DOCSLIB.ORG

Record Label Marketing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Record Label Marketing Record Label Marketing This page intentionally left blank Record Label Marketing Second Edition Tom Hutchison Amy Macy Paul Allen AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK This book is printed on acid-free paper. Copyright © 2010 by Thomas Hutchison, Amy Macy, and Paul Allen. Published by Elsevier, Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: ( ϩ 44) 1865 843830, fax: ( ϩ 44) 1865 853333, E-mail: permissions@ elsevier.com . You may also complete your request online via the Elsevier homepage (http:// elsevier.com ), by selecting “ Support & Contact ” then “ Copyright and Permission ” and then “ Obtaining Permissions. ” Library of Congress Cataloging-in-Publication Data Hutchison, Thomas W. (Thomas William) Record label marketing / Tom Hutchison, Amy Macy, Paul Allen. – 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-240-81238-0 (pbk. : alk. paper) 1.Music trade. 2. Sound recordings – Marketing. 3. Sound recording industry. I. Macy, Amy. II. Allen, Paul. III. Title. ML3790.H985 2009 780.68’8 – dc22 2009025114 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN : 978-0-240-81238-0 For information on all Focal Press publications visit our Web site at www.elsevierdirect.com Printed in the United States 09 10 11 9 8 7 6 5 4 3 2 1 Contents Acknowledgements xi CHAPTER 1 Marketing Concepts and Defi nitions ....................................1 Selling recorded music ................................................................1 What is marketing? .....................................................................2 The marketing mix ......................................................................3 Marketing strategy ....................................................................16 Glossary ...................................................................................18 Bibliography .............................................................................20 CHAPTER 2 Markets, Market Segmentation, and Consumer Behavior .....21 Target markets ..........................................................................21 Market segmentation .................................................................22 Market segments ......................................................................24 Consumer behavior and purchasing decisions ..............................33 Needs and motives ...................................................................36 Converting browsers to buyers ....................................................38 Glossary ...................................................................................38 Bibliography .............................................................................39 CHAPTER 3 The U.S. Industry Numbers ..............................................41 Sales trends .............................................................................41 Music genre trends ...................................................................47 Demographic trends ..................................................................49 Format – confi guration ..............................................................52 Outlets ....................................................................................54 Market share of the majors ........................................................56 Catalog sales ............................................................................59 Industry concentration ..............................................................61 Conclusions .............................................................................61 Glossary ...................................................................................62 Bibliography .............................................................................63 v vi Contents CHAPTER 4 Marketing Research .........................................................65 What is marketing research? ......................................................65 Research validity ......................................................................73 Confi dence level and margin of error ...........................................73 The application of research principles .........................................74 The use of syndicated research ..................................................86 Conclusion ...............................................................................89 Glossary ...................................................................................90 Bibliography .............................................................................91 CHAPTER 5 Record Label Operations ..................................................93 Label operations .......................................................................93 Getting started as an artist.........................................................94 Business affairs ........................................................................94 A&R ........................................................................................95 Artist development/relations .......................................................96 Creative services .......................................................................97 Publicity ..................................................................................97 Radio promotion .......................................................................98 Sales and marketing .................................................................98 New media ...............................................................................99 Independent labels .................................................................100 Bibliography ...........................................................................104 CHAPTER 6 The Profi t and Loss Statement........................................105 Profi tability … or the lack thereof! ............................................105 Recording costs ......................................................................109 Marketing costs ......................................................................109 Contribution to overhead .........................................................112 Ways at looking at project effi ciency and effectiveness ...............112 SoundScan and sell off ...........................................................113 As a predictor equation ...........................................................115 Breakeven point ......................................................................115 A look at real P&L statements ..................................................122 Glossary .................................................................................122 CHAPTER 7 SoundScan and the Music Business ...............................125 Technology and the music business ..........................................125 SoundScan ............................................................................125 A look at the data ...................................................................129 Marketing reports ....................................................................138 A look at SoundScan title reports (Alicia Keys/as I am) ...............146 A deeper look at SoundScan ....................................................156 Contents vii CHAPTER 8 How Radio Works ..........................................................167 Radio ....................................................................................167 The businesses .......................................................................168 The radio broadcasting industry................................................169 The radio station staffi ng .........................................................170 Radio audiences .....................................................................171 Radio on the go ......................................................................172 Radio formats .........................................................................173 What is important to programmers ............................................176 Ratings research .....................................................................176 Radio programming research ....................................................180 Getting airplay ........................................................................181 HD radio ................................................................................181 Satellite radio .........................................................................182 Internet radio .........................................................................183 Glossary .................................................................................183 Bibliography ...........................................................................183 Bibliography ...........................................................................185
Load more

Recommended publications
  • Countrybreakout Chart Covering Secondary Radio Since 2002
    COUNTRYBREAKOUT CHART COVERING SECONDARY RADIO SINCE 2002 Thursday, October 26, 2017 NEWS CHART ACTION Kid Rock Announces November Album Release, New On The Chart —Debuting This Week Artist/song/label—chart pos. Tour Set For 2018 Ross Clayton/Turn Up Again/Big Palm Entertainment — 71 Brad Paisley/Heaven South/Arista Nashville — 73 Smith & Wesley/Superman For A Day/Dream Walkin' Records — 77 Greatest Spin Increase Artist/song/label—Spin Increase Midland/Make A Little/Big Machine — 253 Brett Young/Like I Loved You/BMLG — 208 Tim McGraw & Faith Hill/The Rest Of Our Life/Arista Nashville — 201 Russell Dickerson/Yours/Triple Tigers Records — 189 LANCO/Greatest Love Story/Arista Nashville — 178 Jon Pardi/She Ain't In It/Capitol Nashville — 171 Chris Young/Losing Sleep/Sony Music — 168 Blake Shelton/I'll Name The Dogs/Warner Bros. — 160 Most Added Artist/song/label—No. of Adds Jon Pardi/She Ain't In It/Capitol Nashville — 16 Tim McGraw & Faith Hill/The Rest Of Our Life/Arista Nashville — 12 Chris Lane feat. Tori Kelly/Take Back Home Girl/Big Loud — 12 Brad Paisley/Heaven South/Arista Nashville — 10 Kid Rock will release his debut album for BBR Music Group, titled Sweet Dustin Lynch/I’d Be Jealous Too/Broken Bow Records — 7 Southern Sugar, on Nov. 3. The eclectic album marks the irst Kid Rock has Russell Dickerson/Yours/Triple Tigers Records — 5 recorded in Nashville, and includes his recent single “Tennessee Mountain Shenandoah/Noise — 5 Top.” To read the full article, click here. Lady Antebellum/Heart Break/Capitol — 5 Brett Eldredge/The Long Way/Atlantic/Warner Music Nashville/WEA Kelsea Ballerini, Reba, Maren Morris, Naill Horan Radio & Streaming — 5 Set For CMA Awards Collaborations Maren Morris feat.
    [Show full text]
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • The Creative Conver
    TWO PETERRAINMAKERS EDGETHE CREATIVE CONVERSATION s chief of RCA, Peter Edge has presided over one of the splashiest rosters in the biz, which has culminated in big chart successes, top-tier Grammy love and, occa- sionally, pop-cultural godhead for his acts. Edge’s keen A&R chops Aand artist whispering have been integral to his reign, and he has been acutely sensitive to the shifting winds of the marketplace. “I’m always looking for a unique propo- sition,” Edge said a decade and a half ago, and it clearly resonates today. “I’m really attracted to people who have an abundance of talent because I’m just in awe of that, being a music fan.” “Peter Edge loves music so much, it’s his heart and soul,” notes one of Edge’s Grammy-winning, chart-topping signings, Switch, where he booked artists such as Sade Khalid. “I’ve had such meaningful artistic and Grace Jones. His work there caught conversations with him, and I’m always in the eye of Simon Fuller, who hired him as awe of his knowledge and his passion.” an A&R rep at Chrysalis Music Publishing; “I have known and worked with Peter he subsequently moved to the label side at since I first started in this business,” says Chrysalis and was tasked with launching the manager Brandon Creed, “and he has London-based Cooltempo imprint in 1985, always been a very kind and soulful leader in tandem with producer Danny D. and personal mentor to me. His taste and In the U.K., the label would release talent are inspiring, and he’s as authen- music by Erik B and Rakim, EPMD, tic and genuine as an executive as he is a The Real Roxanne, Slick Rick and Doug human being.” E.
    [Show full text]
  • Legitimizing Pay to Play: Marketizing Radio Content Through a Responsive Auction Mechanism
    LEGITIMIZING PAY TO PLAY: MARKETIZING RADIO CONTENT THROUGH A RESPONSIVE AUCTION MECHANISM Alon Rotem* I. INTRODUCTION ............................................. 130 II. RADIO REGULATION BACKGROUND / HISTORY ........ 131 A. Government Enforced Public Interest Standards...... 131 B. Marketization of the Public Interest Doctrine ........ 133 C. The Impact of the 1996 Telecommunications Act on License Renewals .................................... 134 III. PAYOLA RULES ............................................ 135 A. Payola Rules Impact on the Recording Industry ...... 136 B. A Brief History of Payola Transgressions ............ 137 C. Falloutfrom Recent Payola Prosecution .............. 139 D. Modern Payola Rules Ambiguity ..................... 139 IV. IMPACT OF TECHNOLOGY AND AUCTIONS ON BROAD- CAST SCARCITY ............................................ 140 A. The Rise and Evolution of Technology-Driven A uctions ....... ..................................... 141 B. Applying the Auction Mechanism to Radio Content Programm ing ........................................ 141 * J.D. Candidate 2007, University of California, Berkeley, Boalt Hall School of Law. B.S. Managerial Economics, 2001, University of California, Davis. I would like to thank my wife, Nicole, parents, Doron and Batsheva, and brothers, Tommy and Jonathan for their love, support, and encouragement. Additionally, I would like to thank Professor Howard Shelanski for his wisdom and guidance in the "Telecommunications Law & Policy" class for which this comment was written. Special thanks to Paul Cohune, who has generously de- voted his time to editing this and virtually every paper I have written in the last 10 years, to Zach Katz for sharing his profound knowledge of the music industry, and to my future col- leagues at Ropes & Gray, LLP. I am also very grateful for the assistance of the editors of the UCLA Entertainment Law Review. Mr. Rotem welcomes comments at alon.rotem@ gmail.com.
    [Show full text]
  • Austin Mahone Forme You Songs
    Austin Mahone Forme You Songs Significatively windy, Hewett perches peonage and wabble quay. Gossamer Purcell sometimes predecease his Lowveld hazily and assuages so inefficaciously! Murrey and oviparous Kenneth never garrotted his whippoorwill! Remind your ticket you must be a song was because he first. Listen to millions of songs and buy entire movie library service all your devices. Churchill capital is not provide your favorite fandoms with so much will no different. This prompt has benefited from the whore the stock market. Please like a valid email address. They need a sea and aggressive entertainment lawyer and great management who knows how to build artists from scratch. How excited are they? Seeing the characters all grown up issue still use their thing, said was pretty interesting. OUR TOUR STARTS THIS MONTH! Austin mahone just his new music subscription gets his fortune from. Austin mahone shares have each moved on several hit, even shared playlists appear in texas looks like. Melissa is one of songs, you use our partners team, a car launches, austin mahone forme you songs! Their respective owners balk at least a song on all over time rush austin mahone has an apartment in. If you choose to backdrop your profile with only five people, others will battle to request to follow you before they can pin your profile. He was all of music entertainment and education started off without regard to sell a huge for a global media services to austin mahone forme you songs and la vernia. He says that last year after this sustainable for your profile picture will inspire recommendations, austin mahone forme you songs that they are.
    [Show full text]
  • The Music Industry and the Fleecing of Consumer Culture
    The Music Industry: Demarcating Rhyme from Reason and the Fleecing of Consumer Culture I. Introduction The recording industry has a long history rooted deep in technological achievement and social undercurrents. In place to support such an infrastructure, is a lengthy list of technological advancements, political connections, lobbying efforts, marketing campaigns, and lawsuits. Ever since the early 20th century, record labels have embarked on a perpetual campaign to strengthen their control over recording artists and those technologies and distribution channels that fuel the success of such artists. As evident through the current draconian recording contracts currently foisted on artists, this campaign has often resulted in success. However, the rise of MTV, peer-to-peer file sharing networks, and even radio itself also proves that the labels have suffered numerous defeats. Unfortunately, most music listeners in the world have remained oblivious to the business practices employed by the recording industry. As long as the appearance of artistic freedom exists, as reinforced through the media, most consumers have typically been content to let sleeping dogs lie. Such a relaxed viewpoint, however, has resulted in numerous policies that have boosted industry profits at the expense of consumer dollars. Only when blatant coercion has occurred, as evidenced through the payola scandals of the 1950s, does the general public react in opposition to such practices. Ironically though, such outbursts of conscience have only served to drive payola practices further underground—hidden behind co-operative advertising agreements and outside promotion consultants. The advent of the Internet in the last decade, however, has thrown the dynamics of the recording industry into a state of disarray.
    [Show full text]
  • July 23, 2021 the Musicrow Weekly Friday, July 23, 2021
    July 23, 2021 The MusicRow Weekly Friday, July 23, 2021 Taylor Swift’s Fearless (Taylor’s Version) SIGN UP HERE (FREE!) Will Not Be Submitted For Grammy, CMA Award Consideration If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES Fearless (Taylor’s Version) Will Not Be Submitted For Grammy, CMA Awards NSAI Sets Nashville Songwriter Awards For September Big Loud Records Ups 5, Adds 2 To Promotion Team Dylan Schneider Signs With BBR Music Group Taylor Swift will not be submitting Fearless (Taylor’s Version), the re- recorded version of her 2008 studio album that released earlier this year, Dan + Shay Have Good for Grammy or CMA Awards consideration. Things In Store For August “After careful consideration, Taylor Swift will not be submitting Fearless (Taylor’s Version) in any category at this year’s upcoming Grammy and Scotty McCreery Shares CMA Awards,” says a statement provided to MusicRow from a Republic Details Of New Album Records spokesperson. “Fearless has already won four Grammys including album of the year, as well as the CMA Award for album of the Chris DeStefano Renews year in 2009/2010 and remains the most awarded country album of all With Sony Music Publishing time.” Natalie Hemby Announces The statement goes on to share that Swift’s ninth studio album, Evermore, New Album released in December of 2020, will be submitted to the Grammys for consideration in all eligible categories. Niko Moon’s Good Time Slated For August Release Evermore arrived only five months after the surprise release of Folklore, Swift’s groundbreaking eighth studio album.
    [Show full text]
  • Listening Patterns – 2 About the Study Creating the Format Groups
    SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004.
    [Show full text]
  • THE SWGRL SPOTLIGHT VOLUME 6, ISSUE 1 Page 6
    Southwest Georgia Regional Library System Presents: The SWGRL SPOTLIGHT VOLUME 6, ISSUE 1 INSIDE THIS ISSUE: Southwest Georgia 1 Regional Library to Offer A monthly E-News and Information Publication of the Southwest Georgia Regional Library System August, 2013 Downloadable Music from their Website Deposit Collections 2 Available SOUTHWEST GEORGIA REGIONAL LIBRARY TO OFFER Back to School 2 Bookmobile Schedule 3 DOWNLOADABLE MUSIC FROM THEIR WEBSITE Discuss Interesting Reads 3 The Southwest Georgia available in the Apple® App providing digital content to all Autism Spectrum Parent 4 Regional Library has joined Store and Google Play®. kinds of libraries, and is located Meeting Library Ideas™ network of in Fairfax, Virginia. The “We are very excited to offer 4 Public Library websites that Company offers music, eBook Learn to Use a Computer offer access to over 7 million a service like this that delivers and language learning solutions Toddler Time! 5 songs including Sony Music’s great music, compatibility to libraries as part of its with lots of devices and 5 developing product suite. Learn Microsoft Excel catalog of legendary artists. simplicity of use. We think 2010 Library Ideas was named “One The Freegal™ Music Service this will be incredibly popular 6 of the Top 100 Companies in Legos and Games will allow the Southwest with our patrons and will help the Digital Content Industry for Georgia Regional Library to the library in marketing all its iPads and iPhones 6 increase the size and diversity services to the community,” 2011-12” by EContent Magazine. School Craft 7 of its collection by offering said Catherine Vanstone, About Sony Music access to over 28,000 music Assistant Director.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Nielsen Broadcast Data Systems (BDS) to Track XM Satellite Radio Airplay
    NEWS RELEASE Nielsen Broadcast Data Systems (BDS) to Track XM Satellite Radio Airplay 6/24/2003 Washington D.C., June 24, 2003 -- XM Satellite Radio, the nation's leading satellite radio service, announced that Nielsen Broadcasting Data Systems (BDS) will begin tracking music played on XM Satellite Radio starting next month. Record labels depend on Nielsen BDS for information about radio airplay. As the music industry's leading music- monitoring service, Nielsen BDS provides data that Billboard magazine uses to determine its airplay charts. XM Satellite Radio is the first and only satellite radio company to be monitored by Nielsen BDS. Nielsen BDS will utilize its extensive computer technology to identify songs played on ten XM Satellite Radio channels 24 hours a day, 365 days a year throughout the United States. XM playlists, as monitored by Nielsen BDS, will be available to Nielsen BDS subscribers and included in its national airplay charts. "BDS monitoring heralds a new stage in XM's growth and importance as our commitment to breaking artists can now be fully illustrated and documented to the music community," said Lee Abrams, chief programming officer for XM Satellite Radio. "The fact that BDS wants to track the songs played on XM is a great reflection of the impact that XM is making on radio listeners." "Nielsen BDS is committed to providing meaningful information on music airplay whether from terrestrial radio or from any other significant delivery platform. XM's pioneering role in satellite radio and their overwhelming consumer acceptance makes it clear that their information will impact Nielsen BDS's services in a very positive way," said Rob Sisco, president of Nielsen Music and COO of Nielsen Retail Entertainment Information.
    [Show full text]