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AWEwww.mediaweek.com

Baseball Not a Home Run for FoxMLB's early playoff ratings slide without major -market marquee matchups PAGE 6

INTERACTIVE

'06, '08 Pols EyeBroadband VideoWeb 2.0 tech used for firsttime in midterm race PAGE 7

CABLE TV

Networks StandUp to SitcomsTBS, FX try to succeed wherebroadcast has flopped PAGE 8

TV PROGRAMMING

Sweeps PeriodsBiting the DustNets collectively yawn overNov. thanks to LPMs PAGE 8

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Radio Listeners Stay TunedDuring Commercials

© 2006 Arbitron Inc. PPM' is a service mark of Arbitron Inc Media Monitors' and the Media Monitors logo are service marks of Media Monitors,LLC. 06 -PPM -923

On average, radio holds onto more than 92%of its lead-in audience during commercial breaks.Arbitron's Portable People Meter (PPM') reveals What Happens When the Spots Come On:

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At DeadlineMPA STUDY: MAGS STILL EFFECTIVE AD BUY

A new report to be unveiled at the AmericanMagazine Conference in Phoenix, Ariz., this weekseeks to debunk the conventional wisdom that print,as an ad medium, is on the decline. The study, byMarketing Evolution, New York, and commissioned bythe Magazine Publishers of America, looks at 19 mar-keters, including Ford, Johnson & Johnson, Motorolaand Target, and measures the efficacy of their adbuys in magazines, the Internet and TV from late 2004through June 2006. The report found magazinesdrove through the "purchase funnel," leading three offour "funnel stages" reported. Magazines led in famil-iarity (85 percent), purchase intent (72percent) and brand imagery, where 73percent of those surveyed were able toidentify a logo based on a magazinead. In the only stage in which maga-zines didn't lead, ad awareness, maga-zines still scored 66 percent, meaningthat percentage of people said maga-zines made them aware of the brand.That compared to 73 percent for TVand 55 percent for online. The studycovered the automotive, pharmaceuti-cal, entertainment, packaged goods,retail and electronics categories.

I CBS RADIO SETTLES PAYOLA SUITCBS Radio last week agreed to pay $2million to settle an ongoing payolainvestigation brought by New York StateAttorney General Eliot Spitzer. The No.2 radio group will also undertake certaincompany -wide reforms to guard againstcertain pay -for -play practices. So far,Spitzer's ongoing payola probe has ledto settlements with all four major recordcompanies, and a lawsuit filed againstEntercom Communications. Earlier thisweek, a State Supreme Court Judgedenied "in all respects" Entercom'smotion to dismiss Spitzer's case, allow-ing the lawsuit to proceed. Spitzer'soffice is also pursuing settlements withseveral other radio companies, including Clear Chan-nel, Cox Radio and Emmis Communications.

sionate interest in exotic locales. Content ranges fromlicensed, longer -form shows, such as Thirsty Traveler,which has appeared on cable network Fine Living, andGet Out! Girls, a daily series featuring a group offemale friends seeking travel adventures. In addition toprofessionally produced fare, Travelistic.com is alsoinviting users to contribute their own video travelogues,which the site's editors will monitor.

I JIBJAB LAUNCHES SKETCH COMEDY SERIESJibJab, the viral video company perhaps most famousfor its popular animated clip lampooning the 2004presidential campaign, has launched The Great Sketch

Experiment, a new short -form comedyseries available on both JibJab.comand VCast, Verizon's mobile videoplatform. The show's two- to four -minute clips feature six JibJab-recruit-ed sketch comedy troupes performingoriginal scenes, each using the sameset. The clips have been directed byJohn Landis, of Animal House fame.In addition to serving as a distributor,Verizon Wireless is the new show'spremier sponsor, running five -secondspots prior to each sketch, along witha persistent branding unit visible dur-ing the video footage.

PAEDIAWEEK

Turner's Koonin is tacklingthe challenge of original

sitcoms Page 8

Opinion 14

Media Elite 22Inside Media 24

Mr. TV 30

I MTV VET UNVEILS TRAVEL SITEDiversion Media, a startup digital media company ledby Nicholas Butterworth, the former head of MTV'sonline strategy, has launched Travelistic.com, a newbroadband video Web site which features a mix of syn-dicated and user -generated content related to traveldestinations. The new site is aimed at both travelersplanning vacations and those who simply have a pas -

I NYT, TRIBUNE REPORT AD DROPThe New York Times and TribuneCos. were the latest newspapers toreport third-quarter declines in adrevenue. NYT ad revenue slid 4.2percent, reflecting weak retail adver-tising at its New England properties,which include The Boston Globe, andsoft classified ads. Despite a jump innet earnings due to one-time gains,Tribune, parent of the Los AngelesTimes and Chicago Tribune, sawpublishing revenue slip 2 percent.

I ADDENDA:General Motors is expected to fur-

ther increase the proportion of media dollars itspends on digital media, pushing beyond the 10 to15 percent range on the national level and past the 9percent mark on the local level, reports Merrill Lynch.A GM rep declined to comment...The CW has pickedup the back nine episodes of its new comedy TheGame and veteran drama 7th Heaven...Merrill Lynchhas raised its 2006 revenue projections for Discov-ery Communications to $2.98 billion from $2.39billion as a result of "higher network advertising rev-enue resulting from improved ratings."

MarketIndicatorsNATIONAL 1V: ACTIVE

Prime time is selling atbuyer -friendly prices.But inventory couldtighten as several net-works hold back scat-ter inventory now thatadvertisers begin toseek makegoods onratings shortfalls.

NET CABLE: MOVING

With the Hard Eightnearly here, the focus isshifting to the kids' mar-ketplace, and packagedgoods, toys and someconsumer electronicswill move accordingly.Scatter still strong, withmovies and telecomactive spenders.

SPOT TV: BRISK

Horne -stretch politicalspending causing near-ly sold -out conditionsin some markets andstates where races aredown to the wire suchas Pennsylvania, Ohio,

Virginia, Connecticut,California and Florida.For stations withoutnews, retail and autoremain soft.

RAMO: OPEN

Inventory is available.Some News and Talk

stations are benefittingfrom political, but overalldemand for radio is soft,especially key auto andretail categories. Topmarkets continue to lagbehind smaller markets.

MAGAZINES: SOLID

Food, pharmaceutical

and retail continue tocarry fourth quarter.Entertainment, food andlifestyle magazines arereaping the benefits.Also doing well: cos-metics, technology andforeign automotive.

mediaweek.com October 23, 2006 MEDIAWEEK 5

MEDIA WIRE

Post -Cuts, NBC Flip -FlopsOn 8 p.m. Scheduling PlanNBC executives were trying to reassurethe media -buying community late lastweek that earlier statements about the 8p.m. hour becoming a reality houracross all nights were not set in stone.

NBC Universal Television CEO JeffZucker indicated-as part of an NBCUannouncement that it will trim its work-force by 700 people and cut $750 mil-lion in expenses by 2008-that NBCwas mulling replacing expensive script-ed shows at 8 p.m. with cheaper reality.Media buyers immediately expressedconcern and NBC entertainment presi-dent Kevin Reilly scrambled to explainthat reality would not air every night.

NBCU attempted to paint the cost-cutting initiative, called "NBCU 2.0" as apositive step that will "drive growthacross every business." But industryobservers believe that although therewill be short-term savings, it could havean adverse long-term effect.

The plans look to "streamline news -gathering operations" of MSNBC byclosing its news and production facilityin Secaucus, N.J., and moving the cablenews network's operations in with sisternetwork CNBC in Englewood Cliffs,N.J., and with NBC News at the compa-ny's headquarters in New York.

NBCU will also create a centralizednews facility in Burbank, Calif., to sup-port a number of its news operations,including Telemundo and owned -and -operated stations KNBC and Tele-mundo's KVEA and KWHY in LosAngeles. NBCU also said that it wouldreinvest some of the savings in "higher -growth areas," focusing particularly onthe digital platform. -John Consoli

Nielsen Expands LPM toFive More Top -25 MarketsNielsen Media Research last weeknamed the next five markets in its rolloutof local people meters to the top 25 TVmarkets. With the addition in 2008 ofPhoenix (No. 14), Minneapolis -St. Paul(No. 15), Cleveland -Akron (No. 16), Mia-mi -Ft. Lauderdale (No. 17) and Denver(No. 18), Nielsen will have its LPM serv-ice running in a (Continued on page 8)

NETWORK TV BY JOHN CONSOLI

Early Playoff StatsLeave Fox on BaseViewer -challenged MLB postseason may hurtnet's bid to repeat 18-49 victory for the seasonle ewer viewers are watching the postsea-

son Major League Baseball games onESPN and Fox this October compared to lastyear, and with St. Louis and Detroit in theWorld Series, which began this past weekendwithout cities on either coast represented,some industry observers are predicting thelowest -rated World Series ever.

But Fox execs believe momentum is build-ing and this year's playoff ratings could meet orsurpass last year's, depending on the length ofthe World Series. Overall, Fox's playoff ratingsto date are down 11 percent in householdscompared to last year, 6.3/11 from a 7.1/12,according to Nielsen Media Research data.

Household ratings for the recently com-pleted American and National LeagueChampionship Series on Fox averaged a6.9/12, down 5 percent compared to lastyear's 7.3/12. But that number was helped bya seventh game in the NLCS series this year.The AL and NL Divisional Series on Foxaveraged a 4.8/9, down 27 percent from lastyear's 6.6/11. Ratings on ESPN were similar-ly down, with the cable network recording a2.4/6 rating for its Divisonal Series games,down 23 percent from last year's 3.1/7.

Looking beyond baseball, the lower statsmay hurt Fox in its bid to win bragging rightsas the net with the highest 18-49 rating at theend of the season. One media researcher saidbeing down double -digits for a month couldresult in a dip of one -tenth of a rating point forthe season. And since Foxwon the 18-49 race lastseason by just one -tenthof a rating point, thiscould very well keep itfrom a repeat victory.

There are a numberof reasons why viewersmight not have been asenamored with watchingthe playoff games thusfar, but the most obviousone is the matchups.

6 MEDIAWEEK October 23, 2006 mediaweek.com

6

Clearly the television ratings were hurt sig-nificantly when the Boston Red Sox did notmake it to the playoffs. The New YorkYankees' quick elimination in the first roundwas also a factor. And in the two LeagueChampionship Series, this year's AmericanLeague representative, Detroit, is a slightlysmaller market than last year's team, Chicago,while St. Louis is a smaller TV market thanlast year's National League team, Houston.

Fox officials also point out that in theDivisional Series, the network aired only oneprime -time Yankees game this year, comparedto three last year. And during the LeagueChampionship Series, a rainout cost Fox onesplit -national prime -time game that was even-tually played during the day. There was alsothe four -game sweep by Detroit of Oakland.

Other media observers point out that withSunday Night Football now on NBC ratherthan ESPN, where it ran last October, morefans were watching football and may haveskipped Fox's Sunday night baseball telecasts.

"Considering all we've had to overcome,"said Fox Sports president Ed Goren, "I'm sur-prised that we have done as well as we have."

But still, less people have watched eventhe comparable games. For example, the firstYankees playoff game on Fox last year(Anahiem) recorded a 3.4 adults 18-49 ratingand a 4.7 men 18-49 rating, while the firstYankees game this year (Detroit) earned onlya 2.7 adults 18-40 rating and a 3.8 men 18-49

"Considering allwe've had to

overcome, I'msurprised that

we have done aswell as we

have." GOREN

tWitt4314i1SNicalt

rating, down 20 percent and 19 percent,respectively. Some of that could be attributedto the larger Los Angeles DMA.

While Fox officials would not acknowledgethat makegoods were doled out to advertisersduring the League Championship Series tele-casts to make up for ratings shortfalls, onemedia buyer said, "Anytime a network is downdouble -digits, it is in a makegood situation,and most advertisers will want those make -goods quickly in comparable live sports."

Despite the ratings shortfalls, Fox offi-cials said they were "whole" with advertisersheading into the World Series. Fox execs saidthey held enough inventory back to deal withthe ratings decline, partially helped by get-ting MLB to agree to give more commercialinventory avails in each game. That wassomething the network negotiated duringtalks with Major League Baseball when itrenewed its TV rights deal for 2007-2013.

While many are predicting soft ratingsfor the World Series, Goren said that maynot necessarily be the case. "Some of thegreatest World Series have involved teamsthat weren't from both coasts," Goren said."There are a lot of people who live betweenboth coasts and those people have beenknown to determine the outcome of nationalelections. If we can get a World Series thatlasts six or seven games, we'll be OK."

According to Fox representatives, thenetwork is heavily sold for the first fivegames of the World Series, with more inven-tory left for potential games six and seven.

Goren said Fox officials are not glad to berid of the Divisional playoff games after thisseason, despite the soft ratings. "Not renew-ing those games was more based on thestrength of our prime -time entertainmentschedule," Goren said. "In years past, theDivisional games produced better ratingsthan [scripted] shows on Fox. Now showslike House and Prison Break are doing betterratings so it is tougher to pull them off theair for a month. It makes sense for us to airless [postseason] baseball."

Goren said postseason baseball is still pro-gramming that produces solid ratings, partic-ularly deeper into a series. Games fivethrough seven of the New York Mets vs. St.Louis Cardinals National League Champ-ionship Series produced more than 40 percenthigher ratings in key demos than they did ingames one through four. That series' seventhgame averaged 16.5 million viewers across thenight; the largest total for a televised MLBplayoff game this year, and Fox's highest -ratedThursday night in seven months. And thatwas against powerhouse competition like CSIon CBS and Grey's Anatomy on ABC.

INTERACTIVE BY MIKE SHIELDS

High -Speed StumpingOnline video expected to play key role in '08 election

American political campaigns haven't quitecaught onto the broadband video revolu-

tion, but a trickle of activity has begun i sev-eral key races as Election Day 2006 neut. Andwhile this year is relatively quiet, observers saythat the surging interest in online videc cou-pled with an expanding political Web un versesets up 2008 as a potential breakthrough yearfor digital political advertising.

Broadband Enterprises-a company thatsells video ad inventory across a netwc rk ofWeb sites-has recently implemented cnlinevideo campaigns on local TV statior andnewspaper sites for the California Democrat-ic Party and for Texas Governor Rick Perry.According to Matt Wasserlauf, the company'spresident/CEO, at least two additional cam-paigns are seriously considering similar buysin the next few weeks leading up to NOV. 7,

when voters across the country hit the p )11s.Spending so far is on the modest side, as the

two campaigns have laid out roughly $100,000between them, delivering about 5 m Ilionimpressions in total. Wasserlauf said that -.vhiledemand among political campaigns this yeardoesn't quite mirror the overall rabid appetitefor online video advertising, the progress ispromising. "2004 was definitely too early forthis stuff," he said. "Back then they were say-ing, 'I've to go do Internet.' They weren't eventhinking about broadband. Now, we're havingthe same conversations this year about video."

Part of the reason things are still movingslowly, said Wasserlauf, is that local TV andnewspapers sites are limited in the amount ofinventory they can sell and are less nimblewhen it comes to execution.

In fact, thus far, Broadband Enterprises'political buy appears to be an isolatedAmong other prominent ad networks, neitherAOUs Lightningcast, Blue Lithium nor 24/7Real Media reported any political ads-videoor otherwise. National sites like MSNBC comor FoxNews.com also have come up empty.

The fact that more activity isn't happeningon the Web this year, given all the attention themedium received during the 2004 presidentialcampaign, is "truly a disappointment," saidGordon Borrell, CEO of local media consul-tancy Borrell Associates. While Borrell claimsthat local media sites actually have plenty ofinventory to sell, neither the sites nor politicalmedia consultants have caught up to changingmedia dynamics, and are wary of experimenta-

a

5

HotSoup.com, which went live this month,will feature contributors such as the Clintons.

tion. "Everybody is using the same playbookthey've used for several decades," Borrell said."I don't think anybody was ready this year."

Interestingly, though online video adspending has been limited, other Web 2.0 fac-tors, some of them viral, may impact politi-cians. For example, in the New Jersey Senaterace, anti -Tom Kean Jr. clips, have been pop-ping up on YouTube. One clip, "Tom Kean Jr.Turns His Back On A Soldier's Mother," hasbeen viewed over 65,000 times as of Oct. 20.

Looking forward, Jack Smith, vp of productstrategy, 24/7 Real Media, and others are pre-dicting that 2006 will pale in comparison to2008, when the country's interest level shouldbe considerably higher and online video adver-tising will be far more sophisticated. A newpolitical site that hopes to be a major voice isHotSoup.com, which went live Oct. 19.Designed as a MySpace-like community for allU.S. political stripes looking to congregate, thesite has the backing of 10 prominent politicalnames, including Joe Lockhart, President BillClinton's former press secretary, and MatthewDowd, a top Bush -Cheney campaign strategist.

The site, which features a regularly rotatinggroup of pundits providing commentary, haslined up the former president and Sen. HilaryClinton (D-N.Y.) as future contributors.

HotSoup co-founder Allie Savarino saidthe new site's bipartisan nature should appealto more brands, which are generally cautiousabout advertising in the highly partisan polit-ical blogosphere. "There is enormous adver-tiser resistance to being associated with oneopinion...since that one opinion will be auto-matically opposed by people they want to selltheir products to," said Savarino.

mediaweek.com October 23, 2006 MEDIAWEEK 7

MEDIA WIRE

total of 18 markets.In June, when it released its Anytime

Anywhere Media Measurement plan,Nielsen announced it would convertHouston (No. 10), Seattle (No. 13) andTampa, Fla., (No. 12) in October 2007.With LPMs, the TV industry gets dailydemographic TV viewing data.

Phoenix will be the first market tomake the transition in April, followed byMinneapolis and Cleveland in August,and Miami and Denver in October.

As part of the transition to LPMs,Nielsen, owned by Media week parentVNU, will operate in tandem the oldmeter/diary methodology and the newLPM for three months. -Katy Bachman

IPG Overhauls Its MediaUnits; Rosenthal to ExitInterpublic Group last week said it willrestructure its media operations and dis-band its Interpublic Media unit as MarkRosenthal, the division's CEO, preparesto step down.

The unit has overseen three bigmedia agencies: Initiative, UniversalMcCann and negotiating arm MagnaGlobal. Rosenthal, who returned follow-ing a medical leave this summer, is stay-ing on for a transitional period beforemoving on. Initiative and UM will now berealigned with IPG creative shops. UMonce again will be linked to McCannWorldgroup, where it resided until Janu-ary, when it was split off as an inde-pendent entity. Initiative is being alignedwith DraftFCB-itself the product of amerger between direct -response firmDraft and advertising shop FCB earlierthis year.

A new body called the InterpublicMedia Council, chaired by PhillippeKrakowsky, executive vp, strategy andcorporate relations, will now overseemedia operations in place of the moreformally structured Interpublic Media.

Members of the IMC include BillCella, who was promoted to vice chair-man of DraftFCB while retaining over-sight of Magna, where he has beenchairman; McCann Worldgroup chair-man John Dooner; UM global CEO NickBrien; Initiative global CEO Alec Gerster;and Steve Gatfield, IPG executive vp,strategy and (Continued on page 10)

CABLE TV BY ANTHONY CRUPI

Searching for Duck SoupPursuing TV's holy grail, nets try out original sitcoms

Television is an industry where people,like a priest late for a wedding, tend to

arrive at their opinions with screeching tires.Throughout the last few years, observers haveburned rubber in the rush to declare that thesitcom is deader than the Marx Brothers.

The corollary to the above is that TV peo-ple tend to throw the car in reverse whenev-er a consensus is reached. While basic cablehasn't had a bust -out original 30 -minute sit-com, a handful of nets are trying to grow oneof their own. In November, TBS will debuttwo scripted comedies: My Boys, a 13 -episodeseries about a twentysomething sportswriterand her circle of male friends and 10 Items orLess, a 5 -episode improv-hybrid about a goofygrocery store manager. 10 Items will debutNov. 27 at 11 p.m., following The Family Guy,while My Boys debuts Nov. 28 at 10 p.m.,leading out of Sex and the City.

"We're making our bones in scriptedcomedy by aggregating," said Steve Koonin,executive vp/COO, TBS/TNT, who added

TBS hopes My Boys will find to an audienceof smart adults that skews slightly female.

TV PROGRAMMING BY A.J. FRUTKIN

that the goal of My Boys is to reach "a date -night audience of smart adults, with a touchof female sensibility."

Of the two new series, clearly TBS hasmore riding on the success of My Boys, whichis costing Turner in the neighborhood of $1million per episode. "This is a big, ambitiousendeavor," Koonin said. "The chance of fail-ure is high but the opportunity to learn fromthis is even higher."

FX president and general manager JohnLandgraf has learned a few lessons of his ownwith his net's comedy forays. Season two of It'sAlways Sunny in Philadelphia grew its audienceby 30 percent but didn't deliver as well as dra-mas Nip/Tuck and Rescue Me. And whileLandgraf said he was pleased with Sunny, itmay not return. "We're working on negotiat-ing with the talent but there are significantdeal issues that could derail a third season," hesaid, adding that if it were to return, it won't bepaired with another new comedy. "I'm dubiousthat spreading the marketing budget acrosstwo shows is a sound strategy."

At Comedy Central, genre distinctions areimmaterial. "It's not about whether the formatworks," said Lauren Corrao, Comedy's execvp, original programming/development. "It'sabout the characters, the ideas." While Corraosaid she doesn't have any sitcoms for 2007, theupcoming Sarah Silverman Programme sharessome of the sitcom genre's DNA.

In the meantime, media buyers are stilllooking for a comedy with mass appeal."Comedies are too focused on young men,"said one buyer who spoke on the condition ofanonymity. "But we're not talking vaudeville...something's bound to hit."

Sweeps in the Dust BinRatings periods lose urgency as stations turn to LPMsI isa shocking notion, but the TV networks

actually may be listening to advertisers.After years of grumbling that sweeps ratingsare falsely inflated through stunts, the once -important measurement periods are losingtheir oomph. In fact, the upcoming Novem-ber sweeps (which run Nov. 2-29), may be the

most lackluster to date.Among the only events scheduled for next

month are ABC's broadcast of the 40th annu-al Country Music Association Awards, airingNov. 6, and the American Music Awards, air-ing Nov. 21. The network also will broadcastthe cliff-hanger final fall episode of Lost -

8 MEDIAWEEK October 23, 2006 mediaweek.com

11

HASBECOME A MAJOR

BAROMETEROF HOTNESS

FOR EVERYONEIN HOLLYWOOD!'

ADWEEK MAGAZINES

MEDIA WIRE

network operations.Magna will continue to be the main

negotiating arm for media purchases,working with Initiative, UM and otherIPG media operations. InterpublicMedia will wind down by the end of themonth, with some staffers transferringto the IPG unit and a "small number" ofexecutives being let go, the companysaid. -Steve McClellan

Nielsen Holds CommercialRatings Run Until Dec.11Nielsen Media Research has delayed bythree weeks, to Dec. 11, the start datefor delivering its national commercial rat-ings data to clients.

In a letter to clients, Nielsen said theextra time is necessary "to accommo-date modifications to the original specifi-cations," but said the data will includehistorical information back to the start ofthe current television season. EffectiveDec. 18, the data will be producedaccording to the schedule.

Nielsen, which is owned by Media -week parent VNU, also told clients thatthe commercial ratings will be labeled"evaluation data," and that the broad-cast and cable networks and syndica-tors will be required to "opt in" in orderto have their figures released. They haveuntil Nov. 1 to contact Nielsen to say ifthey want to be included.

During the testing stage, Nielsen willnot measure football telecasts thatinclude regional games airing at thesame time. It also won't include data forindividual syndicated shows that air inmultiple time periods.

Regarding syndicated shows,Nielsen said, "We are working veryclosely with these clients and are takingall steps necessary to have the capabili-ty to include these programs at the ear-liest possible date."

Nielsen will make average commer-cial -minute figures available free ofcharge to its clients during the evalua-tion period. However, Nielsen clientswho choose not to opt in will not haveaccess to the information files.

The data will be available for com-mercial minutes in all three existing datastreams: Live, Live Plus Same Day andLive Plus 7 Day. -JC

until it returns in thespring-on Nov. 8. Per-haps the most notableevent for CBS is a CSIepisode, airing Nov. 23,in which The Who'sRoger Daltrey guest stars.NBC broadcasts a TonyBennett special on Nov.21, and a Madonna spe-cial on Nov. 22, while Foxairs its dramatic final fallepisode of Prison Break-before it returns nextspring-on Nov. 27.

Although advertisercomplaints may have con-tributed to the diminished luster of sweeps, sohave changing viewer measurements. "Morethan anything, local people meters have reallyeliminated the need for sweeps," said BradAdgate, senior vp, director of research, atHorizon Media. Adgate added that broadcast-ers traditionally have programmed sweepsbecause stations sell off those ratings books."But as more stations get continuous meas-urements, the need for sweeps diminishes," heexplained, noting that the nation's ten largestlocal markets already employ LPMs, withthree more cities slated to use them next year,and another five in 2008 (see Wires on p. 4).

Whether through advance scheduling orlast-minute cancellations of failed freshman

NETWORK TV BY JOHN CONSOLI

Substitute: One "big" event for Nov.will be Daltrey's role on CSI.

series, most networksalso will be launchingseries in sweeps-a rare,though not unprecedent-ed, occurrence. Follow-ing Lost's midseasondeparture, ABC will pre-miere the action dramaDay Break, on Nov. 15.The ABC comedy BigDay launches Nov. 28.CBS debuts medicaldrama 3 lbs. on Nov. 14,replacing the cancelledcrime drama Smith,while NBC returnsMedium to its schedule,

on Nov. 15, replacing Kidnapped. Fox launch-es its new trivia game show The Rich List, onNov. 1, a day before sweeps officially begins.However, subsequent episodes will airthrough the ratings period.

A low-key November sweeps also may bethe result of a tough fall season. And asbroadcasters continue to try to stabilize theirfall schedules, several advertisers said bulk-ing up sweeps with too many events couldhave proven confusing to viewers. "Nothinghas really solidified for the networks yet,"said Laura Caraccioli-Davis, executive vp ofStarcom Entertainment. "So I think it'ssmart for them to stay the course where theycan, rather than be more disruptive."

Hitting Buzz Bull's-eyeBrandimensions' preseason study pegs winners, losers

One tracker of online buzz for broadcastprime -time programming has proven to

be a fairly accurate predictor of which showswould succeed or fail thus far.

Three of the top six new shows that aBrandimensions preseason analysis predictedwould succeed (by monitoring a broad rangeof Internet sources), among 26 programs, areso far the hottest shows of the new season.And the lowest show in its rankings was thefirst show to be pulled and put on hiatus.

In the Brandimensions report issued June30 (Mediaweek, July 10), NBC's Heroes rankedsecond, CBS' Jericho ranked third and ABC'sUgly Betty came in sixth. Fox's Happy Hour,which was ranked 26th by Brandimensions,became the season's first casualty, pulled offthe air after only a few weeks.

Brandimensions did rank NBC's Studio 60

on the Sunset Strip, based on online buzz, to bethe show most likely to succeed. Brandimen-sions CEO Bradley Silver explained that whilethat show's share of audience discussion goinginto the season was by far the highest, edgingout Heroes, Jericho and Betty narrowly in "sen-timent score," it never met audience expecta-tions. "The one fear of many viewers going inwas that the content would be too 'inside -Hollywood' for most audiences, and that ishow it has turned out to be," Silver said.

Three new shows already cancelled-CBS' Smith, NBC's Kidnapped and CWsRunaway-were ranked 13th, 14th and 18threspectively in preseason predictions.

As for Heroes, Brandimensions found fromonline discussions that "the comic fan commu-nity, a large number of males 18-49, is drivingpositive discussions for this show. These view -

10 MEDIAWEEK October 23, 2006 med aweek.com

An Encyclopedia of Newspaper Information

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MEDIAWEEKEditor: Michael BUrgiManaging Editor. Jim CooperNews Editor/Editor, Mediaweek.com: Lisa GranatsteinEditor, Special Reports: Patricia OrsiniCopy Editor/Media Elite Editor: Lauren Charlip

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ers are excited about the premise and will begiving the show a chance to meet their loftyexpectations this fall." Brandimensions foundviewers were "intrigued by the premise ofJericho and feel like the cast may prove to besomewhat of a sleeper." The report also pre-dicted Ugly Betty could be a "surprise hit forABC among younger female viewers."

Interestingly, the Brandimensions reportsaid a majority of the show's fans were "notthrilled" with its initial 8 p.m. Friday time

4I 9

I

ABC's Ugly Betty delivered on the early Web

buzz that it would appeal to young women.

RADIO BY KATY BACHMAN

period. ABC, before the start of the season,moved the show to 8 p.m. Thursdays, when agreater number of the show's potential youngfemale viewers are generally tuned in.

Silver said the buzz data reports haveworked because they can filter out "the noise,"i.e., viewers who complain or praise everythingand who are not regular TV watchers or like-ly viewers of the shows on which they they arecommenting. "We want to target discussionsfrom the audience who are likely watchers of aparticular show, because that will give a betterindication of how the core target feels."

Since the Brandimensions' first reportcomes out after the new shows are announcedduring the upfront, when the media agenciesbuy for the new season, it is hard for them touse that data in their decision -making process.But some media buyers, who did not want tospeak for attribution, said this type of data canbe used to help them target shows for adver-tisers during the year in the scatter market.

"The accuracy of this data makes itanother tool we can use when determiningwhere our clients' dollars would be bestspent," one buyer said.

Summer ShiftFree FM mixed; Spanish stations, CC's CHR/Top 40 up

Radio stations targeting 18-34 year -oldsgot their usual ratings boost in the Arbi-

tron summer survey (June 29-Sept. 20), caus-ing Adult -oriented stalwarts such as ClearChannel's WLTW-FM in New York, whichheld its No. 1 rank, to lose some share. Mean-while, Spanish -language stations nabbed theNo. 2 and No. 5 spots in New York and theNo. 1, 2 and 4 spots in Los Angeles.

Several Clear Channel Contemporary HitRadio/Top 40 stations were up, includingWHTZ-FM in New York, which was up to4.9 share from 4.5 to come in No. 3; KIIS-FMin L.A., (to 4.8 from 4.6), also No. 3; WIOQin Philadelphia, (3.7 over 3.1); and WKQI-FM in Detroit (5.0 from 4.7) to rank fourth."You get concerned when the summer doesn'tlook good for a CHR," said Rich Russo,director of broadcast services for JL Media.

Urban stations also gained new share,including Emmis Communications' WQHT-FM in New York (4.1 from 3.9) and KPWR-FM in LA (3.8 from 3.1) and Clear Channel'sWGCI-FM in Chicago (5.7 from 4.8).

Sans Howard Stern, the morning audi-ence is still shifting in New York, mostly to

Luis Jimenez on Spanish BroadcastingSystem's WSKQ-FM, which is ranked No. 2.

Jimenez was No. 1 among adults 18-34 (gen-erating a 13.8 share) and 25-54 (a 9.3 share).

Despite adding Opie & Anthony to manyCBS Radio stations, the Free FM format istaking time to click. Overall ratings for FreeFM stations dipped in New York (WFNY-FM), L.A. (KLSX-FM) and Philadelphia(WYSP-FM). In Chicago, WCKG-FMremained at the bottom of the market, butWJFK-FM in Washington, D.C., held steady.

Opie & Anthony had mixed results, pullingtheir best ratings performances in New Yorkand Boston (on CBS' Rock station WBCN-FM) where the duo is best known. In NewYork, O&A came in third among their targetmen 18-34 demo and No. 2 among men 18-49 and 25-54. But in Philadelphia, their rat-ings were off, declining to 6.8 from 9,.6among men 18-34.

In Washington, it's a case of Howard who?The Sports Junkies on WJFK-FM are pullinghigher ratings than Stern did a year agoamong men 18-34, men 25-54, men 18-49and adults 18-34.

mediaweek.com October 23, 2006 MEDIAWEEK 11

e sher way oilofa speedingticket.

OPINIONJOHN CONSOLI

Keeping It SimpleTV viewers just don't want to work that hard to be entertained

THE BROADCAST NETWORKS .ire spending recordamounts of money on this season's new shows, both onthe production side and in front of the camera, in someinstances bringing in high -profile movie talent. Yet fourweeks into the season, a handful of shows have alreadybeen canceled and several more probably will be beforeSanta Claus comes to town.

While network programming executives may bescratching their heads wondering why these shows-allcreatively solid and well-acted-are failing, I think theanswer might be right in front of their eyes. Peoplewatch what they watch not because of expensive produc-tion values or star power, but because a show is enjoyableto them. It helps them to escape and/or relax for an houror two in this high-pressure world we live in.

Current hits CSI: Crime Scene Investigation, Grey'sAnatomy, Desperate Housewives, House, Without a Trace,Criminal Minds and Law dr Order: SVU, to name a few,have all drawn sizable audiences without the help of anymajor movie -marquee talent. It's more about the writingand the storylines than it is about big -budget locationsand talent. And it's about avoiding putting on program-ming that people will not want to watch.

Take the current season, for example. Three showsthat have been cancelled-NBC's Kidnapped, CW'sRunaway and CBS' Smith-all feature storylines that Ifeel simply have turned off viewers.

How many families with children want to watchKidnapped, in which a young boy is mysteriously snatched,and for an entire season the police and FBI are frustratedbecause they can't find him and bring him back? CBS'Without a Trace employs a similar concept, but the missingperson is usually found at the end of each show.

Similarly, how many families were going to return toRunaway, in which a father is falsely accused of murderand then takes his family on the run, hunted by anoverzealous cop? In one recent episode-again, very pol-ished in its execution-one of the family's children isquestioned by his teacher, can't remember his coverstory, and suffers a panic attack that ends him up in thehospital. Does any parent want to live vicariouslythrough that kind of storyline each week? I think not.Talk about creating parental angst.

And then we have Smith, a drama about a team ofhigh-tech thieves. Even Ray Liotta's star power couldn'tovercome a general tenet of TV Viewers do not like tun-ing into a show in which the bad guys get away with acrime every week.

By contrast, let's look at the shows that are succeed-

ing this season. ABC's Ugly Betty centers on a not -so -attractive young woman who is ridiculed in the work-place but always gets the last laugh on her detractors.Most people can identify with her character and feelgood at the end of every episode. Or take NBC's Heroes,a series about ordinary people who discover their super-natural powers, which is drawing in comic -book readersand family members of all ages alike. And then there'sCBS' Jericho, a sci-fi-tinged series with a scenario that'snot that far-fetched-involving a town and a nuclearexplosion. It's very different from last year's failed trio ofsci-fi series, all of which featured some sort of aliens.

My point is, network programmers need to be givingviewers more shows they want to watch, not shows thesuits believe they should be watching. And many times,these shows involve the simplest of concepts, even if theyaren't critical darlings.

Remember how NBC's Boomtown-which told thesame crime story in each episode from three differingviewpoints-was touted as a can't -miss concept a fewyears back? Cancelled. Viewers simply couldn't follow it.This season's Boomtown is ABC's Six Degrees, which isanother one of those top-flight, creatively sound shows.The problem to me is that there are just too many story-lines for viewers to follow, and the show keeps losingmore audience each week.

When I was in journalism school, it was drummed inmy head that newspaper reporters should write for read-ers that have an average educational level of 10th grade.Maybe that holds true for TV today. Programmers mightwant to put on high -concept shows that reach highereducated, $100,000 -plus income homes, but they have torealize that most viewers are not in that demo.

It should be no secret to why NBC's Law dr Ordertrilogy has worked for years, or why CBS has enjoyedsuch success with most of its procedural dramas. Theirconcept is simple. Each episode is self-contained so aviewer can watch one week, skip two weeks, and comeback again. And each storyline is simple, too. A crime iscommitted and resolved within the hour. The critics mayderide this formula-certainly no one predictedCriminal Minds would succeed-but CBS is laughing allthe way to the bank.

Most people watching television today, I would bet,don't want complexity. They just want simplified enter-tainment that they can feel comfortable with.

Senior editor John Consoli covers the broadcastnetworks and TV sports.

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Adweek Magazines

Special ReportOCTOBER 23, 2006

Magazines are creating brand extensions at a dizzying pace.See our inaugural list of the

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Adweek Magazines Special Report

THE NEXT PAGEFROM WEB SITES TO PODCASTS TO TV SHOWS,

A FLURRY OF BRAND EXTENSIONSARE TAKING MAGAZINE PUBLISHERS INTO

NEW TERRITORY BY TONY CASEPUBLISHERS CONVERGING ON Phoenix this week forthe American Magazine Conference might think they've wan-dered into the wrong convention.

Execs from Google and Yahoo are invited to share theirexpertise in digital media, while a top Coca-Cola suit willruminate on creating breakthrough brands. An exec with Cin-gular will school publishers on mobile opportunities. Mean-while, celebrity chef Rachael Ray will yack and yack about hernew status, not only as a magazine namesake but as a multime-dia maven. Even the theme of this year's gathering, "Beyondthe Page," relegates print to the back burner. No wonder thetitle of one AMC panel asks, "Just What Business Are We In?"

It's a fair question. From spinoff magazines, Web sites, TVshows, books, videos, podcasts, video -on -demand and mobilecontent to cable and satellite radio channels, apparel andhousewares lines-even clubs, casinos and films-never beforehave publishers so aggressively and ingeniously expanded theirbrands into media, entertainment and retailing sidelines.

And never have magazine publishers been so pressed to maketheir brands as relevant in as many sectors as are available andlogical, according to industry leaders. "As they say, necessity isthe mother of invention," says Jack Kliger, president and CEOof Elk and Car and Driver parent Hachette Filipacchi Media andchairman of Magazine Publishers of America. "We're in a time,which happens in the magazine business every couple of decades,

where the business has to reinvent itself for reasons of necessityand reasons of evolution. We cannot be over -dependent on theprint magazine. We have to look for new streams of revenue. It'snot really a choice."

Adds Susan Lyne, president and CEO of Martha Stewart Liv-ing parent Martha Stewart Living Omnimedia: "The largest 'oldmedia' companies are under enormous pressure from WallStreet, analysts and the press to demonstrate they understandwhere the world is going, and in their minds, the world is goingdigital. Given that the digital world is growing at a much fasterrate than old media, there's top -down pressure on publishers toget into new platforms, to find new ways of using their content."

Media agencies are also leaning on publishers to branchout. "Publications that have engaged in relationships withtheir consumer base across multiple content points are moredesirable than one four-color page in a magazine," explainsAndrew Swinand, president and chief client officer at StarcomMediaVest Group, Chicago, whose clients include Procter &Gamble and Kraft.

"With circulations falling, the world of print seems hun-gry to generate new revenue streams," observes Andrea Luh-tanen, president of Haworth Marketing and Media in Min-neapolis. "Now we wait to see if and where profits follow."

Top magazine titles, from the most established among them(Meredith Corp.'s Better Homes and Gardens, Time Inc.'s Sports

SR2 FALL MAGAZINES October 23, 2006

Illustrated, Playboy Enterprises' Playboy) to newer players (TimeInc.'s Real Simple, Dennis Publishing's Maxim), have spawnedan unprecedented jumble of products, services and happeningsnot only in response to emerging technologies and insatiableconsumer demand for content across a range of media, but alsoas a reaction to flat circulation and advertising results and thevery real need to diversify revenue. Titles including BH&G,Rodale's Prevention and Conde Nast's Glamour have even enlist-ed "brand stewards" to manage their many disparate business-es. Just as the broadcast TV networks, faced with an ever -dwin-dling audience, have shrewdly peddled their programming viacable and mobile, magazines are seriously making a splash indisciplines far afield of their core business.

Some publishers have been more active than others. Stand-outs include Rodale's Men's Health, which has spun off maga-zine titles (Women's Health, Best Life), books and videos, andBH&G, with 150 special -interest publications, products at Wal-Mart and gardening tips via mobile phones. A handful of pub-lishers have spread well beyond their magazine roots-amongthem, Real Simple and the venerable Playboy and National Geo-graphic, boasting a broad range of media properties and multi-million -dollar licensing businesses. Then, there's "BrandMartha" and its anchor, the 2 million-circ Martha Stewart Liv-ing, which has hatched many ambitious spinoffs in the year anda half since its founder's stock -trading scandal wound down withher release from prison, paving the way for the hobbled MSLand its branches to commence their roaring comeback.

The big question when it comes to magazine brand exten-sions: What works and what doesn't? A common refrain: "Ithas to make sense." Publishers who have been most successfulat building brands, execs agree, are those whose subsidiariesstay true to the core magazine's mission, and faithful to theconsumer. That is to say, Women's Health is seen as a logicalextension of Men's Health. For National Geographic to producefilms about history and nature and for Martha Stewart Livingto give way to paint, bedding and how-to books also are no-brainers. On the flip side, there's the case of shelter title Dwelland its line of branded footwear. Yes, footwear. That one lefta few scratching their heads.

"I don't care whether you are talking about print, broadcast,podcast, cell phones, skywriting or road signs. You can neverforget, it's still all about the consumer," says Time Inc. chair-man and CEO Ann Moore. "First, build a great product that isrelevant and differentiated. Second, build an audience for theproduct. Third, monetize that audience." Moore reports thatTime Inc. is seeing "meaningful" profits from its extensions,with brands including Sports Illustrated, Fortune and Money reap-ing double-digit revenue growth from sidelines.

MSLO's Lyne warns that if an offshoot is "not organic andnot well thought out, it's probably doomed." While it mayseem the company never met a brand extension it didn't like-from TV, radio and spinoff magazines to crafts, furniture andhomes-the exec says many more prospective businesses don'tmake the cut. Among the proposals MSLO has nixed:Martha -branded watches and beauty products.

Adds Stephanie George, president of Time Inc.'s Real Sim-ple, In Style, Essence and the Parenting Group: "The greatestrisk is damaging your credibility. Everything goes through afilter, and if it doesn't live up to the brand promise and giving

our consumer unrivaled access to whatever our offering is,then why do it?"

Richard Gagnon, global chief media officer at DraftFCB,whose clients include Coca-Cola and GlaxoSmithKline, says, "Ifit's done in a forced way, it won't be of much value. If you lookat a brand as a portal into a lifestyle ... the ones that resonate themost are the ones that understand their core audience and candeliver a more positive relationship strategy with an advertiser."

Starcom's Swinand thinks many publishers jump the gunregarding extensions. "They say, 'I need a digital offering. I needa mobile offering. I need a cafe.' The core idea is that it has toadd value to a consumer's brand experience. Publishers who havea knee-jerk reaction will just be wasting money," he says.

With brand spinoffs, publishers and media directors agree,size does matter. Clearly, a daily TV program or product line,with exposure before millions of consumers, trumps a film festi-val or show home. Hence, publishers with the deepest pocketshave an obvious advantage when it comes to brand proliferation.

"Scale is definitely a consideration. It takes just as muchtime to develop something that turns out to have small scale aslarge scale," says Steve Sachs, publisher of the 1.9 million-circReal Simple, one of the branding monsters of publishing whosenumerous sidelines include books, home products at Target,XM Radio segments, a PBS series and a syndicated column.

The well -documented, deep affinity consumers have fortheir favorite magazines certainly benefits publishers lookingto expand; and the more loyal the following, the more valu-able an extension can be. Nobody knows that better thanRodale's president and CEO Steve Murphy, who reports that35 percent of subscribers to its magazines-including Men'sHealth, Prevention and enthusiast titles like Bicycling and Run-ner's World-now buy other products from the company,including books and videos. (That number is expected to hit50 percent next year.) Even Rodale's extensions have exten-sions. The best-selling book The Abs Diet by Men's Health edi-tor -in -chief David Zinczenko has spawned a cottage industryencompassing videos, a Web site and still more book titles.

Undeniably, Rodale has had the magic touch when itcomes to spinoffs, but has labored to stay "consistent with thebrand premise," says Murphy. "We don't feel obliged to haveevery single magazine pursue every single avenue of brandextension. The strategy should be customer driven, not driv-en necessarily by trying to pursue a 360 -degree approach."

No longer principally about adding value for advertisersand promoting the core magazine property, brand buildinghas become, for a growing number of publishers, a vital part ofthe business plan. The smart publishers, media execs say, willcontinue to search for ways to successfully leverage theirbrands. "It is fundamental that the magazine industry stopthinking about itself as being in the magazine industry," advis-es Paul Woolmington, partner at Naked Communications,New York, which counts Sony and Johnson & Johnson amongits clients. "Expanding into diverse and interesting new areasshould be a top priority for publishers, because the lifebloodof how you can continue to reinforce, enrich, surprise anddelight your customer will not only create new business enter-prises, but will reinforce the core."

Tony Case is a contributing writer to Mediaweek.

October 23, 200C FALL MAGAZINES

Adweek Magazines Special Report

Editor's NoteAs magazine publishers struggled thesepast few years with stagnant circulation and ad sales, theyalso strategized to increase visibility and revenue through arange of sideline businesses. It's not just about newsstandand ad rates anymore. It's about how to extend the brandand create new revenue streams, as well as broaden aware-ness of the core product. It's a tricky balance, and somethingpublishers must accomplish to keep their titles relevant inan all -media, all -the -time environment.

The editors at Adweek Magazines thought it was timeacknowledge this sea change. So in this issue, we presentour inaugural list of "Brand Blazers," those magazines thatare doing the best job extending their brands.

Our list, which begins on page 6, is an interesting mix oflong-established titles and newer players. Some magazineswere created decades ago, before the cluttered media land-scape of today. And some newer titles were launched alongwith companion Web sites, with licensing deals and books aspart of the business plan.

When we started analyzing data for these titles, we con-sidered ranking brand extensions according to importance.But, we asked, should a TV show count for more than amagazine spinoff? Are licensed products more valuable than

SMETHODOLOGY

a podcast? In the end, we determined we should examinemagazines and their brand extensions on a case -by -casebasis. A catchall comparison simply would not workbecause, as several executives point out in contributingwriter Tony Case's story "Turning the Page" (page 2), exten-sions must "make sense." If a title is doing a podcast for thesake of doing a podcast, it won't fly-with consumers orwith media directors. (For more on our methodology, seethe box below.)

One more word about the list: We were surprised to findsuch a diverse array of magazine titles so aggressivelybranching out. The fact that a variety of magazines are forg-ing ahead, testing new ideas and seeking new revenuestreams bodes well for the future of the magazine industry,which is demonstrating that it can be forward -thinking andflexible when it comes to giving readers what they want andexpect in a multimedia universe. Yes, consumers still need tohold their magazines-but they also want to hear them,taste them and experience them. Increasingly, publishersseem more than happy to oblige.

Patricia Orsini,Editor, Special Reports

When we started compiling data to create our Brand Blazers list, we realized we needed to lay down some ground rules.First, we would consider only those titles that began life in print. Thus, ESPN The Magazine, which followed the cable net-

work, was not part of our evaluation. The same goes for 0, The Oprah Magazine. While we do not deny the power of 0,the magazine was an extension of Winfrey's already successful syndicated talk show. And yes, we know Martha Stew-art started out writing books, but her magazine was not an extension of a brand. We also had to determine what exact-ly constituted a "brand extension." One could rightly argue that People is an extension of Time-the title started, after all,as a weekly feature in the newsmagazine-but the fact that People has become a well -established player in its own rightand has created a range of extensions makes it, in our book, a brand of its own. Once we had written our rule book, webegan analyzing as much data for as many extensions as we could dig up, using Nielsen Media Research ratings for TV,Nielsen//NetRatings for Web sites, sales figures for books, DVDs and CDs, mobile downloads, merchandise sales togauge the success of extensions. We also evaluated business sidelines according to whether they made sense for thebrand, leaning heavily on the judgment of media directors. Would readers who bought a magazine visit its Web site,download its ring tones or watch its TV show? Relevance counts to media directors, and it counts for us. The overallhealth of the core magazine also figured into our calculations, even though negative circulation or ad results didn't nec-essarily disqualify a contender. Playboy, for example, continues to be challenged in the face of scores of print and digi-tal rivals, but there's no denying the power of that famous bunny. -The Editors

SR4 FALL MAGAZINES October 23, 2006

Consumers can't be packaged.

You can't target 2o -somethings and expect to reach consumers 5o and over. Spillagefrom other media won't cut it. To fully capitalize on the 5o+ market, you need tospeak directly to them. AARP The Magazine is the only magazine that truly does that.Maybe that's why 72% of our readers read every issue. Visit www.aarpmedia.org.

Source: MRI, Spring 2006 rethink 50+

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businessWhen Hugh Hefner started Playboy magazine,

economics necessitated that the title branch out into events, clubs and TV.A pioneer in magazine brand extensions, it continues

to show other titles how to make the most of what they've got By Alec Foege

SR8 FALL MAGAZINES October 23, 2006

IN THE BEGINNING, HUGH HEFNER CREATED Playboy, a print publication devoted tocelebrating the modern single male at leisure. And from the first issue's immediate sellout in 1953,it was good. Not long after that, Hefner created Playboy merchandise and began sponsoring Playboy-themed parties on college campuses. The parties created enormous buzz, helping spike circulationand building a comfort zone for would-be advertisers.

In a few short years, Playboy would become much more than a magazine-it became a multi -tiered brand; perhaps the first genuine lifestyle brand in magazine history.

As prescient as Hefner's strategy seems now, it was born primarily out of necessity. "The 1950s,that post-war era, was very conservative, politically and socially and sexually, and not everybody washappy about that," Hefner explains. "The magazine was a huge success in circulation, but we hadproblems selling advertising. Initially, I refused to take the kind of advertising that the pulp maga-

Special Report

ALL EARS

Playboy Bunnies gatheraround Hugh Hefner as heinspects their costumesat the Playboy Mansionin Chicago, 1965.

October 23, 200( FALL MAGAZINES

zines would get. I figured if we took those, we'd never breakinto the high end of the advertising market."

Clearly, the strategy worked. The campus parties inspiredan ad campaign titled "What Sort of Man Reads Playboy?"that emphasized the magazine's educated, sophisticated read-ership, encouraging mainstream advertisers to get beyondany prejudices about the magazine's nude photos.

In 1959, Playboy introduced a syndicated TV variety show,Playboy's Penthouse, hosted by Hefner, with asimilar purpose in mind. Provocative fromits first episode, which featured the contro-versial comic legend Lenny Bruce, the pro-gram also featured A -list guests such as EllaFitzgerald and Pete Seeger in a laid-backparty environment that came off as authen-tically sophisticated. Playboy's circ nowtopped 1 million, "but we were still havingproblems getting advertising," Hefner says.He says his decision to host the series (aswell as another show in 1968, Playboy AfterDark) was a deliberate ploy to make thebrand mainstream, by showing that Hefnerwasn't some dirty old man.

By 1960, Playboy had won over some big advertisers.Then, Heftier opened the first of the Playboy Clubs, wheredevotees could experience the Playboy lifestyle firsthand, andbought the Playboy Mansion in Chicago, a kind of laboratoryfor Hefner's vision of the good life.

What began as a business necessity had evolved into a cor-porate philosophy.

For more than five decades, Playboy has kept ahead of thecurve in extending its brand beyond print. Persistent and cre-ative marketing efforts have made the Playboy bunny logo aglobal icon and put branded products in more than 100 coun-tries. In an era of plummeting circulation, Hefner's brainchildremains a role model for magazines of all stripes, which arewaking up to brand extension as a means of survival.

"They transcend a magazine," says George Janson, manag-ing partner and print buyer at Mediaedge:cia. "Just look at howit's crept into people's vernacular. Someone will say, 'He's sucha playboy.' They won't say, 'He's so 60 Minutes."

Playboy Enterprises' vast business extensions have been allthe more vital as staple ad categories like liquor and tobaccohave withered in recent years for Playboy and other men's mag-azines. The conservative tenor of the Bush years hasn't helped,Janson adds, cooling mainstream advertisers to racy content."So, if you're not cutting it on the revenue side for advertisingand circulation, you've got to look somewhere else," he notes.

Over the past 20 years, the company has introduced an arrayof media and entertainment vehicles, including the PlayboyTV cable channel; the Playboy Cyber Club, a paid -subscriptionInternet site; and, most recently, a reality show, The Girls NextDoor, on the E! channel. Licensing agreements, which generat-ed $700 million in global sales of apparel, accessories and homefurnishings in 2005, have been another reliable revenue source.Over time, the brand became a financial dynamo.

Now, brand extension has, once again, become a necessityfor the company, which, like many others, has only flirted withprofitability in recent years. Ad revenues at the magazine fell16 percent year -over -year in this year's second quarter and areprojected to drop another 17 percent in third quarter. Playboy

SR10 FALL MAGAZINES October 23, 2006

1953 First issue of Playboy sells 51,000 issue,1955 Playboy markets cuff links; first productwith rabbit head trademark1959 Playboy's Penthouse 1V show runs 26 weeks

1960 Playboy Club opens in Chicago.1968 TV series, Playboy After Dark premieres

1969 Playboy Productions opens in Los Angeles1971 Playboy goes public, company purchases

oy Mansion West in California, and firstinternational edition launched in Germany1982 Christie Hefner named president of PlayboyEnterprises; national pay-cable TV service launched1986 Playboy closes remaining company -owned clubs1989 Playboy TV focuses on pay -per -view market1994 Playboy goes online1997 Playboy.com launches playboy CyberClub, apaid -subscription site on the Internet2002 First Playboy Concept boutique opens, in Tokyo2003 50th anniversary of the magazine2004 The company consolidates online, TV andDVD businesses into Playboy Entertainment Group

2005 The Girls Next Door launches on E!; first -ever videogame, Playboy: TheMansion, is released; first U.S.-based Concept Boutique opens in Las Vegas2006 First new Playboy Club in 25 years opens in October at The Palms Hotel andCasino Resort in Las Vegas

Enterprises' stock has lost more than 30 percent of its value inthe last year, hovering around $10 a share.

At critical points in the magazine's history, the brand actu-ally served as a life raft that kept the publishing operationafloat, an early model for what today's magazine brands,including Playboy, aspire to. In the early '60s, Hefnerattempted a spinoff magazine, Show Business Illustrated,inspired by Sports Illustrated's success. But after losing toomany millions, it was shuttered. Luckily, the Playboy Clubs,which would come to number more than 30 worldwide,picked up the slack, becoming the company's main revenuesource at the time. Hefner says he learned that "the branditself was more powerful than any single part of it." Eventhen, the Playboy brand transcended the value of any contentthe company could generate.

If Hugh Hefner was the creator of Playboy's brand philoso-phy, his daughter would be its guru. "It seemed to me," saysChristie Hefner, who took over as Playboy Enterprises' presi-dent in 1982 (she became chairman and CEO in 1988), "that if,at the end of the day, we were going to define ourselves not asa publishing company but as a brand -driven company, then weneeded to treat the brand with the same respect that we want-ed the consumer to treat it with."

Christie Hefner has been nothing short of a brand pioneer.She pushed into cable TV in the medium's earliest days withthe premium -tier Playboy Channel, which debuted in 1982.Now, television, including pay -per -view, is the company's mostprofitable business. In 1994, she led Playboy to start the firstnational magazine Web site, complete with content, gamblingand e -commerce components. Via licensing agreements,Hefner has expanded the brand into video games and conceptstores. Her recent corporate restructuring emphasizes the mag-azine's strengths, not just as a content provider, but as a brand-ing engine room.

OVER THE YEARS, Playboy Enterprises certainlytested the limits of brand extension. Anyone around in the '70swill remember the omnipresence of Playboy air fresheners andfuzzy dice. But when Christie Hefner took charge, one of herfirst moves was to rein in some of the brand's kitschy extensions.She also took the company out of businesses that strayed too farfrom its core media competencies. By 1986, the last of the com-pany -owned Playboy Clubs had been shut down.

Part of returning to the core values of the brand was keep-ing it away from projects and products that didn't enhancethe brand image. According to president of licensing AlexVaickus, the company now turns away many product -endorsement opportunities, relying on its own creative team."The best and most successful ideas are generated in-house,"says Vaickus. These days, among the categories the companyis looking into are fragrances for both men and women.

The reemergence of Hugh Hefner also played a role inPlayboy's renaissance. After suffering a stroke in 1985, Hefnerlaid low, got married and stayed out of the public eye formore than a decade. Then, in 1998, he got divorced andbegan making public appearances again, helping introducethe Playboy image to a whole new generation by hosting star-studded parties at the Playboy Mansion in Los Angeles. TheWest Coast Mansion soon became a destination for youngrock stars and Hollywood types, lured in by the retro-coolappeal of Hefner and the Playboy image.

This time around, the company noticed that nearly as manywomen as men were drawn to the brand, a trend reflected inpop -culture moments-for example, when Sarah JessicaParker's character on Sex and the City wore a Playboy necklace.Suddenly, women's fashion titles like Vogue and Women's WearDaily were running stories about Playboy merchandise.

A new generation of consumers was rediscovering an icon-and just in time. In 2000, Playboy Enterprises brought in lessthan $100 million from sales of licensed products and had just50 licensees. Profits were scarce. Now, the company boastsmore than 160 licensees and 200 licensing deals, and maintainsa retail presence in around 100 countries.

Determined that the resurgence of interest in the brand notbe just a fad, the company seized the opportunity. In particular,it began actively pursuing female consumers by developingmore apparel and a home furnishings line, as well as Playboy -branded cosmetics and a line of high -end lingerie. And, theaudience for the E! channel's The Girls Next Door, a reality showfollowing the daily lives of Hugh Hefner's three girlfriends, isprimarily female.

The company also expanded its global reach, even in coun-tries that banned the magazine. "On the mainland of commu-nist China, there are over 300 stores now handling Playboymenswear," Hef says proudly. Yet, to this day, sales of Playboymagazine are not permitted in China. The Playboy bunny logoremains one of the most recognizable icons in the world, evenin third -world nations. The company regards these emergingmarkets as the base of its future growth.

In perhaps the ultimate retro move, Playboy recentlylicensed the rights for the first Playboy Club in over a decade.The club, which opened this month in the Fantasy Tower at thePalms Casino Resort in Las Vegas, features an intimate loungeenvironment, as well as gaming pits and Playboy -branded slotmachines. Vintage art from the magazine graces the walls, andat the top of the tower sits a two-story, 9,000 -square -footPlayboy-themed luxury suite that includes a replica of Hef'slegendary rotating circular bed. The club also features the sig-nature Playboy bunnies, donning Roberto Cavalli-designedcostumes that harken back to the original '60s costume. Thecompany has plans to open clubs in the U.K, Australia and theCaribbean. Christie Hefner has said she expects the clubs to liftthe company's fortunes.

George Maloof Jr., owner of the Palms, says that partner-ing with Playboy was an easy decision, despite the fact thatthe original Playboy Club concept seemed to have run itscourse long ago. "Most of the people who will frequent ourclub, including myself, had never been to one," says Maloof.Acknowledging the worldwide reach of the Playboy brand,Maloof adds, "It's an opportunity for people to experiencesomething that's bigger than Las Vegas."

In the time since Christie began running the company, shehas retooled the Playboy branding formula, first for cable, thenfor the Internet age. The difference between then and now, shesays, is that while technology today offers greater opportunitiesfor brands, "our business model is to not try to own and oper-ate a lot of different businesses ourselves."

Along those lines, the company recently pared its harder -core, pay -per -view Spice cable channels (acquired in 1999)from nine down to four. One was rebranded Club Jenna, topromote the involvement of adult film star Jenna Jameson.Another, dubbed Fresh, features reality programming and cast -

October 23, 2006 FALL MAGAZINES SR11

ing calls. Those developments suggest that Playboy gained lit-tle from adult programming that strayed too far from its trade-mark formula and held no close association with its core brand.

Christie Hefner also engineered a corporate restructuringlast month that put the magazine at the center of the company,with separate media and licensing arms. Bob Meyers, a veter-an digital media executive, was recently hired as president ofthe publishing and media group, charged with helping breakdown any remaining rights -management barriers between themagazine and the company's Internet and television proper-ties. Plans include managing related content across all threeplatforms and creating more multiplatform advertising pack-ages designed to capitalize on those networks. Recent takersinclude X Fragrance for men and Haggar apparel.

The next frontier? Fourth -generation (4G) cell phones thatcan accommodate video content. But no matter the technology,the company always treads with caution. "Each medium isunique, and you need to find the intersection of that mediumwith your brand," says Christie Hefner. "So, if you're a travelmagazine, it probably isn't just about putting your articles onyour Web site. It probably should have been about also creat-ing a way for people to book their travel online."

Envisioning the Playboy brand as a living, breathingthing, as opposed to an immutable icon, has the companyconstantly rethinking the essence of the brand. And its CEOsays the print magazine provides the vital creative fuel for

that process. "The magazine is absolutely at the hub of whatwe do," she says, "because it defines the Playboy lifestyle,both that sophisticated voice of authority that can tell youwhat the best of everything is and the aspirational element ofthe lifestyle." Adds Vaickus: "The magazine establishes whatthe brand is all about."

While the company's financials reveal the magazine as a rev-enue generator in steady decline, Hefner says she believes theprint product will be around for a very long time. The title stillgives the brand its authority, and allows the brand a platformfor reinventing itself 12 times a year.

Playboy's new media and licensing enterprises continue togrow-but never at the expense of the brand, Hefner says.

"The thing that I would caution other magazines is, youcan't be a passive licensor and just go out and do a bunch ofdeals and help your brand," she says. "You have to thinkthrough where you have trademark equity you can leverage,and you have to manage those relationships in terms of thedesign and positioning. You can harm your brand tremen-dously by simply signing deals because people are willing topay you money. Someone once said, 'Brands are like bankaccounts-either you're making deposits or making with-drawals.' And you'd better be making more deposits thanwithdrawals over the long haul."

Alec Foege writes about media for Adweek Magazines.

Reach our readers when they're opento new ideas and information.More than 135,000 advertising, marketing andmedia executives have opted in for AdweekMagazines' e -Newsletters to bring critical busi-ness information to their inboxes. When theyget what they asked for, they can get yourmessage, too.

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SR12 FALL MAGAZINES October 23, 2006

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OPINIONJIM SPAETH

Apollo's MissionMetrics tool helps marketersfigure out how to "let go"IT'S HARD TO ARGUE with A.G. Lafley. Last year,Procter & Gamble's net sales grew 20 percent, thanks toa savvy acquisition and solid organic growth. It's the lat-est installment in a positive trend that began soon afterLafley took the reins at the then -moribund consumerpackaged -goods giant. But his advice, offered at therecent Association of National Advertisers conference, to"let go" and let consumers "take charge," seems like crazytalk from a company that outspends all others in televi-sion advertising, the ultimate take -charge medium.

Lafley's point that reconciling the advertisers' desireto be in control with their need to be in touch with con-sumers is the top challenge to marketers today.Yankelovich president Walker Smith has compiled the

evidence in his recent book, Coming to Concurrence.Commercial avoidance is the norm, anti-spam softwareis a big business, "do not call" is the law. Consumers donot want to be disturbed...unless they are interested.

With almost 100 TV channels in the average house-hold, advertisers have plenty of outlets to deliver theirmessage to consumers. But thanks to the invention of allsorts of ad -avoidance technologies, consumer attentionis in short supply. Hence, the quest for engagement.Research on program content and commercial attentive-ness identifies three factors important to engagement-congruence; priming and conservation of attention. Thefirst suggests that when ads match the context of theprogram, viewers pay more attention. The second sug-gests that programs can actually prepare viewers to bemore receptive. The third cautions advertisers that high-ly -involving programs can sap viewers' attention, leavingthem exhausted at the commercial break. These factorshelp to explain why some media deliver more viewers toa commercial break in an attentive and receptive state-ready to engage.

Years ago when I worked at General Foods, food copyadjacent to recipe editorial was the definition of Nirvana.But before the Food Network, it was hard to find this intelevision. Today, fragmentation, often cited as a curse,has become a blessing by offering such relevant advertis-ing opportunities as, well, the Food Network.

But how else can we define "relevant programming"?

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18 MEDIAWEEK October 23, 2006 mediaweek.com

Lafley would say, "Let go and et the consumer tell you."Consumers vote every day with their programmingchoices, and in our 100 -channel world, there are manyreal choices of relevant programs to almost anyone inany need -state. But how can advertisers find the pro-grams that are relevant to their consumers? One sourcewould be a consumer -centric, single -source, multi-media information research service. A system that tracks,in a common sample of consumers, viewing, listening,and reading of multiple media as well as the productsthey purchase. Long dreamed of, this guidance isbecoming available through Project Apollo, currently inpilot with six of the largest advertisers in support. Sonow if you want to find programs of relevance to heavypurchasers of fragrance -free laundry detergent, youdon't have to wait for some programming genius to cre-ate the Washer & Dryer Channel.

Only a small amount of Project Apollo data has beenreleased to the public so far, but the following insight isfrom a recent ESOMAR presentation by BernhardGlock, global media head of P&G. Glock focused on themedia profile of Loyals (consumers who always purchaseBrand X) versus Switchers (consumers who buy a varietyof brands) and compared the traditional sex/age targetindex to Apollo's consumer behavior target index.

We find that with Apollo data, Loyals indexed muchhigher for lifestyle, news and general drama networksthan Switchers and women 25-54. And while Switchers

Comcast Spotlight is a registered trademark of Comcast Corporation.

had more in common with women 25-54, there were stillsome important differences in their network choices. Forinstance, while a cable entertainment network rankedfirst with women 25-54-the classic demo target forCPG products-a woman's information network rankedfirst with Switchers while a lifestyle network ranked firstwith Loyals. (That cable entertainment network that wasfirst among women 25-54 ranked 26th among Loyals.)

With only sex/age demos it is difficult to identify theprograms of real relevance to the brand's most importantconsumers. With Apollo data, we can see the consumer -centric differences in media choices.

Lafley's advice to let go and cede control of thebrand/consumer relationship to the consumer soundslike good advice. But ceding control need not result inchaos. It brings to mind a related piece of advice-goodlistening skills are the foundation of a good relationship.Listening to consumer's preferences, expressed throughtheir media choices, is one way to let go and cede con-trol. It can enable advertisers to find the relevant con-sumers during programming of relevance to them anddeliver relevant brand messages for which the consumerswill be receptive. Isn't anything else just irrelevant?

Jim Spaeth is a founding partner of SequentPartners, a metrics -based consultancy helping clientslink marketing investments to financial performance.Sequent is also a consultant to Project Apollo.

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mediaweek.com October 23, 2006 MEDIAWEEK 19

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MOVERS

MAGAZINESBusiness Week has signed on LindaBrennan as vp, worldwide circulation.Brennan most recently served as vp,consumer marketing, at Gemstar-TVGuide...Cathryn Cranston has left Har-vard Business Review, where she waspublisher for six years, to become execu-tive vp, strategy and sales developmentat Mansueto Ventures LLC, publisher ofInc. and Fast Company, a newly createdposition, effective Nov. 6.

CABLEOnetime ESPN CEO Roger Werner hasbeen named chief executive of The Out-door Channel. Werner was named COOof ESPN in 1982; after a brief stint asexecutive vp of the ABC Television Net-work Group, Werner rejoined the sportsnet from 1988 to 1990 as president andCEO. An entrepreneur, Werner developeda number of regional sports networksduring the 1990s, and helped launchedthe ventures formerly known as OutdoorLife Network and Speedvision...FoxSports en Espanol last week named KimPorter to the newly -created position ofdirector of research. Porter joins FSEfrom Nielsen Media Research HispanicServices, where she served as senioraccount executive.

MEDIA AGENCIESTony Manuelli, most recently vp offinance at Deutsch, has joined Carat USAas chief financial officer, director of oper-ations. Prior to Deutsch, Manuelli spenteight years at Saatchi and Saatchi Hold-ings, as assistant treasurer.

RESEARCHBarbara Tenney joined LiebermanResearch Worldwide as vp of entertain-ment and media. She was previously atFox Broadcasting Co., where she was vpof affiliate research and marketing.

NEWSPAPERSMetro International newspaper groupnamed Dennis Malamatinas its newchairman. Malamatinas has been a boarddirector since May 2004. He was formerlyCEO of Burger King Corp. worldwide anda former director of the boards of ReutersGroup PLC and Diageo PLC.

media eliteBY LAUREN CHARLIP

uicktPERHAPS YOU HAVEN'T HEARD: FoxNews Channel celebrated its 10th year ofexistence this month. And like many 10 -yearolds, FNC is making sure everybody knowsits birthday. On Oct. 4, News Corp. chair-man and CEO Rupert Murdoch had 500people over to the news organization's mid-town headquarters for cocktails, hors d'oeu-vres and red -carpet action.West 48th Street was closedoff, and the vibe under thewhite tents was lounge -y, withhip -hop playing (a naturalchoice for the network of BillO'Reilly) and pillows embla-zoned with the red -and -blackFox News logo. Monitorsaired crawl quotes of the net'searly detractors but the revelrywas kept "fair and balanced"with appearances by New Yorkgovernor George Pataki andDonald Trump. The date was Menounos ahammered into the annals ofNew York City history when MayorBloomberg presented Rupe and Fox NewsChannel chairman and CEO Roger Ailes

0

0

They report. You

Imbibe: (from left)Mies, NY Giants playerTlki Barber, Murdoch.

with a proclamationdeclaring Oct. 4, 2006,Fox News Day -amove that would satisfythe 10 -year -old in anyof us. The networkthrew itself anotherbash -this time for its1,200 staffers -at theTimes Square HardRock Café Oct. 12, and

has embarked ona 10 -city "ThankYou America"tour, to wind upin November...Domino kickedoff its Bazaar

weekend at the Altman Building in Chelseaon Oct 12. with a cocktail benefit for AIDSCommunity Research Initiative of America

(ACRIA). Guestsmilled around inbohemian -chic indoorbazaar tents, throughdisplays of well-curatedwares, available, ofcourse, for purchase ata line of AmericanExpress -sponsored cashregisters. Access Hol-lywood host MariaMenounos stopped byto see what editor inchief DeborahNeedleman and theladies at Domino were

hawking, and she left with a baby bassinettefor her quadriplegic poodle. You couldn'tmake that up if you tried, kids.

2

3

S

STATEMENT OF OWNERSHIP MANAGEMENT OF CIRCULATION Required by 39 U.S.C. 3885 1. Publication Tttle: Medlaweek. 2. Publication No: 885-580. 3. Filing Date: 9/15/06. 4. dews Frequency:Weekly. except for July 3. July 17. July 31. Aug. 14. Aug. 28, Dec 18. Dec 25. 5.Number of Issues Published Annually: 45. 6. Annualsubscnption pnce: 8149.00 7. Complete mailing address of knownoffice of publication VNU Business Publications USA. 770 Broadway. New York. NY 10003. Contact person: Andrea Szabo. Telephone 646-654-5889. 8. Complete mailing address of headquartersof general business of ice of publisher: Same as above. 9 Full names and complete mailing address of publisher, editor. and managing editor. Publisher: GeraldineFitzGerald., Mediaweek Magazines.770 Broadway. 7th Floor. New York. NY 10001 Editor: Michael Burp. 770 Broadway,7th Floor New York, NY 10003. Managing Editor Jim Cooper. 770 Broadway, NewYork, NY 10003. 10. Owner(1 owned by a corporation, its name and address must be stated and also immediately thereafter the names and address of stockholders owning or holding 1% or more of the total amount of stock.If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other unincorporated firm, its name and address, as well as that of eachindividual must be given. If the publication is published bye nonprofit organization, its name and address must be stated.) Full name: Owner VNU Business Publications USA., a wholly -owned sub-sidiary of VNU, Inc. 770 Broadway, New York, NY 10003, VNU, INC. a wholly -owned subsidiary of VNU, N.V., Ceylonpoort 5-25, P.O. Box 4028, 2003 EA Harlem, The Netherlands. 11. KnownBondholders, Mortgagees, and Other Security Holders Owning or Holding 1% or mom of total amount of bonds, mortgages or other securities (If there are none, so state) None 13. Publication Title:Medaweek 14 Issue Date of Circulation Data Below, August 21, 2009 15. Extent and Nature of Circulation: A. Total No of Copes (net press runtaverage no copies each issue dunng preceding 12months 22,096. actual no. of copies of single issue published nearest to filing date 21.992: B. Paid and/or requested circulation 1. Pad/Requested Outside -County MailSubscriptions Stated on Form3541 (Include advertiser's proof and exchange copes): average no. copies each issue dunng preceding 12 months 6.451; actual no. of copes of single issue published nearest to filing dale 7.675. 2.Pad In -County Subscnphon (Include Advertisers' Proof and Exchange Copies): average no copies each issue during preceding 12 months 0; actual no. of copes of single issue published nearest tofiling data 0. 3.Sales Through Dealers and Carriers. Street Vendors. Counter Sales, and Other Non-USPS Pad Cfistnbution: average no. copies each issue dunng preceding 12 months 7.650; actual no.of copies of single issue published nearest to filing date 7,581. 4. Other Classes Mailed Through the SOPS: average no copies each issue dunng preceding 12 months 0; actual no of copes of sin-gle issue published nearest to filing date O. C Total paid and/or requested circulation Mum of 15B (1) (2) (3) and (4)): average no copies each issue during preceding 12 months 14.101; actual no. ofcopies of single issue published nearest to filing date 15.256. D. Free distribution by mail, samples, complimentary and other free copies: &Outside -County es Stated on Form 3541: Average no. copieseach Issue during preceding 12 months 3,715; Actual no. of copies of single Issue published nearest to filing date 2,601. 2. In -County as Stated on Form 3541' Average no copies each issue dunngpreceding 12 months: O. Actual no. of copies of single issue published nearest to filing date: 0. 3. Other Classes Mailed Through the LISPS: average no copies each Issue during preceding 12 months0: actual no. of copies of single issue published nearest to filing date 0. E. Free Distribution Outside the Mail (Carriers or other means): average no. copies each issue dunng preceding 12 months 4,050;actual no of copies of single issue published newest to filing date 3.813. F. Total Free Distribution Mum 0115d and 150): average no. copies each issue dunng preceding 12 months 7,765: actual no.of copies of single issue published nearest to filing date 6,414. G. Total distribution Isum of 15c and 151): average no. copies each issue during preceding 12 months 21.1166, actual no. of copies ofsingle issue published nearest to filing date 21.670. H. Copies not distributed: average no. copies each issue during preceding 12 months 230 Actual no ofcopies of single issue published nearestto fang date: 322. I Total (sum of 15g and 150): average no copies each issue during preceding 12 months 22.096: actual no of copies of single issue published nearest to filing date 21.992.1. PercentPaid and/or Requested Circulation (15c/15g x 100): average no copes each issue dunng preceding 12 months 6449%; actual no. of copies of single issue publishednearest to filing date 7040%.16. This statement of ownership will be printed in the October 24, 2005 issue of this publication. 17 Signature and title of ecktor, publisher, business manager. or owner, Geraldine Fe2Gerald. Publisher.Data 0.0001'23. 2006. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or Misleading information on this form or who omits mate-nal or information requested on Me form may be subject to criminal sanctions Including lines and imprisonment) and/or cad sanctions (including multiple damages and civil penalties).

22 MEDIAWEEK October 23, 2006 mediaweek.com

CultureNIELSEN MEDIA RESEARCH

TOP ONLINE

ADVERTISING DATA

U.S, Home and Work

Week ending October 8, 2006

Company Impressions (000)

1. Vonage Holdings Corp 1,474,871

2. Verizon Communications, Inc. 698,470

3. BellSouth Corporation 596,000

4. SBC Communications, Inc. 293,094

5. AT&T Corp. 268,618

6. Skype Technologies S.A. 257,492

7. Qwest Comm. International, Inc. 249,176

8. Deutsche Telekom AG 142,767

9. AL LTEL Corporation 135,794

10. InPhonicam 120,624

TOTAL 4,612,931

SOURCE: Nielsen //NetRatings AdRelevance

Note: AdRelevance reporting data reflects advertising activ-

ity served on pages accessible via the World Wide Web and

not within AOL's proprietary smite.

HITWYSE

TOP EDUCATION - REFERENCE WEBSITES DOMAIN SHARE

For weer ending October 14, 2006

1. WIKIPEDIA

2. DICIONARY.COM

3. YAHOO! ANSWERS

4. ANEWERS.COM

S. SPMKNOTES

Sour _e: Nielsen//NetRatings AdRelevante

www.wikipedia.orgdictionary.reference.conanswers.yahoo.comwww.answers.comwww.sparknotes.com

19.36%

3.94%3.48%2.73%

1.49%

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Hannah Storm, CBS Early Slnw (left) and

Daditional Home editor in chief Ann Maine

shared a laugh at the magazine's ClassicWoman Awards Oct. 12 at the Tr BeCa Rooftop.

People en Espanol celebrated its 10th anniversary and Hispanic Heritage Month with "Fiesta 2006,"

a free Mini!y event with live music in Central Park, Oct. 7. From left: People en Espanol publisher JackieHemandez-Fallous; Robert Mendez, senior vp, diversity, Disney -ABC Television Group; Grammy winner

Laura Pausi ii; 2006 Latin Grammy nominee Anais; People en Espanol editor Peter Castro.

Conde Nast Bridal Media he sted wedding -planning weekend "WeddingMarch New York," throwing an Oct. 6 kickoff party at Kleinfeld-s Bridal Salonin Manhattan. Attendees discussed, viewed and sampled the most chic andsophisticated resources for all things bridal. From left: Designer MichelleRoth; KleinfBld's owner/president Mara Ushel; Brides editor in chief MillieMartini Bratten; Conde Nast Brdal Media vp/publishing directcr Susan Rerat.

CBS Corp. president and CEO Leslie Moonves chatted with long-time Entertainment Tonight anchor Mary Hart at a party celebratingthe show's 25th anniversary at the Four Seasons Biltmore in SantaBarbara, Calif., on Oct. 7.

The Cable Hall of Fame

Class of 2006. (L. to r.): J m

Robbins, retired presided/CEO, Cox Communications,

Inc.; Decker Anstrom, pre si-

dent/C00, Landmark Commu-

nications, Inc.; Carolyn Cum-bers, chairman/CEO,

Chambers Communicatic ns

Corp.; Bob Zitter, exec vp, tech

operations/CTO, HBO; Ralph

Baruch, founder/chairman,Viacom International; JulyMcGrath, chairman/CEO, MTV

Networks; Brian Roberts,

chairman/CEO, Comcast Corp.

mediaweek.com October 23, 2006 MEDIAWEEK 23

CALENDAR

Adweek magazine's 32nd CreativeSeminar will explore, through panel dis-cussions and workshops, current andfuture creative advertising models. Atthe Mandarin Oriental in Miami, the two-day event will run Oct. 23-24. See cre-ativeseminar.com for more.

In Long Beach, Calif., on Oct. 24,Finding Your Modern Audience inToday's MySpace, Mobile, On -Demand, Always -On World, part of theModern Mediasphere series, aims toshow executives how to be relevant andeffective amidst the present-day audi-ence shift to newer, more "communal"media. Go to marcominteractive.com.

The Media Convergence Forum:The Marketer's Dilemma convenesNov. 1 at Le Parker Meridien in NewYork. Martin Sorrell, CEO of WPP,keynotes, with speakers from DowJones and The Economist. See econo-mistconferences.com for further info.

The 18th Annual EPM MarketingConference: Engaging the Multi -Screen Consumer, Nov. 13-14 at theHilton, Los Angeles/Universal City, Calif.,explores strategies for engaging viewersacross traditional TV, its cable, digital andVOD variations, along with computerscreens and mobile phones, among otheroutlets. See www.epmcom.com/emc.

Tables will be set Nov. 16 for Media -week's Media All -Stars Luncheon,celebrating this year's roster of A -list -executive award -winners, at the HiltonHotel in New York. Contact HannahDoblick at 646-654-5174 orhdoblick@adweek.com for information.

The third annual DEMMX, or DigitalEntertainment Media + MarketingConference & Awards, hosted byAdweek Magazines, Billboard and TheHollywood Reporter, takes place Nov. 29-30 at the Hyatt Regency Century Plaza inLos Angeles, and provides a 360° view ofthe rapidly evolving digital entertainment,marketing and media landscape. AMobile Marketing Forum is being held inconjunction with the conference on Nov.28. More info at www.demmx. com.

media

CBS, Yahoo Ink Local News Video Dealhi a groundbreaking deal, CBS TelevisionStations agreed to syndicate local news videoto Yahoo. The partnership, the first of itskind between a network -owned TV groupand an Internet news provider, gives Yahoodaily access to between 10 and 20 local newsvideo stories from CBS' 16 owned -and -oper-ated stations in the nation's largest markets.The companies will share revenue from theadvertising sold adjacent to CBS' content onthe site. Yahoo's local news page will includelinks to the CBS stations' Web sites.

MyNetTV to Promote Soap in Wal-MartMyNetworkTV is partnering with Wal-Martin an on -air, in-store, print and online pro-motion of the retailer's Metro 7 women'sapparel collection, in conjunction with theDecember premiere of the network's prime -time soap opera Watch Over Me. Wal-Martwill air commercials featuring Watch Over Mestar Dayonnara Torres during the showencouraging viewers to buy her Metro 7wardrobe. Ads in Conde Nast's Vogue andLucky are also part of the campaign.

Sirius Rolls Out Internet RadioSirius Satellite Radio launched Sirius InternetRadio, an online version of its subscriptionradio service. The service is available for$12.95 a month, the same fee as the satellite-delivered service. To promote the service,Sirius is offering two days free, including TheHoward Stern Show and Stern's two 24/7channels on Oct. 25 and 26. XM Radiolaunched its Internet service two years ago,but charges $7.99 a month, less than its regu-lar $12.95 sub fee.

Magazines.com to Be Evaluated by ACEFranklin, Tenn. -based Magazines.com agreedto be the first subscription agent to be evalu-ated by the Audit Bureau of Circulations' newcompliance program. The Agent ComplianceEvaluation was approved by the audit boardthis year in response to demand from pub-lishers and agents after a few agents were rep-rimanded for improper business practices.ACE reviews transaction processing, sub-agent orders and internal controls.

Maker's Mark Pours Ads Into GQConde Nast's GQ nabbed bourbon distillerMaker's Mark for its biggest integrated adbuy to date, a $700,000 -plus deal using print,

online, mobile and event platforms. Maker'swill be the exclusive advertiser, with four cus-tom -created ads, in a 16 -page editorial sec-tion on film in the November issue, whichgoes on sale Oct. 24. It also is running onlineads; hosting screenings of films that are fea-tured in the editorial section; hosting pre-screening parties, which subscribers will beinvited to via text message.

Viacom's Redstone Criticizes FCCInclude Viacom executive chairman SumnerRedstone on the list of those disturbed by theFederal Communications Commission'scrackdown on televised indecency. "Enter-tainment and news executives, musicians andartists are living with a great deal of fear,"Redstone told a black -tie audience gatheredOct. 16 in Washington by The MediaInstitute, a First Amendment think tank.Among those listening to Redstone's speechwere FCC commissioners Robert McDowelland Jonathan Adelstein. "Unfortunately wefind ourselves in a world where, increasinglyand alarmingly, a couple thousand form com-plaints from people condemning shows thatthey never have watched can result in anindecency fine 10 times higher than it was ayear ago," Redstone said.

FNC Triples Cablevision Sub FeeFox News Channel secured a significant sub-scriber fee increase in a new carriage dealwith Cablevision. According to sources famil-iar with the negotiations, FNC landed a ratehike of "20 cents to 25 cents more than whatCNN gets," or about 75 cents per sub, upfrom the quarter per sub the networkreceived per the terms of its previous carriagedeals. In an Oct. 16 note to investors, MerrillLynch analyst Jessica Reif Cohen character-ized the agreement as a "six to seven yeardeal." Although FNC's original contract withCablevision expired earlier this month, thenet was not blacked out in any of the MSO's3 million N.Y.- and NJ. -area households.

Premiere Revamps RADAR -Rated NetsPremiere Radio Networks overhauled itsRADAR -rated networks and its scatter nets.Available in 2007, the Clear Channel -ownedprogramming division reconfigured them intime for the network radio upfront, nowunderway. Premiere's new lineup includesfour new nets and reduces the total numberof RADAR -rated networks from 18 to 17.

24 MEDIAWEEK October 23, 2006 mediaweek.com

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televisionBY MARC BERMAN

Everybody Loves PhilOVER THE YEARS I HAVE MET SOME VERY INTERESTING PERSONALITIES IN

the TV business. The legendary Aaron Spelling, of course, leads the pack.

And then there was Carol Burnett, Martha Stewart, Ellen DeGeneres, Tony

Danza, Larry "J.R." Hagman, Dawn Wells from Gilligan's Island, those

ageless ladies from Knots Landing, psychicJohn Edward, Tony Randall and WandaClark, the former assistant to Lucille Ball(who had no shortage of stories about thewacky redhead). And how could I notacknowledge Joyce Randolph, an originalcast member from The Honeymooners?

But there is one person from whom I feelpractically separated at birth: Phil Rosenthal,the creator of the now classic Everybody LovesRaymond, who currently appears in a semi -regular role on ABC's Help Me Help You.

To begin with, he and I are the same age(29-right Phil?). We both grew up in simi-lar homes, riddled with neurotic relatives (nooffense, Mom, but you would also be plotzingif I signed you up for the Fruit of the Monthclub). We both have wives who see the worldthrough rose-colored glasses while we stressover every minute detail of life. And we bothare glued to the tube. When Rosenthal ram-bled on in his new book-You're Lucky You'reFunny: How Life Becomes a Sitcom-abouthow all he wanted to do as a child was watchTV, a lightbulb flipped on in my head. I amnot alone! There are "others" out there.

I met Phil through writing my dailyProgramming Insider column and we havecorresponded ever since. Then, several yearsago at a NATPE conference, I becametongue-tied when he introduced me to hiswife, Monica Horan, who played affable Amyon Everybody Loves Raymond. "Aren't you sup -

My Top 10 Raymond Episodes1. "Marie's Sculpture" 10/22/012. "Bad Moon Rising" 5/08/003. "The Toaster" 12/14/984. "Halloween Candy" 10/26/985. "Meeting the Parents" 2/24/036. "The Christmas Picture" 12/13/997. "Just a Formality" 2/03/038. "Frank Goes Downstairs" 10/29/019. "The Wallpaper" 10/09/00

10. "Robert's Date" 2/01/99

posed to be married to Robert?," I mumbledin a moment of confusion. (Brilliant line ofdialogue, don't you think? If there was a tablenearby, I would have dived under it.)

Although chaining myself to the couchwatching TV does not afford me much timefor reading, I was eager to dig intoRosenthal's memoir. He sent me an advancecopy of his book (due in stores Oct. 23), andneedless to say, I devoured it. He writesabout a young comedian named RayRomano, how Everybody Loves Raymond gotstarted, the casting process, the obstacles theshow faced getting on the air (including deal-ing with one unnamed executive who tried tosabotage the series), how the show beat theodds and survived for nine seasons, how

some of the story lines came about, and howit was so difficult to say goodbye.

Rosenthal reminisces about some of myfavorite Raymond episodes. It's hard tochoose, because there's not a clinker in the210 episodes produced. (I've even compiledmy own Top 10. See box.)

Readers also get a glimpse of Rosenthal'schildhood, his early jobs, and how he wentfrom a classic TV fan to struggling actor towriter, director, producer and creator ofarguably one of the most successful series inthe history of television.

"I am one lucky guy," explainedRosenthal, who prior to Raymond was gettinghis feet wet behind the scenes on sitcoms like

A Family for Joe (the RobertMitchum disaster that he wasimpressed I even watched), BabyTalk, Down the Shore and Coach. "Anice Jewish boy landing on his feetin Hollywood and actually surviv-ing...I sometimes still wonder howany of this happened," he added.

Rosenthal also recounts how helanded a gig working with then -President Clinton for a WhiteHouse Correspondents Dinner, avacation at an "all-inclusive" resort(that could, and should, be thepilot for a new comedy) and howhe casually suggested during ameeting at CBS that they put CSI

on the air, and they listened to him."We spent a huge chunk of time togeth-

er," said Rosenthal to the cast, staff and crewat the Everybody Loves Raymond wrap party,which he includes in the book. "Let's stayconnected."

So, to any fan who wants to stay connect-ed, pick up a copy of You're Lucky You'reFunny: How Life Becomes a Sitcom. One chap-ter in and you will be kvelling like I am! Now,take a look at my top 10 favorite episodes ofRaymond and tell me if you agree.

Do you agree or disagree with Mr. TV?Please e-mail mberman@mediaweek.comand let him know if you would like yourresponse published in an upcoming issue.

Are you a fan of Mr. TV's alter ego, The Programming Insider? Now you can talk back to him at pifeedback.com.

MEDIAWEEK (ISSN 1055-176X, USPS 885-580) is published 45 times a year. Regular issues are published weekly except 7/3, 7/17, 7/31, 8/14, 8/28, 12/18, 12/25 by VNU Business Publications USA., 770 Broad-way, New York, NY 10003. Subscriptions: $149 one year, $249 two years. Canadian subscriptions: $199 per year. Other foreign subscriptions $319 (using air mail). Registered as a newspaper at the British PostOffice. Canadian Publication Mail Agreement No. 40031729. Return Undeliverable Canadian Addresses to: Deutsche Post Global Mail 4960-2, Walker Road, Windsor, ON N9A 6J3. Periodicals postagepaid at NewYork, NY, and additional mailing offices. Customer Service Email: mediaweek@espcomp.com. Subscriber Service (800) 562-2706. MEDIAWEEK, 770 Broadway, New York, NY, 10003. Editorial: New York, (646)654-5250; Los Angeles, (323) 525-2270; Chicago, (312) 583-5500. Sales: (646) 654-5125. Classified: (800) 7-ADWEEK. POSTMASTER: Address changes to MEDIAWEEK, P.O. Box 16809, North Hollywood, CA91615-9467. If you do not wish to receive promotional material from mailers other than ADWEEK Magazines, please call (818) 487-4582. Copyright 2006, VNU Business Media Inc. No part of this publication maybe reproduced, stored in any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior writtenpermission of the publisher. Forreprints, please call Wright's Reprints (877) 652-5295.

30 MEDIAWEEK October 23 , 2006 mediaweek.com

ChOINSB EtVAE fait tiV

TO PICNICS AT GAMES OF THE MINOR-LEAGUE

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