Lee Abrams - Media Visions Archives - CelebrityAccess

Lee Abrams: Unleashing the Power of Trust and Innovation

Lee Abrams — Tue, 13 Aug 2024 17:38:22 +0000

Growing up, I remember Texaco’s slogan: “You can trust your car to the man who wears the star…the big bright Texaco Star.” When a high school friend, notorious for delinquency and underage drinking, became the local Texaco manager at just 19, it became clear that trusting him with your car was a mistake, star or not. I used to think anything labeled “Government Approved” was reliable, until I realized how incompetent the government can be. Then there’s the claim of being “the Most Trusted name in News”—but trusted compared to what? Nowadays, America’s bullshit detector is sharper than ever, especially among the growing group of the “mass appeal intelligent,” who feel overlooked. The moment you have a slogan, you risk becoming one of the deceivers. Many marketers fail to grasp this, and the new mainstream consumer is increasingly skeptical. That era of blind trust is over.

This brings us to a new essential: Trust. Traditional brands might attempt to fool their audience with a “You can Trust Us” slogan, but that’s just a trick, not genuine trust.

In the digital age, you can generally trust your friends, which is a big part of social media’s influence. But brands? Very few earn genuine trust, especially considering the multitude of critics and self-proclaimed experts. This is a troubling trend, but it benefits those outside the corporate sphere. Remember the days when you could trust your local radio DJ to play great music? Now, radio has become so generic that even the average listener can tell. You might like the song, but it’s unlikely because of the DJ’s endorsement. And don’t get me started on TV news.

Today, everyone has a voice, which is fine, but you can’t trust 95% of those voices. In the world of brands, it’s probably closer to 99%, making the few trustworthy sources that much more valuable.

Trust is built on passion, character, and strength. For example, you can hear these qualities in Howard Stern’s work.

Building trust requires respect. Treat your audience like fans, and they may become loyal supporters. Treat them like mere statistics—like millennials or Gen Z—and that’s all they’ll be.

Cool and trust are the two key elements. Much of it comes down to what you don’t do, which is why we insist on rethinking everything to avoid slipping into the mediocrity of corporate culture. While I respect what corporate media has accomplished, imitating them will lead to failure. The past is the past; the focus should be on creating something new.

So, who inspires our sense of Trust and Cool? They certainly aren’t the major media players. They are visionaries like Kubrick and The Beatles, who embody both qualities through their work.

One of the crucial lessons we teach in our boot camps centers around the creation of “Sgt. Pepper” and “2001: A Space Odyssey.” These works:

– Perfectly captured their time, resonating with the culture of their era. Though dated, their essence invites curiosity and relevance today.

– Were driven by a revolutionary mindset—free and fueled by a passion for boundless creation. They represent pure truth.

This isn’t about reliving the 60s; it’s about introducing a process and style that fosters original, remarkable work that mirrors today’s world—not some outdated focus group mentality or the status quo of “NBC does it this way.” There is a way to create media that drives commerce.

This process is free from the clichés of Madison Avenue and corporate jargon. It cultivates creators—writers, producers, brand strategists—who have the potential for greatness and equips them with the mental tools to innovate at the level of “Sgt. Pepper” or “2001” in today’s context.

Gonzo creativity thrives in technology! Yet, in content creation, we often feel stuck in the past. It’s about where exceptional content merges with groundbreaking technology. We should aim to create programming that’s as enchanting as the technologies that deliver it, rather than hoping mediocre content becomes extraordinary simply by being online.

Our inspiration stems from “2001” and “Sgt. Pepper,” not from networks or old media conglomerates. It comes from the process, the soul, the truth, and the bold imagination needed to create exceptional work that reflects the 21st century. While film has embraced this approach, radio and TV formats haven’t yet achieved it.

We are crafting the future through extreme creativity, drawing inspiration from remarkable sources. The creative process is surprisingly similar across centuries; it’s just that few today are thinking this way, opting instead for boardroom decisions and autopilot creativity. Curious about that? Just browse cable television—you’ll see.

Personally, I find the most excitement in hiring talented individuals, providing them with a framework and a fresh perspective, and watching them create a 21st-century interpretation of “2001” and “Sgt. Pepper.” It’s not about copying; that’s impossible.

It’s about learning the mindset that fueled those creations. Right now, it’s not about reliving the 60s but embracing a way of thinking that inspires new brands, formats, production styles, economics, and soul. You can’t design the future without understanding the past, and then you must unleash creativity to produce something that embodies 2020—defined by the streets, imaginative minds, and the magic of creation, free from the constraints of old media and clichés.

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Lee Abrams: Media Projections For Next Year

Staff Writer — Tue, 06 Aug 2024 17:55:09 +0000

Some personal random thoughts on where we’ll be at next year as things move at the speed of the era.

1. Digital Radio: The abundance of channels makes it difficult for any one platform to achieve critical mass. While the potential for Apple or Amazon to create exceptional ad-free radio-style channels exists, it is unlikely due to various reasons.
2. Terrestrial Radio: Although there will continue to be success stories, the industry as a whole is experiencing a slow decline, partly self-inflicted. Partly a technology reality.
3. Satellite Radio: There is a need for caution as satellite radio is losing its cool factor at a time when cool is critical.
4. TV Network News: TV network news delivers consistent performance, but often lacks innovation and originality.
5. Cable News: Cable news primarily consists of political rather than news channels, except during significant news events. Fox remains the king, while CNN faces ongoing identity and relevancy struggles.
6. Digital Video News: The future of news lies in digital video, but the code hasn’t been cracked. Presenting new ideas and big visuals on small screens will be a paradigm change.
7. Music Streaming: Music streaming has become the new standard for music consumption. Inexpensive, musically rich with improving quality. It’s the new radio in terms of musical prowess.
8. Podcasts: The podcast industry will undergo a significant shakeout as many realize the challenges of generating revenue and maintaining engagement. Only a handful of hit shows will dominate, while many will cater to niche interests indicating a healthy but over cluttered environment.
9. Social Media: Social media has made everyone a star and given everyone a voice. While this has its benefits, the consequences and implications can be troubling.
10. Newspapers: Major newspapers will survive, but cost-cutting measures, closures and content reduction will be widespread.
11. Streaming Video: The growth of streaming video will be fueled by consolidation and partnerships among platforms.
Get ready…

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Lee Abrams: Programming Media In 2025 – Looking Ahead

Lee Abrams — Tue, 30 Jul 2024 17:47:44 +0000

It’s all about merging extreme creative with extreme technology. Extreme cuts through

In the ever-evolving landscape of technology and media, programming has become an integral part of creating captivating and immersive content. As we ride towards 2025, it is hopeful that programming will continue to shape the way we consume media, pushing the boundaries of creativity and interactivity. This article explores the exciting developments and possibilities that lie ahead in programming media content.

1. Personalized Viewing Experience:
In 2025,personalized entertainment experiences will take center stage. With advancements in data analytics and artificial intelligence, media platforms will be able to tailor content to individual preferences and viewing habits. Imagine a streaming service that suggests stories based on your mood, interests, and previous watch history. This personalized approach will enhance user engagement and offer a more immersive viewing experience.

2. Interactive Storytelling:
Gone are the days of passive entertainment. In 2025, we can expect to see a surge in interactive storytelling, where viewers become active participants in the narrative. Through programming, media creators will develop branching storylines that respond to user choices, allowing for multiple plot outcomes. Viewers will have the power to shape the direction of programming blurring the line between audience and creator.

3. Virtual and Augmented Reality:
Virtual and augmented reality technologies have gained significant traction in recent years, and their impact on programming media content will only grow in 2025. These immersive technologies will enable viewers to step into virtual worlds, enhancing the storytelling experience. Imagine watching a live sports event from the perspective of your favorite player or exploring historical events through augmented reality overlays. Programming will be the driving force behind creating these captivating virtual and augmented reality experiences.

4. Real-Time Content Generation:
With the rise of social media and real-time communication, programmers will need to adapt quickly to keep up with the demand for fresh and engaging material. In 2025, programming will play a vital role in automating content generation. AI-powered systems will analyze trends, user preferences, and social media data to generate personalized content in real-time. This will revolutionize social media marketing, influencer campaigns, and content creation across various platforms.

5. Enhanced Visual Effects and CGI:
Visual effects and computer-generated imagery (CGI) have become an integral part of modern media production. In 2025, programming will continue to advance these technologies, enabling filmmakers and content creators to push the boundaries of visual storytelling. With improved rendering capabilities and AI algorithms, realistic and seamless integration of CGI elements into live-action footage will become more accessible, creating visually stunning and immersive experiences for viewers.

The years 2025 and beyond holds. immense potential for the programming of media content. From personalized viewing experiences and interactive storytelling to virtual and augmented reality, the future of entertainment will be shaped by programming innovations. As technology continues to evolve, content creators will have the tools to captivate audiences in new and exciting ways. The programming landscape of 2025 is set to revolutionize the entertainment industry and provide viewers with unforgettable experiences. Get ready to embark on a journey where imagination and technology converge to redefine the way we consume media. Extreme creative meets extreme technology.

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Lee Abrams: The Spirit of the Radio — Chicago’s Loop

Lee Abrams — Tue, 23 Jul 2024 17:42:39 +0000

The exploration of the launches of great stations continues…and today, it’s DA LOOP

It was 1978 when we got the call from Cecil Heftel, a prominent politician from Hawaii who also happened to be a brilliant radio station operator. He was great at bringing in programmers and giving them the tools to succeed. Possibly the most programming-focused owner on the planet, pulling together great stations like Y-100, 13Q, and Honolulu’s timeless KGMB.

I was ecstatic about getting the keys to The Loop which had morphed from WSDM, with an all-female staff “Smack Dab in the Middle” that played a lot of Maria Muldaur, to a bland Album Rocker in the mid-’70s. Mr. Heftel’s 1979 directive was simple: “Pull out the stops and win.” I don’t think I’ve ever been as motivated to do just that as I was here. Coming back to my home town! A city screaming for an industrial strength rock n roll station that oozed the character of this great city. We had the Bears, Chicago Hot Dogs, Old Style Beer, and now it was time for a rock station the city would proudly call their own.

Inherited a lot of good people that ranged from a killer promotion guy in Dave Logan, a street-savvy rocker in his own right in sales manager Jeff Schwartz, even a research director named Kurt Hanson, and a very young future Chicago PD named Greg Solk. Added to that team by bringing in guys like Steve Dahl and Sky Daniels who both knocked me out when we worked together at our client W4 in Detroit. We actually hired Steve from the local disco station…go figure

We then recruited a Program Director. Needed a systems guy who could balance the insanity. Jesse Bullet (rip) from KPRI San Diego fit the bill. He knew our systems and was from a Navy family, so was good at procedures and organization. Again, to balance what could have gotten out of hand because of the mix of strong personalities.

Finally, I needed to finalize the blueprint for the station so there would be an extreme focus for the staff to build and riff on. The key components included:

-Gasoline-powered rock n roll. Industrial strength…not the LA, NYC or London punk vibe, instead more of the stadium rock, Midwest hard rock school. And there was magic is what you DIDN’T hear. No soft rock ( we did play soft songs as long as they were heavy as in Pink Floyd or the ethereal side of Led Zeppelin), but this wasn’t the place to hear James Taylor; No disco ( more on that later ); no pop hits. Just a steady stream that rocked. The station had a tempo to it. Roll down your window at a stop sign, and if The Loop was blasting, you’d KNOW it was the Loop, simply by its pumping sound

Eclectic components. Old TV themes to spontaneously rolling a side of Cheap Trick, there were plenty of surprises
Embracing artists. If we “co-sponsored” a concert, we were THERE. Engaged. The staff actually went to the shows and ensured station visibility was everywhere.
Personalities matched to the day part. Morning shows weren’t de rigueur then, so Steve Dahl and Garry Meier were specifically designed for mornings. Sky Daniels rocked nights. No one was generic…everyone was in their slot for a reason.
In-your-face production. Like many innovations at the station, they were the first with a gritty hard-edged production style that complimented the musical vibe.
A graphic identity that bled Chicago. Graffiti like you’d see in the viaducts. More neighborhoods and blue-collar suburbs than Michigan Avenue. Not many graffiti logos back then.
Marketing and merchandising aimed at creating fans, not users. From a house-branded cola to a catalog of swag to a groundbreaking TV ad featuring those “amazing lips” by Loralai. It was never meant to be and by today’s standards is outrageous, but she became the highly visible station mascot. Other stations had chickens and ducks, The Loop had a gorgeous lady. Needless to say, our 16-34 heavily male audience, preferred that to a costumed character.
Takin’ it to the streets. Remotes, yep, but not from car dealers. Instead live morning shows from a 1,000-seat theater, owning the Chicagofest at Navy Pier, lots of jock appearances, a Steve Dahl-led band, etc…getting out and mixing it up

It’s amazing that so few stations today go through the creation of a 360-degree blueprint, opting for standard issue production, tired slogans, and an anywhere USA presentation. Autopilot.

One stunt, after pulling the trigger on the new look and sound, Steve Dahl tapped into the anti-disco craze. It’s disturbing to hear folks refer to this as racist. That was completely off the radar, it was about:

Rock was about power guitars and real drummers
Disco was about electronics

Rock was about sweaty live stadium events with festival seating
Disco was about slick clubs with a bouncer in case you didn’t look hot enough

Rock was long hair
Disco was about respectable nicely coiffed hair

Rock was about listening ( loudly )
Disco was about dancing

Rock was about smoking dope and groovin’
Disco was about cocaine and champagne

Rock was about dressing down
Disco was about dressing up

Rock was for the regular guy ( and girl)
Disco was about the fashion focused

The list goes on, and Steve recognized the polar opposite from the rock n roll POV, and magnified it through the lens of the station. The ironic thing is that exactly the same time of disco demolition, my partner Kent Burkhart created the disco format at New York’s WKTU which went to #1 12+ in 90 days. Same time…same office. You can say we were format diverse.

Once The Loop hit its groove, which was almost immediate, they soared to 7.3, number two only behind WGN and the Cubs.

Loop listeners were an army and the station was as Chicago as an Italian Beef Sandwich, but by design, it wasn’t the glitzy lakefront…it was the soul of the city…it was something folks from Chicagoland could call their own. The result was a FAN base. I recall visiting Arbitron outside of Baltimore to evaluate the ratings diaries. They were loaded with comments, usually something in magic marker like “Loop Rocks!” Never saw anything quite like it.

The stations evolution over many years is a little checkered with lots of highs and lows, now playing Christian Soft Rock, but when it rocked it rocked and when it rolled it rolled, in a radio journey that helped define rock n roll radio.

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Lee Abrams: The Magic Of New Ideas

Lee Abrams — Tue, 16 Jul 2024 17:27:54 +0000

To be involved in creating or contributing to the next generation of groundbreaking media, we must fully embody that vision. It cannot be faked. It requires complete commitment on every level. While last-generation companies may attempt to follow suit, they often lack the soul that truly drives innovation.

For example, Sears may have sold online, but Amazon has become the new department store. NBC may have a digital site, but Netflix is the new network “tv” brand. Your local radio station may stream online, but Apple and Spotify have become the new streaming giants. The point is, you can’t simply “sorta” revolutionize. You must fully commit to the cause. This is a huge advantage for those who do.

In order to design the future, we must understand the past. Every reinvention I’ve been involved in, from FM to XM to Swatch to MTV to heritage bands, has always been based on understanding the roots, the basics. This concept can also be seen in fine dining. Chefs trained on Escoffier create amazing new cuisine, while those who disregard the roots create pretentious dishes. Change often comes from outside the borders of a business, but having a clear and deep history, as well as the willingness and aptitude to break away from that history, is what creates brilliant new products that connect with the mainstream.

A key aspect of our approach is to be free from arrogance. While creatives may think they see life on a higher level, techies may believe they hold the code to the future, and executives may have degrees in arrogance from Ivy League schools, it is important to channel that arrogance into action. There is no one to impress other than our fans. By impressing them, the press, accolades, satisfaction, and success will naturally follow. When we try to impress each other, it only leads to bullshit and politics.

It’s about:

A joining together of brilliant new programming and brilliant new technology as one force molded by visionary leadership.
Hand-picking a staff of people with extraordinary aptitude and attitude, and then transforming them to learn the style and vibe.
Representing the new mainstream, embracing multiculturalism, having a high bullshit radar, and being grounded in the streets rather than skyscrapers.
Anchoring with stunning new programming that drives the need for others to be on our platform. The technology and distribution we have is the reality solution, while the programming is the magic solution. Other brands will clearly see that.
Recognizing that there is more innovation coming from a filmmaker in Berlin than from a network conference room in NYC or LA. We live in a global reality, and fast-food companies figured that out decades ago.
Being warped, but in a good way. We bend culture rather than echoing it.
Having a clean and clear leadership structure void of politics. Everyone does what they do best. In their lane.
Being careful in listening to others. We listen carefully, but we are selective. Our key competitive advantage is the sheep factor, amplified by the blogosphere. Listening to the wrong people inhibits original thinking, and competition tends to be sheepish rather than frighteningly original.
Recognizing that American media tends to be white bread, average, dumb, and over-researched. Instead of whining, we take action. We strive for multiculturalism, above-average quality, and conduct research after the fact to verify original thinking, rather than letting it block us.
Following a hiring mantra of high IQ/low BS and no drama.
Delivering what people are thinking, whether it’s good, bad, or ugly.

The magic is in evolving ideas to action…or at least trying.

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Lee Abrams: AFDI—— Actually F- – – – – G Doing It

Lee Abrams — Tue, 09 Jul 2024 19:35:40 +0000

AFDI is a slogan I came up with many years ago. The scenario was a radio station that was once on top with a 7 share. In recent years they had declined to a 3 and we were called in.

During the first visit, I met with the GM and said “let’s get you, me, the program director, production director, sales manager and other voices and bury ourselves in a hotel suite with a lot of radios so we can do a complete audit of ourselves and competitors.” The idea is tearing apart ourselves and the market and generating new ideas that’ll bring back the glory. No distractions. A total deep dive. Media surgery.

At 3 am, eight of us emerged from the trade-out suite. A ton of legal pads (old school before devices ) loaded with ideas and angles. Everyone was charged up and ready to reinvent themselves and the station. As a road-driven consultant, I left the next day armed with plans to rebuild this station which still had good circulation, good signal, and the tools to succeed allowing them to execute.

A month later I returned. Notes in tow. The initial conversation went like this:

Q: Did we do this?
A: No, we thought we’d analyze it further ( paralysis by analysis )

Q: Did we do this?
A: Home office would never approve

Q: Did we do this?
A: Oh…forgot about that one

Q: Did we do this?
A: No we had A: meeting and decided against it

Q: Did we do this?
A: Too risky

Q: Did we do this?
A: We are going to maybe test it at 4am

The point is: THEY DID NOTHING and reverted back to their 3 share

Maybe it was fear of change, laziness, or an extreme lack of imagination or motivation. Not a good idea when the old way was tanking them.

That’s where AFDI emerged. Actually F- – – – -G Doing it.

It was a battle cry at XM and other projects. Come up with ideas that are legal, cost effective and growth generating. And AFDI!

That’s the problem with mission statements. Often they’re BS. I was at a TV station once where the statement included things like:

We are on the cutting edge of programming

We have a personal relationship with our viewers

We put the community first.

Etc.

I asked the Sales Manager if he believed that. His response “Hell no, if we did half of those things we’d be #1.

It’s easy to roll along “hoping” things will improve. Chances are they won’t unless you go through the exercise and AFDI

This applies to literally all businesses. The great ones AFDI when they’re already on top.

AFDI’s cousin is “the creative batting average.” Come up with 100 ideas and if 70 of them stink you’re an all star because that means 30 worked. Gotta get off the bench and take swings. If the 30 are good, no one will remember the 70 that weren’t so hot. Like in baseball, the greatest hitters also struck out a lot. But you remember the homers. Get off the bench and:

AFDI!

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Lee Abrams: Winning Media Battles

Lee Abrams — Tue, 02 Jul 2024 17:37:24 +0000

Here are a few components often discussed but frequently watered down and not always part of the game plan

Thoughts that go beyond the mission statement. Intangibles that should be part of the product DNA.

The big three are:

Passion: You just KNOW when a product is one created by passion…and one that’s created strictly and purely as a for-profit only exercise. The perception of passion is a powerful tool

Character: That extra dimension. Often two products are identical, but one kicks the other. “Character” is that intangible that usually drives the victory.

Muscle: Creating a bigger-than-life aura.

Then there’s:

CULT/MAINSTREAM: The magic balance. Whacked enough to have a cult following, mainstream enough to have a massive circulation.

NUMBERS OR FANS?: Marketing people acquire the numbers for ad sales to use, while programming creators turn numbers into FANS. If the “Numbers to Fans” component is missing, the product will never be more than a utility. Utilities can be enormously successful, but the “fan” element ultimately makes the utility invulnerable.

ER: BiggER, BettER, or whatever…”ER” where it counts needs to be a focus.

SOUL: Ya need SOUL to cut through in today’s soul-less environment. Soul is that intangible that might be among the strongest competitive tools…and it’s off the radar in today’s conference rooms. Soul has to be developed…by people who have it.

ECLECTIC…ALL THE WAY TO THE BANK: Properly channeled eclectic…done smartly, is golden. Utilities are non eclectic but in media it can be powerful

THE BODY CLOCK: Memories are as important as “now.” Classic and Archive are key words in peoples lives. 16-20 remain the cultural and musical roots for most that define their M.O. as they age

SCANNABILITY: The world moves faster. Need to deliver content at the speed of Now. What was the right length in 1960 is too long today. What was too condensed in 1970 may be perfect today. Play at the speed of 2024.

TUNE OUT PARANOIA: People WILL tune you out—there are too many options out there. If you’re well defined and amazing enough, they’ll be back. Programming to avoid tune out will make you too safe for 2024.

INTELLECT: Can be mass appeal and mainstream. Intellect is too often confused with elite and stiff. We’re in the era where smart is currency.

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Lee Abrams: The Early Days Of Satellite Radio

Lee Abrams — Tue, 25 Jun 2024 16:53:33 +0000

Back in the late 90’s, XM was just an idea. We had a skeleton staff that was growing by the day, but we were not yet on the air. One of the challenges was to tell the story of the programming mission. There was no shortage of those who viewed XM as an “audio service”, a generic array of white bread channels that would have all the soul of ……an audio service.

In reality, NOTHING was further from the truth. We envisioned XM to be an organic, living, breathing collection of channels, each with a different identity and culture. The XM “sound” was not something that you would hear on every channel, but the XM SOUND was the aggregate of each channel sounding different with the result being a rainbow of different approaches that as a whole had a unique, revolutionary, and distinct “sound”. The eccentric Fine Tuning was 180 degrees from the A.D.D. 20 on 20, and that when you put it all together, there was THE XM SOUND. Some channels were to have DJs interacting nationally with an army of listeners…others DJ free, relying on heady production and non-stop music. In previous blog entries, I addressed the Bootcamps we had to liberate myself and everyone who touched the programming from clichés and assumptions. At first, you’d tend to “assume” that all channels needed DJs. Wrong. The appeal of some channels is that it’s all music without interruptions. On other channels, the DJ is a critical partner to the music offering an intelligent narration….other channels a DJ adds to the authenticity as in the ’50s or ’60s where we work to re-live the way Top 40 sounded in those eras. The point is that the XM SOUND is based on every channel having its own Point of View and playbook resulting in a diverse collection of styles, yet all tied together to the platform had a distinct feel and vibe.

Expressing this both internally and externally wasn’t easy. There had never been anything like XM before, so we needed to illustrate the plan.

Several months ago, Bob Lefsetz the master of gonzo bloggerism, visited XM. While hanging out in my office he asked what this big chart with circles was all about and I explained it was a way to graphically illustrate the diversity of XM and how channels fit into different cultural zones. He then said, “OK, let’s hear the rap”. So—I pulled out the chart and ran through it. If you read Bob’s blogs you’ll note that he thinks XM Programming is great but that no one knows about it, and was adamant that I video the thing and get it out there. SO—I did.

Our staff will probably throw up if they have to see this again as it’s become one of MY clichés, but if you would like to see a video of the famous “Circles” presentation

https://youtu.be/m-mryK7XGj4?si=knhRAM-xwIRJXog3

The interesting thing is that while the roots of this presentation are 7 years old, it’s still the anchor of what we do on the air. Do we deliver? Not always. Do we try? Yes. Some channels are dead on it…others are close…and others, not so close, but we have over 160 channels and it’s not easy to get ALL of them firing on all cylinders at once…but we will get there as long as we BALANCE XM as a business and XM as an electronic media art form.

We have the talent here…it’s all about executing to the high standards we preach, evolving, but staying on plan.

www.leeabramsmediavisions.com

ad astra per aspera

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Lee Abrams: 21 Thoughts On Programming In 2024

Lee Abrams — Tue, 18 Jun 2024 18:38:12 +0000

The world is currently in a negative state, and it is crucial to explore new forms of media programming that actively engage the new mainstream in innovative and culture-shifting ways. These new approaches can have a significant impact on the cultural mood.

After reviewing extensive notes on the characteristics that define breakthrough culture-changing media products across various platforms, it becomes apparent that the majority of so-called “breakthrough” companies are merely updated versions of the same old ideas. True breakthroughs require:

Embracing Technology: Developing new and amazing programming that matches the ever-evolving technology landscape. It is essential to marry programming innovation with technological advancement to drive meaningful change.

Totally New Architecture: The entire experience needs to be different. The old way of doing things often no longer resonates. Unorthodox thinking and movements within media are necessary to captivate and move audiences. It is disheartening to see companies, especially in the news and information sector, claim to be different while merely repackaging the same old content with superficial changes.
Audio and Video Innovation: Sound is just as important as visuals. In our technicolor world of multi-sensory stimulation, creating a whole new sound experience is crucial.
Guts: This endeavor is not for those who fear taking risks, overthink decisions, lack urgency, or cling to the past. It requires razor-sharp leadership, focus, and unwavering passion. Only the courageous will succeed in 2024 and beyond.
Syncing with the Era: We are living in a historic period of change. To make an impact, we must flow with the changes, embrace the new wave that the new mainstream is riding, and board the ship of change.
New Generation of Personalities: It’s time to liberate new voices and personalities that resonate with the current era.
Local Engagement: Being completely absorbed in the community is crucial. In today’s global age, community extends beyond just a single location. Engaging a wide geographic service area can be as personal and impactful as focusing on a small community.
New Programming Trademarks: These are the hooks that create additional reasons for audience engagement. They should be fresh, compelling, and innovative, even if they may eventually evolve into clichés.
Completeness: Every aspect of the programming, from the way the receptionist greets guests to the core concept itself, should be in sync with each other. “Sorta” doing it is not an option.
Integrity: Lasting game-changers are rooted in unwavering integrity. This does not mean being uptight or elite, but rather being consistently honest. Integrity may be lost as companies grow, but it must be ingrained in their DNA. In today’s skeptical climate, maintaining integrity is crucial.
Enlightening: This goes beyond traditional media thinking and embraces the power of enlightening content. It is essential in an era where the world is stuck in a negative mindset. Enlightening content presents reality through a new lens, going beyond just happy news.
Passion in the Building: The people involved must be driven by a strong sense of mission rather than treating it as just a job. Recruiting and creative training play a critical role in developing a passionate team.
Audience Respect: True audience respect goes beyond empty slogans. Building genuine respect for the audience creates fans rather than mere users. Think of the difference between Star Wars “users” and devoted fans.
The Cool Factor: Some things cannot be determined through focus groups. The “cool factor” or the “It” factor is something that either exists or doesn’t. It should be allowed to happen naturally, without repression.
Intelligent: Many overseas companies are surpassing traditionally American-dominated entities due to their intellectually enlightened programming. Emphasizing intelligence in programming can raise the national IQ.
Commitment: Half-hearted attempts will not suffice. While evaluation, evolution, and flexibility are necessary, there should be no doubt about the commitment to the cause.
Under Sold: Instead of overselling to the public, let the greatness of the product speak for itself. This should not be confused with marketing tactics but rather relying on the quality and impact of the programming.
Information is the New Rock ‘n’ Roll: Embrace the power of information to rock and shape the state of the world.
Clever: Forward-thinking and looking for the next big thing is essential. It requires constant innovation and the ability to think beyond the present.
You Are an Idiot Until It’s Successful, Then You Are a Genius: Detractors will always be quick to criticize, but success will silence them. Embrace the challenges and prove the doubters wrong.
Successful: While achieving success is incredibly difficult and demanding, it is a worthy pursuit that can transform lives. Dedicate your life to making a meaningful impact.

www.leeabramsmediavisions.com

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Lee Abrams: Reimagining Information For The Digital Age

Lee Abrams — Tue, 11 Jun 2024 17:02:03 +0000

News organizations are and will continue migrating to digital. It’s likely that there’s an assumption that digital delivery will create a better experience. Not necessarily, unless the migration also takes the opportunity to rethink for the digital age. A dated style will not suddenly be relevant simply because it’s on a new platform.

In other words—Take advantage of new platforms with new programming as exciting as the technology itself

The current style of most news is:
A) aging out
B) dated presentation in this new digital era
C) misses the creative side of the digital opportunity

The opportunity is to create a dramatically different modern style that is as exciting as the technology.

Elevate above and beyond the current style…

A key is noticeability:
NOTICEABILITY SCALE
ONE = NO ONE NOTICES…NOT EVEN MANAGEMENT
THREE = TOP MANAGERS & THOSE IN SENIOR MEETINGS NOTICE
FIVE = MOST INTERNAL EMPLOYEES NOTICE, THOUGH NO-ONE OUTSIDE OF THE BUILDING
SEVEN = THE INDUSTRY STARTS TO NOTICE
NINE = THE TIPPING POINT: THE GENERAL PUBLIC NOTICES
TEN = YOU HAVE CREATED SOMETHING DIFFERENT AND COMPELLING REGISTERING WITH MASSES

The Cable TV view of the world is fading. There’s a new way to see the world than through cable filter.

The current presentation is cliche-ridden. It’s a new era for information delivery. The traditional way is not in sync with the 2024 North America.

Engage younger demos with much-needed quality journalism. But within an exciting new presentation. They ain’t watching CNN. They don’t relate to the big 3 cable and network news channels for all the reasons we’re discussing.

TikTok and many popular social sites are a default! National IQ lowering. Unreliable. Misinformation. Where are the credible alternatives?

INFORMATION IS THE NEW ROCK N ROLL – Driving culture. Digital news needs to rock the information world. Rock n roll disrupted America. Now it’s information more so than music that’s driving the North American vibe.

News hasn’t been significantly updated. Ever. Anchors at a desk. Predictable graphics, nice furniture, fancy sets. Tired. Some lipstick perhaps, but the look and feel remains in the 80’s.

An opportunity for a brilliant new approach is front and center. TV news is on autopilot and it’s time to disconnect it and hand fly into new territory.

Stimulate and expand:
-eye. Stunning full-screen visuals
-ear. A sonic identity that elevates stories
-brain. Mass appeal intelligence.

It’s the age of cinematic visuals, raw information, exciting gfx and deep sound vs. “being told by corporate anchor” on a set.

Outside the news club——Generate a new blueprint. The future of news won’t be designed by newsrooms. Need NEW thinking. Amazon, Musk, Apple. Change won’t happen from news lifers. It’ll happen from outside tradition.

Re-imagination lab. It won’t evolve on the fly. Needs a design team to actively create the future of news.

The newsroom DNA isn’t conducive with Noticeable reimagination. Fact

Journalists generate news. Creative team produces it. Without the chains of tradition. Rethought more efficient and creative driven digital workflow and staffing.

Story selection method needs updating. Real time audience feedback to see which stories work plus news trends. Interactivity.

Hit the target. Like songs, stories have different targets Test stories. Enough already factor?? Stories like songs you’re sick off. Throttle stories via data

Short form franchises are a component. Regularly scheduled image enhancing and interesting short segments to inform and give talking heads a rest. But info graphics and motion graphics on steroids

Information downloads Can/will develop into programming trademarks

ITS INFORMATION ABOUT THE WORLD AT THE MOMENT FRANCHISES PROVIDE 360 DEGREES OF INFORMATION BEYOND HARD NEWS.

INFORM BEYOND THE HEADLINES VIA FRANCHISES

Develop Trademarks. New ones that resonate in 2024

The Intellectual scale. 1-reality TV; 10- Educational TV. The magic zone is a 7. Not elite. Not dumb. Mass Appeal Intelligence.

Stats! We’re stat crazed. It’s a reality check. Animated Infographics.

Focus on COMMON SENSE —-what true new North America wants. It’s the hole.

Politics as component but not the driver. Information. Facts. All sides. Common sense approach.

De emphasize anchors. The stories are big…the star Let human guide through the experience rather than the focal point.

Has the has energy and moves at the speed of 2024 (eras have energy. Study the media and music from 50s 60s etc. 2024 has a beat ).

MULTI DIMENSIONAL STORYTELLING. Use every resource : ugc. Infogfx. Film clips. Animation. Whatever it takes.

Its Not the anchor, the gimmicks, the slickness, it’s about a completely new way to engage with information.\

Viewers don’t want a “TV show” ( showing cameras scooting and studio action ) they want a information download. They’ll appreciate the download in vivid pictures and sound, not a news set which can be slick, professional… But corny

Assembly line with creative and specialists in each position of production. Ultra efficient. Rethought work flow

Interactive critical polls. Feedback. Option to Pick stories or linear. Interactive!

Time will tell if the big organizations have the vision and flexibility to navigate the digital era with new programming approaches, or if it’ll come from the outside. The possibilities are endless for those who merge extreme creative with extreme journalism to create programming as compelling as the technology itself.

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