and live performances. The key differences are that Lady Gaga’s images are more radical and are changed
on a much speedier cycle that those of Madonna—Lady Gaga’s every appearance is an opportunity for a
new, usually outrageous, style. Second, Lady Gaga has fostered a different relatioinship with her fans
than Madonna, using the faux-intimacy of social media and identification with teenage angst to build a
loyal following.
I then shift to resources and capabilities by asking the question: “Is Madonna/Lady Gaga talented?”
Discussion of their capabilities as singers, musicians, songwriters, and dancers usually reveal that the key
talents of both are as self-promotion, image design, communication, and marketing. Similarly, both draw
upon a team of talented specialists to complement their own resources and capabilities.
This discussion typically results in a board filled with a variety of different observations. I group these
into four categories:
• Clear, consistent, long-term goals
I ask: “Do these different components of the success of Madonna/Lady Gaga constitute a strategy?” In
neither of these individuals is there any evidence of any preconceived plan—both have pursued careers
characterized by flexibility and opportunism. Yet, amidst these rich and fast-changing careers, common
patterns and themes are discernible:
• Effectiveness in identifying emerging trends in music and popular culture and building them into
I then go on to draw upon the issues raised in the discussion to develop some general themes concerning
the nature of business strategy and the overall framework for strategy analysis:
• The nature of strategy in a turbulent environment—it’s not about detailed planning; it’s about
consistency of decisions, clarity of direction, and focus upon the sources of success