Category Archives: Uncategorized

‘Flying High’ – Mergers, Alliances Reshape Air Travel In Latin America

Flying High.
By Adam Jacobson

Latin America represents one of the hottest growth opportunities for airlines, as competition makes mergers and alliances the new name of the game.

Travelers flying around Latin America today are enjoying options that were unimaginable just a few years ago. Given the bevy of new routes, direct access to more cities and the entry of scrappy, low-cost carriers, business and leisure customers are flying high.

So is the industry. The expanding ranks of global airline alliances are credited with helping to boost business for a broad swath of carriers operating in the region. And Latin American carriers, unlike many struggling counterparts in the United States and Europe, managed to skirt the turbulence of the crisis.

More at Latin Trade magazine

The Miami Herald’s Business Monday: Spanish-Language TV Networks Thriving

Spanish-language television is growing. But what sort of growth can viewers and advertisers expect in a market like Miami?

Adam R Jacobson, taking a break at his home office

The March 22, 2010 edition of The Miami Herald’s Business Monday explored the topic in detail, as Glenn Garvin interviewed Adam Jacobson, Julio Rumbaut, José Cancela and other Hispanic market experts and executives on the subject.

To read the Miami Herald article in full, courtesy of Boulder Weekly, simply click here!


Univision Radio/New York Solidifies Beisbol Relationships

Press coverage in recent days has discussed the signing of the New York Yankees and New York Mets to broadcast deals with Univision Radio in New York.

This isn’t news. Univision Radio in the Big Apple has enjoyed relationships with both Major League Baseball teams – each of which have increased their Spanish-language outreach and Hispanic initiatives – for several years.

What’s going on for 2010 is a signal flip – one that makes sense for both teams.

Tom Taylor’s “Taylor on Radio-Info” radio industry online newsletter updates the story in its March 22 edition, and talked with the JakeAdams Editorial Services and Research Consultancy to straighten out some inacurracies in its initial report from March 19.

Here is Tom’s coverage:

With the Mets on WQBU (92.7), Univision ties up both Major League Baseball teams in New York.
The Yankees just signed a full 162-game deal with Univision’s Spanish news/talk WADO (1280) – moving them over from Univision-owned regional Mexican WQBU (92.7). Now Univision replaces the Yankees on “La Que Buena 92.7” with the Mets.
Editor’s Note: The Mets had been on WADO.

Hispanic media consultant Adam Jacobson tells T-R-I it “makes sense: Univision puts the more popular Yankees on the bigger signal” of WADO. WQBU, the onetime modern rock WLIR, is licensed to Garden City and straddles the border of the Long Island and New York City markets. Jacobson says the coverage of 92.7 works for the Mets – “The Mexicans live in Queens and the South Bronx, and those are the Spanish-speaking Mets fans the team wishes to grow its fan base with.”

The National League Mets will put 150 of their regular season games on La Que Buena plus two Spring training games. Also on the schedule – an unusual June 28-30 regular-season series against the Florida Marlins – played at Hiram Bithorn Stadium in metropolitan San Juan, Puerto Rico. 

The deal with the Mets also grants the franchise cross-promotion on other Univision radio stations in the Big Apple.  The booth team of Juan Alicea and Max Perez Jimenez continues to call the action, and their voices will be heard on the Secondary Audio Program (SAP) channel for the SNY cable service and WPIX-TV/Channel 11, the Mets’ broadcast partner.

Who’s making money on Spanish-language baseball in NYC?CBS-owned WCBS-AM (880) is the radio rightsholder and has carried the English-language Yankees games since they left WABC (770) at the end of the 2001 season. WCBS continues to produce both the English-language broadcasts as well as the ones in Spanish. But Adam Jacobson adds the detail that the Spanish Beisbol Network “landed ad representation rights for the Spanish-language radio broadcasts of the Yankees” in July 2009. So SBN is selling spots for the Yanks, which are now moving from Univision’s WBQU (92.7) to the bigger signal of WADO (1280). And who is SBN? Adam says it was bought in 2008 by Virginia-based Celeritas Management, funded by Palladium Equity Partners.



Radio en Español NEWS NOTES

“Maria” has replaced “José” in some more cities, says Tom Taylor. Entravision has spread its “Siempre Romantica” Spanish soft adult contemporary format to three new markets. Launched in Stockton-market KCVR-AM and Modesto-market KCVR-FM, Maria has settled into Las Vegas, where it is now airing on KRRN-FM (92.7). It’s also now on AMs in Denver (the former regional Mexican KMXA, Aurora at 1090) and El Paso, where KSVE at 1650 has quit simulcasting “Jose 93.9” KINT.

A Case For A New Alternative

Alternative radio rivals KROQ-FM 106.7 and KYSR-FM 98.7 in Los Angeles split a 6.0 share in the Arbitron ratings. Both stations offer a steady diet of 1990s-era Modern Rock music.

But is this “Alternative” anymore? Where’s the new music?

On March 4, industry blog Ross On Radio looked at why the 1990s dominate Alternative radio. Many commented on the subject, including JakeAdams founder Adam R Jacobson, who notes:

“Many a programmer will tell you that Alternative is soft right now and there’s not a lot of product out there. But according to who? [It’s the] fortysomething programmers that can no longer program a true ‘alternative’ to the abundance of pop and Hip-Hop that most listeners 13-27 are listening to today . . . It’s time to hand Alternative music formats over to the next generation and come to grips with the realization that U2 and Stone Temple Pilots are to today’s college student what Pink Floyd and Led Zeppelin are to today’s 40 year old male.”

That was just a little bit of what I had to say on the subject.

Stations like KYSR, KROQ and (especially so) WRFF-FM 104.5 in Philadelphia are relying on what is now “Modern Gold” to drive up ratings and keep the core happy.

This is dangerous; this is predictable.

Yet aside from MGMT, Silversun Pickups, Weezer, Vampire Weekend and Phoenix, what is “alternative” music today? What should an Alternative station play?

I must go back to the often misinterpreted “Year Arc” – something that Oldies/Classic Hits programmers have abused and fail to understand and something that Alternative programmers of today need to understand and grasp — before their stations become the Gen-X Classic Rocker.

What do I mean by “Gen-X Classic Rocker”?  I mean that no Alternative station should be playing anything but the very top-testing records released between 1992 and 2000. Period.

Why? Think of my target audience. I want to attract men and women between 14 and 34 years of age. Thus, my median listener is 24 years old and was born in 1986. Assuming most people start liking music around age 9 or 10, that puts us at 1996-97.

What does this mean? This means that the following records are Oldies to my core audience and must be played as if these are the sacred songs of one’s childhood – the foundations of the music they like today:

NIRVANA  Come As You Are
PEARL JAM Evenflow

Ladies and gentlemen, the above songs came out when my typical listener was six or seven years old.

Other songs now considered “classics,” because my core audience was in elementary school, include:

PEARL JAM Daughter
GREEN DAY Basket Case
BLUR Song 2
BEASTIE BOYS Intergalatic
CAKE Never There
BLINK-182 All The Small Things

How many programmer directors would be freaked out right about now?
Well, my friends – this is a reality check: All of these songs were released before the majority of my target audience graduated high school.

Alternative must become a “21st Century Format” and play nothing but 2000s and now. It must be more adventurous, embrace new music, and hark back to the days when radio was relevant because it connected with the audience. And, it should play currents in a meaningful rotation.

I experimented one recent evening with coming up with an Alternative format that could embrace its heritage while superserving today’s college-age student. Pick a market like Washington/Baltimore, Miami, New York, or Atlanta.

I came up with a current-focused format that was truly Alternative in nature. I also like what stations like KBZT/San Diego are doing at late-night hours, and have always admired the creativity of Jim Ladd. What if we were to combine the two concepts, while borrowing from Nick The Nightfly at Radio Monte Carlo – a champion of NuJazz, Chillout, Ambient, and Brazilian Pop?

The target age of my audience is 14-34, while appealing also to the 18-49 demographic. Hence, there are some Triple A currents and gold mixed in – also because of the East Coast nature of the audience and difference in what is familiar compared to West Coast stations and tastes.

Here’s what I came up with for my imaginary station –

101-7 The Pod Alternative Music Now.


TEMPER TRAP  Sweet Disposition   C
DANDY WARHOLS Bohemian Like You  G
BIG PINK Dominos  C
MUSE Starlight R
SPOON Don’t You Evah   R
– 4 min. break – SPOT
MGMT Time To Pretend R
GOSSIP Heavy Cross  C
20:48    SET BREAK
KILLERS Somebody Told Me G


KIDS OF 88     My House                            C-Add
MATISYAHU    One Day                            R
MUMFORD & SONS    Little Lion Man                        New-Test
R.E.M.    Losing My Religion                            G
ELLIE GOULDING    Starry Eyed                        C
PAUL OAKENFOLD f/CRAZY TOWN    Starry Eyed Surprise            G
TIESTO f/TEGAN & SARA    Feel It In My Bones                C
– 4 min. break – SPOT
FRANZ FERDINAND    No You Girls                        R
THE WHITE STRIPES    Seven-Nation Army                    G
PHOENIX    Lisztomania                            C
LINKIN PARK Feat. JAY Z    Numb/Encore                    C
21:46    SET BREAK
RISE AGAINST    Savior                                R
GREEN DAY    Boulevard Of Broken Dreams                    G
DAN BLACK    Symphonies                            C

Then, at 10pm, I went with a nighttime chillout show that doesn’t have to be 100 percent sedate and can even include some older songs with a hard edge that can fit texturally. I’m looking to an audience of late-night workers, students, a soundtrack for a romantic night and perhaps a savvy 30-something audience. Note the current material as well:

22:00   The Pod Lounge

ZERO 7 Swing
GABIN  Doo Uap
ROXY MUSIC Love Is The Drug
MASSIVE ATTACK Paradise Circus
– 3 min. break –
OASIS Wonderwall
THE XX Crystalized


TRIBALISTAS Velha Infancia
CELLAR 55 With Or Without You
KATE BUSH Cloudbusting
MOBY South Side
– 3 min. break –
TALKING HEADS Burning Down The House
DEATH CAB FOR CUTIE Meet Me On The Equinox

We are in 2010 and at a crossroads with technology, and with music.

New blood, new ideas and new music are the key solutions to making Alternative music formats relevant to the 18-34 and 18-49 cell.

Jake Adams Gets A Tryout At WLYF/Miami

Adam R Jacobson, using the name “Jake Adams,” was the voice behind the mic for the 10am-3pm air shift on Lincoln Financial Media’s WLYF “101.5 Lite FM” in Miami on Sunday, January 17, 2010.

Adam was one of several candidates being considered for this highly desired air shift, which includes Saturdays. WLYF is interviewing and auditioning other worthy candidates over the next several weeks.

It appears that while Adam did a great job after not being on the air for more than a decade and never having been on the air at a No. 1-rated radio station in a top 15 Arbitron market, the station is looking for someone with a bit more experience – and less nerves!

How was the experience? Here’s Jake in his own words:

Being a radio personality on a station that has never appeared in the Arbitron ratings, or pretending to be a disc jockey as a seven-year-old destroying my mom’s cassette of “Take Me Home” by Cher, is NOTHING like actually getting behind the mic and putting on headphones in a radio station that’s the dominant No. 1 in the ratings.

My experience was everything I hoped it could be – even with the three big faux pas witnessed during my five-hour shift on 101.5 Lite FM.

The first hour went somewhat smoothly, even as I got used to the foreign equipment and “modern” technology – no cart machines or CD players or records to cue up anymore!

Then,  at 11am, things started to get bad. I went long on the weather, and the music bed ran out. I panicked, and hit the top-of-the-hour sounder early. I nearly stepped on the promo that leads in to the first song of the hour.

Then, at 11:08 or so, an unexpected pause of eight seconds occurred. Oh, crap! This was my cue on the computer software to come in and talk up a record with one of three revolving liners – but I was supposed to manually delete the pause from the automated playlist system. So after the dead air, Selena’s “I Could Fall In Love” began, I did my liner, and I steamed off some hot air for a few minutes as the head of programming and operations, Rob Sidney, came in to the studio to find out what had happened.

I was mad at myself, but like in a marathon one must solider on, refocus, and think of the finish line. I was at mile 6 of 26.2 and stumbled. Time for a Gatorade and positive thoughts.

From 11:30AM to about 2:30PM I thought I did pretty well. I was a bit unhappy with some of my wraps – breathing issues, running out of air on a lengthy promo read and other nit-picky, Virgo-like self-criticisms.

But I had hit my stride. Talking up Naked Eyes’ “Always Something There To Remind Me” was pure joy. I was in my bedroom – talking up records to my imaginary listeners. But I wasn’t – I was on the station with more than a 9 share in a top 20 market, with thousands of people listening to me.

Then, a problem. I had a 35-second liner to read, but it was between a cold fade for “As Long As You Love Me” by Backstreet Boys and a seven-second intro for Phil Collins’ “You Can’t Hurry Love.” Instead of talking over dead air and then cueing Phil with seven seconds to go in my wrap, I talked over the final 15 seconds of the BSB song. Because I cued the mic early and DELETED the break. I knew my mistake and had to eat it. Yuck.

Rob came in and wanted to know what the hell had happened. I was pissed off at myself, and again recovered strong enough to finish my first-ever five hour shift since 1994.

When Denny relieved me, my head was throbbing. I felt nauseated, knowing that I had seriously flubbed a couple of key things in my on-air audition.

But I was strong for three hours or so. It was an audition; mistakes happen. At least my headphones weren’t taken from me and I wasn’t shown the exit until the end of my shift.

My friends and family think I was the best air personality they’ve heard in a while. I give myself a B-.

Will I be the next “Radio Idol” in South Florida? Who knows. I’m just happy to have gotten the chance to do something I enjoy and share five hours of my weekend with thousands of people actually paying attention to what I have to say.

If I get the gig, it’ll be a dream come true. If I don’t, no big deal.

I had fun.  I just hope other air talents have fun behind the mic too.

Editor’s Note: Unscoped one-hour airchecks of Adam’s live on-air audition at 101.5 Lite FM are 8MB each and cannot be uploaded to JakeAdamsDotNet. If you’re interested in Adam for your radio station, send us a note at and we’ll be happy to talk to you about getting a file to your FTP server.

The Marketing Of Mark Sanchez

Mark Sanchez may be able to do two things at once. He could help the Jets win and help them win over new fans. He may even be able to sell a few personal-seat licenses for Woody Johnson.

But how much time and effort should the Jets and Sanchez expend on wooing new fans, particularly in the Hispanic community?

In May 2009, New York Times NFL blogger Toni Monkovic interviewed Adam R Jacobson to discuss Latinos in professional football and how the Jets believe the best advertising is simply winning.

Read the full interview.