the jazz network
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Louis Armstrong. THE JAZZ NETWORK. Benny Goodman. Dizzy Gillespie. One of the few TV Programs dedicated to JAZZ Music. Charlie Parker. Important Notice. - PowerPoint PPT PresentationTRANSCRIPT
THE JAZZNETWORKOne of the few TV Programs dedicated to JAZZ Music
Charlie Parker
Lou
is
Arm
str
on
g
Benny Goodman Dizzy
G
illesp
ie
Important NoticeThis document and the information available in this Document should be
regarded strictly private and confidential, and may not be used or
forwarded to any third parties in any manner without the written consent
of NEUROMAMA, LTD (hereinafter the Company). This document should not
be made available in jurisdictions where this would be contrary to local
laws and regulations. Recipients of this document are required to inform
themselves of and to comply with all applicable laws and regulations in any
jurisdiction in which they receive or use this document.
The sole purpose of this Document is to provide information to its
recipients about the Company and to describe the nature of the Companies
offer in the field of Jazz TV programming business opportunities.
The information contained herein includes (or is based in part on)
projections, valuations, estimates and other financial and non-financial
data. This information has not been verified or substantiated by any third
party sources.
Who we are Product Description
Jazz Audience
Business Overview
NeuroMama, Ltd is an integrated media and technology company with a search engine, e-commerce site, social network, finance center, and licensed entertainment products among its core businesses. Our focus is on the Latin American market, the fastest growing Media & Entertainment market in the world.
At this point one of the NeuroMama’s main products is a search engine that is based on technology, which completely resembles human brains and specifically it is mimicking its learning abilities. It even picks up some bad habits, like children who start to behave badly if under the influence of wrong people.
For the last two weeks Project Manager of NeuroMama General Design and Tech Support team, the Russian Professors of mathematics from Russian Academy of Sciences, and Project Leaders in Russia and Latvia, has had thoroughly investigated and tested all of the elements of NeuroMama neural technology.
Who we are
About our Company
We have covered NeuroMama neural technology and its structure in relation to:
• NeuroMama neural network architecture, and data representation.
• NeuroMama learning and optimization algorithms.
• NeuroMama's self-organizing skills.
• NeuroMama self management skills.
• Compression and decompression of patterns, and efficiency of
programming code processing compression/decompression.
• Design and implementation of hardware architecture for NeuroMama
neural network and databases.
• NeuroMama adaptive behavior.
• Evolution of neural network in the context of NeuroMama model.
Who we are
About our Company
NeuroMama logic is made in the following way:
1. Instead of getting data by robots - computer programs/crawlers, which 24/7
would gather data, characterize, classify, and store this data in NeuroMama
databases, occupying millions of servers, we obtain data from Internet almost
after every search request, and only for requested searches. This method
saves hundreds of millions of dollars in hardware costs, which will become
obsolete a year from now.
2. Every result is stored in our DB and updates if there is same hit, so the result
would be shown faster.
3. User can choose what kind of category to use to make priority search, like
business, sports, science, etc.
4. If user have clicked on search result, it grows in priority and changes in order,
more hits = the higher that result goes. For example: In time if result got to
1st place of results list it can be moved to lower place if users would be
interested in another result more, so it`s always dynamical and results
changes their orders despite on how big interest was in provided link.
Who we are
About our Company
• NeuroMama.com - neural network based search engine developed by mathematicians, utilizes a frequent user program to attract and retain clients.
• NeuroZone - has search, auction and affiliate functionality, using X-Cart and Globalshopex. This gives NeuroZone a differentiated ability to ship goods internationally.
• NeuroElectronics - introduced at the 2014 CES conference, this business unit sells white-labeled smart phones, tablets, and laptops called NeuroPhone, NeuroPad and NeuroBook, respectively. All electronics are manufactured by DAOYI INTERNATIONAL LIMITED in China.
Who we are
Our most popular products
• ArtTvZone - Music and Art Network. This is a 24-hour TV network with focus on Jazz, Classical and Symphonic Music, Ballet, Classical Art, Sculpture, Classic Architectural Ornamentation, Travel, Nature, Flora and Fauna.
• NeuroTvZone - High Tech Network. This is a 24-hour TV network focused on providing information on Internet companies, technological advancements.
• CombatTvZone - The Fighting Network. This is a 24-hour TV network focused on martial arts and boxing events, news, interviews, and broadcasting of prerecorded and live championship fights.
• KidsTvZone - The Children Network. This is a 24-hour TV Network focused on broadcasting cartoons developed by major world studios, educational and entertainment content for children, as well as TV Programs about Travel, Nature, Flora and Fauna.
Who we are
Our most popular products
Who we are
Product Description Jazz Audience
Business Overview
Product Description
Entertainment AssetsOur library of entertainment assets includes a few never released movies with actors like Vanessa Williams and 65 THE JAZZ NETWORK television shows (These shows were live on PBS from 1982 to 1987), as well as we hold the rights for filming and broadcasting totally new shows dedicated to JAZZ Music.
Our distribution agreement includes 50,000,000 homes (140,000,000 potential viewers) subscribing to Direct TV and Dish Network, as well as iTunes and local channels in all major US cities. Newly taped shows will be also broadcasted, however these will be mixed with old shows.
The first new Jazz Network episode will be shot in September, 2014 in Robby Krieger studio. Jazz Network is the only TV series with a distribution contract you can find in the U.S.A., therefore there is no competition.
50 000 000
140 000 000
Product Description
Pilot ShowsOur rights to Broadcast new Series of our Jazz TV Network series we perceive as our biggest
Value, which will grant us a great profit not only today, but also in a future perspective. Our
PILOT SHOWS
1. 4 episodes of "Rock and Roll Road Stories" featuring hosts: José Feliciano virtuoso
guitarist and composer known for many international hits including his rendition of The
Doors' "Light My Fire" and the best-selling Christmas single "Feliz Navidad". Frankie
Avalon an American actor, singer, playwright, and former teen idol. Paul Bernard
Rodgers an English rock singer-songwriter, best known for his success in the 1970s as a
member of Free and Bad Company. He has recently toured and recorded with another
1970s band, Queen.
2. 1 episode of Movie Week, a promo for a weekly show. This would be a great tool for
promoting distribution of Global entertainment assets.
3. 90 minutes of Cabaret type variety show "Fantazmus" with Ilya Reznik in the leading
role, and 28 Olympic and World Champions rhythmic gymnasts performing.
Choreographed by Olga Morozova, music written by Raimonds Pauls. Ilia Reznik is the
most famous songwriter in former USSR, and Raimonds Pauls is the most famous
composer in former USSR. Olga Morozova is one of the best coaches for Rhythmic
Gymnastics in USSR.
Who we are
Product Description
Jazz Audience Business Overview
Jazz Audience
JAZZ todayDespite the fact that there is some information publicly available stating that Jazz is
loosing its “fight” in the Market of Music, which most likely is said by Jazz non-
lovers, there are many researches available, which actually are showing the
opposite – JAZZ IS ALIVE and it always will be. YES, it is slowly changing,
adapting, sometimes by merging together with other music genres – in other words
it is evolving, YES, the audience also is slightly different from one that was in 1960s
and 1970s, but it still proves a long known truth – “there is always a customer for
every product, the only question is – how to approach it”!
1A good example of mentioned above is one records company in London, Gearbox
Records, a small indie label specializing in high-quality vinyl pressings of both old
and new jazz recordings. Label boss Darrel Sheinman likens what they do to an
artisan bakery. “Make a record well and it sounds fabulous”, he says. “You don’t
have to listen to things on your phone or on a CD cum beermat. With an LP you can
merge yourself into it, form a relationship over the 15 or 20 minutes of each side.”
Increasingly, their products are selling to a new, younger jazz audience who get into
the music because of the beauty of the sound, and the fetishistic quality of the
packaging.
Source:1. The Independent
Jazz Audience
JAZZ Survey1Speaking about the previously mentioned Survey – data collection efforts yielded a
large pool of approximately 1,900 respondents. After applying filters to weed out
those who are uninterested in music (on the low end of the involvement spectrum)
or who are already attending jazz with a relatively high frequency (on the high end),
a pool of approximately 1,100 “qualified prospects” was left, (about 62% of the
sample).
All subsequent analysis, including segmentation, was conducted on these “qualified
prospects.”
A cluster analysis was performed on a sub-set of attitudinal variables relating to
experience with music, knowledge and interest in jazz, purchase decision factors,
live arts attendance, jazz listening patterns and consumption. The clustering
procedure groups prospects into discrete segments that are as different as possible
across segments, and as similar as possible within each segment.
According to the survey results JAZZ Music Listeners can be divided in to four
groups according to the Four – Segment Prospect Model: Bluegrass 'n’ Barefoot,
Music Buffs, Social Rockers and Arts Omnivores.Source:1. WolfBrown
Jazz Audience
Jazz Lovers Profile
29%
15%35%
21%
Bluegrass 'n' BarefootMusic BuffsSocial RockersArts Omnivores
• The four segment solution was chosen as the most actionable, revealing the diversity of attitudes towards jazz in the sample population, as well as allowing for two viable and promising segments to target for audience development.
• The segments are ordered by knowledge and connection to jazz, from Music Buffs (most knowledgeable) to Bluegrass ‘n’ Barefoot (least knowledgeable).
• This model is based on a sample of Columbus area adults and should not be considered applicable to other geographies. While some of the segments may be similar in other areas, the proportionality will almost certainly vary.
• Segment names are necessarily ambiguous and were designed to capture the essence of the segment.
Jazz Audience
Jazz Lovers ProfileMusic Buffs (15%)Tyler is a Music Buff. He plays in a band, often fronting as the lead singer, and has a
regular monthly gig at the a local coffee house. A little more experienced and “settled”
now that he’s reached his thirties, he often gathers his friends together for a night out to
see the new and cutting edge artists and bands. His knowledge and interest in learning
more about jazz is high, but he doesn’t like to define his musical tastes by any one genre.
Tyler has been known for his provocative and thoughtful posts on local blogs and forums or
his own Facebook page, and frequently surfs the Internet for cuts and videos of new music
to continue his learning and development as a musician.
Key Characteristics of the Music Buff:
• Most likely of all segments to be male (52%):
• Second youngest segment with 29% under 34 years old, and 47% under 45
• Second most likely to be single, with 35% not married or partnered
• Most likely to be currently involved in music activities, playing, singing, performing and
composing
• Most knowledgeable and interested of all segments; their loyalty is to the art form and the
artist
• Most likely to make decisions based on the artist, and prefer clubs and lounges above other
types of venues
• Most “wired” of all segments with top activities including ‘watching videos online,’
‘contributing to online blogs or forums,’ and ‘using social networking sites’
Jazz Audience
Jazz Lovers ProfileSocial Rockers (35%)Deena loves music, especially rock ‘n’ roll, hip hop and rap, and thus her pathway into jazz
originates with the popular end of the music spectrum. She is a regular at clubs and music
festivals, and often decides to go simply because someone asked, whether a friend or
through a shared Facebook announcement. Relatively new to jazz, she is interested in
learning more since discovering that some of her favorite jam bands have jazz
backgrounds. She’d like to actually learn how to play, and would do more jazz activities if
she could figure out a way to fit it into her schedule, or if tickets were less expensive.
Key Characteristics of Social Rockers:
• Most likely to be female (70%)
• Youngest of all segments with 34% under 35, and 57% under 45
• Second most engaged segment in music activities overall, behind Music Buffs, with focus on
‘online’ or computer-based activities (e.g., ‘DJ’ing or creating playlists or mixes’)
• Most price sensitive of all segments
• Most likely to learn about music from movie or TV soundtracks
• Most likely to be ‘responders’ (‘more likely to go if someone else invites me’), and thus often
require a social stimulus
• Opportunities to engage this segment will be through social opportunities and connections to
rock and hip hop music, such as jam bands like Soulive, and online-based activities (e.g.,
sharing playlists)
Jazz Audience
Jazz Lovers ProfileArts Omnivores (21%)Susan and Dan are Arts Omnivores. They just spent the weekend taking in the recent
exhibition opening at The Wexner Art Museum and a performance at CATCO. Next weekend
they plan on attending the Columbus Symphony for a matinee. Jazz is selectively part of
their arts “diet,” but not currently as much of a priority as are other arts activities.
Currently, their music preferences lean towards classical, folk and world music, followed by
jazz. They would probably go to concerts that feature crossover jazz artists like Hugh
Masakela. Given their strong connection to music and the arts, they take an intellectual
interest in the art form, and would be interested in attending a music appreciation class.
Key Characteristics of Arts Omnivores:
• Oldest segment with 66% over 55 years old, with 38% retired
• Most highly educated segment with 56% having Master’s or above
• Most likely to frequently visit art museums and galleries, stage plays and Broadway musicals
• Second most interested in music activities in general, behind Music Buffs
• Low proportion of jazz in music collection or new music purchases, and general jazz listening
low in comparison to Music Buffs and Social Rockers
• Satisfied with amount of jazz activities; however, 10% are interested in doing more
• Value a seeking out and learning about different world cultures, as well as ‘being involved in
social, political and environmental causes’
• Opportunity for engaging this segment lies in making connections to other art and music
forms
Jazz Audience
Jazz Lovers ProfileBluegrass ‘n’ Barefoot (29%)Bluegrass ‘n’ Barefoot, Darryl and Laura grew up listening to country and bluegrass.
They’ve gone to a few jazz concerts, but mostly because someone else invited them.
Generally, they have little interest in learning more about jazz and are satisfied with
the amount of jazz activities they do, as infrequently as they may be. They often
make decisions based on cost, given their family obligations.
Key Characteristics of Bluegrass ‘n’ Barefoot :
• Third youngest segment with 22% under 34 years old and 46% under 45
• Although by small margins, they are most likely to have children under 18 years old
(1.6 children)
• Relatively low level of current involvement in music, although they are actively
downloading
• Lowest prospect score and involvement in music activities
• Second most price sensitive of all segments
• Lowest knowledge level and lowest interest in learning more about jazz
• Most likely to be satisfied with the amount of jazz activities they are currently doing
• Most likely to value ‘having a spiritual life’
• Opportunity for engagement will mostly be reflected in specific programming that
reflects music interests: country and rock
Jazz Audience
Demographics by SegmentDEMOGRAPHICS BY
SEGMENT
(PROSPECT MODEL)
Total Ticket Buyer Sampl
e
Total Prospect Sample
Sample size (unweighted)
4,855 1,137
Gender
Female 46% 64%
Male 54% 36%
Age
18 - 34 7% 23%
35 - 44 10% 20%
45 - 54 25% 24%
55 - 64 35% 22%
65+ 23% 11%
Race
White/Caucasian
79% 89%
Not-White 21% 11%
Music Buffs
Social Rockers
ArtsOmnivores
Bluegrass 'n’
Barefoot
172 396 238 331
48% 70% 67% 63%
52% 30% 33% 37%
29% 34% 4% 22%
18% 23% 9% 24%
26% 24% 21% 25%
21% 16% 32% 21%
6% 3% 34% 8%
86% 84% 96% 92%
14% 16% 4% 8%
Jazz Audience
Demographics by SegmentEducational Attainment
High school graduate or G.E.D
3% 7%
Some college, no degree
12% 16%
Associate or Vocational Degree
6% 8%
Bachelor's Degree
32% 36%
Master's Degree
30% 22%
Professional Degree
17% 10%
Work Status (multiple responses allowed)
Working full-time
57% 57%
Working part-time
12% 14%
In school full-time
2% 5%
Not employed 4% 7%
Full-time Family Caregiver
2% 5%
Retired 26% 16%
Music Buffs
Social Rockers
Arts Omnivores
Bluegrass 'n’
Barefoot
4% 5% 3% 15%
12% 18% 9% 21%
2% 9% 3% 14%
37% 41% 30% 33%
32% 19% 37% 12%
12% 8% 19% 5%
56% 66% 44% 55%
22% 15% 13% 10%
10% 5% 1% 4%
8% 8% 3% 9%
1% 5% 4% 7%
9% 5% 38% 17%
Jazz Audience
Demographics by SegmentMarital Status
Married or partnered
71% 67%
Not married or partnered
29% 33%
Avg. # of Children Under 18
Avg. # Children 32% 36%
Music Buffs
Social Rockers
Arts Omnivores
Bluegrass 'n’
Barefoot
65% 61% 72% 70%
35% 39% 28% 30%
1,46 1,53 1,26 1,61
• The table at left reports demographic characteristics by segment, and by the two main samples (ticket buyers vs. prospects).
• Overall, in comparison to the ticket buyer sample (gleaned from 19 different jazz organizations nationwide), the prospect sample is younger, more likely to be women (64% vs. 46% of ticket buyers), single, and to have children.
- How can JAG engage such a different population of music lovers? • Although demographic variables were not allowed into the cluster analysis, and therefore
did not have any direct influence on the segment outcomes, it is interesting to note the distinct demographic breakdowns between segments:
- About half of all Music Buffs are men - Three out of the four segments skew young, with about one-third of Social Rockers
under 34 years old, and 29% of Music Buffs and 22% of Bluegrass ‘n’ Barefoot also under 34
- Both Music Buffs and Social Rockers are most likely to be single (35% and 39%, respectively)
Jazz Audience
Music Preferences by Segment
1
2
3
4
5
6
7
Music Buffs Social RockersArts Omnivores Bluegrass 'n' Barefoot
Avera
ge R
ati
ng (
1=
Not
At
All;
7=
A G
reat
Deal)
Symphonic
music (classical
)
Jazz or blues
Rock or R&B
American folk
music
World music
Gospel music
Country music
Hip Hop or Rap
Jazz Audience
Music Preferences, by Segment• Respondents were asked to rate their interest in eight different music
genres. The chart at left illustrates average interest ratings by
segment, ordered by the scores for Music Buffs.
• Results are intuitive. Arts Omnivores reported the highest interest in
‘Symphonic Music,’ suggesting one way that they can be accessed –
through jazz/classical crossover events.
• Social Rockers, true to their name, reported the highest interest in
‘Rock or R&B.’
• Note that Music Buffs and Social Rockers reported equal preferences
for ‘Jazz or Blues.’
Jazz Audience
Music Preferences, by Age Cohort
1
2
3
4
5
6
7
18 to 34 35 to 44 45 to 54 55 to 64 65+
Avera
ge R
ati
ng (
1=
Not
At
All;
7=
A G
reat
Deal)
Symphonic
music (classical
)
Jazz or blues
Rock or R&B
American folk
music
World music
Gospel music
Country music
Hip Hop or Rap
Jazz Audience
Music Preferences, by Age Cohort• Music preferences are analyzed here by age cohort to illustrate certain
patterns.
• Note how jazz is the great bridge between generations, with nearly
equal preference scores reported across the age cohorts.
• Other results are intuitive: 1) low interest in ‘Rock or R&B’ and higher
interest in classical music amongst older respondents; 2) higher
interest in ‘Hip Hop or Rap’ amongst younger respondents.
• It is interesting to note that ‘Symphonic music’ rates slightly higher
than ‘Hip Hop or Rap’ amongst the 18-34 cohort.
Jazz Audience
Venue Preference, by Segment • Respondents were asked about
how much they would like to see live jazz at six different types of venues. The chart at left shows results by segment, along with average age of each segment (grey dots and line).
• Overall, informal venues are more attractive to prospects across all segments, with clubs and lounges and parks or outdoor pavilions the top two preferred venues for jazz.
• Interestingly, Music Buffs are most likely to prefer formal concert halls, followed by Arts Omnivores.
• Social Omnivores, the youngest segment, are most interested of all segments in grungy dive bars.
- Given that the ticket buyer and prospect survey results strongly suggest audiences’ preferences for informal venues, how can jazz organizations diversify their venues to go beyond the formal? Are there ways of changing the existing space to create smaller and more informal spaces within?
1
2
3
4
5
6
7
4042444648505254565860
Formal concert halls with chandeliers in the lobbyClubs or lounges with small tablesGrungy dive bars with sticky floorsPark or outdoor pavilion with food boothsRestaurants with full menu servicePrivate homes
Avera
ge R
ati
ng (
1=
Not
At
All;
7=
A G
reat
Deal)
Social Rockers
Music Buffs
Bluegrass 'n'
Barefoot
Arts Omnivor
esA
vera
ge A
ge
"How much would you like to see jazz in..."
Jazz Audience
Involvement in Music
Ipod/other digital music player/
computer
On CDs, cassette tapes or albums
On the radio via Streaming audio online
Live jazz show0%
5%
10%
15%
20%
25%
30%
35%
40%35%
30%
25%22%
7%
26%23%
27%
23%
7%6%
12%15%
11%
3%4% 3% 4% 5%
1%
Percent of Respondents reporting weekly or daily involvement in music activities, by Segment
Music Buffs Social RockersArts Omnivores Bluegrass 'n'Barefoot
Jazz Audience
Involvement in Music• Respondents were asked how often they listen to jazz via different
media, as well as through live performance. The answer options
were: never, seldom, monthly, weekly, and daily. The chart at left
illustrates the aggregate percentages of respondents, by segment,
who reported “daily” or “weekly” frequency for each mode of
consumption.
• The youngest segments, Music Buffs and Social Rockers, are the most
diverse in their use of different media for jazz listening. They are
most likely to listen to jazz on an ‘iPod or other similar device,’
followed by ‘CDs’ or other types of recordings, and ‘on the radio.’
• The radio is the most prevalent mode of listening for Arts Omnivores.
• Note the low levels of consumption for Bluegrass ‘n’ Barefoot across
all media.
Jazz Audience
Music today and tomorrow
Mus
ic B
uffs
Social R
ocke
rs
Arts O
mnivo
res
Blue
gras
s 'n' B
aref
oot
84%
88%
92%
96%
100%
89%92%
97% 98%5%3%
2% 1%6% 5%
1% 1%
Percentage of Jazz as part of music collection, by Segment
Less than 50% 50%50% or more
Mus
ic B
uffs
Social R
ocke
rs
Arts O
mnivo
res
Blue
gras
s 'n' B
aref
oot
84%
88%
92%
96%
100%
90%94%
97% 98%5%
2%1% 1%
6% 4% 2% 1%
Percentage of Jazz as part of NEW music purchase, by
Segment
Less than 50% 50%50% or more
Jazz Audience
Music today and tomorrow• Another indicator of an individual’s relationship with the art
form is ownership of jazz recordings. Respondents were asked
to estimate the proportion of jazz recordings in relation to their
total music collection (see left), and were also asked the
proportion of new music acquisitions accounted for by jazz
recordings (see below).
• Overall, the prevalence of jazz as part of the collection or of
new music purchase is significantly low for all segments, with
only 11% of Music Buffs’ collection consisting of jazz. – Is this an opportunity for jazz organizations? How might an organization go
about assisting prospects with strengthening their music collection?
Jazz Audience
Interest in future Jazz activities
Music Buffs Social Rockers Arts Omnivores Bluegrass 'n'Barefoot0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
26% 28%
61%
80%
47%53%
30%
17%
27%
19%
9%3%
Interest in Doing Jazz Activities MoreOften in the Future, by Segment
I am satisfied with the amount of jazz activities I do nowI wish I could do more jazz activities than I do now, but probably won't be able toI intend to do more jazz activities over the coming year
Jazz Audience
Interest in future Jazz activities
• In order to gain a sense of aspirational involvement in jazz,
respondents were asked about their interest in doing more jazz
activities than they currently do. They were allowed to choose which
statement (shown at left), best described their future intentions
regarding jazz activities.
• Over half of Social Rockers are ‘”wish to do more than now, but
probably won’t be able to”. Although not clear, this may be due to
price sensitivity and time barriers (see page 27 regarding purchase
decision factors).
• Music Buffs are most likely to “intend to do more in the coming year”
(27%), followed by Social Rockers (19%).
• Six in ten Arts Omnivores and eight in ten Bluegrass ‘n’ Barefoot
prospects report being satisfied with the level of activity they
currently do.
Jazz Audience
Interest in future Jazz activities
18 to 34 35 to 44 45 to 54 55 to 64 65+0%
10%
20%
30%
40%
50%
60%
70%
46%49%
45%
55%
63%
42%
35%39%
34%
25%
12%15% 16%
11% 11%
Interest in Doing Jazz Activities More Often inthe Future, by Age Cohort
I am satisfied with the amount of jazz activities I do nowI wish I could do more jazz activities than I do now, but probably won't be able toI intend to do more jazz activities over the coming year
Jazz Audience
Interest in future Jazz activities
• Results by age reveal an intuitive pattern: younger
respondents are most likely to do more in the coming
year, with 27% under 45 reporting they intend to do so.
• About four in ten 18 to 34 year old respondents wish to
do more, but probably won’t be able to, probably
reflective of high price sensitivity. – Low cost programs, like SFJAZZ’s Hotplate series ($5 admission)
are a good example of how to appeal to a younger audience
whose limited income prevents them from attending many
professional jazz presentations.
• Older respondents are much more likely to be satisfied
with their level of activity
Jazz Audience
Conclusion of the SurveyOverall the segmentation analysis revealed a diversity of interest and experience with
music in general, and jazz in particular. At least three musical pathways into jazz were
discovered:
1) through rock and popular music;
2) through classical music, and
3) through country/folk/bluegrass music.
Although each of the four prospect segments may be considered a ‘viable’ population
for audience development to some, degree (they all expressed some level of interest in
music, and wouldn’t refuse a free ticket to a jazz concert), we feel it is most useful to
view the prospect segments through the lens of what we call the “winnable middle
ground.” This framework allows us to classify prospects into three overarching types:
4) prospects who are already “won” (i.e., already engaged in jazz and easily drawn to jazz
activities with little effort);
5) prospects in the “winnable middle ground” (i.e., those with a high interest in music and an
interest in learning more about jazz, and who are likely to be attracted to jazz events through
other pathways); and;
6) prospects who are “lost” (i.e., those who have little interest in jazz and are unlikely to increase
frequency of attendance or engagement in jazz activities).
Jazz Audience
Conclusion of the SurveyWhereas Music Buffs provide an obvious opportunity for audience development, they
are already “won,” and therefore will not require much effort to attract. They are artist-
driven and will respond to the artists they want to see. As with the Knowledgeable
Musicians segment of ticket buyers, Music Buffs will also be attracted to participatory
activities that allow them to express their musical talents. On the other side of the
spectrum, Bluegrass ‘n’ Barefoot prospects are most likely “lost” and unlikely to
increase attendance or engagement in jazz. It would not be prudent to focus attention
on either of these segments given the limited resources of most jazz presenters.
However, the two middle segments, Social Rockers and Arts Omnivores, are hold good
potential as new markets for Jazz Arts Group.
In other words, these two segments represent the “winnable middle ground,” but are
extremely different with respect to desired outcomes and points of access:
– Social Rockers, as their name suggests, are socially motivated and likely to attend events
to which they are invited specifically. They are more likely to respond to informal settings
where they can dance and socialize. They are also highly engaged in online social
networking. Thus, “bring a friend,” and happy hour type enhancement activities may yield
success with this segment. Pop/rock/jazz crossover artists will be most appealing.
Jazz Audience
Conclusion of the Survey– Arts Omnivores are interested in music, including classical music
and musical theatre. They can be accessed through artists and
venues that bridge other art forms with jazz. For example, late
nights at the museums with jazz performances, or coordinating
programming around Broadway shows like Jelly’s Last Jam, or
cabaret events, etc.
Figure 1. Current jazz attender perceptions of jazz Figure 2. Live music attenders (who do not currently attend jazz) perceptions of jazz music
Who we are
Product Description
Jazz Audience
Business Overview
Business Overview
TheoryIt is not a secret to anybody that in a TV business the biggest part of the income is
generated by advertisements. The most important question is the availability of ads time
during TV Program, where in case of JAZZ NETWORK it is going to be a 30 minute TV
program with 22 minutes of programming and 8 minutes of commercials, consisting of
20 - 24 seconds, 16 - 30 seconds, and 15 - 32 seconds commercial spots.
Knowing that Direct TV and Dish Network is in 50,000,000 homes in US = Based on 2.8
person living in each home it can be easily calculated that in total 140,000,000 people
will have an opportunity to watch each episode – 3 times per week, and this is only in US.
By simple calculation of homes and viewers in US we do estimation of the potential niche
size and it gives to us rough understanding of the niche.
We do not say that EVERY viewers will see THE JAZZ NETWORK TV program, and
will be a fan of it, we say that potentially our audience has this size, and
advertisement cost can be estimated and based on this potential views and
conversions.
Besides, interest about Jazz differs by country, so e.g. if we look TicketMaster
(http://www.ticketmaster.com) Live! Stats, you can see that all Jazz is presented by 5% of All
music in US with 324 Orchestras and musicians. In the same time in Canada these are 7,4%
and in Mexico even 9,5%.
Business Overview
TheoryNow, we have to ask how responsive Jazz audience in compare to others.
To know that we can watch Top 5 reviews counted on TicketMaster:1. 732,432 Rock and Pop
2. 228,518 Country and Folk
3. 203,469 Alternative Rock
4. 106,933 R&B/Urban Soul
5. 42,761 Jazz and Blues (5.8% of Top #1 commenting group) ~ Remarkable!
All of above comments and responses, ratings have been generated by TicketMaster to date in USA only.)
Business Overview
PracticeBased on the information given by FitSmallBusiness, price for ONE
commercial in average is around 0,07 cents per viewer. If we take in to
account previously given numbers of potential viewers (140 000 000) and
interest about Jazz – 5% to 7% of population likes jazz enough to buy
tickets for jazz concerts, which are 7 000 000 to 10 000 000 viewers in US
only, will see Jazz Network TV once per week. If we asume that one ad is 1
min long, it turns out to be 24 ads per week (3 shows a week)
Respectively, we can easily calculate the following:Position Value (Revenue), USD
Value of each commercial per week 490 000
Value of all commercials per week 11 760 000
Value of all commercials per year 611 520 000
Business Overview
ConclusionPreviously given revenue numbers are showing the potential of what can
be achieved with perspective product, such as Jazz TV Programming.
Besides, it is worth mentioning that there are not many TV programs
dedicated to Jazz, thus there is no actual competition, and thereby
interesting market full of opportunities.26,5
mil.
19,4mil.
NorthAmerica*
SouthAmerica*
37,5
mil.Europe*
*Number of potential Jazz lovers, based on population in the region and assumption that in average there are at least 5% of Jazz lovers in each country
