DOCSLIB.ORG

Descriptions of Radar Networks: Radar June 2014, R121

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Descriptions of Radar Networks: Radar June 2014, R121 DESCRIPTIONS OF RADAR® NETWORKS RADAR JUNE 2014, R121 PROVIDED BY THE RADIO NETWORK COMPANIES ADLARGE MEDIA AMERICAN URBAN PINNACLE NETWORK Target Audience: Adults 18-54 Jennifer Barnes (212) 883-2115 Description: Broadcasts 100+ news and sports reports 52 Vanderbilt Avenue, 7th Floor covering major national and international stories, delivered New York, NY 10017 daily via satellite to affiliates in the U.S. during the highest listening time periods. Its primary formats include Urban ADLARGE ROI NETWORK Contemporary and Adult Urban Contemporary. American Target Audience: Adults 18-49/25-54 Urban Pinnacle Network provides 86% coverage of the African American market. Description: Strategically designed to help advertisers get the most from their advertising dollars, the ROI Network has broad, nationwide reach, with heavy concentration in major AMERICAN URBAN RENAISSANCE NETWORK markets, including the Top 25. Covering nearly 100% of the Target Audience: Adults 25-54 U.S. with 800 entertainment formatted radio stations, the Description: Broadcasts 175+ news and entertainment ROI Network delivers a large 18-49 and 25-54 adult audience feature programs, delivered daily via satellite to stations with an equal balance of male and female listeners. across the country. American Urban Renaissance Network provides 70% coverage of the African American market. It AMERICAN URBAN RADIO NETWORKS broadcasts news, White House and sports reports, information features, entertainment programs, plus the Glenn Bryant (412) 456-4038 only national Urban three-hour nightly talk show. Its 960 Penn Avenue Pittsburgh, PA 15222 primary formats include Adult Urban Contemporary, Urban Barry Feldman (212) 883-2115 Contemporary, and Gospel. 52 Vanderbilt Avenue, Suite 1510 New York, NY 10017 AMERICAN URBAN STRZ WEEKEND ENTERTAINMENT NETWORK Target Audience: Adults 18-54 AMERICAN URBAN ELITE PLUS NETWORK Description: A variety of weekend entertainment Target Audience: Adults 18-54 programming targeted to the following urban formats: Description: A variety of weekday entertainment Urban Contemporary, Adult Urban Contemporary, and programming targeted to the following urban formats: Gospel and Blues. Programming includes Russ Parr Urban Contemporary and Adult Urban Contemporary. Weekend, American Blues Network, and the Bobby Jones American Urban Elite Plus Network provides 83% coverage Gospel Countdown. STRZ Weekend Entertainment Network of the African American market. provides 87% coverage of the African American market. continued… DESCRIPTIONS OF RADAR NETWORKS: RADAR JUNE 2014, R121 CRYSTAL MEDIA NETWORKS PREMIERE DAYTIME ADULT Target Audience: Adults 25-54 Pamela Foster (212) 922-1601 x226 Description: Reaches adults during the day while at work or One Little West 12th Street on the go. Provides even distribution of men and women New York, NY 10014 and access to the top markets. Even distribution of all adult demos with an extensive affiliate list for truly national CMN PRESTIGE DRIVE reach. Dominant formats: AC, Country, and Urban. Target Audience: Adults 25-54 Description: CMN Prestige Drive provides advertisers high- PREMIERE DAYTIME YOUTH ranked stations, targeting listeners in the Top 10 and Top 25 Target Audience: Adults 18-34 markets during the highly sought-after morning and Description: With much of its audience under 35 years old, afternoon drive dayparts. Daytime Youth reaches young people as they are tuning into upbeat music throughout the day. Dominant formats: CHR, CMN RADIO SOCIAL Country, Rhythmic, Rock, and Urban. Target Audience: Adults 25-54 Description: CMN Radio Social provides top market PREMIERE ENTERPRISE coverage as well as a strong overall U.S. coverage in prime Target Audience: Adults 25-54 dayparts, targeting Adults 25-54. Description: This flexible network comprised of 100% Clear Channel-owned and operated stations is designed to reach CMN RADIO SOCIAL FEMALE the heart of America all week long. The network carries a Target Audience: Women 25-54 variety of formats with extra emphasis on Country, to reach Description: CMN Radio Social Female provides a strong an audience that likes a little bit of everything. Dominant overall U.S. coverage in prime dayparts, targeting female formats: Rock, Country, and AC. listeners 25-54. PREMIERE FEMALE FOCUS NETWORK PREMIERE RADIO NETWORKS Target Audience: Women 25-54 Description: Comprises Adult Contemporary Keri Degroote (212) 424-6303 stations/programming (e.g., Delilah) that offer a strong 125 West 55th Street, 12th Floor composition of female listeners. New York, NY 10019 PREMIERE FOX NEWS ADVANTAGE PREMIERE AMERICA NETWORK Target Audience: Men 25-54 Target Audience: Adults 18-49 Description: With trusted correspondents, FOX brings its Description: This daypart-specific network offers strong visible brand in news to affluent men via this day- and reach across all markets while providing consistent delivery daypart-specific network. Dominant format: News/Talk. across core demos. Provides an even distribution of men Continued… and women. Dominant formats: Country, CHR, AC, and Classic Rock. Nielsen and the Nielsen logo are trademarks or registered trademarks of CZT/ACN Trademarks, L.L.C. RADAR® is a mark of Arbitron Inc. PPM® is a mark of Arbitron Inc. Media Rating Council® is a registered mark of the Media Rating Council. Copyright © 2014 The Nielsen Company. All rights reserved. 06/14 2 DESCRIPTIONS OF RADAR NETWORKS: RADAR JUNE 2014, R121 PREMIERE FOX NEWS NETWORK PREMIERE TOP 50 OPTIMIZED Target Audience: Adults 25-54 Target Audience: Adults 18-49/Adults 25-54 Description: General-interest news, with commercials in Description: Offers top-market delivery through Clear top-of-the-hour newscasts. Dedicated national and Channel affiliates. It consists exclusively of the top 50 international news coverage, including breaking news and DMAs and contains some of the most popular, high-ranking crisis alerts. Day- and daypart-specific commercial stations in the country. Dominant CHR, AC/Adult Hits, placement Monday-Friday 6am-7pm. Dominant format: Country, Classic Rock, and Rock formats target young News/Talk. listeners. PREMIERE MODERN WOMEN PREMIERE URBAN Target Audience: Women 25-54 Target Audience: African American Adults 25-49 Description: A Female-oriented network that delivers top Description: Strong Urban stations offer the opportunity to AC, Urban, and Country stations. Modern Women brings top reach African Americans on a national scale. Consists of market coverage and delivers strong ratings to a nationwide top-ranked Urban stations in major markets. This network audience. is primarily comprised of Clear Channel-owned stations. PREMIERE SPECTRUM PREMIERE YOUNG INFLUENCERS Target Audience: Adults 25-54 Target Audience: Adults 18-49 Description: Delivering the heart of America, this network Description: Young adult targeted network and comprised of reaches the powerful majority with common values who Clear Channel-owned and operated top-ranked stations in appreciate the comforts of home. Dominant formats: major markets. Attracts younger listeners with CHR and Country, AC, and Rock. Rock formats. Delivers a balanced distribution of men and women. PREMIERE SUPER MOMS Target Audience: Women 25-54 UNITED STATIONS RADIO NETWORKS Description: Consists primarily of Clear Channel-owned and Susan Moore (212) 536-3630 operated FM stations that deliver the popular formats to 1065 Avenue of the Americas, 3rd Floor reach women in the 18-49 and 25-54 age groups with New York, NY 10018 children in the home. Delivers top-market AC, Country, and CHR affiliates. USRN IMPACT NETWORK PREMIERE TODAY'S MEN Target Audience: Adults 18-49 Target Audience: Men 25-54 Description: The USRN Impact Network consists of Description: A blend of information and music stations, this approximately 1,000 affiliates designed to deliver top network delivers coverage in A/B counties and has strong stations in major markets and offers copy-split capabilities. ratings across any male demographic. Dominant formats: Their reach includes every major format in the radio Sports, Rock, Classic Rock, and Classic Hits. landscape and delivers listeners loyal to those formats. This network can be day specific and delivers two :30s or one :60 unit per day, Monday-Sunday. Continued… Nielsen and the Nielsen logo are trademarks or registered trademarks of CZT/ACN Trademarks, L.L.C. RADAR® is a mark of Arbitron Inc. PPM® is a mark of Arbitron Inc. Media Rating Council® is a registered mark of the Media Rating Council. 3 Copyright © 2014 The Nielsen Company. All rights reserved. DESCRIPTIONS OF RADAR NETWORKS: RADAR JUNE 2014, R121 WESTWOODONE NETWORKS WW FEMALE TARGET Timothy Seymour (212) 519-3078 Target Audience: Women 18-49 nd th 220 West 42 Street, 4 Floor Description: Connects with Women 18-49 between 6am- New York, NY 10036 Midnight, Monday-Friday. The WW Female Target network is composed of nearly 100 music radio stations in nearly 50 markets, including 16 of the top 25. The mostly AC and Country WW 24-7 MUSIC audience is 56% Female and is over 32% more likely to live in a Target Audience: Adults 25-54 top 25 market. Commercial inventory is scheduled by daypart. Description: WW 24-7 Music is comprised of nationally distributed, completely turn-key music formats touching a WW FEMALE TARGET WEEKEND variety of audiences—from Adult Contemporary to Classic Rock Target Audience: Women 25-54 and points in between. Airs on nearly 900 radio stations, Description: Targets Women 25-54 throughout the weekend reaching listeners in big cities and
Load more

Recommended publications
  • Audio Today a Focus on African American & Hispanic Audiences April 2014
    STATE OF THE MEDIA: AUDIO TODAY A FOCUS ON AFRICAN AMERICAN & HISPANIC AUDIENCES APRIL 2014 STATE OF THE MEDIA: AUDIO TODAY Q2 Copyright © 2014 The Nielsen Company 1 GROWTH AND THE AUDIO LANDSCAPE NATIONAL AUDIENCE HITS ALL-TIME HIGH Growth is a popular word today in America, whether you’re talking about the stock market, entertainment choices, or census trends. Through it all, radio consumption continues to increase; nearly 92% of all Americans 12 or older are tuning to radio in an average week. That’s 244.4 million of us, a record high! 244 MILLION AMERICANS LISTEN TO RADIO EACH WEEK This growth is remarkable considering the variety and number of media choices available to consumers today over-the-air and online via smartphones, tablets, notebooks/desktop computers and digital dashboards. Radio’s hyper-local nature uniquely serves each market which keeps it tied strongly to our daily lives no matter how (or where) we tune in. The radio landscape is also a diverse community of listeners from every corner of America, who reflect the same population trends of the country as a whole. Radio is one of the original mass mediums and as the U.S. population grows and the makeup of our citizens change, radio audiences follow suit. Alongside the national growth headline, both African American and Hispanic audiences have also reached a historic high with more than 71 million tuning in each week. Source: RADAR 120, March 2014, M-SU MID-MID, Total Listeners 12+/Hispanic 12+/African American 12+ 2 STATE OF THE MEDIA: AUDIO TODAY Q2 RADIO’S GROWTH CHART IS DIVERSIFIED Weekly Cume (000) March 2013 June 2013 Sept 2013 Dec 2013 March 2014 All Listeners 12+ 243,177 242,876 242,530 242,186 244,457 Hispanic 12+ 39,586 39,577 39,506 39,380 40,160 African American 12+ 30,987 30,862 30,823 30,742 31,186 71 MILLION AFRICAN AMERICANS AND HISPANICS The focus for this quarter’s Audio Today report is the African American and Hispanic listener; combined these listeners account for nearly a third (29.6%) of the total national audience.
    [Show full text]
  • ANNUAL REPORT 2019 Revellers at New Year’S Eve 2018 – the Night Is Yours
    AUSTRALIAN BROADCASTING CORPORATION ANNUAL REPORT 2019 Revellers at New Year’s Eve 2018 – The Night is Yours. Image: Jared Leibowtiz Cover: Dianne Appleby, Yawuru Cultural Leader, and her grandson Zeke 11 September 2019 The Hon Paul Fletcher MP Minister for Communications, Cyber Safety and the Arts Parliament House Canberra ACT 2600 Dear Minister The Board of the Australian Broadcasting Corporation is pleased to present its Annual Report for the year ended 30 June 2019. The report was prepared for section 46 of the Public Governance, Performance and Accountability Act 2013, in accordance with the requirements of that Act and the Australian Broadcasting Corporation Act 1983. It was approved by the Board on 11 September 2019 and provides a comprehensive review of the ABC’s performance and delivery in line with its Charter remit. The ABC continues to be the home and source of Australian stories, told across the nation and to the world. The Corporation’s commitment to innovation in both storytelling and broadcast delivery is stronger than ever, as the needs of its audiences rapidly evolve in line with technological change. Australians expect an independent, accessible public broadcasting service which produces quality drama, comedy and specialist content, entertaining and educational children’s programming, stories of local lives and issues, and news and current affairs coverage that holds power to account and contributes to a healthy democratic process. The ABC is proud to provide such a service. The ABC is truly Yours. Sincerely, Ita Buttrose AC OBE Chair Letter to the Minister iii ABC Radio Melbourne Drive presenter Raf Epstein.
    [Show full text]
  • PUBLIC BROADCASTING: a MEDIUM in SEARCH of SOLUTIONS John W
    PUBLIC BROADCASTING: A MEDIUM IN SEARCH OF SOLUTIONS JoHN W. MACY, JR.* INTRODUCTION In its simplest and most comprehensive definition, a communications system is a process in which creative communicators become aware of the expressed and some- times unexpressed needs of the users of the system and responsively collect and provide information, entertainment, and other resources toward the satisfaction of these needs. Despite the often quoted and now popular belief that in electronic com- munications systems "the medium is the message,"' the design of a system in which the message is itself the message-and the medium is merely a means of delivering a diversity of messages of intrinsic value to the users-is a mandate for radio and television in the decade of the 1970s. This is one of the basic philosophies behind the approach of the Corporation for Public Broadcasting (CPB) as it builds and develops the public sector of broadcasting. Some time ago Robert Oppenheimer was quoted as saying, "What is new is new not because it has never been there before, but because it has changed in quality."2 This is surely what is new about the Corporation for Public Broadcasting. But to understand the nature and direction of the qualitative changes brought about by its creation and activities, it is necessary to look first at what was there before and how the Corporation came into being. I BACKGROUND OF PUBLIC BROADCASTING Over the past fifty years, the American public, through its elected representatives and otherwise, has made a series of choices to encourage the development of a public alternative in the field of communications.
    [Show full text]
  • Radio and Television Correspondents' Galleries
    RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES* SENATE RADIO AND TELEVISION GALLERY The Capitol, Room S–325, 224–6421 Director.—Michael Mastrian Deputy Director.—Jane Ruyle Senior Media Coordinator.—Michael Lawrence Media Coordinator.—Sara Robertson HOUSE RADIO AND TELEVISION GALLERY The Capitol, Room H–321, 225–5214 Director.—Tina Tate Deputy Director.—Olga Ramirez Kornacki Assistant for Administrative Operations.—Gail Davis Assistant for Technical Operations.—Andy Elias Assistants: Gerald Rupert, Kimberly Oates EXECUTIVE COMMITTEE OF THE RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES Joe Johns, NBC News, Chair Jerry Bodlander, Associated Press Radio Bob Fuss, CBS News Edward O’Keefe, ABC News Dave McConnell, WTOP Radio Richard Tillery, The Washington Bureau David Wellna, NPR News RULES GOVERNING RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES 1. Persons desiring admission to the Radio and Television Galleries of Congress shall make application to the Speaker, as required by Rule 34 of the House of Representatives, as amended, and to the Committee on Rules and Administration of the Senate, as required by Rule 33, as amended, for the regulation of Senate wing of the Capitol. Applicants shall state in writing the names of all radio stations, television stations, systems, or news-gathering organizations by which they are employed and what other occupation or employment they may have, if any. Applicants shall further declare that they are not engaged in the prosecution of claims or the promotion of legislation pending before Congress, the Departments, or the independent agencies, and that they will not become so employed without resigning from the galleries. They shall further declare that they are not employed in any legislative or executive department or independent agency of the Government, or by any foreign government or representative thereof; that they are not engaged in any lobbying activities; that they *Information is based on data furnished and edited by each respective gallery.
    [Show full text]
  • Art Does Not Have to Be Confined to Museums and Galleries
    ARTART DOESDOES NOTNOT HAVEHAVE TOTO BEBE CONFINEDCONFINED TOTO MUSEUMSMUSEUMS ANDAND GALLERIES.GALLERIES. THE SHEBOYGAN PROJECT brings the street-art movement to Sheboygan, Wisconsin, by using the urban landscape as a canvas for exciting works of art that reflect the city’s people and culture. Wooster Collective founders Marc and Sara Schiller have celebrated ephemeral art placed on streets in cities throughout the world since 2001. As part of a two-year project that began in 2012, Wooster Collective, the John Michael Kohler Arts Center, renowned street artists, area residents, civic organizations, businesses, and property owners worked together to locate potential street-art sites throughout the city. In the summer of 2013, those locations became home to exciting new works of art. Undertaken as part of the Arts Center’s Connecting Communities program, the project aimed to create a more intimate relationship between the artists and the Sheboygan community through collaboration. It is hoped that this project will continue to draw and inspire artists from inside and outside the community by increasing and strengthening the city’s public art and cultural diversity. Additionally, The Sheboygan Project seeks to further develop Sheboygan’s reputation as a destination for artists and to encourage local residents to embrace the arts culture of their city. As you visit The Sheboygan Project installations, connect and share with us! Hashtag your content on Twitter, Instagram, and Tumblr at #thesheboyganproject. Stay up to date and like our page at facebook.com/thesheboyganproject. For more information, please go to www.thesheboyganproject.org. Cover image: Nick “Doodles” Mann, untitled (detail), The Sheboygan Project, 2013; acrylic and spray paint Opposite page: Chris Stain, untitled (detail), The Sheboygan Project, 2012; spray paint Follow Calumet Dr.
    [Show full text]
  • Gordon Graham: "Get Yourself a Union Rep!" Margaret Jenny, President, RTCA
    WEDNESDAY, MARCH 22 7:30 a.m. | Registration 7:30 a.m. | Breakfast 8:30 a.m. | Welcome WEDNESDAY, MARCH 22, 2017 Steve Hansen, Chairman, National Safety Committee, NATCA 8:40 a.m. | Keynote Address Gordon Graham: "Get Yourself a Union Rep!" Margaret Jenny, President, RTCA 9:00 a.m. | Presentation Gordon Graham took the stage for the fourth lawyers get involved.” How the Media Can Shape straight year Tuesday with another fantastic Aviation: An Interview with David presentation, “Why Things Go Right and Why “Whenever I talk I’m also thinking with a risk Kerley Things Go Wrong.” management hat on. My whole life is pre- incident prevention. What can we do up front to 9:45 a.m. | Break Graham’s presentation centered on his time prevent these problems?” 10:30 a.m. | Panel as a California law enforcement officer. He The Effect of Government encouraged facilities to find ways to incorporate “We face thousands of risks in our own Regulations and Policies on daily training to prepare for low frequency, high operations. We face thousands of risks in what Aviation Safety, Efficiency, and Growth risk situations. He also encouraged attendees we do. Where do we get started?” to take into consideration the way that we learn 12:00 p.m. | Lunch and look for ways for people to learn from their “Get ready for your retirement today. Get ready Speaker: Jessica Cox mistakes. for your retirement TODAY.” Thinking Outside the Shoe 2:00 p.m. | Breakouts That, along with his education as a risk “Sergeant Graham is nuts!” manager, and experience as a practicing 13th Annual Archie League attorney make all of his presentations “You can tell her we did that but we’re not Medal of Safety Awards entertaining and insightful.
    [Show full text]
  • Download This PDF File
    internet resources John H. Barnett Global voices, global visions International radio and television broadcasts via the Web he world is calling—are you listening? used international broadcasting as a method of THere’s how . Internet radio and tele­ communicating news and competing ideologies vision—tuning into information, feature, during the Cold War. and cultural programs broadcast via the In more recent times, a number of reli­ Web—piqued the interest of some educators, gious broadcasters have appeared on short­ librarians, and instructional technologists in wave radio to communicate and evangelize the 1990s. A decade ago we were still in the to an international audience. Many of these early days of multimedia content on the Web. media outlets now share their programming Then, concerns expressed in the professional and their messages free through the Internet, literature centered on issues of licensing, as well as through shortwave radio, cable copyright, and workable business models.1 television, and podcasts. In my experiences as a reference librar­ This article will help you find your way ian and modern languages selector trying to to some of the key sources for freely avail­ make Internet radio available to faculty and able international Internet radio and TV students, there were also information tech­ programming, focusing primarily on major nology concerns over bandwidth usage and broadcasters from outside the United States, audio quality during that era. which provide regular transmissions in What a difference a decade makes. Now English. Nonetheless, one of the benefi ts of with the rise of podcasting, interest in Web tuning into Internet radio and TV is to gain radio and TV programming has recently seen access to news and knowledge of perspec­ resurgence.
    [Show full text]
  • OF AFRICAN-AMERICANS African-American Experience
    LISTEN UP: AFRICAN-AMERICAN CONSUMERS AND MUSIC DIVERSE INTELLIGENCE SERIES AFRICAN- AMERICAN CONSUMERS AND MUSIC 53% For centuries, music has played a central role in the OF AFRICAN-AMERICANS African-American experience. Black musical traditions ARE UNDER THE AGE OF 35, have evolved over time into such quintessentially COMPARED TO 47% OF THE American music as gospel and the blues to jazz and hip TOTAL POPULATION hop. While the influence and artistic works of African- Americans have shaped the vast musical landscape enjoyed today, music for most African-Americans continues to have a powerful social significance. Totaling 44 million people and growing, the African- American community represents a significant audience 14% for the music industry. Blacks make up 14 percent of the total U.S. population and are proportionally younger than the rest of America.1 More than half of the BLACKS MAKE UP 14% Black population – 53 percent -- is under the age of 35, OF THE TOTAL U.S. compared the 47 percent of the total population. As a POPULATION AND ARE younger audience, African-Americans have an influence PROPORTIONALLY on music that is outsize to their share of the overall YOUNGER THAN THE REST OF AMERICA.1 population; and as early adopters of technology, this engaged and connected group has the power to inspire musical trends. 1Source: U.S. Census Bureau: State and County QuickFacts. Data derived from Population Estimates, American Community Survey 2 MUSIC AND THE MULTICULTURAL CONSUMER: AFRICAN-AMERICAN MUSICAL PREFERENCES African-Americans have a long history of creating definitive American pop music styles with global appeal.
    [Show full text]
  • Radio Network Coding Requires Logarithmic Overhead
    2019 IEEE 60th Annual Symposium on Foundations of Computer Science (FOCS) Radio Network Coding Requires Logarithmic Overhead Klim Efremenko Gillat Kol Raghuvansh R. Saxena Ben-Gurion University Princeton University Princeton University [email protected] [email protected] [email protected] Abstract—We consider the celebrated radio network then, a neighbor u of the node v receives v’s transmission model for abstracting communication in wireless networks. if and only if u decides to receive at time t and v is the In this model, in any round, each node in the network may only neighbor of u that transmits at time t. broadcast a message to all its neighbors. However, a node is able to hear a message broadcast by a neighbor only if no The (noiseless) radio network model received a lot collision occurred, meaning that it was the only neighbor of attention over the last few decades, and has an ever broadcasting. growing number of wireless and distributed applications. While the (noiseless) radio network model received a On the other hand, the effect of noise on radio networks lot of attention over the last few decades, the effect is not well understood, although wireless communication of noise on radio networks is still not well understood. In this paper, we take a step forward and show that errors are extremely common in practice. In our previous making radio network protocols resilient to noise may paper [EKS18], we took a step forward and initiated the require a substantial performance overhead. Specifically, study of interactive coding for the single-hop (clique) we construct a multi-hop network and a communication network, following the great work of [Gam87], [Gal88], protocol over this network that works in T rounds when [GKS08].
    [Show full text]
  • Diverse Intelligence Series | 2019 It’S in the Bag: Black Consumers’ Path to Purchase
    DIVERSE INTELLIGENCE SERIES | 2019 IT’S IN THE BAG: BLACK CONSUMERS’ PATH TO PURCHASE 1 Copyright © 2019 The Nielsen Company (US), LLC. All Rights Reserved. PREFACE There is a saying, “Be careful what you ask for because you just might get it.” In 2011 when Nielsen launched the first comprehensive report on the buying habits and behaviors of African American consumers, we simply wanted to raise awareness of the economic clout Black consumers yielded as an opportunity for brands to be more inclusive. Eight years later the level of awareness has indeed been raised, but inclusion is still very much a work in progress. Some industries and brands have grown markedly more diverse and inclusive while others have opted to change only when forced to do so following unfortunate missteps. Still others have not yet ventured into change at all. Those are the brands we still Cheryl Grace Mia Scott-Aime hope to inspire. SVP, U.S. Strategic VP, Communications As we explore the African American path to purchase, we recognize that advertising is the indispensable first step of the journey. Community Alliances Yet the advertising industry has been slow to align Blacks’ consumption habits with brands’ advertising spend focused on Black and Consumer audiences; or to diversify the industry itself to ensure it reflects this cohort’s $1.3 trillion in spending power. We delve deeper Engagement into this topic in our special section on advertising. At Nielsen, we are charged with helping our clients see ahead of the curve. What we know to be true—because we’ve crunched the numbers over and over—is this: diversity is not a moment.
    [Show full text]
  • Radio Airplay and the Record Industry: an Economic Analysis
    Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public
    [Show full text]
  • FCC-21-42A1.Pdf
    Federal Communications Commission FCC 21-42 Before the Federal Communications Commission Washington, D.C. 20554 In the Matter of ) ) Sponsorship Identification Requirements for ) MB Docket No. 20-299 Foreign Government-Provided Programming ) ) REPORT AND ORDER Adopted: April 22, 2021 Released: April 22, 2021 By the Commission: Acting Chairwoman Rosenworcel and Commissioner Starks issuing separate statements. TABLE OF CONTENTS Heading Paragraph # I. INTRODUCTION .................................................................................................................................. 1 II. BACKGROUND .................................................................................................................................... 5 III. DISCUSSION ...................................................................................................................................... 12 A. Entities or Individuals Whose Involvement in the Provision of Programming Triggers a Disclosure ...................................................................................................................................... 14 B. Scope of Foreign Programming that Requires a Disclosure .......................................................... 24 C. Reasonable Diligence ..................................................................................................................... 35 D. Contents and Frequency of Required Disclosure of Foreign Sponsorship .................................... 49 E. Concerns About Overlap with Other Statutory
    [Show full text]