Something is off, when the best magazine of the year cannot attract advertisers.
At last night's Ellie Awards in New York, held by the American Society of Magazine Editors, Magazine of the Year Winner was TIME. But as Folio details, TIME fell almost 21% from 286.95 ad pages in Q1 2011 to 227.01 pages in Q1 2012. Rival Newsweek enjoyed a 27.5% spike to 183.26 pages in Q1 2012.
National Magazine Awards 2012 Winners and Finalists
MAGAZINE OF THE YEAR
Finalists: Esquire; New York; The New Yorker; Popular Mechanics.
GENERAL EXCELLENCE, PRINT
Honors large-circulation weeklies, biweeklies and general-interest monthlies
Winner: Bloomberg Businessweek
Finalists: GQ; New York; The New Yorker; Vice
Honors women’s magazines, including health and fitness magazines and family-centric publications
Winner: O, The Oprah Magazine
Finalists: Glamour; More; Real Simple; W
Honors food, travel and shelter magazines as well as city and regional publications
Winner: House Beautiful
Finalists: Bon Appetit; Country Living; Garden & Gun; Texas Monthly
Active- and Special-Interest Magazines
Honors magazines serving targeted audiences, including enthusiast titles
Finalists: The Fader; Field & Stream; Men’s Health; Popular Mechanics
Honors literary, scholarly and professional publications as well as small-circulation general-interest magazines
Winner: IEEE Spectrum
Finalists: The American Scholar; Aperture; The New Republic; Virginia Quarterly Review
Finalists: Bloomberg Businessweek; Interview; New York; Wired
Finalists: GQ; Interview; National Geographic; Virginia Quarterly Review
NEWS AND DOCUMENTARY PHOTOGRAPHY
Winner: Harper’s Magazine for “Juvenile Injustice,” October
Harper’s Magazine for “Uncertain Exodus,” July
National Geographic for “Too Young to Wed,” June
The New York Times Magazine for “From Zero to 104,” September 4
TIME for “Birds of Hope,” January 17
Winner: The New York Times Magazine for "Vamps, Crooks & Killers," December 11
National Geographic for “Taming the Wild,” March
TIME for “Portraits of Resilience,” September 19
Vogue for “Lady Be Good,” March
W for “Planet Tilda,” August
Winner: New York for “The Encyclopedia of 9/11,” September 5-12
Bloomberg Businessweek for “Steve Jobs,” October 10-16
ESPN The Magazine for “NFL Preview: The Vick Issue,” September 5
Garden & Gun for “Southern Food,” October/November
Wired for “Underworld,” February
Winner: New York for “Strategist”
Bicycling for “Know/How”
Esquire for “Man at His Best”
Real Simple for “Food”
Wired for “Start”
Winner: Glamour for “The Secret That Kills Four Women a Day,” June
Good Housekeeping for “Fractured,” July
Real Simple for “Your Holiday-Spending Survival Guide,” November
Redbook for “Would You Get a ‘Mommy Tuck’?” April
San Francisco for “The New School of Fish,” February
Winner: Saveur for “Italian American,” December
New York for “The Urbanist’s Guide To . . . ,” April 25
Outdoor Life for “Sniper School,” March
Texas Monthly for “Home Plates,” April
Wired for “The Wired Travel Optimizer,” October
Winner: The New Yorker for “The Invisible Army,” June 6
5280 Magazine for “Direct Fail,” December
Harper’s Magazine for “Tiny Little Laws,” February
Marie Claire for “The Big Business of Breast Cancer,” October
Men’s Health for “The Signature Wound,” November
Winner: The New Yorker for “The Apostate,” February 14 & 21
The Atlantic for “Our Man in Kandahar,” November
Los Angeles for “What Happened to Mitrice Richardson?” September
The New Yorker for “Getting bin Laden,” August 8
Vanity Fair for “Echoes From a Distant Battlefield,” December
Winner: Esquire for “Heavenly Father!” October
GQ for “The Man Who Sailed His House,” October
The New York Times Magazine for “You Blow My Mind. Hey, Mickey!” June 12
The New Yorker for “A Murder Foretold,” April 4
Rolling Stone for “Arms and the Dudes,” March 31
Winner: D Magazine for “He Is Anonymous,” April
ESPN The Magazine for “Game of Her Life,” January 10
Men’s Journal for “The Blind Man Who Taught Himself to See,” March
Rolling Stone for “Santiago’s Brain,” December 8
Sports Illustrated for “Dewayne Dedmon’s Leap of Faith,” November 14
ESSAYS AND CRITICISM
Winner: New York for “Paper Tigers,” May 16
Esquire for “The Loading Dock Manifesto,” May
GQ for “Too Much Information,” May iPad Edition
The New Yorker for “The Aquarium,” June 13 & 20
Slate for “The Stutterer: How He Makes His Voice Heard,” February 22
COLUMNS AND COMMENTARY
Winner: Vanity Fair for columns by Christopher Hitchens
The Atlantic for columns by James Parker
Field & Stream for columns by Bill Heavey
Los Angeles for reviews by Steve Erickson
TIME for columns by Joel Stein
Winner: Zoetrope: All-Story for “The Hox River Window,” Fall
The Atlantic for “Scars,” Summer 2011
McSweeney’s Quarterly for “Ambition,” April
McSweeney’s Quarterly for “The Northeast Kingdom,” August
Virginia Quarterly Review for “La Moretta,” Fall
The Association of National Advertisers (ANA) and the American Association of Advertising Agencies (4A’s) yesterday released a Statement of Best Practices that encourages all marketers to take affirmative steps to address the serious problems of online piracy and counterfeiting.
The associations released the Statement at a meeting of the International Anti-Counterfeiting Conference in Washington, DC. The Statement specifically advises marketers to include language in their media placement contracts and insertion orders to prevent ads from appearing on "rogue sites" dedicated to infringement of intellectual property rights of others. In addition to the ANA and 4A's, the Statement is supported by a key industry partner, the Interactive Advertising Bureau (IAB).
Bob Liodice, ANA’s President and CEO, stated: “Marketers must have confidence that their ads are not unintentionally providing financial support or otherwise legitimizing ‘rogue’ Internet Web sites whose primary purpose is to steal the intellectual property of America’s innovators and creators.” Liodice noted that “ads for iconic and trusted brands can lend inadvertent legitimacy to the illicit business models and can mislead consumers into believing that these ‘rogue’ Web sites are offering authentic products and complying with the law.”
Addressing online piracy and counterfeiting has been a strong priority for both the White House Office of the Intellectual Property Enforcement Coordinator (IPEC) and the Congressional International Anti-Piracy Caucus. They have urged ANA, the 4A’s, IAB and other industry groups to play an active role in this fight. The Best Practices Statement supports this critical need by encouraging all marketers to take affirmative steps to avoid placement of their ads on "rogue" Web sites. “The deceptive practices of these ‘rogue’ Web sites are unfair both to consumers and the companies that invest vast resources to establish brand integrity,” said 4A’s President-CEO Nancy Hill. “Combatting online piracy and counterfeiting is a key priority for the entire business community and we look forward to continuing to work with the White House, Congress and all of our industry partners on this important issue.”
Randall Rothenberg, IAB President and CEO, stated: “Protecting the availability of quality, original content is vital to the health of the Internet. IAB remains committed to combating online piracy and through our Quality Assurance Guidelines program we will continue to develop a more secure digital supply chain. We appreciate the initiative by ANA and the 4A’s and look forward to working with our marketer and agency partners to find effective business solutions that can choke off revenue from these criminals.”
Liodice concluded: “We strongly urge all marketers to discuss this matter with their ad agencies and media buyers to stress your company’s commitment to combatting online piracy and counterfeiting. The entire Internet ecosystem must come together to address this problem."
The Association of Business Information and Media (ABM) has released its latest Business Information Network (BIN) Report, a compilation of trade media sales data and revenue for business-to-business (B2B) media companies. Total revenues for B2B media companies in the U.S. rose from $24.7 billion in 2010 to $26.5 billion in 2011, an overall increase of 7.2%.
The BIN Report covers four B2b revenue streams, in order from largest to smallest: trade shows; print advertising; digital advertising; and data. The data category includes rich media and business information services on a subscription and transactional basis.
Digital advertising led in gains, with a leap from $5.2 billion to $6.4 billion, a boost of 22%. Print gained only 3.8% by comparison, but still represented $7.7 billion in revenues, or $1.3 billion more than digital. But that won’t last.
Trade show revenue contributed the highest revenue by stream at $10.5 billion, but showed the weakest gains at 2.2%. Still, by share of all revenue, it was the largest contributor to the industry revenue, at 40%.
Print publishers are increasingly venturing into the events business, and events are “starting to look like a comparative gold rush,” reports AdAge. “[Events] give advertisers something compelling to buy other than ad pages.”
Time Inc. reports that profit from events rose by 63% in 2011, and projects 55% growth in 2012, to revenues of $15 million. Elsewhere, Fortune magazine in June will host a half day “Most Powerful Women Summit” in London, scaled back from its three-day U.S. event, and plans an Asian event in Q4. Fortune has boosted attendance fees for the U.S. event from $2,000 to $7.500. Fortune in the past has attracted speakers including Warren Buffett and President Obama, and include streaming video at a premium.
Finally, The Atlantic hosts its annual “Aspen Ideas Festival” every summer, and has "ambitious" growth plans in events, and rolled out two more events in 2011: its “Brave Thinkers” and “The Atlantic Meets the Pacific.” The Atlantic reports that events account for 17% of its revenue, up from 14% in 2009 (an atypically high figure, but The Atlantic is more experienced with events than late-to-the-party publishers like The Oprah Magazine).
Where Do Advertisers Fit In?
Fortune conducts what Group Publisher Jed Hartman calls “Big, integrated programs where [an advertiser] will sponsor an element of the event and do parallel print and digital, and sometimes custom elements." Advertisers may sponsor a la carte, focusing upon the live event itself, the print or digital elements, or sponsor a particular speaker.
But as Ad Age reports, the downside is the same clutter that plagues traditional ad sales. Esther Lee, senior VP-brand marketing and advertising at AT&T Lee observed an “almost unmanageable proliferation” of events. Still, a live event “[Gives you the] ability to influence and gain thought leadership from others,” and in face-to-face meetings,.
These events tend to be premium, bringing both ad and sponsorship revenues, plus attendance fees, versus trade shows which are more typically free to attend.
TED (Technology, Education, Design), the non-profit dedicated to “Ideas Worth Spreading,” has announced the winners of its second Ads Worth Spreading initiative on the opening day of TED2012 in Long Beach, CA. This year's 10 winners were “carefully curated to shine a spotlight on ads which break the mold through longer-form, idea-based storytelling.”
Interestingly, and as Adweek observes, the ads generally push beyond the 30-second mark, and frequently appear online rather than on television. Entries ranged from 30-second spots to 5-minute mini-documentaries, as well as several custom-made pieces humanizing companies and causes.
The Ads Worth Spreading challenge attracted entries from 39 countries, and is designed to recognize intelligence in advertising and and reward “the kind of ads that inspire people to watch, learn and share,” said the company in a release. "We sought out ads that were driven by ideas," said TED Curator Chris Anderson. "At TED, we've seen the power of imagination and innovation. We want to reward companies that have invested in longer-form, beautifully crafted campaigns that value human attention and intelligence, and take the time to tell a thought-provoking story."
The ideas are at times downright strange. For example, the “Rethink Breast Cancer” spot by john st. Toronto features self proclaimed “hot guys” demonstrating breast-cancer self exams—the premise being, “Women are more likely to watch a video if it features a hot guy.” The L’Oreal Paris spot features athlete/model/actor/activist, and dual-prosthetics wearer Aimee Mullins, pushing L’Oreal’s message “Because you’re worth it” beyond its “spend on yourself” origins.
For this year's challenge, and in addition to accepting entries via YouTube from agencies and marketers, TED called upon 25 industry Advocates and six Nomination Teams to seek out compelling ads in six specific categories: Talk, Social Good, Cultural Compass, Creative Wonder, Brand Bravery, and Storytelling.
As Ronda Carnegie, Head of Global Partnerships at TED described, "This year's winners spanned across many categories, drawing from culture, technology and brand expertise. L'Oreal confronted the definition of beauty in a talk, Prudential exhibited powerful storytelling, and Chipotle raised the bar with its creative animation that beautifully communicates their message."
Next year, TED pledges to further evolve the Ads Worth Spreading challenge and engage in deep one-on-one conversation with the global advertising community to share what the organization has learned. Additionally, TED will open up TED.com as an incubation platform for testing and launching great creative.
TED solicited entries for this challenge via a channel on YouTube.com. The judging system for Ads Worth Spreading was hosted by AICP (Association of Independent Commercial Producers) and Zester. Ads Worth Spreading was also supported by Contagious Magazine, 4A's, IAB, IAA, Art Directors Club, and the Advertising Club of New York.
The Interactive Advertising Bureau (IAB) introduced the IAB Standard Ad Units in 1996 and updated them in 2003, and now over 80% of display ads follow the IAB standards. IAB has released a new Standard Ad Unit Portfolio, which it claims will “drive the industry forward and create new opportunities for dynamic brand advertising.” IAB unveiled the new portfolio over the weekend, at its fifth IAB Annual Leadership Meeting “Ecosystem 2.0: Beyond Time and Space.”
The portfolio includes a new range of formats designed to “meet marketers’ communications needs across the purchase funnel,” said IAB in a release. Among these formats are the IAB Rising Stars Display ad units, six new interactive ad units developed and tested in partnership with digital publishers and agencies.
As Adweek reported from the Leadership Meeting, IAB’s head of brand initiatives Peter Minnium told the crowd “This new [collection of ad units] varies not only in size but in functionality and, of course, in interactivity.” Without standardized units, advertisers had to handcraft creative ads as needed, whereas the new units “will enable them to craft [an ad] once and run it broadly.” Industry bodies including the Online Publisher's Association (OPA) have clamored for larger and more intrusive ad units that attract bigger brands and larger premiums.
Of the Rising Stars, the Portrait may be the most high profile, says Adweek. The Portrait was unveiled by AOL’s Pictela division in 2010, and enables advertisers to include interactive apps embedded in a 300-by-1050-pixel display. IAB has also added two full-page units to the portfolio, called the "Sidekick" and "Slider."
“The new IAB portfolio allows creatives to tell bigger, bolder brand stories,” said Randall Rothenberg, President and CEO, IAB. “The new units offer more space, greater functionality, and a broader range of user experiences—providing a collection of next-generation interactive canvases designed to leverage the rich, immersive benefits of digital.”
Higher Engagement, Interactivity
To measure the new units’ ability to deliver at scale for brand advertisers, IAB partnered with IPG Media Lab to conduct proprietary research with Affectiva, GazeHawk and Moat that looked at attentiveness, emotive response and brand lift. Working with BBDO, BBH, Razorfish and SapientNitro, campaigns were tested from AT&T, Jeep and Westin Hotels & Resorts, leveraging all six Rising Stars units for each. The test creative, which was showcased on MSN.com, was built by AOL/Pictela, DoubleClick/Google, MediaMind and Microsoft Advertising.
The research findings revealed that consumers interact significantly more with Rising Stars ads than with incumbent standard ad units (such as the leaderboard and medium rectangle). Users were 2.5 times more likely to interact with a Rising Stars ad unit than a standard ad unit, spent twice as much time interacting with the ad and took less time to react to the ad (two times quicker than with standard ads). Along with increased interaction, eye-tracking showed that users viewed ads longer (31% more) with Rising Stars units versus standard formats.
In addition, study respondents found the Rising Stars ads to be more “enjoyable” and “engaging” when compared to regular displays ads, and they were more likely to say the Rising Stars ads “improved my impression of this web site” and their opinion of the brand.
"Being able to combine eye-tracking and facial-coding with more traditional behavioral analytics and brand lift survey data, and to do all of that in a respondent’s home using their webcam, gives us an amazing new view into the true impact of these cool new ad formats” said Tim McAtee, Research Director, IPG Media.
"As marketers we are all going to be more efficient in maximizing our production resources by having more structure around rich digital advertising units,” said Christi Gettinger, Senior Director Brand Management, Westin Hotels & Resorts. “To date, publishers have been fairly fragmented in their offerings to advertisers and this ultimately drives up production costs to effectively reach our target audience. We are thrilled the IAB team is taking the lead in creating more opportunities for marketers to be effective in connecting with consumers online.”
“The Rising Stars Display ad units have already proven themselves in the marketplace with exponentially higher interaction rates and interaction time—the core metrics that matter for brand advertisers” said Minnium. “They can only bring the interactive industry to new heights as part of the IAB Standard Ad Unit Portfolio.”
An elite group of marketers will pay hefty prices to be associated with the 84th Academy Awards broadcast on February 26th, and reach a mass audience dominated by women. So reports brand intelligence provider Kantar Media, which summarized some key metrics for this year, and historic trends.
“Big-scale, high visibility television events continue to draw large audiences and the Academy Awards comes just a few weeks after the most widely watched Super Bowl in history,” said Jon Swallen, SVP Research at Kantar Media North America. Coverage is still centered around the network TV broadcast, but digital platforms and online content offer more ways to target brand messages at an engaged audience.
The Price of Advertising
The average price of a 30-second commercial in the Academy Awards has increased modestly the past two years but remains firmly below the peak levels achieved between 2006 and 2008.Ads in the 2011 telecast fetched an average $1.55 million per 30 seconds for a total revenue of $74.4 million. Higher pricing is expected in 2012, about $1.70 million per :30 unit.
Spending By Top Advertisers
A small number of blue-chip marketers dominate the rankings of top spenders in the Academy Awards. Last year, 40% of total ad revenue came from three companies: Hyundai, JC Penney and Coca-Cola. Hyundai has been the exclusive auto advertiser since 2009 and will have a major presence again this year. JC Penney has been a continuous sponsor since 2002 and will use this year’s broadcast to promote a major repositioning of the brand. A few other well-known advertisers stand out for their loyalty and longevity. McDonald’s has appeared in the program every year since 1992 and American Express since 1993.
Hyundai and JC Penney will each spend more than $10 million in advertising on the 2012 broadcast. By comparison, a majority of the films nominated for Best Picture (including Descendants and War Horse) spent less than $10 million on advertising to support their theatrical release and generate ticket sales.
First Time Advertisers
Throughout much of the past decade, the Academy Awards had a stable core of perennial sponsors. The low turnover coupled with stiff limits on the total amount of commercial time made it difficult for new marketers to gain entrance to the program.
The ad recession of 2009 led to sponsor withdrawals and a downward drift in audience ratings has further contributed to advertiser defections. This has created an opportunity for other companies to buy ad time. In the 2011 show, 31 percent of the marketers were first-timers. The freshman class of 2011 included Amazon, Best Buy and Living Social.
Low Ad Clutter
The Academy Awards runs against the general trend of stuffing more ad content into TV programming and offers marketers a less cluttered environment. In granting broadcast rights to the program, the Academy limits the amount of commercial time.
Over the past decade, the show has consistently averaged 8-10 minutes per hour of national commercial messages. This includes paid ads plus promotional plugs from the network for its own programming.
The comparable level for the Super Bowl is about 13-14 minutes per hour and for network prime time programming it is typically 14-16 minutes per hour.
TV Ratings Are Eroding, Digital Picks Up Slack
Household audience ratings during the live broadcast of the 2011 Academy Awards were the second smallest in history. Viewing levels have slipped 23 percent in the past decade and 15 percent from just five years ago.
In an effort to attract audience and boost interest, ABC has been integrating online elements into its coverage. The 2011 show was streamed live, providing expanded coverage of red carpet activities, press room interviews with winners and other backstage activities. Social media and mobile applications were also utilized to help make the event more immersive and appealing to younger audiences.
Although the Academy Awards is predominately a TV advertising event, there are a range of digital marketing programs that capitalize on the event and target Oscar enthusiasts.
ABC is the most active player, using digital media to generate audiences for both its TV and online productions which it can then monetize through advertising sales. ABC places rich media and display ads on targeted web sites in the 3-4 weeks leading up to the Academy Awards to promote and build interest in the TV broadcast. The network also executes a paid search ad campaign to direct traffic to the Oscars.com web site, which it operates. Not surprisingly, the primary root keywords it buys are “Oscars” and “Academy Awards”.
ABC sells a variety of display ad formats on Oscars.com and some of the companies buying spots in the TV broadcast also purchase digital ads on the web site to extend and amplify their offline campaign. In 2011, Hyundai was the top spending advertiser on both the ABC telecast and the Oscars.com site.
Other web publishers create content around the Academy Awards which helps support their ad sales efforts. For sites that cover the entertainment and celebrity industry, popular approaches include announcements of the nominations, predictions and fan voting for winners, red carpet activities, critiques of celebrity fashion, and coverage of post-Oscar parties. Food-oriented web sites have gotten into the game with articles on hosting an Oscar-themed party at home and recipe ideas.
Radio is the subject of a “flurry of news releases at CES,” being the Consumer Electronics Show in Las Vegas. But as Radio World describes, “you may have to expand your definition” of the word “radio.”
Among other announcements at CES, TuneIn Radio released a smartphone app that is compatible with Ford’s voice-controlled Sync system. This is a free service and app with access to 50,000 AM, FM, HD and Internet stations.
Subaru is working with Harman to provide its Aha platform in Subaru models. This is a cloud-based platform that enables drivers to use Internet radio content. Harman describes Aha as “the Web-connected ‘fourth band’ of radio, alongside AM, FM and satellite radio.” Aha provides Internet radio from Shoutcast, CBS Radio and Slacker, among other providers.
Slacker and Verizon Wireless debuted the Slacker Radio application for Android, optimized for 4G LTE connections. This the companies described is “A highly visual application [that] features a unique station tile display [and] the ability to preview stations before playing and an optimized ability to browse for content, making music discovery even easier.”
Internet radio may get a boost in Europe, where Ford will cease fitting new models with CD players, in favor of MP3, USB and Bluetooth devices. Drivers will bring their own music on mobile devices, giving them the ability to stream Internet radio.
Cable networks, led by HBO and AMC, fared well during the 2011 Emmy Award nominations, reports MultiChannel News. HBO received 104 primetime Emmy nominations, including 21 for its miniseries Mildred Pierce and 18 for Atlantic City prohibition era drama Boardwalk Empire, according to the Academy of Television Arts and Sciences. AMC, led by 19 nominations for three-time Emmy winning drama series Mad Men, drew 29 nominations. CBS led the broadcast networks with 50 nominations, followed by NBC (46 nods), PBS (43) Fox (42) and ABC (40).
ABC's "Primetime Nightline" was down 31 percent from last week's episode; CBS and NBC tied in Wednesday night ratings. Each net scored a 1.9 in the 18-49 demo, writes the Hollywood Reporter. Fox's So You Think You Can Dance dipped 25 percent going head to head against CBS' Big Brother, which was up 4 percent from Sunday's telecast and posted its best Wednesday premiere in viewers and key demo since 2003. Fox came in third place.
Retired NBA All-Star Shaquille O'Neal has signed a multi-year agreement to serve as an analyst for Turner. He will appear on TNT's Inside the NBA studio show, its All-Star weekend coverage and playoff coverage. He will also contribute to NBA TV and NBA.com. The Turner deal also includes a development deal with Turner's Entertainment and animation networks, reports Broadcasting & Cable.
- CBS and The Recording Academy have a reached a new 10-year deal to keep the annual Grammy Awards broadcast on the network through 2021. CBS has broadcast the Grammys since 1973. The 54th Annual Grammy Awardswill air live from Los Angeles on Sunday, Feb. 12, 2012, reports Broadcasting & Cable.
- Current's premiere of Countdown with Keith Olbermann averaged 179,000 viewers in the advertiser-targeted adults 25-54 demo on Monday. Countdown's ratings at 8 p.m. also beat those of CNN's In the Arena, which averaged 89,000 viewers in the demo, according to numbers provided by Current. The ratings fell short of those at Olbermann's former network, MSNBC, which had 237,000 viewers in the key advertiser demo for Last Word with Lawrence O'Donnell, reports MultiChannel News.
- An affiliate of private equity firm Apollo Global Management has completed the roughly $510 million acquisition of American Idol owner CKx Inc. CKx is the owner of American Idol and So You Think You Can Dance producer 19 Entertainment and also owns the rights to the likeness and names of Elvis Presley and Muhammad Ali, according to the Hollywood Reporter.
- According to Nielsen live-plus-same-day ratings data, ratings for the second installment of Oxygen’s The Glee Project earned 527,000 total viewers in the 9-10 p.m. time slot, up 16 percent from the 465,000 who tuned in for the June 12 premiere, a gain of 62,000. These numbers must continue to grow in the coming weeks if Oxygen is to reap the benefits of the brand association, writes AdWeek.
- Univision Communications' coverage of Saturday’s Mexico vs. Guatemala match – part of the 2011 CONCACAF Copa Oro (Gold Cup) – was the no. 1 program of the night ahead of every other primetime telecast, regardless of language, across key demos including Persons 12-34, Adults 18-34, Adults 18-49, Men 18-34 and Men 18-49, reports TVbytheNumbers.