THE JAZZ NETWORK One of the few TV Programs dedicated to JAZZ
Music Charlie Parker Louis Armstron g Benny Goodman Dizzy
Gillespie
Slide 2
Important Notice This 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.
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Who we are Product Description Jazz Audience Business
Overview
Slide 4
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 NeuroMamas 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
Slide 5
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
Slide 6
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
Slide 7
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
Slide 8
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
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Who we are Product Description Jazz Audience Business
Overview
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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
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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: Jos 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.
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Who we are Product Description Jazz Audience Business
Overview
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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! 1 A
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 dont 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 IndependentThe Independent
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Jazz Audience JAZZ Survey 1 Speaking 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
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Jazz Audience Jazz Lovers Profile 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.
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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 hes 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 doesnt 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
Slide 17
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. Shed 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., DJing 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)
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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 Masters 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
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Jazz Audience Jazz Lovers Profile Bluegrass n Barefoot (29%)
Bluegrass n Barefoot, Darryl and Laura grew up listening to country
and bluegrass. Theyve 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
Slide 20
Jazz Audience Demographics by Segment DEMOGRAPHICS BY SEGMENT
(PROSPECT MODEL) Total Ticket Buyer Sample Total Prospect Sample
Sample size (unweighted) 4,8551,137 Gender Female46%64% Male54%36%
Age 18 - 347%23% 35 - 4410%20% 45 - 5425%24% 55 - 6435%22%
65+23%11% Race White/Caucasian79%89% Not-White21%11% Music Buffs
Social Rockers Arts Omnivores Bluegrass 'n Barefoot 172396238331
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%
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Jazz Audience Demographics by Segment Educational 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 Degree30%22% Professional Degree 17%10% Work Status
(multiple responses allowed) Working full-time57% Working
part-time12%14% In school full-time2%5% Not employed4%7% Full-time
Family Caregiver 2%5% Retired26%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% 8%19%5% 56%66%44%55% 22%15%13%10% 5%1%4%
8% 3%9% 1%5%4%7% 9%5%38%17%
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Jazz Audience Demographics by Segment Marital Status Married or
partnered 71%67% Not married or partnered 29%33% Avg. # of Children
Under 18 Avg. # Children32%36% Music Buffs Social Rockers Arts
Omnivores Bluegrass 'n Barefoot 65%61%72%70% 35%39%28%30%
1,461,531,261,61 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)
Slide 23
Jazz Audience Music Preferences by Segment Symphonic music
(classical) Jazz or blues Rock or R&B American folk music World
music Gospel music Country music Hip Hop or Rap
Slide 24
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.
Slide 25
Jazz Audience Music Preferences, by Age Cohort Symphonic music
(classical) Jazz or blues Rock or R&B American folk music World
music Gospel music Country music Hip Hop or Rap
Slide 26
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.
Slide 27
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? Average Age "How much would you like
to see jazz in..."
Slide 28
Jazz Audience Involvement in Music
Slide 29
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.
Slide 30
Jazz Audience Music today and tomorrow
Slide 31
Another indicator of an individuals 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?
Slide 32
Jazz Audience Interest in future Jazz activities
Slide 33
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 wont 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.
Slide 34
Jazz Audience Interest in future Jazz activities
Slide 35
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 wont be able to, probably
reflective of high price sensitivity. Low cost programs, like
SFJAZZs 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
Slide 36
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
wouldnt 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).
Slide 37
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.
Slide 38
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 Jellys Last Jam, or cabaret events, etc. Figure 1.
Current jazz attender perceptions of jazzFigure 2. Live music
attenders (who do not currently attend jazz) perceptions of jazz
music
Slide 39
Who we are Product Description Jazz Audience Business
Overview
Slide 40
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%.
Slide 41
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.)
Slide 42
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)FitSmallBusiness Respectively, we can easily calculate the
following: PositionValue (Revenue), USD Value of each commercial
per week490 000 Value of all commercials per week11 760 000 Value
of all commercials per year611 520 000
Slide 43
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. 19, 4mil. North America* South
America* 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