Transcript THE JAZZ NETWORK

Louis
Armstrong
THE JAZZ
NETWORK
Charlie Parker
Dizzy Gillespie
Benny Goodman
One of the few
TV Programs
dedicated to
JAZZ Music
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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
Who we are
About our Company
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
Our most popular products
• 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
 Product Description
 Jazz Audience
 Business Overview
Product Description
Entertainment Assets
Our 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 Shows
Our 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 singersongwriter, 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 today
Despite 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 Survey
1Speaking
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
21%
29%
• 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).
35%
15%
Bluegrass 'n' Barefoot
Music Buffs
Social Rockers
Arts Omnivores
• 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 Profile
Music 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 Profile
Social 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 Profile
Arts 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 Profile
Bluegrass ‘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 Segment
DEMOGRAPHICS BY
SEGMENT
Total
Prospect
Sample
Music Buffs
(PROSPECT MODEL)
Total
Ticket
Buyer
Sample
Social
Rockers
Arts
Omnivores
Bluegrass 'n’
Barefoot
Sample size (unweighted)
4,855
1,137
172
396
238
331
Female
46%
64%
48%
70%
67%
63%
Male
54%
36%
52%
30%
33%
37%
18 - 34
7%
23%
29%
34%
4%
22%
35 - 44
10%
20%
18%
23%
9%
24%
45 - 54
25%
24%
26%
24%
21%
25%
55 - 64
35%
22%
21%
16%
32%
21%
65+
23%
11%
6%
3%
34%
8%
White/Caucasian
79%
89%
86%
84%
96%
92%
Not-White
21%
11%
14%
16%
4%
8%
Gender
Age
Race
Jazz Audience
Demographics by Segment
Educational Attainment
Music Buffs
Social Rockers
Arts
Omnivores
Bluegrass 'n’
Barefoot
High school
graduate or G.E.D
3%
7%
4%
5%
3%
15%
Some college, no
degree
12%
16%
12%
18%
9%
21%
Associate or
Vocational Degree
6%
8%
2%
9%
3%
14%
Bachelor's Degree
32%
36%
37%
41%
30%
33%
Master's Degree
30%
22%
32%
19%
37%
12%
Professional
Degree
17%
10%
12%
8%
19%
5%
Work Status (multiple responses allowed)
Working full-time
57%
57%
56%
66%
44%
55%
Working part-time
12%
14%
22%
15%
13%
10%
In school full-time
2%
5%
10%
5%
1%
4%
Not employed
4%
7%
8%
8%
3%
9%
Full-time Family
Caregiver
2%
5%
1%
5%
4%
7%
Retired
26%
16%
9%
5%
38%
17%
Jazz Audience
Demographics by Segment
Marital Status
Music Buffs
Social Rockers
Arts
Omnivores
Bluegrass 'n’
Barefoot
Married or
partnered
71%
67%
65%
61%
72%
70%
Not married or
partnered
29%
33%
35%
39%
28%
30%
32%
36%
1,46
1,53
1,26
1,61
Avg. # of Children Under 18
Avg. # Children
•
•
•
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
Music Buffs
Social Rockers
Arts Omnivores
Bluegrass 'n' Barefoot
Average Rating (1=Not At All; 7=A Great Deal)
7
6
5
4
3
2
1
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
18 to 34
35 to 44
45 to 54
55 to 64
65+
Average Rating (1=Not At All; 7=A Great Deal)
7
6
5
4
3
2
1
Rock or R&B
Jazz or blues Symphonic
music
(classical)
American
folk music
Hip Hop or
Rap
World music
Country
music
Gospel music
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
7
"How much would you like to see jazz in..."
6
5
4
3
2
1
Social
Rockers
Music Buffs Bluegrass 'n'
Arts
Barefoot
Omnivores
Formal concert halls with chandeliers in the lobby
Clubs or lounges with small tables
Grungy dive bars with sticky floors
Park or outdoor pavilion with food booths
Restaurants with full menu service
Private homes
60
58
56
54
52
50
48
46
44
42
40
Average Age
Average Rating (1=Not At All; 7=A Great Deal)
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?
Jazz Audience
Involvement in Music
Percent of Respondents reporting weekly or daily involvement in
music activities, by Segment
40%
35%
30%
25%
35%
30%
27%
25%
26%
23%
22%23%
20%
15%
15%
10%
5%
0%
12%
6%
4%
11%
3%
Ipod/other digital music On CDs, cassette tapes
player/computer
or albums
Music Buffs
Social Rockers
4%
On the radio
Arts Omnivores
5%
via Streaming audio
online
7% 7%
3%
1%
Live jazz show
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
Percentage of Jazz as part of NEW music
purchase, by Segment
Percentage of Jazz as part of music
collection, by Segment
100%
98%
96%
94%
92%
90%
88%
86%
84%
6%
5%
1%
2%
1%
1%
3%
5%
89%
Less than 50%
97%
98%
92%
50%
50% or more
100%
98%
96%
94%
92%
90%
88%
86%
84%
6%
4%
2%
1%
1%
1%
97%
98%
2%
5%
94%
90%
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
Interest in Doing Jazz Activities More
Often in the Future, by Segment
90%
80%
80%
70%
61%
60%
53%
47%
50%
40%
30%
26%
27%
20%
30%
28%
19%
17%
9%
10%
0%
Music Buffs
Social Rockers
Arts Omnivores
3%
Bluegrass 'n'Barefoot
I am satisfied with the amount of jazz activities I do now
I wish I could do more jazz activities than I do now, but probably won't be able to
I 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
Interest in Doing Jazz Activities More Often in
the Future, by Age Cohort
70%
63%
60%
50%
40%
55%
46%
49%
45%
42%
39%
35%
34%
30%
20%
10%
0%
25%
12%
18 to 34
15%
35 to 44
16%
45 to 54
11%
55 to 64
11%
65+
I am satisfied with the amount of jazz activities I do now
I wish I could do more jazz activities than I do now, but probably won't be able to
I 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 Survey
Overall 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:
1)
prospects who are already “won” (i.e., already engaged in jazz and easily drawn to jazz activities with
little effort);
2)
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;
3)
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 Survey
Whereas 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
Theory
It 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
Theory
Now, 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
Practice
Based 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
Conclusion
Previously 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.
37,5
mil.
Europe*
North
America*
19,4
mil.
South
America*
*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
NeuroMama, Ltd.
Igor Weselovsky
[email protected]
Tel: +52 (664) 290-5048
+1(800) 741-0457