Arbitron Revenues Rise In Third Quarter 2012

 

October 24, 2012 at 4:25 AM (PT)

http://www.allaccess.com/net-news/archive/story/111761/arbitron-revenues-rise-in-third-quarter-2012

ARBITRON third quarter revenue rose 8.3% to $114.3 million, credited to the nearly completed phase-in of price increases for PPM service and other contractual price increases.  Net income increased from $15.4 million (55 cents/diluted share) to $15.8 million (59 cents/diluted share), a 7.3% increase per share; the 2012 numbers included a 2 cents/diluted share pre-tax, non-cash charge related to an impairment taken on certain internal-use software.  EBITDA fell 0.2% to  $33.5 million, attributed to the impairment charge

President/CEO WILLIAM T. KERR said, "In the third quarter, we announced that ARBITRON and comSCORE will work together on a groundbreaking cross-platform initiative for ESPN.

"We are working to integrate census-level data from PCs, mobile devices, and television set-top boxes with the personal, passive and single-source measurement capabilities of our PPM technology. We plan to track and report the consumption of video, audio and display content across radio, television, PCs, smartphones, and tablets.  Our goal is a new methodology that the media and marketing industry can embrace as the template for the future of cross-platform measurement.

"This initiative is a strong validation of our strategy for cross-platform, and is a direct outcome of the pioneering work ARBITRON delivered in our cross-platform pilot for the COALITION FOR INNOVATIVE MEDIA MEASUREMENT (CIMM).

"Also in the third quarter, we continued to grow our revenue and earnings as we maintained our investments in the value and utility of our core services and continued to invest in the opportunities presented by the emerging markets of mobile and cross-platform."

The company  is reiterating its revenue and earnings per share guidance for 2012, with revenue projected to increase 5-7% and earnings per diluted share to increase 8-15% to between $2.15 and $2.30.

Radio Remains The Third Most Used Media In New eMarketer Survey

 

• October 24, 2012 at 3:52 AM (PT)

   

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  TV, Online, Radio Are Top 3

  While slipping slightly, radio still remains as the third most used media per day, based on time spent with the medium, according to new data from eMARKETER. The survey found time spent on mobile devices is up even as the growth in time spent on the desktop Web slows. The research found the amount of time on mobile devices (excluding talk time) will grow 51.9% to an average 82 minutes per day, up from 54 minutes in 2011, and 34 minutes in 2010.

  TV remains the top dog, up from 274 minutes a day in 2011, to 278 in 2012. Online was second, growing from 167 minutes in 2011 to 173 minutes in 2012. Radio was down just 2 minutes -- from 94 in 2011 to 92 in 2012.

  THE FINANCIAL TIMES notes, "The surge in mobile activity comes as growth rates slow for both the time people spend online with their desktop and laptop computers and internet-connected televisions and the dollars marketers spend on online ads. People now spend an average of nearly three hours a day online, and double-digit growth rates are not likely in the future. Consequently, growth in online ad spending has slowed. The U.S. online ad business is expected to increase 13.6% this year to $34.7 billion, after growing 19.6% last year. By 2016, online ad spending should increase just 1.5% to $43.4 billion."

http://www.allaccess.com/net-news/archive/story/111754/radio-remains-the-third-most-used-media-in-new-ema

Copyright: It's Corroding Musical Creativity In America

Copyright: It's Corroding Musical Creativity In America...

Sunday, October 21, 2012
by  niko

Throughout American history, the duration of copyright has gotten longer and longer. The Copyright Act of 1790, which was a copy of the UK's Statute of Anne, granted fourteen years of protection. Fast-forward to 1998, and the Sonny Bono Copyright Term Extension Act extended the length of copyright to the life of the composer/artist plus 70 years (or, if the work is of corporate authorship, 120 years after creation or 95 years after publication, whichever comes first).  In determining that decision, it was noted that the extension would "provide significant trade benefits by substantially harmonizing US copyright law to that of the European Union while ensuring fair compensation for American creators."   

 

In this article, I propose that today's copyright law is overbearing yet ineffectual, and in dire need of revision.

 

Graph of U.S. Copyright Term History (credit: Thomas W. Bell, licensed under Creative Commons)

 

The US Constitution states that the core purpose of copyright law is "to promote the Progress of Science and useful Arts" (Article I, Section 8).  Yet paradoxically, empirical analysis has discredited the notion that increased copyright protection correlates with increased creativity.  Research published in the Vanderbilt Law Review, titled Does Copyright Law Promote Creativity: An Empirical Analysis, determined,  

 

"There is little empirical or theoretical support that increasing copyright protection will increase the number of new works created… Lawmakers are more likely to find a relationship between anincrease in the number of new works and those laws that reduce or otherwise limit copyright protection, and even then the relationship is far from guaranteed."  

 

This last point really speaks to today's digital age, where sampling others' works forms such a crucial part of pop music creation. Yet today's system is based on strict prohibition of using copyrighted works, even for creative or interpretive purposes.  There should be a balance between letting artists create and giving credit where it is due.

Besides creating hurdles for today's artists, US copyright law also makes it exceedingly difficult for organizations to build archives to preserve America's musical heritage.  Tim Brooks conducted a study on the availability of historical recordings on behalf of the Library of Congress.  In his report, Copyright and Historical Sound Recordings: Recent Efforts to Change U.S. Law, he points out:

 

"Most historical recordings ever made in the United States are controlled today, primarily by the major recording conglomerates…Even more strikingly, only 14 percent of those historic recordings were made available by the copyright holders."  (Copyright & Historical Sound Recordings, pg 466).  Predictably, that 14 percent is heavily skewed towards the recent past.  Thus, a huge archive of historical works from the late 19th and early 20th centuries, including seminal folk songs, spirituals, and other records are trapped and may never become available.    

"Accessing the audio heritage of the U.S., ironically, often requires breaking the law." 

 

Imagine if the same were true for books.  There would be public outcry.  In Britain and much of Europe, sound copyrights go into public domain after just 50 years, allowing countries to preserve their musical heritage.  While there have been talks about addressing this issue, they have so far been fruitless.  

Thus, the only remaining support for such protective copyright is financial, or as the court phrased it, to provide the US with "significant trade benefits."  Yet one must question even this most basic of motives.  More often than not, it isn't artists and their heirs who reap the benefits of the 'Life+70' standard.  Major labels retain ownership of most records, and will hold on to that ownership as long as possible.  

With piracy as rampant as ever, do the provisions of copyright justify the barriers it creates for both artists and the general public?  Moreso, the public still can't freely access seminal recordings that could inspire them to create their own original art. 

Lawmakers should reexamine music copyright law in light of these issues.  Instead of simply lengthening copyright's term, they should consider other methods for fostering creativity, such as providing funding for the arts or requiring songs that do use samples to be made public.  Maybe then American musical creativity can truly progress, and properly be conserved in history.

Como cultivar os fãs certos no Facebook

 

O número de fãs não é tão importante quanto encontrar aqueles que serão defensores da marca

19 de Outubro de 2012 •08:30

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Consumidores, mesmo em tempos de e-commerce, apreciam ser reconhecidos como “pessoas” Crédito: SXC

O número de fãs que a sua marca pode conquistar é importante, certo? Cada um deles é mais valioso do que seu consumidor normal, gasta mais dinheiro e possui impacto mais significativo nas finanças de sua companhia, não é? Pense novamente.

A ideia de que todos os fãs do Facebook são criados iguais é um mito perpetuado por muitos diretores executivos de marketing que conheci. A confusão que isso cria é uma das razões pelas quais os canais de mídias sociais ainda têm que alcançar os mesmos níveis de sucesso de seus pares móveis.

Estes divulgadores estão confundindo correlação com casualidade. Eles acreditam que atrair uma pessoa a fim de torná-la uma fã no Facebook irá magicamente fazer deste um indivíduo propenso a gastar mais na marca deles. O que vem em seguida é uma campanha designada somente para adquirir novos fãs. Grande erro.

Pense desta maneira. Quando o sol está lá fora em um dia de verão, as pessoas gostam de tomar sorvete. Há uma correlação entre as duas coisas; quando você passa em uma loja de sorvetes em julho e agosto (verão do hemisfério norte), você sempre vê uma fila de fregueses em frente. Mas o sorvete não faz o sol aparecer, assim como um fã no Facebook não faz com que uma pessoa traga a carteira, compre seus produtos e serviços e se torne uma apaixonada defensora da marca.

Isso não é para dizer que os CMOs não devem construir uma base de fãs. A questão é como fazê-lo de modo produtivo. Não existem atalhos. Ganhar a fidelidade do cliente começa com a combinação de um ótimo produto mais a experiência repetida e sem falhas do consumidor. Esta experiência inclui muitos componentes, mas há alguns deles pelos quais sou mais apaixonado:

Personalização. Consumidores não são mais receptivos às velhas táticas de marketing “jogue a isca e reze”. Com isto em mente, estaria você usando as informações que seus clientes lhe dão para que você os conheça como indivíduos? Quais dispositivos eles utilizam mais, em quais negociações estão mais interessados, e quando não efetuam a compra, você sabe o porquê, para que você possa consertar o erro? Como comerciante, eu sei que formar um perfil instantâneo de cada consumidor não é tão fácil como criar uma campanha no Facebook. Mas na posição de consumidor, sei que estou menos inclinado a comprar de um negócio que não me conheça como pessoa.

Dispositivos. Fazer compras já não se trata apenas de ir à loja ou de adquirir itens por meio do PC. Testemunhamos durante a temporada de férias do último ano, um número recorde de pessoas comprando através de dispositivos móveis, inclusive por smartphones e tablets. Consumidores que exigem uma experiência móvel que não seja somente convincente, mas consistente para todos os dispositivos.

Ir ao encontro das necessidades do consumidor coloca você em uma posição de pedir a eles que se tornem fãs no Facebook (se eles já não o fizeram por si mesmos). O que resta a você é algo mais valioso do que uma coleção de indivíduos estáticos que não possuem o menor interesse em sua marca. Bem o contrário: você possui novos canais de engajamento do consumidor habitados por pessoas que você pode seduzir diariamente com ofertas e informação personalizada.

Estes fãs também podem evoluir para o mais novo prêmio de marketing – defensores das marcas dispostos a colocar suas reputações em jogo. Você erguerá uma comitiva de fãs que irão não só desposar seus produtos e serviços, mas também seus valores. Isto é bastante valioso se você considerar que, segundo Nielsen, 90% dos consumidores confiam em recomendações alheias.

Este é o tipo do fã de Facebook no qual todos os CMOs deveriam mirar.

Por Yuchun Lee, vice-presidente de marketing da IBM, para o Advertising Age
Tradução: Isabella Lessa

Read more: http://www.meioemensagem.com.br/home/marketing/noticias/2012/10/19/Como-cultivar-os-fas-certos-no-Facebook--.html?utm_source=newsletter&utm_medium=email&utm_campaign=mmbymail-geral&utm_content=Como%20cultivar%20os%20fãs%20certos%20no%20Facebook#ixzz29qo54Mns

I'm a Music Industry CEO. And This Is Why I Tossed Your Resume Into the Trash...

 

I'm a Music Industry CEO. And This Is Why I Tossed Your Resume Into the Trash...

Wednesday, October 03, 2012
by  paul

The following comes from Lee Parsons, cofounder and CEO of digital distributor Ditto Music.  He recently posted this position online, and compiled a list of do's and don'ts for landing an interview (and ultimately, a job). 

"I am CEO of Ditto Music, a digital distribution company. Recently we advertised for a customer services / marketing rep at our Nashville office...

I had to work through hundreds of applications so the smallest mistake was enough to make me hit that delete button, and there were some shockers.

Here are my top 20 tips on keeping your Resume out of the recycle bin and landing that interview.

1. Do be Specific.

If you want to work in music because you think it will be “fun” then you should speak to my CTO who can spend 10 hours a day checking spreadsheets. There are many areas of the industry, decide which one you want to work in and save yourself some time.

2. Don't tell me 'I have wanted to work in music since first picking up a guitar.'

Or 'music is my passion.' This makes no sense. Do you want to be a musician or do you want to work in the music industry?

3. Do as much research as possible.

Mike in our support team found out what bands his interviewer was into and was able to find common ground instantly.

4. Don't swear.

The word 'A-hole' counts as swearing. If you use this term then you will sound like an A hole.

5. Do include a great title in your email application.

A lot of people forget or just put 'application.' Take this opportunity to spark our interest.

6. Don't name your file 'My CV'

By the time I have 30 CVs on my desktop named this I have no chance of knowing who is who. Put your name in the file name. Lee Parsons.CV would be fine.

7. Do use PDF files over word files.

These are guaranteed to open on all systems.

8. Don't think that you can avoid sending a CV by sending a photo.

Yes you are very attractive, but that is not going to be enough to get you an interview. I could write another blog on how bad this application was.

9. Do research our competitors.

We want to know you understand the market.

10. Don't tell me that you need a 9-5 while you work on your music career.

11. Do mention that you love my company.

Even if you don't.

12. Don't, under any circumstances, tell me that you don’t understand what we do but are willing to learn.

It takes 30 seconds to read up on our company.

13. Do keep up-to-date with music industry related blogs, as well as writing your own.

14. Don't do Liam Neeson impressions via email.

This happened.

15. Do learn about SEO/social media, etc.

Whether you are going for a job as a label rep or a care salesman, a solid understand of marketing will show that you are here to build your clients business.

16. Don't write and send your cover letter via your iPhone.

I want to think you made the effort to sit down at your computer and write it out. This tells me you probably wrote this on the bus to work this morning.

17. Do keep your Twitter updated.

It's one of the first things I can check to get an insight into who you are.

18. Don't try and be too edgy (swearing / Liam Neeson impressions).

Some things don't translate well over email so be careful.

19. Do mention your experience.

If you don't have any then seek out internships.  An internship at a major label will mostly involve you making tea.  Pick an exciting startup or label and get as involved as much as possible.

20. Don't just look online for jobs.

Go to all networking events in your region. 80% of my friends who own companies ended up employing someone they were recommended through someone else.

My job application is still open. If you think you have what it takes and have read this thoroughly, we'd love to hear from you.

jobs@dittomusic.com

- Lee

Statistical Proof That Pirates Buy More Stuff...

 

Wednesday, October 17, 2012
by  paul

The guy who robs the 7-Eleven rarely returns the next day to buy a Slurpee. But in music, that's exactly what's happening.  In fact, stats now clearly show that pirates buy more Slurpees than law-abiding music fans.   

The following comes from two sources: The American Assembly, a Columbia University think tank, and Statista, which compiled the report's findings. The big takeaway is that P2P users purchased nearly 31 percent more downloads than non-P2P users.

Full research report here.

More Than 10,000 Radio Stations Are Now Taking Legal Action to Lower Their Royalties…

 

from: http://www.digitalmusicnews.com/permalink/2012/121017terrestrial?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+digitalmusicnews+%28Digital+Music+News%3A+Top+Stories%29&utm_content=Netvibes

 

More Than 10,000 Radio Stations Are Now Taking Legal Action to Lower Their Royalties…

Thursday, October 18, 2012
by  paul

Pandora isn't the only one trying to reduce its payments to musicians and songwriters.  Right now, in a federal courtroom in Philadelphia, a consortium of more than 10,000 traditional radio broadcasters is taking legal action to reduce payouts to songwriters and publishers. And they're focusing their guns on the smallest performance rights collector, SESAC.

Of course, traditional radio stations already enjoy free licenses on recordings.  But this would lower the licensing bill even further.  The action is happening the US District Court for the Eastern District of Pennsylvania, where the Radio Music License Committee,Inc. (RMLC) is arguing that SESAC is using loopholes to charge 'exorbitant' rates for performances of its songs.  This is an anti-competitive, anti-trust accusation, based on allegations that SESAC is unfairly leveraging its exclusive catalog rights to force higher payments on 'must have' songs.  "We feel that SESAC's pattern of increasingly exorbitant rates imposed on our industry without resort to a fair process has left us with no other alternative," said RMLC chairman Ed Christian.

But wait: songs cost money, and songwriters deserve to get paid.  So can't SESAC charge whatever it wants?  Not according to the RMLC: the 'fair process' is a reference to much larger collection societies ASCAP and BMI, both of whom are subject to agreements forged with the US Government, specifically 'consent decrees' with the Department of Justice.  SESAC, a privately-held, for-profit group, exists outside of those agreements, and typically forces higher payouts on stations as a result. 

All of which means ASCAP and BMI offer cheaper and more predictable rates (which radio loves), while SESAC pushes - and wins - far higher rates (which of course, radio hates).

So why not simply skip the SESAC songs entirely?  After all, in a free market, if you can't afford to play a song, then you wouldn't play it.   But the RMLC argues that SESAC is purposely opaque about which songs it actually controls, and its catalog is easily mixed into broader station playlists.  That includes songs judged to be critical to station setlists, a situation that gives SESAC lots of leverage to secure greater licensing prices. 

If successful, stations would further reduce their heavily-discounted licensing portfolio.  All of which raises questions about why radio stations need further breaks and government-brokered discounts.  According to the stations, it all makes sense in this economy...

"In recent years, the radio industry has faced a serious challenge in terms of restoring reasonable license fee levels during difficult economic times. The aforementioned ASCAP and BMI settlements achieved much in terms of placing the industry on a sound footing once again but SESAC remains an anticompetitive force in the industry. "

(RMLC statement)

Como as marcas aproveitaram Avenida Brasil

19 de outubro de 2012 · 10h24

As marcas de Avenida Brasil

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Nas ruas de todo o País não se fala em outra coisa. Hoje é o último capítulo da novela Avenida Brasil, da Rede Globo de Televisão. A trama de João Emanuel Carneiro deu vida a inúmeros personagens que povoam o imaginário popular e proporções midiáticas acima dos padrões para a novela. Não à toa, veículos de todo o mundo retratam Avenida Brasil como um fenômeno.

Na esteira deste sucesso de imagem, evidentemente entra o lado comercial. Avenida Brasil talvez seja uma das novelas com o maior número de inserções de merchandising da história da televisão brasileira. Além disso, os anunciantes também disputam segundo a segundo os intervalos comerciais para as suas propagandas.

Para se ter uma ideia da proporção de alcance e adesão da novela, hoje o último capítulo vai ao ar com mais de 500 anunciantes entre empresas nacionais, regionais e locais, que serão transmitidos nas 122 exibidoras da Rede Globo.

De acordo com a Central Globo de Comunicação, o espaço para os intervalos comerciais do último capítulo estão ocupados há aproximadamente dois meses. Entre as empresas que investiram neste horário, existem anunciantes de todos os portes e de diversos segmentos da economia.

Quando o assunto é merchandising, é interessante notar como algumas marcas se infiltraram na trama e fincaram raízes na novela. A Lupo, fabricante de meias e artigos esportivos, por exemplo, investiu 10 milhões de reais para estampar os uniformes do Divino Futebol Clube, time do bairro com diversos jogadores que participam da Trama, incluindo o Jorginho (Cauã Reymond).

No salão de Monalisa (Heloisa Perisse) só se usa chapinhas Taiff. Já a família Tufão tem praticamente uma série completa de carros da Kia. Tufão (Murilo Benício) usa uma SUV Sorento,  Carminha (Adriana Esteves) usou um Optima branco, Max (Marcello Novaes) tinha um Cadenza, Leleco (Marcos Caruso) usa um Carnival, e Jorginho (Cauã Reymond) dirige um Kia Sportage. 

Outra marca que deitou e rolou em Avenida Brasil foi o Itaú, que aproveitou a trama para destacar diversos serviços da empresa e até instalar uma agência no bairro do Divino. Mas se teve gente que se deu bem, por outro lado, propagandas envolvendo personagens da novela também geraram polêmica no universo publicitário.

Um vídeo da Vivo fazendo referência a Tufão causou uma saia justa entre a Globo e o Grupo Newcomm, do publicitário Roberto Justus.  Após tomar conhecimento sobre o material, a emissora solicitou a retirada do vídeo, além de repudiar o ato publicamente e entrar com uma ação no Conar. Justus, por sua vez, teve que pedir desculpas pessoalmente para a emissora e a própria Vivo.

Com informações da Exame e da Folha

Employment Agreements in Brazil: Non-compete Clauses

Legal Bulletin

Employment Agreements in Brazil: Non-compete Clauses - 17/10/2012

by Edgar Bergstron Lenzi

Largely used worldwide, non-compete clauses in employment agreements are still rarely used in employment agreements governed by Brazilian Law. Although such clauses are relatively uncommon from an overall perspective, they tend to become standard practice for high-level employees and those with access to key information. However, certain characteristics of Brazilian labor statutes and case law need to be considered carefully.

Differently from many other jurisdictions, it is common in Brazil for non-compete clauses to focus only on restrictions to competition after the termination of the employment relationship. This is so due to the fact that the Brazilian Labor Law itself prevents competition while the employment relationship is in force.

However, under Brazilian Labor Law, either during employment or after its termination, an employee is not automatically obliged to refrain from working or rendering services to another company, competitor or not, unless such obligation is expressly introduced by agreement. A non-compete clause can for instance create an obligation for the employee or former employee to indemnify the employer in case any losses, such as client or revenue loss, are caused. In such cases, the employee would be subject to summary dismissal without pay in lieu of notice and/or could be sued for damages before the Civil Courts.

In light of the above, if the employee is to be exposed to sensitive information, such as exclusive know-how, industrial secrets or commercial strategies, it is advisable to include non-compete, confidentiality and exclusivity clauses in all employment contracts governed by Brazilian Law. In this situation, one clause might help the enforcement of the others.

According to current Brazilian case law, non-compete clauses applicable while the employment relationship is in force do not demand any specific requirements to be met, except for the general test of reasonability. On the order hand, the non-compete clauses applicable after the termination of the employment relationship must meet a few requirements imposed by Brazilian Labor Courts.

One of the requirements to be met is that the clause provides clear time limitation. Several court precedents state that two years are sufficient to protect the employer, although longer periods could be imposed under special conditions.

The second requirement for validity of the non-compete clause is that it provide territorial limitation. Depending on the company's market, competitors and former employee's activities, this territorial limitation could be a neighborhood, city, state or specified region.

It is also possible to list the specific competitors with whom the former employee will not be able to work. Again, the employer must be reasonable when listing such competitors.

Since the former employee will suffer market restriction due to the fact that he/she will not be allowed to offer his/her services to certain employers for a certain period of time, a third common requirement is the payment of special compensation to the former employee. The amount of the payment must be established considering, alongside with the living standards the former employee had while the employment relationship was in force, the territorial and the time limits imposed.

Finally, generic provisions and broad limitations should be avoided, since they could completely nullify the clause, rendering it unenforceable.

Levy & Salomao

Consumers Readily Adopt New Mobile Banking Tools

 

Oct 17, 2012

Transacting is becoming common mobile banking activity

As smartphone and tablet penetration continues to rise, so too does the use of mobile banking, bill paying, money transfer, remote check deposit and other personal money-management services, according to a new eMarketer report, “Bigger Money on the Small(er) Screen: How Smartphones and Tablets Change the Way Consumers Manage Their Finances.” On-the-go consumers are turning more frequently to their devices to keep tabs on their money and conduct increasingly complex financial transactions—simply because they can.

As both a complement to online money management and a unique channel in its own right, mobile is dramatically changing how people interact with their financial institutions. Banks, brokerages, credit card companies, payment processors and other financial providers that make it easy for their customers to do business via mobile have the potential to cultivate and retain loyal customers, create new revenue streams and gain long-term competitive advantage.

Recent research on the number of people in the US who use mobile banking—the most widely studied mobile financial service—has returned estimates in the range of 15% to 38%, depending on the population being studied and the research methodology. The actual percentage, however, is probably in the 21% to 23% range of US mobile phone users.

Alongside the rapid rise of smartphones—and tablets—mobile banking adoption will grow quickly. In June 2011, Javelin Strategy & Research found that US consumers’ use of mobile banking rose 63% between 2010 and 2011, from 35 million adults to 57 million. The firm further predicted 111 million mobile banking users—51% of total mobile phone users—by 2016.

Mobile banking has been steadily evolving from an informational channel to one in which consumers conduct a variety of transactions.

“First, online banking made a lot more information and data available to the end user,” said Michele Janes, senior business leader for global mobile products at Visa. “Then, on-the-go consumers became accustomed to receiving transaction alerts, accessing balance information, looking up receipts and doing other simple tasks from their phones. But now we’re seeing consumers take that behavior a step further and starting to transact.”

Results from the January 2012 Federal Reserve study support this evolution. While the most popular mobile banking activities were still checking up on account balances and recent transactions, it found significant use of the mobile channel for transactional activities, such as paying bills, transferring funds and depositing checks.

As banks and investment institutions offer more robust mobile banking technology and tools—including person-to-person transfer, mobile remote deposit capture and on-the-go trading capabilities—consumers have shown that they are ready and willing to quickly adopt these new offerings. Many of these consumers, especially those in the younger demographic, in fact, demand it.