diff --git a/_subsections/fullcourse/03-building_systems/c01-building_systems-intro.org b/_subsections/fullcourse/03-building_systems/c01-building_systems-intro.org new file mode 100644 index 0000000..7323305 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c01-building_systems-intro.org @@ -0,0 +1,17 @@ +#+title: Building Systems 1 +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-1.mp4][Building Systems 1 video]] + +* Notes +- commpanies and artists sold based on assets +- digital assets that are integrated into the marketplace +- if artists cant do it, you need a creative director + +- songs are made into cohesive albums based on themes +- a visual directory assembles videos into on a larger campaign + - based on artists work + - creates something new diff --git a/_subsections/fullcourse/03-building_systems/c02-building_systems-build_small.org b/_subsections/fullcourse/03-building_systems/c02-building_systems-build_small.org new file mode 100644 index 0000000..0100943 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c02-building_systems-build_small.org @@ -0,0 +1,31 @@ +#+title: Building Systems 2 - Stay Down til you come up +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-2.mp4][Building Systems 2 video]] + +* Notes + +** starting +- 2 or three videos +- 10k views each +- involves little dirty work + +*** principle +- keep yourself small with first few releases +- build robust foundation in the shadows +- bigger the launchpad, the larger the rocket + +*** situation +- having a few remarkable digital assets +- no high traffic or advertising + +*** importance +- must build systems + - series of projects with a larger vision in mind + - calculated move + - curated catalog that highlights journey as an artist +- accept where you are +- establishing a solid foundation is difficult diff --git a/_subsections/fullcourse/03-building_systems/c03-assets.org b/_subsections/fullcourse/03-building_systems/c03-assets.org new file mode 100644 index 0000000..cb93880 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c03-assets.org @@ -0,0 +1,9 @@ +#+title: Building Systems 3 - Digital and Human Assets +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-3.mp4][Building Systems 3 video]] + +* Notes diff --git a/_subsections/fullcourse/03-building_systems/c04-human_preference.org b/_subsections/fullcourse/03-building_systems/c04-human_preference.org new file mode 100644 index 0000000..9a7acbc --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c04-human_preference.org @@ -0,0 +1,9 @@ +#+title: Building Systems 4 - Familiarity and Human Preference +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-4.mp4][Building Systems 4 video]] + +* Notes diff --git a/_subsections/fullcourse/03-building_systems/c05-massive_traffic.org b/_subsections/fullcourse/03-building_systems/c05-massive_traffic.org new file mode 100644 index 0000000..fdb6286 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c05-massive_traffic.org @@ -0,0 +1,9 @@ +#+title: Building Systems 5 - Massive Traffic +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-5.mp4][Building Systems 5 video]] + +* Notes diff --git a/_subsections/fullcourse/03-building_systems/c06-own_your_traffic.org b/_subsections/fullcourse/03-building_systems/c06-own_your_traffic.org new file mode 100644 index 0000000..d76b0e8 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c06-own_your_traffic.org @@ -0,0 +1,9 @@ +#+title: Building Systems 6 - Own Your Traffic +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-6.mp4][Building Systems 6 video]] + +* Notes diff --git a/_subsections/fullcourse/03-building_systems/c07-authenticity_representation.org b/_subsections/fullcourse/03-building_systems/c07-authenticity_representation.org new file mode 100644 index 0000000..b38c310 --- /dev/null +++ b/_subsections/fullcourse/03-building_systems/c07-authenticity_representation.org @@ -0,0 +1,9 @@ +#+title: Building Systems 7 - Authenticity and Representation +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c03-building_systems-7.mp4][Building Systems 7 video]] + +* Notes diff --git a/_subsections/fullcourse/04-reclaiming-creative-capacity/c01-creative-intro.org b/_subsections/fullcourse/04-reclaiming-creative-capacity/c01-creative-intro.org new file mode 100644 index 0000000..c0ef7ad --- /dev/null +++ b/_subsections/fullcourse/04-reclaiming-creative-capacity/c01-creative-intro.org @@ -0,0 +1,9 @@ +#+title: Reclaiming Creative Capaicty 1 +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c04-creative_capacity-1.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/04-reclaiming-creative-capacity/c02-creative-producers.org b/_subsections/fullcourse/04-reclaiming-creative-capacity/c02-creative-producers.org new file mode 100644 index 0000000..c809092 --- /dev/null +++ b/_subsections/fullcourse/04-reclaiming-creative-capacity/c02-creative-producers.org @@ -0,0 +1,9 @@ +#+title: Creative Capaicty 2 | Producers and Consumers +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c04-creative_capacity-2.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/04-reclaiming-creative-capacity/c03-creative-social_alechemy.org b/_subsections/fullcourse/04-reclaiming-creative-capacity/c03-creative-social_alechemy.org new file mode 100644 index 0000000..89c7723 --- /dev/null +++ b/_subsections/fullcourse/04-reclaiming-creative-capacity/c03-creative-social_alechemy.org @@ -0,0 +1,9 @@ +#+title: Creative Capaicty 3 | Social Alchemy / Hot Seat +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c04-creative_capacity-3.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/04-reclaiming-creative-capacity/c04-creative-institutions.org b/_subsections/fullcourse/04-reclaiming-creative-capacity/c04-creative-institutions.org new file mode 100644 index 0000000..efafa87 --- /dev/null +++ b/_subsections/fullcourse/04-reclaiming-creative-capacity/c04-creative-institutions.org @@ -0,0 +1,9 @@ +#+title: Creative Capaicty 4 | Institutionalized by the Institutions +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c04-creative_capacity_4.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/04-reclaiming-creative-capacity/c05-creative-drop_out_gradually.org b/_subsections/fullcourse/04-reclaiming-creative-capacity/c05-creative-drop_out_gradually.org new file mode 100644 index 0000000..225b1df --- /dev/null +++ b/_subsections/fullcourse/04-reclaiming-creative-capacity/c05-creative-drop_out_gradually.org @@ -0,0 +1,17 @@ +#+title: Creative Capaicty 5 | Drop Out, Gradually +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c04-creative_capacity_5.mp4][video]] + +* Notes + +* Questions +1. Were you personally or creatively limited by the federally censored American school system or other institutions in ways not outlined in this resource? If so, how? Please outline them here for your own processing3 +2. Reflect on the closest experience to E-Club or another startup accelerator in which you have participated, and how an environment like Hot Seat would benefit your creative process. Who is invited to your Hot Seat roundtable, and what might they offer you as constructive critiques? Consider forging your own Hot Seat +3. What opportunities for a product-market fit exist for your artist brand? Where and how might you leverage your products to create high-traffic circumstances? +4. How do you deprogram for the "hive mind"? In what environment do you feel unaffected by all extrinsic influence and in your most "natural" state? I do this on a skateboard, in startup accelerator programs, and in my editing chair. Many do so writing a song, in a recording booth, or in another mystical experience. +5. More specifically, what environmental factors help you "drop out" of hive-mind mentality? List any enabling factors in your creative processes. Some of mine are listening to readings of Beat Generation and counterculture scriptures, reading books, introspection and writing. +6. Among the great "tests" in life for artists and entrepreneurs are the challenges of building effective systems of products and visual representation. To "rewrite" a test is to create a plan B. If your initial efforts are unsuccessful, you will be forced to draw different "answers" to reach different conclusions. How might you reframe and refocus, and what are the actionable steps to accomplish such a rewrite? Who is employed in each version of your action plant to carry out the creation of various answers to your questions or challenges? diff --git a/_subsections/fullcourse/05-artist_brand/c01-artist_brand-constructive_critiques.org b/_subsections/fullcourse/05-artist_brand/c01-artist_brand-constructive_critiques.org new file mode 100644 index 0000000..29c76f2 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c01-artist_brand-constructive_critiques.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 1 - Constructive Critiques +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-01.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c02-influence.org b/_subsections/fullcourse/05-artist_brand/c02-influence.org new file mode 100644 index 0000000..5ccaab8 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c02-influence.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 2 - Designing Influence +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-02.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c03-environment.org b/_subsections/fullcourse/05-artist_brand/c03-environment.org new file mode 100644 index 0000000..6b5c22e --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c03-environment.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 3 - Design Your Environment and Life +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-03.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c04-purpose.org b/_subsections/fullcourse/05-artist_brand/c04-purpose.org new file mode 100644 index 0000000..f8f776c --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c04-purpose.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 4 - Creative Purpose +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-04.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c05-authentic_presence.org b/_subsections/fullcourse/05-artist_brand/c05-authentic_presence.org new file mode 100644 index 0000000..e5fa1aa --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c05-authentic_presence.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 5 - Reason and Authentic Presence is Leverage +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-05.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c06-no_paid_traffic.org b/_subsections/fullcourse/05-artist_brand/c06-no_paid_traffic.org new file mode 100644 index 0000000..de771ef --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c06-no_paid_traffic.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 6 - Why No Paid Traffic? +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-06.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c07-structure_campaign.org b/_subsections/fullcourse/05-artist_brand/c07-structure_campaign.org new file mode 100644 index 0000000..9e74aff --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c07-structure_campaign.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 7 - Structure Your Campaign +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-07.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c08-like_a_business.org b/_subsections/fullcourse/05-artist_brand/c08-like_a_business.org new file mode 100644 index 0000000..bb5310a --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c08-like_a_business.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 8 - Like a Business because it is one +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-08.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c09-click_fatigue.org b/_subsections/fullcourse/05-artist_brand/c09-click_fatigue.org new file mode 100644 index 0000000..8f309ed --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c09-click_fatigue.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 9 - Click Fatigue +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-09.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c10-productize_prakriti.org b/_subsections/fullcourse/05-artist_brand/c10-productize_prakriti.org new file mode 100644 index 0000000..6931a31 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c10-productize_prakriti.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 10 - Productize Prakriti +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-10.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c11-build_your_team.org b/_subsections/fullcourse/05-artist_brand/c11-build_your_team.org new file mode 100644 index 0000000..3c9c18d --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c11-build_your_team.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 11 - Build Your Team +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-11.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c12-silence_is_golden.org b/_subsections/fullcourse/05-artist_brand/c12-silence_is_golden.org new file mode 100644 index 0000000..8a35e9d --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c12-silence_is_golden.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 12 - Silence is Golden +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-12.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c13-rule_of_ten.org b/_subsections/fullcourse/05-artist_brand/c13-rule_of_ten.org new file mode 100644 index 0000000..9ad62f2 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c13-rule_of_ten.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 13 - Rule of Ten +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-13.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c14-leverage_any_haters.org b/_subsections/fullcourse/05-artist_brand/c14-leverage_any_haters.org new file mode 100644 index 0000000..978e7aa --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c14-leverage_any_haters.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 14 - Leverage any Haters +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-14.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c15-craft_character_network.org b/_subsections/fullcourse/05-artist_brand/c15-craft_character_network.org new file mode 100644 index 0000000..decaa52 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c15-craft_character_network.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 15 - Craft, Character, Network +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-15.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c16-product_to_system.org b/_subsections/fullcourse/05-artist_brand/c16-product_to_system.org new file mode 100644 index 0000000..b5046b9 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c16-product_to_system.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 16 - Product to System +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-16.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c17-audience_retention.org b/_subsections/fullcourse/05-artist_brand/c17-audience_retention.org new file mode 100644 index 0000000..a4c9420 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c17-audience_retention.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 17 - Audience Retention +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-17.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c18-interdisciplinary_approach.org b/_subsections/fullcourse/05-artist_brand/c18-interdisciplinary_approach.org new file mode 100644 index 0000000..c82ab0e --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c18-interdisciplinary_approach.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 18 - Interdisciplinary Approach +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-18.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c19-turncoat_mentality.org b/_subsections/fullcourse/05-artist_brand/c19-turncoat_mentality.org new file mode 100644 index 0000000..e145608 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c19-turncoat_mentality.org @@ -0,0 +1,9 @@ +#+title: Artist Brand 19 - Turncoat Mentality +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-19.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/05-artist_brand/c20-design_reality.org b/_subsections/fullcourse/05-artist_brand/c20-design_reality.org new file mode 100644 index 0000000..69e7f76 --- /dev/null +++ b/_subsections/fullcourse/05-artist_brand/c20-design_reality.org @@ -0,0 +1,19 @@ +#+title: Artist Brand 20 - Design Reality +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c05-artist_brand-20.mp4][video]] + +* Actionable Steps +1. How do your lifestyle, environments, and critiques from others influence your creative process? What do you value in the best and worst of them? How might any changes affect these influences? What changes are worth exploring? +2. How do your craft, character, and network influence your artist brand? What do you value in the best and worst of them? How might any changes affect these ifnluences? What changes are worth implementing? +3. Consider and document the nature of a song, album or other product you have, and the feelings, ideas or other expressions built into it. +4. Now, describe your ideal visual representation of that product +5. What are some key differences between the two assets, your product and its visual representation, and what is the function of the visual you just outlined? Does it amplify, clarify, solidify, enhance, change, limit or destroy any feelings, ideas or expressions of the original proudct? Do you still view the song or inital form as the "original proudct" or is the visual representation ultimately your product in its final, "origianl" form? +6. At the beginning of the next music video you publish, mind the first several seconds of the video to ensure you're hooking an audience and drawing them in to watch the rest of the video. From there, ensure there is a steady progression of some sort that will retain your audience through the timeline. Note how you might accomplish this in your next project. +7. What influences can youd raw from in your next projects that will pay tribute to preexisting culture while tastefully innovating? How will you integrate them, and how will your creation be received by audiences of that borrowed culture? +8. Describe your ideal character of your artist brand from a third-person perspective based on the prompts in this module. There are many factors to consider, so list first what comes to mind, and review the module if necessary to consider not just every way you control your public persona, but what your ideal artist avatar is like to experience. + +* Notes diff --git a/_subsections/fullcourse/06-authority_and_influence/c01-intro.org b/_subsections/fullcourse/06-authority_and_influence/c01-intro.org new file mode 100644 index 0000000..3b8fd9a --- /dev/null +++ b/_subsections/fullcourse/06-authority_and_influence/c01-intro.org @@ -0,0 +1,13 @@ +#+title: Authority and Influence +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c06-authority_and_influence-01.mp4][video]] + +* Actionable Steps +1. if the app "captivate" were still availabe, who would you choose to gain followers from? Their fanbase may be an ideal audience for you to tap into on YouTube and the artist may be someone whose entourage would be worth following and "captivating" as you position yourself to potentially work with them. Identify at least two people whose fanbases are compatible with your artist brand and why. +2. Identify qualities of your personal character worth turning up to eleven in your artist brand persona. What are some, if any, that you might want to eliminate entirely? + +* Notes diff --git a/_subsections/fullcourse/08-high-traffice-training/c01-intro.org b/_subsections/fullcourse/08-high-traffice-training/c01-intro.org new file mode 100644 index 0000000..3413a52 --- /dev/null +++ b/_subsections/fullcourse/08-high-traffice-training/c01-intro.org @@ -0,0 +1,28 @@ +#+title: high traffic training +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c08-high_traffic_training-01.mp4][video]] + +* Notes + +* action steps + +** Structure, Strategy, and Hard Costs +*** Creative Momentum Action Steps + +Answer these questions once now, and another time after you complete the High-Traffic Training. + +1. Create an itemized list of all the hard costs you’ve incurred in developing your artist brand so far. This includes studio time, engineering, production, and any paid traffic, like advertising and promotions, if you’ve attempted them + +2. Given that the only required actions beside music production, recording, engineering, and distribution that we use to grow artists with new YouTube channels from 0-30M Views and from $0-$30k in monthly revenue are video production, photography, and graphic design, place a line through any unnecessary costs you’ve incurred. + +3. Add all unnecessary costs to find what you could have invested in higher-leverage, necessary actions, like visuals. Next, estimate your time spent on unnecessary actions. Consider what necessary actions you would invest in if you could reclaim your time and money spent on unnecessary actions. About how much time and money could you have spent more wisely, had we connected earlier in your artist-development process? Use any discomfort you may feel in answering these questions to inform an understanding that time is your greatest asset, especially as a music artist. In knowing multiple artists who have reached 30M Views using our organic process spent less than $2,500 on their music videos total, even profiting from their first videos before publishing, carry any fire that may ignite in your gut into next steps. + + Before they work with us, many artists stockpile resources behind initial releases and become burnt out before they ever set themselves up for high-traffic opportunities without realizing that the creative work in the early stages of releasing hit records with hit videos sets a trajectory, despite garnering little traffic, as foundational releases can attract those opportunities while conveying momentum. + + Not every artist’s unique set of circumstances positions them for high-traffic opportunities with their first releases. Oftentimes, an effective approach for early-stage artists with few resources and connections is to use foundational releases to position themselves for larger, high-traffic opportunities. While one of our best case studies reached 20 million views with his first music video on a regular YouTube channel he started from scratch, a unique set of circumstances and high-traffic opportunities are what enabled that outcome. Because our process we’ll continue to break down in the next sections is more targeted and retainable than paid traffic methods, even artists with around 10,000 views or less across multiple music video releases attract opportunities worth tens of thousands of dollars without having to pay or reach out for them because their highly-targeted traffic in the early stages attracts those opportunities. + +4. Has what you’ve learned about the advantages of multiple releases in the early stages changed your mind about getting discouraged when initial foundational releases garner only 30,000 views or less? Do you feel more inclined to save any startup capital one might otherwise spend unprofitably on ineffective paid traffic to inflate their numbers and, instead, continue creating effective art that establishes an interconnected matrix of visual representation in your own area of YouTube before you run massive traffic through that system of visuals? Consider, also, how this more patient approach of building a foundation avoids the “one-hit wonder” effect. diff --git a/_subsections/fullcourse/09-keyword_research/c01-flip_industry_approach.org b/_subsections/fullcourse/09-keyword_research/c01-flip_industry_approach.org new file mode 100644 index 0000000..d1a6f77 --- /dev/null +++ b/_subsections/fullcourse/09-keyword_research/c01-flip_industry_approach.org @@ -0,0 +1,9 @@ +#+title: keyword research 01: flip the industry +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c09.mp4][video]] + +* Notes diff --git a/_subsections/fullcourse/09-keyword_research/c02-a_plus_process.org b/_subsections/fullcourse/09-keyword_research/c02-a_plus_process.org new file mode 100644 index 0000000..b580a11 --- /dev/null +++ b/_subsections/fullcourse/09-keyword_research/c02-a_plus_process.org @@ -0,0 +1,53 @@ +#+title: keyword research 02: a+ process +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c09.mp4][video]] + +* Notes + +* action steps +** Keyword Research +*** Audience Growth Action Steps + +Answer these questions for yourself before shooting your next videos, each time you upload a video to YouTube, and in reviewing your existing video releases, if you have any, to identify any possible pre-existing opportunities. Revisit any uncertain answers throughout the process and after completing the High-Traffic Training. + +1. Is this video a Foundational Release or a High-Traffic Release? + + Foundational Releases are videos that have no clearly-identifiable high-traffic sources to tap into. An example is a music video of an original record released by an early-stage independent artist with no large audience base. The primary goal of a foundational release is to establish an interconnected system of visuals that represent an artist and enable them to avoid the “one-hit-wonder” effect when high-traffic visuals are released. + + - The common misconception many have about foundational releases is that there’s reason to be discouraged when they receive little traffic. Foundational releases are exciting opportunities to set a trajectory before high-traffic events are created. + + - Artists can position themselves and create opportunities for high-traffic releases using foundational releases, as even small amounts of traffic from foundational releases can be highly-targeted and retainable. + + *High-Traffic Releases* are videos that have a clearly-identifiable high-traffic source to tap into. An example is a music video of an original record featuring a high-traffic artist, or a cover or remix of a high-traffic artist’s record. + +2. *If your release is Foundational*, are there any general keywords worth integrating into the metadata of your video? An example is a genre or subgenre of music. + + *If you have a High-Traffic opportunity*, what compatible high-traffic sources would you tap into? Where, specifically, would you place your video within YouTube’s 800 million+ videos, either on a specific search page or in a recommended list? + +3. Using an incognito tab so your results aren’t influenced by your search history, enter *Primary Keywords* (an artist’s name, the name of a record of theirs, both, or other search terms that receive a large volume of traffic, such as a genre or subgenre of music) in a normal YouTube search to explore compatible traffic sources and discover *Secondary Keywords* in titles of the top 5 to 8 video results at the top of the first page of search results that will enable you to inform YouTube exactly where you think your video belongs within YouTube’s matrix of videos by adding them, along with the primary keyword of your search page of choice, to the tags of the specific video you’re looking to rank. + + - *Primary Keywords* are those placed in YouTube’s search bar. They are used to identify a page that has high traffic and low competition, and they are entered in the “Tags” section of the video that you believe belongs on that particular search page. They are also placed tastefully in the description and title of a video, when appropriate. Tags are not visible to the public, and the Tags section is an important area for ranking using metadata, despite YouTube’s claims that they have minimal impact on viewership. + + - *High-traffic* search results are those that contain videos posted recently for how high their view counts are. For example, a video with 7 million views published 7 years ago is not expected to be nearly as high-traffic as a video with 3 million views published 6 months ago. + + - *Low-competition* search results are those that are malleable, meaning not consistently populated with videos that are extremely high-traffic and have long-established rankings. Extremely high-traffic and long-established videos make a search page more difficult to break into and reduce your ability to rank there, which is why the search page of “Beyoncé” has exclusively videos containing Beyoncé’s name in the title, as does the search page of “Beyoncé cover,” but you’ll notice that the traffic and malleability of those two search pages differ significantly. Does this mean you need the name of a larger artist in your title to rank in the search results of high-traffic Primary Keywords? Absolutely not. + + - An artist just reaching 10 million views on a single music video for the first time is in a better position to have search results worth ranking for than an artist with hundreds of millions of views across multiple video releases. That’s not to say there aren’t ways to tap into the traffic of megastar artists whose search results for their name alone would be nearly impossible to get placed in without their name in your title and their face in your thumbnail. An example of Primary Keywords that yield low-competition search + + - An artist just reaching 10 million views on a single music video for the first time is in a better position to have search results worth ranking for than an artist with hundreds of millions of views across multiple video releases. That’s not to say there aren’t ways to tap into the traffic of megastar artists whose search results for their name alone would be nearly impossible to get placed in without their name in your title and their face in your thumbnail. An example of Primary Keywords that yield low-competition search results producers would want to rank in are “Kid Laroi type beat,” while “Kid Laroi” alone would yield higher-traffic, but much higher-competition search results. + + There may be less people searching “Kid Laroi type beat,” but for a producer who wants to rank for traffic that includes potential buyers of their leased production, those search results are malleable, reasonably high-traffic, and contain exactly the target demographic of any production of theirs that has product-market fit capability to retain and convert audiences who visit that search page into subscribers and buyers. + + If your video is a Foundational Release, there may not be a clearly-identifyable opportunity to create high-traffic circumstances. This doesn’t mean you can’t and shouldn’t still conduct keyword research for that release and integrate as many relevant high-traffic keywords into the video’s metadata (Tags, Title, and Description) as are possible and appropriate. An example of a Primary Keyphrase is a genre or subgenre of music, such as “future house” or “psychedelic rock” that further distinguishes your metadata beyond what you might already include, such as your artist name, song title, and other basic information people who don’t know you won’t search. + + - *Secondary Keywords*, which we also refer to as “*Anchor Tags*,” are used to tie in or “anchor” your video at the top of the first page of search results for your Primary Keyword of choice. They are placed only in your video Tags, as they are typically unrelated to your release apart from their ability to show youtube where, specifically, you think your video belongs on the specific search page you would have already included in your video’s metadata with your Primary Keyword(s). To keep a singular focus and not dilute your chances of ranking on a specific search page, test one search page at a time so you’ll know where the traffic is or isn’t coming from. Use one Primary Keyword or Keyphrase and Secondary Keywords from the titles of the top 5-8 videos on the first page of search results. + + - *Tertiary Keywords* are used to rank in the recommended list of a particular video, usually one clicked on a page found using a Primary Keyword. These keywords are similar to Secondary Keywords in that they come from the titles of the top 5-8 video results, except within a recommended list, not a search page. This granular level of metadata research is usually used as a backup plan when Primary Keywords yield high-traffic, but high-competition search results, and there are no alternative Primary Keywords that yield favorable results in your desired area of YouTube. Recommended lists, even for very popular artists, can be malleable. YouTube has two algorithms, one that decides what appears on your home page, and another that dictates search pages and recommended lists. The types of keywords we’ve covered inform YouTube’s algorithm that deals with search pages and recommended lists, and Tertiary Keywords are used to ensure all opportunities for ranking using this algorithm are accounted for. Most of our best case studies rank within search pages using Secondary Keywords, which leads to other opportunities for getting discovered through playlists and the home page as YouTube begins to favor a video. + +4. After reviewing the three types of keywords we defined that standardize the ranking process for artists across different spheres of music, conduct keyword research for three upcoming or existing videos you intend to publish or have published. List the keywords as they would appear in your tags, separated by commas, as you would enter them in your YouTube Tags. + +5. Now that you’ve had the opportunity to go through the Keyword Research process of researching Primary, Secondary, and even potentially Tertiary keywords, optimize existing videos, if you have them, plan for next releases, and continue through the High-Traffic Training and creative work with this data-driven approach that informs and fuels creative decision making. diff --git a/_subsections/fullcourse/09-keyword_research/c03-digital_real_estate.org b/_subsections/fullcourse/09-keyword_research/c03-digital_real_estate.org new file mode 100644 index 0000000..52becb4 --- /dev/null +++ b/_subsections/fullcourse/09-keyword_research/c03-digital_real_estate.org @@ -0,0 +1,28 @@ +#+title: keyword research 03: Digital Real Estate - Nurture and Retain +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c09.mp4][video]] + +* notes + +* action steps +** Keyword Research +*** Audience Growth Action Steps + +Answer these questions for yourself before shooting your next videos, each time you upload a video to YouTube, and in reviewing your existing video releases, if you have any, to identify any possible pre-existing opportunities. Revisit any uncertain answers throughout the process and after completing the High-Traffic Training. + +1. Is this video a Foundational Release or a High-Traffic Release? + + - *Foundational Releases* are videos that have no clearly-identifiable high-traffic sources to tap into. An example is a music video of an original record released by an early-stage independent artist with no large audience base. The primary goal of a foundational release is to establish an interconnected system of visuals that represent an artist and enable them to avoid the “one-hit-wonder” effect when high-traffic visuals are released. + + - The common misconception many have about foundational releases is that there’s reason to be discouraged when they receive little traffic. Foundational releases are exciting opportunities to set a trajectory before high-traffic events are created. + + - Artists can position themselves and create opportunities for high-traffic releases using foundational releases, as even small amounts of traffic from foundational releases can be highly-targeted and retainable. + - *High-Traffic Releases* are videos that have a clearly-identifiable high-traffic source to tap into. An example is a music video of an original record featuring a high-traffic artist, or a cover or remix of a high-traffic artist’s record. + +2. *If your release is Foundational*, are there any general keywords worth integrating into the metadata of your video? An example is a genre or subgenre of music. + + *If you have a High-Traffic opportunity*, what compatible high-traffic sources would you tap into? Where, specifically, would you place your video within YouTube’s 800 million+ videos, either on a specific search page or in a recommended list? diff --git a/_subsections/fullcourse/10-revenue/c01-revenue_streams.org b/_subsections/fullcourse/10-revenue/c01-revenue_streams.org new file mode 100644 index 0000000..a05e345 --- /dev/null +++ b/_subsections/fullcourse/10-revenue/c01-revenue_streams.org @@ -0,0 +1,60 @@ +#+title: revenue 01: revenue streams +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c10.mp4][video]] + +* notes +* linkes services +** zoho mail +- zoho mail has a free forever plan +- gives five users +- make a management@__.com email +*** free 31 minute course +https://www.udemy.com/user/stephen-mckinney-3/ +*** zoho campaigns +https://www.zoho.com/campaigns/free-email-marketing.html + +** zapier +- use zapier to create automations that are the backbone of a brand and business built like a well oioled machine. not sure how you'll use it yet? let's collaborate and integrate zapier into your brand and busienss. like everything we've mentioned so far, there's a free and forever plan. +- this wonderful service will automate 100 tasks/month for you for free, forever +- https://zapier.com/app/login?next=%2Fapp%2Fpricing + +** shopify +- create a website with a free trial + - print on demand cds and vinyl records with kunakify + - sell merch and connect thousands of apps +- http://www.shopfiy.com +- https://www.kunakify.com/ + +** beatstars +- create a website that sells production whether you're a producer or would like to sign a producer and help them make money while earning a 10-50% revenue share you may negotiate for helping them handle structure, strategy and marketing using the A+ Process +- https://www.beatstars.com/studio/sell-beats#pricing + +** clickfunnels +- when you have a large audience, use clickfunnels to create a website that sells products or services. +- gabe from legion beats uses clickfunnels +- yyou can sell + - features + - beats + - songwriting services + - anything you'd like +- host + - press kit + - home page +- https://www.clickfunnels.com/pricing + +** get funded +- https://www.cognitoforms.com/PushFi1/AplusVisualsBusinessLoanApplication2025 + +* action steps +** Revenue Streams +*** Action Steps + +Answer these questions before releasing your next videos to ensure that you take advantage of all revenue channels you would want to have open for yourself when traffic flows through your visual catalog on YouTube. + +1. Hockey Hall of Famer Wayne Gretzky said “You miss 100 percent of the shots you don’t take.” While this acts as a great pun to explain the importance of creating visual representation throughout your creative process, especially in the early stages, it applies perfectly to revenue channels you open. Of the revenue channels listed and not listed, which have you not yet opened that you would prefer to make available to your audiences before any existing or next videos garner massive traffic? Distribution across streaming platforms is only one among many options, but even a simple option like Tunecore or Distrokid opens a multitude of streaming opportunities. List revenue channels you want to take advantage of here. + +2. Because time is your greatest asset, keep a balance and focus on ensuring you have as much traffic as possible as soon as possible above having as many revenue channels open as possible. Publishing with Distrokid for streaming revenue is easy to set up. Building an entire website isn’t as simple or fast. diff --git a/_subsections/fullcourse/10-revenue/c02-publishing.org b/_subsections/fullcourse/10-revenue/c02-publishing.org new file mode 100644 index 0000000..3ae60b1 --- /dev/null +++ b/_subsections/fullcourse/10-revenue/c02-publishing.org @@ -0,0 +1,9 @@ +#+title: revenue 02: publishing +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c10.mp4][video]] + +* notes diff --git a/_subsections/fullcourse/11-high_traffic_strategy/c01-high_traffic_formulas.org b/_subsections/fullcourse/11-high_traffic_strategy/c01-high_traffic_formulas.org new file mode 100644 index 0000000..c7c6a3a --- /dev/null +++ b/_subsections/fullcourse/11-high_traffic_strategy/c01-high_traffic_formulas.org @@ -0,0 +1,9 @@ +#+title: high traffic strategy 01: formulas +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c10.mp4][video]] + +* notes diff --git a/_subsections/fullcourse/11-high_traffic_strategy/c02-control_traffic.org b/_subsections/fullcourse/11-high_traffic_strategy/c02-control_traffic.org new file mode 100644 index 0000000..dc049a2 --- /dev/null +++ b/_subsections/fullcourse/11-high_traffic_strategy/c02-control_traffic.org @@ -0,0 +1,9 @@ +#+title: high traffic strategy 02: control traffic +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c10.mp4][video]] + +* notes diff --git a/_subsections/fullcourse/11-high_traffic_strategy/c03-schedule_integration.org b/_subsections/fullcourse/11-high_traffic_strategy/c03-schedule_integration.org new file mode 100644 index 0000000..e71ecf7 --- /dev/null +++ b/_subsections/fullcourse/11-high_traffic_strategy/c03-schedule_integration.org @@ -0,0 +1,9 @@ +#+title: high traffic strategy 03: integration +#+HTML_HEAD: + +* Links +#+attr_html: :class links +- [[../../../toc.org][TOC - Artist Framework]] +- [[../../../_data/video/c10.mp4][video]] + +* notes