While it is widely know that music is the cultural thread across the youth market including gender, age, and ethnicity, as well as one of the most influential factors in terms of spending, fashion, and identity among young people, what are rarely known are the correlations between one’s musical preferences and favorite TV shows.
Based on additional analysis within out North American Youth Culture Study using perceptual mapping, as illustrates here, clearly such relationships exist. By reading the perceptual map from the origin, or distance from where the bars cross—either distance from the center, direction, and by quadrants--it’s clear that, for example, those who prefer Rap/Hip-Hop among 13-24-year-olds in North America, also prefer the TV show “Real World.” Those who prefer Rock are also most likely to also prefer “That ‘70’s Show”; those who prefer Indie music indicate a likeness for “Family Guy”; where as Emo lovers prefer “Friends,” and Punkers prefer “SouthPark” and “The Simpsons.”
Correlations between Favorite TV shows and Music Preferences
There are many ways to use such discoveries in the analysis, first off by giving you an idea of the profiles of the types of people who prefer different music genres and their preferences in types of TV shows. For example, marketing and advertising effectiveness could benefit by using such knowledge towards targeting their campaigns based on knowing that Emo listeners are “Friends-type” TV viewers, whereas Punkers are “South Park” people who prefer ironic, dark humor.
Interesting to note also about those who prefer “That ‘70’s Show” are that younger demographics also prefer this show to older youth demographics—mostly those who were born in the late ‘80’s. The indication that they also prefer Rock also correlates to the emerging trend of Rock coming back into vogue (i.e., Glam Rock such as The Darkness or basic Rock such as The White Stripes).
When looking at perceptual maps such as this, it’s also important to note the genres that don’t seem to be connected to anything or appear to be floating within a quadrant, such as “Boy Meets World” and “Jackass.” Such illustrations indicate that these shows, while among the top preferences among young people, have no real correlation to specific music preferences. This indicates potential market opportunities, i.e. trying to tie such shows into potential specific musical profiles, or that such shows have an appeal that is less easily defined in the youth marketplace.
Overall, the perceptual mapping of music preferences to TV show preferences indicate a more 3-dimensional view towards greater understanding about the youth market, but in an interesting and original outlook.