The world is always changing around us and we need to be able to see these changes because they give us the opportunity to create disruptive ideas. In this episode, we will teach you lessons in non-traditional disruption from different industries and how you can learn to overcome cognitive bias to spot these opportunities before everyone else.
SHOW NOTES:
http://thecrazy1.com/episode-32-disruption-create-game-changing-ideas-by-seeing-opportunities-before-anyone-else/
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The world is always changing around us and we need to be able to see these changes because they give us the opportunity to create disruptive ideas. In this episode, we will teach you lessons in non-traditional disruption from different industries and how you can learn to overcome cognitive bias to spot these opportunities before everyone else.
SHOW NOTES:
http://thecrazy1.com/episode-32-disruption-create-game-changing-ideas-by-seeing-opportunities-before-anyone-else/
FOLLOW THE CRAZY ONE:
Twitter, Instagram, LinkedIn, Facebook
What's going on everybody, and welcome into the 32nd episode of The Crazy One podcast. As always, I'm your host, Stephen Gates. And this is the show where we talk about creativity, leadership design, and a whole host of other things that matter to creative people. Now, today, I want to spend a little bit of time talking about disruption. Now, disruption is a word that gets used a lot. It gets used a lot by people who actually seem to think that they understand what it means, but I'm actually amazed at how few people truly understand it. I think that we need to talk about this because I talk a lot about how creatives need to understand and they need to learn business. And this honestly is a really key part of that process. disruption breeds opportunity for creativity. Honestly, if you see something that needs to be different, if you see something that needs to be better, if you see something that's changing, then those are all opportunities to come in there and have great ideas. But I think that the challenge is that most people when they hear that word disruption, think that it only comes from an app or from a startup because if you ask anybody to talk about disruption, the same Usual Suspects come up time and time again. You get the Airbnb ease, you get the Hoover's you get like all of the ones like that, that everybody always talks about. But I think that there's a lot of other disruption that's going on around us all the time. And I find it really interesting because there are some really smart creative people that I know who quite honestly don't see their industries being disrupted even though they work in it every day. It's an interesting phenomenon. It's something that it only seems to be accelerating. And I think if we want to talk about creativity, if we want to talk about having an impact the way that we do on this show, then this is something that we need to talk about. It's something that we need to understand. And I think not only did we need to kind of understand how it goes on, but understand how can we actually see those opportunities? How can we see what's going on? And I think that, you know, that's really going to be what I want to focus on today. And what we're going to talk about is kind of into two different areas. The first one is I want to walk through what are really three different examples of what I would probably phrase as non traditional disruption. This is not an app. It's not a startup. But these are major industries that are changing for different reasons. And then after that, I want to talk about something that's known as cognitive bias, which sounds like a fantastic $5 word or something that you could get a double word score in Scrabble with. But it's really the scientific effect that happens to people and it's why they can't see what's happening. So I want to talk a little bit about what is that? How do you understand it? And then how do we actually start to overcome it? So let's jump right in. And let's start with the first one of these sort of disruptions. And I think that the first one that I really wanted to focus on was whenever an industry whenever a business whenever something like this is disrupted because of society, and it's through society because there's a shift in societal norms. I think that this takes place for a number of different reasons. I think that it can be because of the media who so often will go in and try to find subcultures. And we'll then go through and try to elevate those and try to make them more mainstream. It can take place because of a change in societal values, because as a society, we constantly are kind of reevaluating, where yet where are we at on a number of different issues. But there's a lot of these different reasons why society changes. And I think one of the most interesting shifts that I've seen, really over the last probably 10 years has been in the area of tattooing. A number of my friends are tattoo artists. And I think it's been fascinating to get to know them to get to know that culture to get to know the way that they do their work. But more than that, I think that the thing that's really been interesting is to watch the way that industry's changed. Because if you think about it, not very long ago, tattoos were really the realm of sailors of social rebels have rock stars or things like that. They just weren't something that you Saw every day, they were for a very specific type of people, which is why tattoo shops were in a certain sort of neighborhood. And they were kind of populated and filled with a certain type of people. But then that subculture started to go mainstream. And this was a media driven one in most cases, because you had shows like Miami ink and New York ink and ink masters and a bunch of other ones that are still even on air today, that started to highlight tattoo culture. And it really gave society the permission to say that this isn't just for the social fringes anymore, that this was really something that could come into the mainstream. And it's interesting because now you actually will see that one in five Americans have at least one tattoo. That's 20% of Americans have at least one tattoo, which is a huge, huge shift from where it was a few years ago. Also because you can look at other places like Las Vegas which is tacky, it is its own entity, it is something that is a world unto itself. It is a A tourist trap and a lot of other things. But the thing that it is that I tend to look at it for us, I think it's a very interesting barometer on the state of society because it is such a populace driven experience there. It's such a money driven experience there that what people want is will quickly be what you find in Vegas. And so again, even over the look at the last 10 years, Vegas has gone from 20 tattoo shops to 200. So there has been this just explosive growth as you watch this go from being the the realm of just kind of these social people on the fringes, to soccer moms. And I think that the fascinating thing with that is that the industry has really struggled to keep up with that. tattooing. And I think the real popular tattoo artists, the real hardcore that the people who really understand that as the art that it is, have a very interesting code of how and the way they want things to be done. They you have to go in and you learn through apprenticeships, you have to pay your dues, you have to get tattoos before you can even Get that apprenticeship. And once you get that apprenticeship, there's a long road that you have to go through of learning before you can go out on your own. And then once you get to that place of actually understanding the craft of it, then how do you find where you're going to make your mark? Is it black and gray? Is it surrealist? Is it new school? Is it photo realism? I mean, is it American traditional, like, there's a lot of different areas that you can specialize in. And so I think that, you know, you find this case where a lot of successful modern tattoo artists have to walk this line between respecting tradition, but also evolving to meet the times. it for a long time, there are a lot of artists who I know who rejected social media, who rejected websites, who rejected a lot of those sort of things, because they felt like it was betraying the traditions that that tattooing had. And I think that there's a number of industries where you see this sort of tension between the old and the new. Yes, it does represent an opportunity. But I think at the same point, you also have to think about that this tension makes it hard to disrupt because of the fact that you We have so many people who are so successful who are driving the way that you know, this artwork is being done who are very rooted in a very particular way of doing things. And those who then come in and try and disrupt it will often have tension with them. But I think that it's one of these things. It's interesting because as we look at disruption, it isn't just seeing the opportunity and coming in and putting in a startup or putting in an app, you can do it actually, through these sort of changes just in the way that we feel about things. And here again, I think this is an opportunity. And you start to see some of the best tattoo artists, some of the people I'm friends with have been able to really set themselves apart. Because they were able to embrace this changed. They viewed themselves more as artists, not just tattooers tattooers was maybe the thing that was the majority of what it is that they did, but it didn't solely contain their creativity. And we've talked about that in other episodes about understanding what do you need to be happy understanding the influence that you can have? But I think you know, tattooing still occupies a very, very fascinating part in society for a lot of people in the fact that it can influence It can influence body art, it can influence fine art, it can influence a ton of other things. You've even started to see this bleed out into culture. As somebody like Christian liberton very, very expensive Shoemaker, very, very exclusive started to actually have it where you could get shoes that were based on the tattoos you had on your body. I always thought it was also an interesting way for him to get around copyright law because he was just simply copying a piece of tattoo art, not necessarily that intellectual property, but none the same. I think that you start to see it bleed out. And that that is the ripple effect. And I think this is why you need to watch and understand whenever society does something like this because it may start with just one industry like tattooing. But as tattooing becomes more popular, then it starts to affect so many other industries. It affects the fashion industry as they start to pick on that. It starts to influence the skincare industry because all of a sudden they're seeing more people getting tattoos, so you need tattoo care for the aftercare after you get the actual ink. Then on and on and on as it starts to bleed and ripple out from this one change. But that's the thing you have to see that starting, you have to see where that first shift in society happens. And I think this is where you have to pay attention to this, you have to look at media, you have to look at just simply whenever you walk around in the world, look at what you see, if all of a sudden you see people who start to have a lot more income than they used to in the past, you need to pay attention to that and say, why is this happening? What is that opportunity that might be there. So from there, we'll go on and talk about the next one, which again, is a form of disruption, but I think it happens a little bit differently. And the way that I think that this one happens is it's much more of an insight out disruption, because there are times whenever you have companies that may have started a trend, they may have started an industry. But a very interesting thing often happens on the way up in that industry is it grows from a niche to mainstream. And so I think that you know, it is one of these things where it really is probably most of the time happens whenever that Company loses its values, or it loses a connection with its consumers. And I think whenever this happens here, again, there's an opportunity to be able to jump in that and be able to kind of make a difference for that. So here is an example is again, something that is near and dear to my heart is let's talk about the company Kid Robot. Now, a lot of you have probably heard that name, some of you immediately know what that is other of you may have not a clue. If you have not a clue what Kid Robot is, if you've ever walked into a creative office, and you saw what you thought, were just simply a bunch of toys sitting on their shelves, but they treated those objects like they were fine art, and then refer to them as art toys, or urban vinyl or things like that. Those were more than likely from Kid Robot. Now, kid robots started around 2002 by a guy named Paul budnitz. And Paul at the time had a company that was importing mini discs. As you can also just tell how much time has changed over that arc. The fact that 15 years ago mini discs were actually a thing But what he did was he started to see these really interesting art toys coming out of Japan coming out of Hong Kong, that were just very, very different than anything you'd ever seen before. And so what he decided to do is he was going to actually use that infrastructure from that MiniDisc company to start Kid Robot. And it really was just importing those toys from Japan or Hong Kong or Europe are things that people in the states had never seen. But then they started to do an interesting shift. And what Paul realized was that it was really an opportunity for him to put his stamp on the American market, to be able to found Kid Robot and to really go through and kind of define what is an art toy because if you think about it at the time, the way that the industry really was constructed was that toys were quite honestly in a lot of ways still are just simply representatives of a licensing agreement that I like Star Wars. Maybe I like stormtroopers. I like Darth Vader in Star Wars. And so whenever I wanted that toy, I want a toy that then connects me with that character. So I'll go buy a Darth Vader toy The problem with that though, is that the toy doesn't really stand on its own merits because what I'm doing is I'm buying the embodiment of a film character that I like. It doesn't actually mean that that Darth Vader toy is any good. In most cases, it's actually probably pretty crappy. But that was the place where Kid Robot said, Look, we're going to break and we're gonna do something different. We're not going to do these sort of license things, that we actually want to go out and make these pieces of art. We want them to stand on their own for their own merits. And then we really wanted to focus on creativity. And so it really focused around two, I guess we'll call them characters. The first one was a character that was designed by TriCity in the street artist and that Tristan was working for Kid Robot at the time and really was responsible for really kind of a brilliant intersection between two worlds. The first one was that he'd actually been designing toys for some of the mainstream toy manufacturers, so he understood the process. But what he said is, what we want to do is we want to design what's called a platform toy. And a platform toy is really we're gonna have this one shape this one figure. And what we're going to do is we're going to give that to a ton of different artists and let them interpret it the way that they want to now that the one that they came up with was called a dunny and D, U and NY, like Bunny, but with a D. So what that is, is it's a sort of a comic looking little figure, big round head with these two sort of rabbit ears that come often they're a little more rounded, but generally, it sort of has that shape. So looks like little person with these kind of, I don't want stylized rabbit ears. And out of that, they started to do partnerships with a ton of incredibly influential street artists and influential toy makers, where they would give them this one shape and they let them design it a ton of different ways. So that it really started to get to this interesting place where again, you had this common form but very different interpretations of it. Well, then they also went a little bit further later and they came out with another character, we'll call it called the money. And this was really a blank toy. Whenever you got it. It was white. It was in vinyl plastic, which is that kind of like matte White, just kind of standard plastic that you would see. But it gave you the ability to actually customize it and make it the way you want it to. It would often come with some accessories, maybe some crayons, but you could paint it, you could airbrush it, you could color it, cut it, do whatever you wanted. And it gave rise to this kind of massive customizer community of people who would take these and then once again, go off and make their own characters. I often loved it, because whenever I would actually go over to my friend's houses almost every time I would take their kids money, because again, instead of just taking them a toy that would that would already be finished. I want to take them something they could create that they could use their creativity that they could imagine what they wanted it to be. Because I felt like that was a really important process. And this really was a niche movement that they had a store in San Francisco, they had a store in New York. But it started to gain popularity, as again, as we've talked about tattooing, and so many other things. Media just has a way of trout of finding out these little kind of interesting things and trying to blow them up. I think it also was accelerated by the fact that since a lot of creative creatives had these Is that again since as we can be, I don't know what shepherds of style or cultural influencers or things like that and help drive that. But I think the Kid Robot responded to the competition really in the wrong way. Because as they started to grow as they didn't quite respect the power of the niche that they were in, they really tried to go mass market, then all of a sudden, they started doing apparel and that those sweatshirts or bags suddenly started showing up in Macy's and all these other really crazy places and started to get much more mass market. And then they did the thing that really betrayed everybody that loved the brand. They came out with Simpson's licensed toys. And the reason why this was a betrayal was because if you ever heard Paul talk whenever he founded the company or anything else he would talk about, again back to that Darth Vader, that Stormtrooper that that they were never going to be that company that they always wanted the toys to stand on their own merits. Well, the Simpsons was not a betrayal of that because it wasn't standing on its own merits. It was a license. And before long, you started to see other ones from The Simpsons and Futurama to all kinds of other lines that they suddenly licensed, ultimately hitting rock bottom whenever I don't know what a couple years ago I rock walked into Barnes and Noble and saw Kid Robot toys sitting there. And you really knew that that was the moment where it just everything had changed. And the problem was that they had, they'd lost their way. And it created a lot of huge problems for them. I think the first thing was that their core customer base, the people who had supported them and help them grow, who were their advocates, who were the people that really understood them fled. Because the thing that was niche, the thing that was cool, the thing that most people didn't understand, suddenly had gone mainstream. Because whenever that interesting little thing that I'm doing can suddenly be bought in Barnes and Noble, it's really not cool anymore. And it really took the air out of all of that, that because of this, then the other thing that happened was their product suddenly just rapidly devalued. Because these toys that had been so niche that there were ones that would sell for hundreds, if not thousands of dollars that you might have bought for 4060 $80 to begin with. There was a real market and trading these It was kind of like, you know, if you look into sneaker culture or other things like that it's a very similar sort of thing that happened there. But whenever it went mass market, suddenly they devalued their entire market. Because unless you had a really, really early stuff, you could just get it anywhere and it wasn't a special anymore. So they took that whole part of the market away from it. And it also then gave rise to competition because this is the thing is that whenever they lost their way whenever they started to do this, other companies could see the trend but they also could sense the opportunity. And since Kid Robot lost their advantage and since they went mass market all of a sudden they started to compete against other mass market companies. One of the ones that I think most people would be no what they were was a company called fun CO and they they created these figures called Pop, pop R and I'm here again if you walk into any Toys R Us any Barnes and Noble any like these things are everywhere. They tend to be a little white square boxes and have these sort of spherical headed little characters that are licensed against you name it, every movie franchises, every TV franchise every just every everything, and that all of a sudden Funko came into that space and started to be able to, to kind of again, take a platform toy and be able to make that something that was popular. But these figures didn't cause a huge problem in the industry. Because the other thing was that new consumers, people who were coming into the space, they really couldn't tell the difference between an art toy, and just what a Funko was. So why, why are some of these Why are some of the high ends of these? Why are the ones that may be hundreds, if not thousands of dollars? What's the difference between that and the $10? One $8 one I can get in Barnes and Noble. So the value proposition of the entire industry collapsed in on itself, because now all of a sudden consumers couldn't discern value for things and you just really start to see a problem with this. Here's the problem was the Kid Robot in their quest for popularity in the quest to grow the brand so quickly, didn't see that they were actually disrupting themselves that they lost what was special about them, they lost money. What people cared about, they lost the niche in their quest to grow. And this is the problem, right? We've talked about this when it comes to careers, we've talked about this in companies and so many other things is that you, you have to have some amount of patience, to be able to grow the right way to understand your consumers to respect them, and to stick with what made you special, even if that may grow at a slightly slower rate than what it is that you'd like. And I think that sometimes the companies that are the most successful over a long period of time understand this and respect it, as opposed to the ones that sell out or the ones that so often just simply fall apart. But there are opportunities in both their opportunities and identifying this niche and understanding how can you start to use it and bring it into your work and tap into a growing consciousness inside of culture. But then again, whenever you also see these companies blow up and they start to collapse that there is also opportunities there for creativity to be able to come into this space and do something different and that's you know, this this space with these art toys remain something that is very very much in flux if not really still in crisis, as the industry tries to figure out how to reinvent itself, because so many of them want to do mass market, but what none of them seem to understand is what I said before, until they can reestablish a value proposition until they can understand and separate out these different sorts of products. They all continue to bleed together, which is why everybody just keeps cannibalizing their own traffic. So I again, I think that this is, it's an interesting opportunity, but it's one that that you can definitely take advantage of. The third one, the last one I want to talk about is something that I call keynote disruption. What the hell does that mean? So I think keynote disruption really comes about whenever you see a new product launch, because as creatives we have to deal with this ever evolving landscape of digital technologies of products of just the fact that there is so much of what we design for and what we design on is totally out of our control. And that quite frankly, one new product can cause a shift in consumer behavior. We usually have very, very little time to see it coming. If you think about wearables, if you think about voice driven navigation because of things like Alexa, or Siri or things like that, like they're, they're just certain companies that sit in a place in this culture that can drive an effect into our work that we can't control. This is the apples the Google's the occasionally the Microsoft's and others who are able to put out things into very large, robust ecosystems that we have to react to. One of the ones that I'll tell you is a personal story of what I went through for something like this is around the work that I did with Apple Watch. Now, the work that I did on Apple Watch and which ultimately led to the Starwood preferred guest, Apple Watch Apple got featured in I don't know what I think like three Apple TV commercials, maybe four TV commercials, three keynotes, whatever, I can't keep them straight. But the reality was, is that it didn't actually start with Apple watch that work didn't start there, that it really started with actually Google Glass. And I'll be honest For all of you that could just hear actually roll your eyes whenever I said those words. The thing for me was that whenever glass came out, I never thought it was going to become the next great consumer device. I just never thought that that was going to be the case, there were too many things that I just felt like Google didn't take into account, they shift to the operating system two times before it actually even officially launched to be able to build apps for it. I felt like they never really did the psychological sociological work that they needed to to understand how are people going to react whenever you walked around with a camera stuck in the middle of your face. And also, quite frankly, they just really screwed up the launch because it went from being this 1500 dollar thing that people who wanted to develop for the platform could get to the fact that they just simply let it sit out there too long and it became this sort of like, I don't know what great big douchebag flag where all of a sudden people started wearing this around just so you can know that they had that much money or that they have that much access and it just it turned into something very different. So with all of that, why the hell that I actually designed to launch an app on that which we're I think we're one of the few people that actually did. But the reason why was because whenever I looked at that, I could see wearables coming, you could see that form factor coming. Apple Watch, which had been called a lot of different things up until that point, had been rumored for a while that Apple was working on something like that you knew that Samsung and others and Google were working on their version of that. So we didn't design glass, because we thought it was going to be this big home run. We did it because quite frankly, we felt like we had to understand how designing for wearables was going to be different than designing for apps or for websites. Because that's the thing is it's often whenever these shifts happen, whenever you see the introduction of just digital technology in general with websites and then you saw the rise of social media and then you saw apps and then you've seen wearables and I've seen voice driven navigation and and and with every one of these, you want to assume that consumer behavior is going to be the same. This was a massive mistake that tons of people have made still make. Whenever you think that, well, I know the way consumer behaves on a website, that's the way they're gonna behave on an app. That's the way they're gonna behave on a wearable. That's the way they're gonna behave in these different contexts. I've talked about this in other shows. But the reality is that that's not the case that their thinking is different, because it is a different form factor. And the way that I would explain this to you and I think the thing that I would encourage you to do, really looking at all three of these examples, probably more than anything, is that I think it's about watching the trend lines, not the headlines. And now that's a line that I learned from Fritz Von paasschen, who's the old boss of mine, who is the CEO at Starwood, whenever Starwood still existed. And Fritz, in a lot of ways was really probably probably one of the smartest guys I've ever known. He's one of the prime maybe the only person who I ever felt like deserved the CEO title because he just was voracious in his want to understand what was going on in society and technology in so many of the other things, but I think Whenever he talked about that, about watching the trend lines, not the headlines, and I knew that that was a piece of advice he'd gotten from Bill Clinton. What was really interesting about that was whenever you look back over wearables, and as that came out, you saw so many people writing headlines about how glass was going to fail, how watches were going to fail, how this was not going to be something that consumers were going to embrace. And the reality was that it wasn't about if you'd have bought into all that press, you wouldn't have done anything for it. Well, but then the reality was, is that you could start to see the trend line of people wanting these sort of micro interactions, that even just our very communication had been changing because it had gone from handwriting to emails, which was still sort of long form communication to Facebook posts, which got shorter which Twitter which shortened it to 140 characters to then things like Foursquare or Snapchat or you know, a bunch of these other things where now all of a sudden, it wasn't even about writing anything. It was about photos and Instagram or videos and Snapchat or you know, live video and Periscope or just checking in someplace in a Foursquare, you can see this trend line moving through technology and moving through Society of trying to make things simpler. And I think that was the important part of that. Because you know, whenever it came time, then whenever we got the opportunity to work on Apple Watch, we had a huge advantage. And I think that was one of the reasons why I would argue that I think our app is still probably one of the single best executions on that platform even years after it launched. Partially because I think most people still don't understand just the form factor and how you need to design for a wearable. But I think the reason why is because they didn't take the time to actually learn, they thought, Oh, this is just gonna be a smaller iPhone app, which then made it a catastrophic failure whenever it didn't actually work that way. So what can we learn from all this? And what's the common theme that runs through all of these examples, and there is a common theme. And the common theme, quite frankly, is cognitive bias. And here again, as I said, in the opening, it's a very big $5 word You can use it for Scrabble, you can use it to impress your friends, your girlfriend, your wife, or anybody just simply walking down the street because it sounds impressive cognitive bias. Or it sounds like a great album from like a indie rock band sometime in the 90s, I guess. But in either case, this was another term that I learned from frets. And that it really is something that really just acknowledges the fact that everybody has blind spots. My friends who were tattoo artists who were in the tattoo industry, who knew that something was changing, but couldn't put their finger on it. My friends who work as toy designers who were in that industry, who knew things were changing, again, couldn't quite put their finger on it, as you continue to watch even so many companies today struggle with the adoption of digital and trying to understand what's actually going on with it. And again, could tell something was changing, couldn't quite put their finger on it. It's cognitive bias. And what that really is, is it's just the fact that business leaders, just like everyone in these stories have a hard time recognizing change. And that it's just one of these things where I know what you're thinking like, why, why do I need this? And it's just a cognitive bias is a systematic error in thinking and it affects the decisions and the judgments that you make. It's like I said, it's just a blind spot. And there are a lot of reasons why this can happen. It's really when we're making judgments, judgments and decisions about the world around us. We like to think that we're objective, we like to think that we're logical, we'd like to think that we're capable of taking in evaluating all this information that's available to us, right? We're the smartest person in the room, we can look at things and we can see things that others can't I think creatives are even more prone to cognitive bias on some of these things. Because of the fact that we just we're used to questioning everything. But sometimes we miss the big thing that's right in front of us. Because the reality is that our judgments and our decisions are often riddled with errors. And they're influenced by a wide variety of these sorts of biases. Because a cognitive bias. Well, they're often a result of our attempting to simplify information. There rules of thumb that help us make sense of the world and to reach decisions fairly quickly. Because we know that a lot of cases, we're being pressured to do things fast to look at information and make snap judgments. And to kind of say, Okay, great, I need to look at this, I need to keep moving on. But this is the biggest thing with this. And I think this is the biggest place for cognitive bias comes from is the fact that we tend to only make and we tend to look at just the short term decisions, we don't step back, we don't step back and say, Okay, well, I work in this industry every day, do I generally understand what's going on here? Do I genuinely understand how I could become better how things are changing? I think that that's a huge, really underlying theme of this entire podcast, is trying to get people to overcome cognitive biases. Because in so many ways, people know that they need to be more creative, but they don't understand their process. They know that they need to step up and become stronger leaders, but they don't really understand how to do it or they think that they are already but they're just managing people. They're not leading them. This is the problem is that there are all of these little biases where we rationalize and simplify our process when it makes sense for us, and it makes us comfortable. This is why I've said before, and I'll say it again, comfort is the enemy of greatness. And this is truly the expression of that. Because this really is the case where, since we feel like we know these things, we know how stuff works. We have done this long enough, that we start to glaze over it and we lose the forest for the trees. And I will actually say that there is that Fritz, my ex CEO wrote a book that I would recommend everybody go out and read. It's called the disruptors feast. You can get on Amazon, you can get it on the apple bookstore like tons and tons of places you can get this. But I think it does a really good job of really of him narrating How does he overcome cognitive bias? What are the some of the things that he's done, to see the trend lines and not the headlines? But I think that it's something that you need to think about is how often are you really questioning the world around you? How often are you actually going through and looking at what's actually going on? And understanding, okay, well, do I really understand this? Am I really taking an objective? Look at this, or am I just getting too comfortable? And am I kind of losing the plot here? And am I losing the ability to become differentiated, because if you can't see these trends, if you can't see something like the emergence of wearables, if you can't see a lot of these sorts of things, you'd miss the opportunity to do great work to have ideas that have impact to be the one that shows up first, to do something. And that's inherently the problem that we all struggle with is first, because so often in any creative profession, the one who shows up and does it first is rewarded. They're celebrated. They're the innovator, they're the visionary, everybody else who comes after them just simply copies. So how do you find those moments? And I think that so often the people that you see that they can recognize these cognitive biases, they can see the trend line of something coming, and then they can figure out how to act on it. And so, you know, I could probably do a whole show again, just on the specific Types of cognitive biases. But I'm, I guess I'm not convinced that there's a ton of people that really want to dig into that to that deep. And I think that's a shame. So what I'm going to do is that there are actually 12 different types of cognitive biases, which I know is a crazy, crazy number. But there's a great article that really spells all these out and I would highly encourage you to go and read. I'm going to put a link to that article and all about this stuff in the show notes. Because I think that it really, because this is the thing, right? This is the reason why I think we need to understand disruption we need to understand cognitive bias is because for all of us, it takes a concerted effort to develop what is almost like the conceptual peripheral vision to overcome these biases and look forward. Because, you know, I think that it really is about the trend lines and not the headlines that you have to understand how cognitive biases work. So you can see things differently and spot these opportunities. But ultimately, the other thing that it requires you to do and there So many themes that continue to revisit themselves as I go through and I do these shows, but it really is the need for empathy and for living in your customers problems, because only whenever you can be that split of an insider and an outsider at the same time, can you also see these opportunities whenever you can actually go through and let's use the wearables example, again, if you can be the insider who can actually go in and gain the actual knowledge of how do you design for this platform of understanding that as a trendline? You know, most people like to do something on their computer for about a year in the future year in the past, when it comes to a tablet that's about a three month window of doing things for three months in the future three months in the past your phones about a month. wearables are for what am I doing right now? Well, the only way you see that trend line, you understand the difference between those form factors is to actually design for it is to get in the weeds and to be the insider on something like that. But it's not just doing that it's not just being blinded by the execution but it's also stepping back to see that bigger picture to see the breakdown. Between those sorts of things, and to have that empathy built up so that I can say, Okay, why I understand how and why people are using this. Now, why are they doing that? And let me step back and take a bit more of a macro view on that. That's the thing is that empathy is the key to so many of these things, as we talked about in other shows, and I get questions about creativity isn't just about how what happens in the moment. It's not just when you get the brief, it's not just when that problem presents itself. And when the client comes to you and says that they need something. It's like being an athlete. It's about the offseason. It's about the weight training. It's about the exercise. It's about the repetition. It's about going through and trying to live these sorts of things to spot these opportunities so that I can file them away. I can see these disruptions I can see these trend lines, I can see a lot of this sort of stuff. So that then whenever the opportunity for that work presents itself, then I can capitalize on that. And that's what a lot of this show really is it's me trying to express expose, I guess and explain. plain, these trend lines that I see going through the industry that so many people are missing. And it's so amazing to me, it's so quite honestly frustrating to me that people don't see that this is something that they need to do that they really just want to kind of live in the moment of making something pretty of not taking the time and putting in the work to step back to see where the disruption is happening to see where these opportunities are. Because all the big apps that everybody loves all the disruption they like to talk about, that's how they started. They looked at an industry like taxis, it looks at an industry like hotels and said, Look, there's something that's going on here, there's a unmet consumer need that I can empathize with, that I can create something that people will want to connect with, but don't want to act on. And that you know, again, that's the challenge is how do you do that? How do you go through and bring that stuff to life and how do you pull it out and to be able to bring it into the light of day so that then you can go create that idea that turns into the Airbnb or Uber or Lyft or you know, have other apps that are going on there? So hopefully this helps. Hopefully this made some sense if it did, or even actually, if it didn't, I'd like to hear from you. Because I think you know, these shows are at their best. And I think the community is at its best. And we all learn at our best whenever this is a dialogue. And so that dialogue has been taking place on The Crazy One podcast Facebook page. So just go over to Facebook, search for the crazy one, give that page like, because there's a lot of stuff that goes on there. There are people that are posing questions, and I'm going in and answering every week as I find interesting articles, whether it's about leadership, creativity trends, or things like that. I'm posting it there. But it really is just kind of the place where if you want to find out more about this stuff, and not just engage with the shows whenever they come out, but to have it be more of a rolling conversation. That's where I would encourage you to go do it. And always if you like the show, if you're finding you're getting value out of this, please just take a couple minutes and go over to iTunes, go to whatever your podcast platform is and leave a review. It makes a big difference gets more people into the show. And it really does. It helps and it's the only currency I'm ever going to ask for And the only compensation I'm ever going to ask for is that if you want to if you want to get all these show notes, if you want to find the article that I talked about about the 12 different types of cognitive bias, head over to podcast, Stephen Gates calm, Stephen has STP HN. You can find related articles, there's a lot of other things that I've written over their complete list of the show notes. I've done a lot of work to try to make those a lot better. So they're more useful for people. But go over and check that out. As always, the boys down legal want me to remind you that all of us here my own, they don't represent any of my current or former employers. These are just my own thoughts. And finally, I say it every time because I muted every time but thank you for your time. I know that time is truly the only real luxury that any of us have. So I'm always incredibly humbled. You want to spend any of it with me. So until we talk again, and as always, stay crazy