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Yet Another Reason I’m Proud To Work Here

May 23, 2013 — 0

People say a lot of things about this place.  Here’s something you might not know about the real people who work here.

MTV partnered with Catchafire, an org that matches non-profits with executives who can help them.  Led by MTV President, Stephen Friedman, along with SVP of Pro Social and Public Affairs, Jason Rzepka, MTV worked with CEO (Center For Employment Opportunities) on ways to grow its impact. 

Here’s what my incredible friends and colleagues just did… 

Get More:
MTV Shows

For more on MTV’s partnership with Catchafire and Center for Employment Opportunities, check out FastCo’s coverage: Before and After: How MTV Gave One Nonprofit A Makeover And Got Schooled In Social Storytelling

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Amy Chozick’s New York Times Story On General Motors & Scratch

March 22, 2012 — 10

Fabrizio Costantini for The New York Times

Ross Martin, left, of Viacom’s creative strategy unit, is working with General Motors to help revive interest in cars among young consumers. Mr. Martin and John McFarland of Chevrolet are shown in G.M.’s headquarters in Detroit.

As Young Lose Interest in Cars, G.M. Turns to MTV for Help

By

DETROIT — Ross Martin, 37, is a published poet and a former drummer in an alternative rock band. Wearing Nike high tops and loosefitting jeans, he is the kind of figure who wouldn’t attract a second glance on the streets of Brooklyn, where he lives.

But on a chilly afternoon here last month he managed to attract a few odd looks as he walked across the 24th floor of General Motors’ global headquarters. Mr. Martin is the executive vice president of MTV Scratch, a unit of the giant media company Viacom that consults with brands about connecting with consumers.

He and his team are trying to help General Motors solve one of the most vexing problems facing the car industry: many young consumers today just do not care that much about cars.

That is a major shift from the days when the car stood at the center of youth culture and wheels served as the ultimate gateway to freedom and independence. Young drivers proudly parked Impalas at a drive-in movie theater, lusted over cherry red Camaros as the ultimate sign of rebellion or saved up for a Volkswagen Beetle on which to splash bumper stickers and peace signs. Today Facebook, Twitter and text messaging allow teenagers and 20-somethings to connect without wheels. High gas prices and environmental concerns don’t help matters.

“They think of a car as a giant bummer,” said Mr. Martin. “Think about your dashboard. It’s filled with nothing but bad news.”

There is data to support Mr. Martin’s observations. In 2008, 46.3 percent of potential drivers 19 years old and younger had drivers’ licenses, compared with 64.4 percent in 1998, according to the Federal Highway Administration, and drivers ages 21 to 30 drove 12 percent fewer miles in 2009 than they did in 1995.

Forty-six percent of drivers aged 18 to 24 said they would choose Internet access over owning a car, according to the research firm Gartner.

Cars are still essential to drivers of all ages, and car cultures still endure in swaths of suburban and rural areas. But automobiles have fallen in the public estimation of younger people. In a survey of 3,000 consumers born from 1981 to 2000 — a generation marketers call “millennials”— Scratch asked which of 31 brands they preferred. Not one car brand ranked in the top 10, lagging far behind companies like Google and Nike.

The five-year strategic vision that Scratch has developed for Chevrolet, kept quiet until now, stretches beyond marketing to a rethinking of the company’s corporate culture. The strategy is to infuse General Motors with

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“We Worship At The Altar Of Our Audience”

February 17, 2012 — 0

That’s something that MTV President Stephen Friedman (who brought me to MTV almost 8 years ago) always says.  It means this: If our audiences don’t love what we do, they’ll go away.  And if they go away, we’ll be gone too. 

We all have the same boss.  In the case of MTV, that’s abuot 80 million Millennials.

Guess what? They don’t care about the difference between programming time, commercial time and promo time. It’s either good and I want to share it, or it’s bad and you lose.

ProMax BDA recently posted a clip of me answering a question from Michael Benson, Time Warner Media’s Global Chief Creative Officer, from their 2011 conference.  Michael asked, where’s the line between “content” and “commercial,” and “when will the audience say, ok, that’s enough?”

Here’s my answer:

P.S. I make a comment in the video about “intent to purchase,” a metric we continue to see tracked and reported by marketers, publishers, media owners, agencies and producers.  Well, intent to purchase is horseshit.  A useful stat if you’re trying to save your job.  And if you’re trying to save your job, chances are you’re not doing your job.

 

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“Sleep No More” Isn’t Content, It’s User Experience

January 26, 2012 — 1

I spent half the day today with the leaders of our digital music group, at the space where Sleep No More is running.  An inspiring background for us, as we planned some crazy shit for later this year.

(Take an interactive tour of the space, here)

It gave me a chance to consider what we’re trying to accomplish in digital in a new, disembodied way.  As Sleep No More‘s director helped break the show down to its component parts, I thought about the visceral connection audiences have with a breakthrough interactive experience.  What those audiences users give, and what they take away.

From a social perspective, Sleep No More raises questions all programmers, developers, storytellers and marketers must struggle with, now more than ever:

– Why beginnings, middles and ends?

– How do we hold space for viewers to co-create the narrative, and why is that so important?

– Which variables must we control so that we don’t have to control the ones we shouldn’t?

– How do we provoke emotionally satisfying experiences for audiences who wonder if something more compelling is happening in the next “room.”

– How do we “share” an experience?

The storytellers we love most don’t strive to create “content.”  That’s because content = matter.  And matter doesn’t move you.  Experiences do.

Experiences are moments in time and space that are here, then gone.  They are “never before” and they are “never again.”  The greats — Homer, Shakepeare — gift us experiences that cause change in the universe and in our selves.

What Sleep No More teaches reminds us is that the path we take through an experience is the experience.  And when we preserve the order of our perception, we can come close to remembering what it felt like.