Nielsen ratings are the audience measurement systems developed by the Nielsen Company, in an effort to determine the audience size and composition of television programming in the United States. Nielsen Media Research was founded by Arthur Nielsen, who was a market analyst whose career had begun in the 1920s with brand advertising analysis and expanded into radio market analysis during the 1930s, culminating in Nielsen ratings of radio programming, which was meant to provide statistics as to the markets of radio shows. In 1950, Nielsen moved to television, developing a ratings system using the methods he and his company had developed for radio. That method has since become the primary source of audience measurement information in the television industry around the world.

Measuring ratings[link]

Nielsen television ratings are gathered in one of two ways:

1. Viewer "diaries", in which a target audience self-records its viewing or listening habits. By targeting various demographics, the assembled statistical models provide a rendering of the audiences of any given show, network, and programming hour.
2. A more technologically sophisticated system uses Set Meters, which are small devices connected to televisions in selected homes. These devices gather the viewing habits of the home and transmit the information nightly to Nielsen through a "Home Unit" connected to a phone line. The technology-based home unit system is meant to allow market researchers to study television viewing habits on a minute to minute basis, seeing the exact moment viewers change channels or turn off their TV. In addition to set meters, individual viewer reporting devices, such as people meters, have allowed the company to separate household viewing information into various demographic groups, but so far Nielsen has refused to change its distribution of data of ethnic groups into subgroups, which could give more targeted information to networks and advertisers.

Changing systems of viewing have impacted Nielsen's methods of market research. In 2005, Nielsen began measuring the usage of digital video recordings such as TiVo. Initial results indicate that time-shifted viewing will have a significant impact on television ratings. The networks are not yet figuring these new results into their ad rates due to the resistance of advertisers.^[1]

Ratings/share and total viewers[link]

The most commonly cited Nielsen results are reported in two measurements: ratings points and share, usually reported as: "ratings points/share". As of September 1, 2010, there are an estimated 115.9 million television households in the United States. A single national ratings point represents one percent of the total number, or 1,159,000 households for the 2010–11 season.^[2] Nielsen re-estimates the number of TV-equipped households each August for the upcoming television season.

Share is the percentage of television sets in use tuned to the program. For example, Nielsen may report a show as receiving a 9.2/15 during its broadcast, meaning that on average 9.2 percent of all television-equipped households were tuned in to that program at any given moment, while 15 percent of households watching TV were tuned into that program during this time slot. The difference between rating and share is that a rating reflects the percentage of the total population of televisions tuned to a particular program while share reflects the percentage of televisions actually in use.^[3]

Because ratings are based on samples, it is possible for shows to get 0.0 rating, despite having an audience; the CNBC talk show McEnroe was one notable example.^[4] Another example is The CW Television Network show, CW Now, which received two 0.0 ratings in the same season.

Demographics[link]

Nielsen Media Research also provides statistics on specific demographics as advertising rates are influenced by such factors as age, gender, race, economic class, and area. Younger viewers are considered more attractive for many products, whereas in some cases older and wealthier audiences are desired, or female audiences are desired over males.

In general, the number of viewers within the 18–49 age range is more important than the total number of viewers.^[5][6] According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average.^[7] Due to its strength in young demos, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers during the seasons they were on the air together.^[5] Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS.^[8]

Commercial ratings[link]

Nielsen also provides viewership data calculated as the average viewership for only the commercial time within the program. This "Commercial Ratings" first became available on May 31, 2007. Additionally, Nielsen provides different "streams" of this data in order to take into consideration delayed viewing (DVR) data, at any interval up to seven days.^[9] C3 was the metric launched in 2007. C3 refers to the ratings for average commercial minutes in live programming plus three days of digital video recorder playback.^[10]

Sweeps[link]

Electronic metering technology is the heart of the Nielsen ratings process. Two types of meters are used: set meters capture what channel is being tuned, while People Meters go a step further and gather information about who is watching in addition to the channel tuned.

Diaries are also used to collect viewing information from sample homes in many television markets in the United States, and smaller markets are measured by paper diaries only. Each year Nielsen processes approximately 2 million paper diaries from households across the country for the months of November, February, May, and July—also known as the "sweeps" rating periods. Seven-day diaries (or eight-day diaries in homes with DVRs) are mailed to homes to keep a tally of what is watched on each television set and by whom. Over the course of a sweeps period, diaries are mailed to a new panel of homes each week. At the end of the month, all of the viewing data from the individual weeks is aggregated.

This local viewing information provides a basis for program scheduling and advertising decisions for local television stations, cable systems, and advertisers.

In some of the mid-size markets, diaries provide viewer information for up to three additional “sweeps” months (October, January, and March).

Nielsen sweeps periods

Season	November	February	May	July
2009–2010	29 October – 25 November 2009	4 February – 3 March 2010	29 April – 26 May 2010	1–28 July 2010
2010–2011	28 October – 24 November 2010	3 February – 2 March 2011	28 April – 25 May 2011	30 June – 27 July 2011
2011–2012	27 October – 23 November 2011	2 February – 29 February 2012	26 April – 23 May 2012	28 June – 25 July 2012
2012-2013	26 October - 22 November 2012	1 February - 28 February 2013	25 April - 22 May 2013	27 June - 24 July 2013

Criticism of ratings systems[link]

There is some public critique regarding accuracy and potential bias within Nielsen's rating system. In June 2006, however, Nielsen announced a plan to revamp its entire methodology to include all types of media viewing in its sample.

Since viewers are aware of being part of the Nielsen sample, it can lead to response bias in recording and viewing habits. Audience counts gathered by the self-reporting diary methodology are sometimes higher than those gathered by the electronic meters which eliminate any response bias. This trend seems to be more common for news programming and popular prime time programming. Also, daytime viewing and late night viewing tend to be under-reported by the diary.^{[clarification needed]}

Another criticism of the measuring system itself is that it fails the most important criterion of a sample: it is not random in the statistical sense of the word. A small fraction of the population is selected and only those that actually accept are used as the sample size. In many local areas of the 1990s, the difference between a rating that kept a show on the air and one that would cancel it was so small as to be statistically insignificant, and yet the show that just happened to get the higher rating would survive.^[11] And yet in 2009 of the 114,500,000 U.S. television households^[12] only 25,000 total American households (0.02183% of the total) participated in the Nielsen daily metered system ^[13] In addition, the Nielsen ratings one TV per household three perhaps four network model encouraged a strong push for demographic measurements. This caused problems with multiple TV households or households where viewers would enter the simpler codes (usually their child's) raising serious questions to the quality of the demographic data.^[11] The situation further deteriorated as the popularity of cable TV expanded the number of viewable networks to the point that the margin of error has increased due to the sampling sizes being too small.^[11][14][15] Compounding matters is the fact that of the sample data that is collected, advertisers will not pay for time shifted (recorded for replay at a different time) programs,^[16] rendering the 'raw' numbers useless.

A related criticism of the Nielsen ratings system is its lack of a system for measuring television audiences in environments outside the home, such as college dormitories, transport terminals, bars, jails, and other public places where television is frequently viewed, often by large numbers of people in a common setting. In 2005, Nielsen announced plans to incorporate viewing by away-from-home college students into its sample. Internet TV viewing is another rapidly growing market for which Nielsen Ratings fail to account for viewer impact. Apple iTunes, atomfilms, Hulu, YouTube, and some of the networks' own websites (e.g., ABC.com, CBS.com) provide full-length web-based programming, either subscription-based or ad-supported. Though web sites can already track popularity of a site and the referring page, they can't track viewer demographics. To both track this and expand their market research offerings, Nielsen purchased NetRatings in 2007.^[17] However, noted in a February 2012 New York Times article the computer and mobile streams of a show are counted separately from the standard TV versions further degrading the over all quality of the sampling data. As a result there was no way for NBC to tell if there was any overlap between the roughly 111.3 million standard TV viewers and 2.1 million live stream viewers the Super Bowl.^[18]

After Nielsen took over the contract for producing data on Irish advertising in 2009, agencies said that they were "disastrous" and claimed that the information produced by them is too inaccurate to be trusted by them or their clients.^[19]

In 2004, News Corporation retained the services of public relations firm Glover Park to launch a campaign aimed at delaying Nielsen's plan to replace its aging household electronic data collection methodology in larger local markets with its newer electronic People Meter system. The advocates in the public relations campaign charged that data derived from the newer People Meter system represented a bias toward underreporting minority viewing, which could lead to a de-facto discrimination in employment against minority actors and writers. However, Nielsen countered the campaign by revealing its sample composition counts. According to Nielsen Media Research's sample composition counts, as of November 2004^[update], nationwide, African American Households using People Meters represented 6.7% of the Nielsen sample, compared to 6.0% in the general population. Latino Households represent 5.7% of the Nielsen sample, compared to 5.0% in the general population. By October 2006, News Corp. and Nielsen settled, with Nielsen agreeing to spend an additional $50 million to ensure that minority viewing was not being underreported by the new electronic people meter system.^[20]

Neal Gabler at the Norman Lear Center as well as Benjamin Shapiro, author of Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV, have argued that the empirical evidence shows that for advertisers the 18-49 or 18-34 viewers are not more important, and may even be less important, than older viewers. The importance of the 18-49 market was originally promoted by ABC as a way of increasing advertising revenue since ABC was weak on on overall viewers but strong among younger viewers.^[21][22][23]

In 2011, CBS and Nielsen proposed a model consisting of six viewer segments which according to their empirical research are more relevant for advertisers than older models based on sex and age. The segments are based on user behavior, motivations, and psychographics. It is argued that the model can increase reaching the desired audience as well as message recall and advertisement likability.^[24]

Top-Rated Programs[link]

This table lists all the TV shows with the highest average Nielsen rating for each television season:^{[25][26][27][28]}

     The program with the all-time highest average rating is in bold text
     Sports programs have italicized rating numbers
     Two or more programs tie for highest average Nielsen rating in the same season

See also[link]

• Appreciation Index
• Broadcasters' Audience Research Board (BARB) (UK)
• C. E. Hooper
• Crossley ratings
• List of most watched television broadcasts
• List of television stations in North America by media market
• List of US daytime soap opera ratings

References[link]

Further reading[link]

• Anthony Bianco and Ronald Grover. "How Nielsen Stood Up to Murdoch" BusinessWeek. September 20, 2004.

External links[link]

• Nielsen Media Research website
  • Nielsen Media: FAQs – About the "Sweeps"
• Slate: How Does "Sweeps" Week Work? (February 16, 2004)
• Nielsen Global Technology and Information Center website
• Information on Nielsen's Anytime Anywhere Media Measurement Initiative.

John David "Jodee" Rich (born 1960) is an Australian businessman, who founded Imagineering Ltd, a microcomputer software and hardware distributor, One.Tel Ltd, an Australian based telecommunications company, and PeopleBrowsr, a data mining, analytics and brand engagement service provider.

Rich is an active speaker at events around the world including industry conferences, summits and corporate events.

Early Years and Family Background[link]

During their travels from Germany to London and finally New York in the 1930s and 1940s, the Richheimer family anglicised their name to "Rich". In 1963, Jodee Rich's father, Steven, came to Australia to manage the local arm of the family business, Hunter Douglas.^[1]

Rich wrote his first program in 1972, on punch cards at the age of 12. He was educated at the elite Cranbrook School in Bellevue Hill, Sydney, with classmate Rodney Adler. During his Cranbrook days, Rich started his first entrepreneurial venture, a business renting fish tanks.^[1]

In 1980 he developed a commodity analysis system on 64k Apple II, later sold to investment banks.

He studied accounting, economics and computer Science at Sydney University - BEc in 1981.

Later Years and Career[link]

Between 1981 and 1990 Rich founded and listed Imagineering, a microcomputer software and hardware distributor for Visicalc, dBase, Electronic Arts, Lotus 123, Borland, 3Com operating in Australia and South East Asia and acquired Imagineering's sister company Tech Pacific from James Kennedy in 1987. Both firms were sold to First Pacific in 1990.

From 1990 to 1995, Rich attended University of Sydney studying biochemistry and attended Wharton School of the University of Pennsylvania and also served as a commercial flying instructor.

One.Tel[link]

Rich formed (with James Packer as a shareholder) a service provider of GSM mobile and long distance calls - One.Tel, in Australia in 1995. One.Tel expanded its operations overseas in 1998. In 1999, Packer's Publishing and Broadcasting and News Corporation made a $600 million investment in the business as it committed to building Australia's fourth mobile network. The company acquired a GSM operation for $500 million in 2000.

One.Tel Australia was placed in administration in May 2001, after PBL and News Corporation withdrew their earlier stated support for an underwritten rights issue. One.Tel UK was sold to British Gas for $200 million and is still trading with more than 1 million customers.

Beginning in December 2001, Rich was involved in litigation with the Australian Securities and Investment Commission (ASIC).^[2] The case, ASIC v Rich, was won by Rich on 18 November 2009, with Justice Robert Austin of the NSW Supreme Court stating in his judgment that ASIC had "failed to prove any aspect of its pleaded case".^[3] Justice Austin also said in his judgment Jodee "demonstrated that he was a very well prepared witness, knowledgeable about the subject matter of his evidence, who responded to questions thoughtfully and clearly, sometimes even perceptively. This was notwithstanding the arduous circumstances of his cross examination, extending over 25 days".^[4][5]

PeopleBrowsr[link]

In 2007, Rich founded PeopleBrowsr, a service provider of social media data, campaigns and analytics. The company has collected over 1,000 days of social data into its proprietary Datamine. It was one of the first to receive the full Twitter firehose and also stores, indexes and filters content from Facebook, blogs. forums and many other sources. PeopleBrowsr makes this data available to its customers through its social analytics platform, Playground; APIs; and through its Enterprise Services group, which has provided campaigns and reports to such companies as Sony, Kodak, Toyota and Universal Music.^[6]

PeopleBrowsr is the creator of Kred Influence Measurement, which debuted in 2011. Kred is integrated into all of the company's offerings to enable marketers to identify and engage with influential people within communities connected by interests and affiliations.

In May 2010, Rich held a PeopleBrowsr briefing, during which time he discussed the importance of Social Media as an area which is creating a global collective consciousness, shifting the power base from Big Business, Religion and Government to the Global Consumer.^[7] Rich also discussed the “left-field” research projects in which PeopleBrowsr spends its profits. These include the development of artificial intelligence and new social networking platforms.^[8] In September 2011, he appeared at the O'Reilly Strata Conference where he spoke on how social data will drive change in TV Analytics.^[9][10]

See also[link]

• ASIC v Rich

External links[link]

• www.linkedin.com/in/jodeerich - Linkedin
• http://www.peoplebrowsr.com/ - PeopleBrowsr

References[link]

Notes

Dan Harmon
Harmon in March 2012
Born	January 3, 1973 Milwaukee, Wisconsin, US
Occupation	Writer, Producer, and Performer.
Known for	Community Channel 101 Monster House Heat Vision and Jack Acceptable.TV[1]

Dan Harmon (born January 3, 1973) is a writer and performer. He is the creator and former executive producer for the NBC television comedy series Community, and, along with Rob Schrab, a founder of the alternative television network/website Channel 101.

He co-created the television pilot Heat Vision and Jack starring Owen Wilson and Jack Black, and several Channel 101 shows, some featuring Jack Black, Drew Carey, and Sarah Silverman. He co-created Comedy Central's The Sarah Silverman Program and served as head writer for several episodes. He was the creator, executive producer and a featured performer in Acceptable.TV, a Channel 101-based sketch show airing for 8 episodes in March 2007 on VH1. He and Schrab co-wrote the screenplay for the Academy Award nominated film Monster House.^[2]

He is also credited for writing part of Rob Schrab's comic book series Scud: The Disposable Assassin, as well the spin-off comic series La Cosa Nostroid.

Harmon is a noted fan of Joseph Campbell.^[3] On the Channel 101 website, several essays regarding Harmon's interpretation of the Monomyth can be found.

Harmon was a member of ComedySportz Milwaukee where he also co-founded (alongside Rob Schrab) the sketch troupe The Dead Alewives. They produced an album in 1996 entitled Take down the Grand Master.

In July 2009, Harmon was nominated in two Emmy categories for his part in writing the Oscar telecast: Outstanding Writing for a Variety, Music or Comedy Special and Outstanding Original Music and Lyrics, the latter of which he was awarded for "Hugh Jackman Opening Number" at the 61st Primetime Emmy Awards.

On May 18, 2012, it was announced that Harmon would no longer be the showrunner and executive producer of Community, but would remain on the show as a consultant. NBC head Bob Greenblatt told the Hollywood Reporter, “I except [sic] Dan’s voice to be a part of this show somehow. I’m just not sure if that means him running it day-to-day or consulting on it.”^[4] Dan Harmon responded on his Tumblr blog, "That’s a misquote. I think he meant to say he’s sure cookies are yummy, because he’s never called me once in the entire duration of his employment at NBC."^[5] Continuing, Harmon indicated that beyond a contractually required position as "executive consulting something or other", he would no longer be involved in the creation of the show.

For its fall 2012 season, Adult Swim has ordered a 30-minute animated pilot from Harmon and Justin Roiland called Rick & Morty about the life journeys of a genius inventor and his less-than-genius grandson.^[6]

References[link]

External links[link]

• Dan Harmon at the Internet Movie Database
• Dan Harmon's Myspace page
• Dan Harmon's Tumblr blog
• Official website of Acceptable TV
• Dan Harmon on Twitter
• Dan Harmon Talent Page at Channel101.com