 9
- 10. An entrepreneur has theelegance of a poet, the precision of a mathematician, the vision of a mystic, and the drive of a soldier. 10 THE AGILE ARTIST
- 11. An artist has theelegance of a poet, the precision of a mathematician, the vision of a mystic, and the drive of a soldier. 11 THE AGILE ARTIST
- 12. Section 1: THE AGILEARTIST: THE ARTIST OF THE FUTURE 12 THE AGILE ARTIST
- 13. Differentiation: the process bywhich you consciously create ways to set yourself apart from everybody else.THE AGILE ARTIST
- 15. Agility: represents flexibility andhow quickly an artist integrates change and develops new thinking and action.THE AGILE ARTIST
- 16. Consistancy: represents the artist’sability to focus and plan/manage/do the work when it needs to be done.THE AGILE ARTIST
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- 26. 1. Label anartist in each box 2. Where have you been in the past? 3. How to tune your AGILITY 1. What worked in the past that no longer work 2. Where are you most A (top 3) 3. Where are you least A (top 3) 4. How to tune your CONSISITANCY 1. Where are most C? (top 3) 2. Where are you least C? (top 3) Action Item 26 THE AGILE ARTIST
- 28. An ARTIST has theelegance of a poet, the precision of a mathematician, the vision of a mystic, and the drive of a soldier. 28 THE AGILE ARTIST
- 29. Section 1: THE AGILEARTIST: THE ARTIST OF THE FUTURE 29 THE AGILE ARTIST
- 30. Section 2: SWOT MATIX TELLINGYOURSELF THE TRUTH 30 SWOT MATRIX
- 31. No bullshit, Real world, 100%actionable. 31 SWOT MATRIX
- 32. -If you knowboth the enemy AND know yourself, you need not fear the result of a hundred battles. -If you know yourself but NOT the enemy, every victory gained you will also suffer a defeat. -If you know NEITHER the enemy NOR yourself, you will succumb in every battle. — sun tzuSWOT MATRIX
- 33. THIS SWOT TOOLHELPS: Artists know BOTH the enemy AND know yourself, SO THAT you need not fear the result of a hundred battles.SWOT MATRIX
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- 35. 1. What areour Strengths? 2. What are our Weaknesses 3. Where are our Opportunities? 4. What are our Threats? SWOT MATRIX
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- 41. "The first principleis that you must not fool yourself and you are the easiest person to fool.” -Richard FeynmanSWOT MATRIX
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- 44. ARTISTS ARE TYPICALLY AVOIDERS, SWOTMAKES SURE THAT HAPPENS LESS OFTEN SWOT MATRIX
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- 46. Tough on Process, Easyon People SWOT MATRIX
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- 49. "The first principleis that you must not fool yourself and you are the easiest person to fool.” -Richard FeynmanSWOT MATRIX
- 50. Section 2: SWOT MATIX TELLINGYOURSELF THE TRUTH 50 SWOT MATRIX
- 51. Section 3: RED OCEANSVS BLUE OCEANS BECOMING AN ORIGINALRED OCEANS BLUE OCEANS
- 52. In this section,we are going to address how you can determine, tune and build on the uniqueness of your brand. 52 RED OCEANS BLUE OCEANS
- 53. You either haveto be first, better or different. — Loretta Lynn 53 RED OCEANS BLUE OCEANS
- 54. Differentiation: the process bywhich you consciously create ways to set yourself apart from everybody else. RED OCEANS BLUE OCEANS
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- 60. Red Ocean: 1. Extremelycrowded with competition. 2. Are more focused on competition than creating a consumer experience. 3. Expectations within your industry are strictly defined and accepted 4. Allows for very little creativity or divergence from the “normal.” RED OCEANS BLUE OCEANS
- 61. Blue Ocean: 1. Artistmake the competition irrelevant. 2. Market as an“experience” (Apple, Nike). 3. No limitations - allows for greater creative solutions, and product evolution. 4. Artists develop their own personality 5. Fans feel they share when they ex. the Artist
- 62. Examples of Redvs. Blue Ocean: 1. A community college vs. Stanford 2. Traveling Circus vs. Cirque du Soleil 3. Ford Taurus vs. Tesla 4. Acer vs. Apple 5. Barnes & Noble vs. Amazon RED OCEANS BLUE OCEANS
- 63. Red Ocean inmusic and media: 1. Cover bands 2. Open mics and writers nights 3. Expecting to become famous from cosplay 4. Songwriter competition 5. Jam sessions RED OCEANS BLUE OCEANS
- 64. Blue Oceans inmusic and media: 1. Jimmy Buffett and his “Parrothead” fan community 2. Gwar 3. Garth Brooks 4. Here Come the Mummies 5. KISS/Taylor/Coheed RED OCEANS BLUE OCEANS
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- 67. Section 3: RED OCEANSVS BLUE OCEANS BECOMING AN ORIGINALRED OCEANS BLUE OCEANS
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- 72. So, the bigquestion is ... how does a new artist initiate and develop a unique brand that allows them to operate in or move towards a Blue Ocean instead of becoming just another bottom-feeder competing for scraps in a Red Ocean? 72 EERC FRAME WORK
- 73. A career isbuilt, not making one lucky decision. A career is built by making 1000s of right decisions over time. 73 EERC FRAME WORK
- 74. 4 words: Eliminate, Reduce, Raiseand Create 74 EERC FRAME WORK
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- 77. THE FOUR QUESTIONS: 1.Which factors should be (E)LIMINATED from what is currently an industry standard (e.g., reverb-drenched mixes, bone dry mixes, guitar solos, no guitar solos, disco music, boy bands)? EERC FRAME WORK
- 78. Whether BIG orSMALL these trends were ELIMITED. They have become opportunties for the artist that is BRAVE enough to both ANSWER and ACT on. EERC FRAME WORK
- 80. THE FOUR QUESTIONS: 2.Which factors should be (R)EDUCED well below what is currently an industry standard (e.g., big background vocals, no background vocals, three- minute song formats, overproduced recordings, underproduced recordings)?EERC FRAME WORK
- 81. Whether BIG orSMALL these trends were REDUCED. They have become opportunties for the artist that is BRAVE enough to both ANSWER and ACT on. EERC FRAME WORK
- 83. THE FOUR QUESTIONS: 3.Which factors should be (R)AISED well above what is currently an industry standard (e.g., artists who write their own songs, artists who only record outside songs, Bro-Country/Traditional Country artists)? EERC FRAME WORK
- 84. Whether BIG orSMALL these trends were RAISED. They have become opportunties for the artist that is BRAVE enough to both ANSWER and ACT on. EERC FRAME WORK
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- 86. THE FOUR QUESTIONS: 4.Which factors should be (C)REATED that the current industry has never offered (e.g., rap on the verses/sing on the hook, screamo vocals, 24-hour raves, beard bands LGBT themed songs)? EERC FRAME WORK
- 87. Whether BIG orSMALL these trends were CREATED. They have become opportunties for the artist that is BRAVE enough to both ANSWER and ACT on. EERC FRAME WORK
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- 89. 1. Think aboutan artist whose career you admire. 2. What did that artist ELIMINATE and did that decision move them in the direction of a Red or Blue Ocean? Did it move them in the direction of a Red or Blue Ocean? 3. What factors did that artist REDUCE and how did those decisions affect whether the artist was in a Red or Blue Ocean? 4. What factors did that artist RAISE and how did those decisions affect whether the artist was in a Red Ocean or Blue Ocean? 5. What factors did that artist CREATE and how did those decisions affect whether the artist was in a Red or Blue Ocean? Action Item 89
- 90. Section 5: CASE STUDY: Journey’sAnswers JOURNEY CASE STUDY
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- 94. 1. Which factorsdid Journey (E)LIMINATE? JOURNEY CASE STUDY
- 96. Helped JOURNEY become partthe Future instead of part of History. JOURNEY CASE STUDY
- 97. 2. Which factorsdid Journey (R)EDUCE? JOURNEY CASE STUDY
- 99. 3. Which factorsdid Journey (R)AISE? JOURNEY CASE STUDY
- 101. 4. Which factorsdid Journey (C)REATE? JOURNEY CASE STUDY
- 103. JOURNEY CASE STUDY 1. FanFirst - The band’s songs were primarily focused on how the fan was able to see their own story in the music.
- 104. JOURNEY CASE STUDY Fan FirstStrategy: 1. Centered on audience 2. Tell their fan’s Story 3. Give fans songs they could “STEP INTO” 4. Band was there to stage and support the FANS experience
- 105. JOURNEY CASE STUDY 2. Digestibility- Journey’s Steve Perry and Jonathan Cain focused on songs that were shorter in length.
- 106. JOURNEY CASE STUDY The Combinationof these 4: 1. eliminated the jam band persona, 2. reducing the emphasis on the B3 3. raising the vocal bar with Steve Perry 4. creating the “Fan First” approach
- 107. Helped JOURNEY become partthe Future instead of part of History. JOURNEY CASE STUDY
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- 109. Section 6: GETTING UTO A BLUE OCEAN GETTING TO A BLUE OCEAN
- 110. BENEFITS ENJOYED BY ARTISTSIN BLUE OCEANS 1. Answering them forces originality. Music artists and managers trying to answer these four questions are pushed in simultaneously new directions in a manner that benefits the artist. GETTING TO A BLUE OCEAN
- 111. FOUR BENEFITS ENJOYEDBY ARTISTS IN BLUE OCEANS 2. Answering them requires teams to align. Teams are given a clear goal to work toward and they can immediately engage in conversation and brainstorming. GETTING TO A BLUE OCEAN
- 112. FOUR BENEFITS ENJOYEDBY ARTISTS IN BLUE OCEANS 3. Answering them requires honesty. Completing the grid is a challenging task and it encourages the team to honestly scrutinize everything about the current condition of their music business. It also sheds light on the wide range of assumptions made by many people working in the industry. GETTING TO A BLUE OCEAN
- 113. FOUR BENEFITS ENJOYEDBY ARTISTS IN BLUE OCEANS 4. Answering them encourages Whole-Brain Thinking. Because the questions require a great deal of analytical exercise, answering them forces artists to utilize both Left-Brain and Right-Brain Thinking, combining analytical examinations with creative problem-solving. GETTING TO A BLUE OCEAN
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- 115. 1. Think aboutyou. 2. What three things have you recently ELIMINATED in your own career? Why did you choose to eliminate them? 3. What 5 things have you recently REDUCED in your own career? Why did you choose to reduce them? 4. What 5 things have you recently RAISED in your own career? Why did you choose to raise them? 5. What three things have you recently CREATED in your own career? Why did you choose to create them? Action Item 115 GETTING TO A BLUE OCEAN
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- 117. Concepts may makeME look smart, the action items and the execution makes YOU look smart.
- 118. ACTION ITEM 1: THEAGILE ARTIST THE AGILE ARTIST
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- 120. 1. Label anartist in each box 2. Where have you been in the past? 3. How to tune your AGILITY 1. What worked in the past that no longer work 2. Where are you most A (top 3) 3. Where are you least A (top 3) 4. How to tune your CONSISITANCY 1. Where are most C? (top 3) 2. Where are you least C? (top 3) Action Item 1 120 THE AGILE ARTIST
- 122. ACTION ITEM 2: SWOTMATRIX SWOT MATRIX
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- 124. ACTION ITEM 3: REDOCEANS VS BLUE OCEANS RED OCEANS BLUE OCEANS
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- 126. ACTION ITEM 4: ERRCFRAMEWORK EERC FRAME WORK
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- 128. 1. Think aboutan artist whose career you admire. 2. What did that artist ELIMINATE and did that decision move them in the direction of a Red or Blue Ocean? Did it move them in the direction of a Red or Blue Ocean? 3. What factors did that artist REDUCE and how did those decisions affect whether the artist was in a Red or Blue Ocean? 4. What factors did that artist RAISE and how did those decisions affect whether the artist was in a Red Ocean or Blue Ocean? 5. What factors did that artist CREATE and how did those decisions affect whether the artist was in a Red or Blue Ocean? Action Item 128
- 129. ACTION ITEM 5: GETTINGU TO A BLUE OCEANGETTING U TO A BLUE OCEAN
- 130. Action Item GETTING U TOA BLUE OCEAN
- 131. 1. Think aboutyou. 2. What three things have you recently ELIMINATED in your own career? Why did you choose to eliminate them? 3. What 5 things have you recently REDUCED in your own career? Why did you choose to reduce them? 4. What 5 things have you recently RAISED in your own career? Why did you choose to raise them? 5. What three things have you recently CREATED in your own career? Why did you choose to create them? Action Item 131 GETTING U TO A BLUE OCEAN
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