A summary of the most exciting recent news in online video in the U.S., U.S.-Hispanic and Latin American markets. If you’re trying to keep up, consider this your one-stop shop.


TiVo just released the 16th edition of its quarterly Video Trends Report, covering key topics across Pay-TV, VOD, PPV, OTT and TV, and found that Q4 of 2016 had the highest percentage of cord-cutters in a single quarter since their Q4 2015 survey. In Q4 2016, 83.0% of respondents had a pay-TV provider. Of the 17.0% without a pay-TV provider, 19.8% of this segment of respondents cut service in the last 12 months.

Entravision Communications Corporation announced that it has acquired Headway, a provider of mobile, programmatic, data and performance digital marketing solutions primarily in the U.S., Mexico and Latin America.

In the US, Nielsen has partnered with video ad platform YuMe to launch what the pair say is the first programmatic platform-based/campaign-based audience measurement solution for connected TV (CTV) campaigns

Vimeo has launched Vimeo 360, a new hub that will spotlight 360-degree filmmaking while offering numerous creative resources to its users.

VuduWalmart’s online video rental and purchase service — will be available as an app for the fourth-generation Apple TV.

Facebook Messenger is starting to roll out Messenger Day globally on Android and iOS. Messenger Day allows users to snap a quick selfie or take a photo or video of what’s around you, add art and effects and share the clip with friends.

Targeting Indian film and Bollywood fans in the US, Amazon has launched Heera, a curated on-demand video channel subscription through which users will able to watch over 100 on-demand channels without a cable connection.

Optimizely has launched Optimizely X OTT as a part of its “Experimentation Platform” to support experiments in over-the-top (OTT) video.

According to new research from the Consumer Technology Association, for the first time ever, the percentage of free or paid streaming video subscribers in the U.S. (68 percent) has caught up to the number of paid TV subscribers (67 percent).

AdRoll‘s recent research found that more than 70 percent of marketers are running programmatic ads on social media, more than one-half employ it on mobile and almost 40 percent use it for video marketing.

Video advertising platform Latin On has partnered with Cinesa Soluciones Audiovisuales to offer digital and audiovisual services to global brands the US-Hispanic market.

AOL Inc. revealed that it had sought a deal with Google and Facebook  before agreeing to a buyout by Verizon Communications Inc.

The New York Times opened  its video inventory to programmatic ad buyers for desktop and mobile web with mobile in-app on the way, per Adexchanger.


Verizon Digital Media Services and Pontis Technologies announced a multi-year partnership that will make over-the-top (OTT) and content delivery network (CDN) services on the leading end-to-end digital media platform from Verizon Digital Media Services available to broadcasters and content publishers throughout Latin America.

Mobile ad company Adsmovil has announced an alliance with Sizmek that will allow advertisers, agencies, and trading desks to combat fraud in programmatic buying on mobile. 

The Global OTT TV & Video Forecasts report estimates that Latin American OTT, TV and Video revenues will nearly triple in the next year.

Amazon has launched its Prime membership program in Mexico, according to a new report.

During the Mobile World Congress in Barcelona, GSMA revealed data showing an increase by 121% in 4G connections in Latin America. The Latin American growing rates are twice as fast as the global average, summing up 113 million connections — 60 million of them in Brazil.

comScore revealed its latest data in Brazil: 81 million people browse the internet via desktop and 75.5 million do it through smartphones, which account for 71% of users’ time online. 105.7 million people have access to the internet.  Google had 88 million unique visitors, and Facebook 79 million. Facebook and YouTube represent half of the videos streamed in Brazil.

The streaming ad management company AdStream claims that revenue grew by 123% last year in Brazil, and  also closed a deal with Globo for ad streaming in the country.

Batanga Media announced a full rebrand, changing its corporate name and identity to Vix. Effectively immediately, Batanga Media will be known as Vix, a digital media company dedicated to generating curiosity and leaving a positive influence for audiences across the Americas.

Are digital publishers in the U.S. Hispanic market and Latin America adopting header bidding? Does it really lead to increased transparency between digital media buyers and publishers? We look at these topics and speak to some regional industry leaders to gain insight on header bidding’s role in the adoption of programmatic buying.

Header bidding was invented to help publishers find the best prices for ad space inventory through avoiding the trouble spots generated by the waterfall effect of Google’s DoubleClick for Publishers (DFP).  Basically, header bidding is a way for digital publishers to directly solicit an essentially simultaneous auction from all the bidders or buyers of digital advertising. While this all sounds nice, publishers in the region have hesitated to adopt header bidding as the rapid pace of the industry makes it near impossible to keep up with (and understand) the latest tools available.

Consensus:  Slow Uptake of Header Bidding

natalia borges
Natalia Borges

The general sentiment in the industry is that Latin America is hesitant to adopt header bidding even when there is great interest and enthusiasm about its existence. Some in the industry started exploring the option early. Natalia Borges, vice president of marketing at Batanga Media, which is active in the U.S. and Latin America, says that the company started to explore header bidding in 2012, but that “the first programmatic header bid impression didn’t come in until July of 2014.”

Peter Gervai, Director of AppNexus Latin America, has been pleasantly surprised by the region’s awareness of header bidding, but says that much of the interest comes from dissatisfaction with other options: “The level of attention is

Peter Gervai
Peter Gervai

inversely proportional to the negativity that other models seem to attract, as publishers see they are loosing value in the more predominant waterfall system, and other competitive systems, that seem to favor one provider over others.”

But the biggest obstacle to the adoption of header bidding may be quite simple: it’s confusing. Juan Jose Nuñez, founder and CEO of Vertical3 Media, believes that publishers in the U.S. Hispanic and Latin American markets are not taking advantage of header bidding’s many benefits due to a “lack of deep knowledge” about programmatic. He continues: “This puts publishers in a very delicate situation because they are seeing how gradually their inventory generates less income and some are considering whether to continue betting big on the model of content generation and news given the lack of advertising revenue.”

On the other hand, Gustavo Landivar, Director Digital Platforms at Unidad Editorial, says that his company has not been pushing header bidding to clients, claiming that not all of his clients want that premium space, despite the fact that it generates more revenue.

Will Publishers Adopt Programmatic Thanks to Header Bidding?

The general sense is that header bidding offers great benefits for

Juan Jose Nuñez
Juan Jose Nuñez

those that, as Vertical3 Media, Juan Jose Nuñez says, want to have “greater control over their inventory and receive  higher revenue by changing the typical approach of cascade monetization by that of header bidding.” But how can publishers come to understand online inventory management and programmatic income generation well enough to make use of header bidding’s benefits?

AppNexus’ Gervai sees no easy solution, as the industry is simply moving so fast, that “it’s hard to keep up…Not with the ideas and concepts, but with implementing the ideas and concepts. So despite understanding and enthusiasm even, we have seen very little in terms of actual use.” Even after talking publishers through the pros and cons of header bidding and dispelling fears about latency issues, there is resistance to the unfamiliar: Having the knowledge, the right concept, the right support seems to be insufficient when you face the ‘great inertia.'”

Publishers,especially those pure players that rely more on indirect revenues, are starting to understand the benefits of header bidding.

Google Double Click: A Game Changer?

Ivan Adaime
Ivan Adaime

Ivan Adaime, VP of Digital at Impremedia, echoes the general sentiment that header bidding is not seeing widespread use in Latin America and the U.S. Hispanic market. But he claims that publishers – and especially those “pure players” that “rely more on indirect revenues” – are starting to understand its benefits. He signaled that most are using Google’s Double Click and Ad Exchange, and that the upcoming launch of Double Click’s First Look will be “nothing more than their answer to header bidding.”

How Important is Transparency?

How transparent is the relationship between publishers and buyers? It depends on whom you speak to. Batanga’s Borges says that one of the most appealing aspects of header bidding is that it would increase transparency. “Header bidding allows publishers to have more flexibility and a more streamlined, direct relationships with buyers,” she claims.

But Adaime cautions the industry not to overestimate header bidding’s influence on the adoption of programmatic, as he believes that header bidding essentially “gives publishers using Google’s DFP and Ad Exchange a bit more transparency on the bids that they receive for their inventory​, especially for the lower tiers of CPM,” but that if we are talking about private exchanges or private deals when we say programmatic, header bidding won’t have as much of an impact, since those activities are “already pretty transparent, and at the top of the typical waterfall setups of the ad servers.”

Only time will tell how the region (and the world) adapts to the many alternatives available to the industry. Programmatic advertising is still new, and probably too complex. In the meantime, no one can blame publishers for resisting something complicated enough to make anyone’s head spin.

Join us at PORTADA Mexico!

The Copa America Centenario will be a huge success, AOL will buy Batanga, major firms will learn from Sprint’s CMO choice, Univision will not IPO…This is how Portada’s Editorial team sees the year unfolding from a marketing and media perspective. We make some predictable bets as well as some more gutsy ones…but only time will tell if we were right!

More Fortune 500 Companies Will Promote their Hispanic Advertising Directors to CMOs

Sprint just promoted its Head of Hispanic Advertising, Roger Solé, to CMO. More CEOs, like Sprint’s Marcelo Claure, will be gutsy and bright enough to name executives who are very experienced in multicultural/Hispanic to their companies’ top marketing roles. It makes all the sense in the world for major corporations whose future largely depends on having a successful Hispanic marketing strategy. This includes the telecommunications, automotive and financial services categories.

The Copa America Centenario Will Become a World Cup-Level Success

SoccerThe 2014 Soccer World Cup in Brazil was yet a new high in the passion U.S. fans have for soccer. This summer’s Copa América Centenario, to be played in the U.S. June 3-26, could bring the passion for soccer to new heights.

The competition is a celebration of the centenary of Conmebol, the South American Football Confederation, and Copa América, and is to be the first Copa América hosted outside of South America. The tournament will feature global soccer heavyweights like Brazil, Argentina, Uruguay and Chile as well as Mexico and host United States. (The only unfortunate thing here is Fifa’s corruption morass).

Univision Will Not Go Public in 2016 Either

The Hispanic media behemoth Univision Communications intends to go public in 2016. In fact, it tried to do so in 2015, but adverse market conditions stopped it from doing so. Will 2016 be the year in which public equity investors will be ready to pay for the US$20 billion valuation sought by Univision backers (led by Thomas H. Lee Partners, Providence Equity Partners, Madison Dearborn Partners, TPG Capital and Saban Capital Group)? We will see. Low valuations of traditional media companies due to cord-cutting, audience fragmentation and low growth in Spanish-language media advertising do not bode well…

Efforts to Target Hispanic Millennials Exclusively in English Will Vanish

Tin Can Phone Spanish and English ConversationDisney’s intention to sell its stake in Fusion highlights how difficult it has been for most media companies to create compelling offerings in English that exclusively target Hispanic Millennials that are compelling to both audiences and advertisers. More examples? NuvoTV all but closed last year, folding into urban TV network Fuse.

English-language digital property Voxxy closed as well, and Viacom’s Mtr3s is out of business. A myriad of web, TV and even print properties have tried to carve a niche by reaching out to Hispanic Millennials in English, yet the results have been mediocre. Is there enough of a differentiation factor between Hispanic Millennials and the general Milennial when the Spanish language is taken out of the picture? Perhaps the Multichannel networks, some of whom are Latino-exclusive (MiTu, 2btube, FAV Networks), will be the exceptions to the rule.


AOL Will Buy Batanga Media

handshake behind a corporative building.Great for any design.This is a gutsy one. But why not? It would make sense. Acquisitive AOL/Verizon needs a stronger foothold in the U.S. Hispanic and Latin American digital media markets. Private equity backed Batanga Media, present in both markets with content properties and sales teams, may just fit the bill. Of course, the bill itself (the acquisition price) is one of the big question marks. (Check out Batanga Media’s CEO Rafael Urbina’s answer to this particular prediction and his other thoughts on what will happen in 2016).


Platform Marketing Will Become Even Stronger

For Mass Consumer Marketing and Media, a strong presence on social media platforms is paramount (i.e. Facebook, Youtube, Twitter and Instagram, among many others). Check out what Jason Riveiro, Multicultural Marketing Manager at Big Lots, told us about his online video strategy and how it relies on social media platforms: “We have created numerous online videos primarily distributed through programmatic, paid media, YouTube and our Big Lots Latino Facebook page.”

CPGs Will Move Away from Processed Foods and Create New Opps

While the move away from processed foods is a few years old, the pace of current change is unprecedented, says Ken Powell, General Mills’ CEO and a 36-year food industry veteran. “I’ve been doing this a long time, and I’ve never seen it this fast,” Powell said. With consumers souring on certain ingredients, General Mills got rid of the gluten in Cheerios and banished artificial colors and flavors from all of its cereals, which constitute the company’s largest source of revenue in the US.

With organic and natural foods booming, General Mills is on the prowl for more acquisitions like its buyout of Annie’s, the macaronie and cheese producer that is popular with millennial moms. These changes bode well for marketing and advertising as these new products need to be positioned in front of consumers’ changing tastes.

Hispanic consumers love music, and they’re more likely than the general U.S. population to use mobile devices. Put those things together and marketers get an emotion-fueled rocket to their hearts and minds. Portada’s Digital Media Correpondent Susan Kuchinskas, on how marketers use music to connect with Hispanic audiences through mobile media.

a stack of colorful guitars
photo: SpeakingLatino.com

T-Mobile is telling its subscribers that they never have to stop the music. In June, the mobile carrier announced that its Music Freedom initiative, saying that its Simple Choice plan would exempt streaming music from its data allowances. It also partnered with Rhapsody to introduce unRadio, an ad-free music service. The service is free to Simple Choice customers on its newest unlimited data service, and for a discounted price of $4 per month for other customers.

Between one fourth and one third of T-Mobile’s subscribers are Hispanic, according to Gabriel Torres, vice president and general manager for T-Mobile USA’s Southeast region, and, citing the familiar studies showing that Hispanics over-index on mobile and use more data, he says, “There’s a very good story in terms of why this is relevant for the Hispanic market.” Although he couldn’t provide details of how these services might be marketed specifically to Hispanics, he adds, “The fact that we are bringing this incredible music offering helps us bring our community together at the same time.”

Selling spots

Buying digital music requires one foot in both worlds. SBD radio, for example, can sell radio/event/digital packages — but the company maintains separate budgets for each of them. Some agencies buy digital music through their digital teams and terrestrial radio through that dedicated team. It’s a tricky decision: Digital music is measurable, like other digital media, but it also is more audience-based, like traditional radio.

Vilma Vale-Brennan

MEC Bravo doesn’t separate terrestrial radio from web-streams of traditional radio stations from pure-play streaming services. In its work for AT&T, for example, “We see it as a holistic channel and we take a holistic approach,” says Vilma Vale-Brennan, managing partner in MEC Bravo. In the planning stage, this approach entails mixing some oranges with some apples.

The agency’s planners must try to understand the different market penetration of its different distribution partners. The AT&T media plan includes a lot of pure-play streaming providers, especially Pandora and iHeartRadio. The media team uses the services’ data to understand the penetration of Hispanic consumers, and then adds up the ratings on terrestrial radio in order come up with an estimated reach on all devices for a particular campaign.

“Combining those two is where the art comes in,” she says.

Station masters

Branded stations are a favored way for companies to reach consumers on streaming media services without interrupting their listening with commercials – and, of course, uninterrupted music is a prime selling point to get listeners to the brand’s station.

Another advantage is that, on branded streaming stations, the brand can at least to some extent own some real estate on the device screen; placements might include a banner at the top of the interface or a skin of the entire interface. Sometimes, the deals include sponsorships of live events, as well.

At this year’s Billboard Latin Music Conference and Awards in Miami, the Pandora Discovery Den Noche de Música Latina was sponsored by State Farm, P&G’s Orgullosa and Sprint. In addition to sponsoring live music performances, the brands offered special activities, gifts and presentations. They brands also used Pandora’s Mixtapes solution to create special stations with branded banners.

Another reason that branded music stations are so compelling to advertisers is that they offer an extended period of time in which a brand, through curation of the music, can evoke emotion in the listener – emotion that can be transferred to the brand itself.

Natalia Borges
Natalia Borges

“Music connects at an emotional level,” says Natalia Borges, vice president of marketing for Batanga Media. Custom stations are “a way we can feature music that speaks to the essence of the brand.” For example, Batanga worked with its editors to create a station to help Latina moms get their babies settled into bed at night. Setting this sweet moment to music not only helped the moms accomplish a crucial nightly task, the music itself also created sweet associations with the Huggies brand, with its own brand essence of sweet.

For Corona Extra’s Fill Your Summer 2014 campaign, Batanga created a station designed to evoke the fun and excitement of summer. Promotion for Batanga custom stations may include home page placement, placement on “hot radios” or “top stations” lists and, depending on the campaign targeting listeners via audio, video or display ads on Batanga’s mobile app.

Close to 90 percent of all music streams from Batanga take place via its mobile app, according to Borges, and clickthrough rates from mobiles, as well as engagement rates, are consistently higher on mobile – as much as 68 percent higher. “Video in any environment performs very well,” Borges says, and so do high-impact units such as interactive ads or full-page ads.

A campaign for McDonalds last year used the interactivity available in mobile ad units to good effect. The brand collaborated with Batanga to create a customized music awards on the platform that let consumers vote for their favorite artists across a variety of genres. A twist added by Batanga was creating the genres based on its own audience data instead of using standard genres. Fans could vote from within the ad unit, so that they did not have to pause their music listening.

MEC Bravo wants to create its own custom station ad unit that it could distribute to different steaming music services, although there are still details, both technical and business, to work out. The music in the channel could be tightly targeted to consumers and, ideally, be highly attractive to the target market. Ads could be included in the channel, so that they’d be native to the user experience, according to Vale-Brennan. This could turn out to be, MEC Bravo hopes, “a seamless, integrated way of capturing their attention in an organic way.”

Genre targeting

Spanish Broadcasting System (SBS) relies on its mobile app, La Musica, to power streaming services from the 20 U.S. terrestrial radio stations it operates. This combination of terrestrial radio, station websites and mobile app lets the company offer cross-platform campaigns, although the company maintains separate budgets for different channels, according to Max Ramirez, vice president of digital media for SBS Interactive, the company’s digital arm.

Max Ramirez
Max Ramirez

“We have a better opportunity to leverage relationships [with advertisers], and we can tie in digital with whatever they have going on. Maybe they buy a concert that includes radio but also some digital elements,” Ramirez says.

La Musica is used to run national digital campaigns and local advertising, and it also frequently carries custom stations for brands; a Dunkin Donuts-branded station within the app is just about to launch. Clients can select the type of music to be played according to artists, genres or DJs. The music streams ad-free and the advertiser gets a custom tab on the app that can lead to interactive functions.

For Vida Lexus, the automaker’s Hispanic-oriented lifestyle portal, the sponsored tab included a dealer locator with click-to-call. The stations can also run display ads, as well as one-click connections to the brand’s Facebook page and Twitter feed.

SBS Lexus channelMost mobile music services can’t yet target consumers according to their interests or even registration information. But the importance of musical genre for targeting should not be overlooked. In the case of SBS, its various stations draw in different segments of Hispanic consumers. For example, in Los Angeles, La Raza 97.9 attracts more Spanish-dominant listeners, while Mega 96.3 has a more bilingual listener base. Says Ramirez of the latter listeners, “They’re English-first, but still consuming Latino culture.” And the key to reaching the diverse Hispanic audience, he says, is, “It needs to be in-culture, which is more important that in-Spanish or in-English.”

Indeed, with the wide variety of acculturation levels and language preferences in this market, finding the right messaging and language can be tricky.

“Across acculturation levels, music preferences change,” points out Maria Lopez-Knowles, CMO of Pulpo Media (recently acquired by Entravision). She notes that Pandora is most popular among English-dominant Hispanics. According to Pulpo’s analysis, it’s these bilingual, bicultural, English-dominant Hispanics that are driving mobile adoption and penetration. Their hybridity is reflected in the fact that they listen to English and Spanish music.

Maria Lopez-Knowles
Maria Lopez-Knowles

Even the most acculturated Hispanics still love Latin music, according to Lopez-Knowles, as well as American pop. She likes to say that, to reach these influencers, you should “speak to them in English, but wink at them in Spanish.” That goes for music selections, as well. When creating custom radio stations, she says, go for Spanglish.

National Public Radio is on a hunt for Hispanics. Also for millennials, multicultural programming, and a wider view of America that includes the entire continent. It thinks its mobile app may be the way to get there. How radio stations use apps to increase engagement, appeal to new listeners and grow their revenue .

Photo: Sean Mac Entee. Licence CC.
Photo: Sean Mac Entee. Licence CC.

A $17 million grant to NPR charged the national broadcaster with going deeper and broader in its coverage of education, global health and development, and race, ethnicity and culture. As part of this initiative, the public radio station has added more news programs, extending its news cycle to 10 p.m.

With so much programming, says NPR director of mobile Demian Perry, it can be difficult for listeners to catch their favorite programs.
Photo: NPR/Doby Photography
Photo: NPR/Doby Photography

“If we’re programming 17 hours of segmented news content every day, the chances of, for example, our Hispanic audience hearing Hispanic-targeted content is very slim,” Perry says. While the station has experimented with creating program-centric apps, it can be difficult to gain scale. So NPR is pinning its hopes on Infinite Player, the working name of a work-in-progress available online and for iOS devices that will not only let users personalize it, but also will recommend content based on individuals’ behavior and interests. “We want to fill in all the time you want to listen with all the content you’re interested in,” he says.

Reaching the mobile-only listener

Photo: Alan Klim. Licence CC.
Photo: Alan Klim. Licence CC.

There’s another simple reason radio stations are creating apps: An increasing number of people are mobile-only.

Fifteen-year-old Batanga Media was one of the first stations to offer a mobile version of its programming, back in 2010. That initial foray into mobile let users listen to their favorite radio stations, personalize those, or build new ones.

“The availability of the app has introduced Batanga Radio to an entirely new audience of listeners who discovered us on mobile devices,” says Natalia Borges, vice president of marketing for Batanga. Of course, Hispanics are more likely to use mobile devices than the general population anyway. But its radio app let Batanga connect with people who had never listened online at all. “We had our loyal audience, but app has allowed us to grow our audience in ways we weren’t able to do before. There’s this huge audience who had never discovered us online who are discovering us on mobile now,” she says.

Four years later, consumers spend around 50 minutes per listening session, and interactions with the app are some 10 or 11 times higher than when it was launched.

Those interactions include liking and unliking individual cuts and discovering new music via search or suggestions from the service.

Batanga releases a new version once or twice a year, making changes in response to user behavior. Borges says that personalization has become more important, so the company has added tools for personalization and discovery, with less of an emphasis on providing pre-defined “stations” — although Batanga still has plenty of those.

Visual ad units

Univision recently released a new version of its three-year-old radio app, Uforia 4.0. The app offers more multimedia in the form of videos, slideshows and articles. And, of course, with displays come display ads. Univision did not say whether it would include new display ad units, but Batanga definitely is working to innovate here.

“Advertisers have taken traditional radio units and incorporated them within apps. It provides advertisers with two ways to reach consumers within their streams”, says Borges of Batanga

The difference between terrestrial radio and the mobile radio app is that, not only can we run audio units, we can run video as well.

Batanga allows advertisers to target ads based on a combination of musical tastes and registration data. One recent campaign example was a bracket-style awards platform that allowed users to chose the top artists in each of eight Latin music categories. The program was created to run within the Batanga Radio app and allowed users to participate and vote while listening to their favorite music. The program received thousands of entries just in the first two weeks it was live.

Soon, Batanga will release a new display unit that will be unique to Batanga Radio that will allow brands to, as she says, “Skin the experience and own the screen.”

NPR offers “underwriting opportunities” rather than ads, but it, too, is working to develop new ways that sponsors can get their messages to listeners. NPR doesn’t want to go the display route, according to Perry. “We’re interested in ways people can engage with a message without looking or touching the device,” he says. Perry wouldn’t go into detail, but acknowledged that using the mobile device’s voice recognition software to do some kind of voice response is “one of the things on the table.”

No info bubble

As a news organization with a mission to reach the diverse audiences of the United States, NPR has an additional challenge as it develops its mobile app: how to make sure listeners don’t end up in a news bubble of their own creation. While it might be fine for someone to only listen to one Latin genre of music, Perry says, “There are the types of stories everyone needs to hear about and understand to be part of the community of understanding. There are also stories that have niche interest, and we need to find a way to surface them to the people that have that interest.”

That niche content could also make it easier for advertisers to reach Hispanics. While Perry doesn’t deal with ad sales, he says, “We are under pretty strong direction in the product department to build opportunities like that. If a sponsor wants to reach out to a specific segment, we need to make sure we have very targeted inventory and can reach them in a way that’s going to pay off.”

In December we introduced the Portada Buzz Barometer for Advertisers. Today we are introducing the Portada Media Buzz Barometer. While there should be more than  “buzz”, “buzz generation” can be very important for marketing and PR strategies. In this first release of our monthly analysis,  Univision, Telemundo, Azteca America, ImpreMedia and EZ Target belong to the media companies with the most positive change in “Buzz”. ESPN and CBS are the entities with the most negative change. We are not comparing the level of buzz of one company compared to the other companies, but comparing a given media company with its own performance over time.

The figures published below show the monthly change in the amount of searches in  Google for each of the media companies names. The scale is from 1% to 100% as measured since 2004 until November  30,2012. 0% means no searches and 100% represents the highest amount of searches  for the term throughout  the whole period.

strong>Below the Portada Buzz Barometer-Media (USH) representing percentage” buzz” changes from October to November 2012 (see Methodology below)

Below the development of each media company measured during the last 11 months measured against itself.
The  chart below shows the history of each of the national advertisers during the  January-November period of  2012.

Performance during January-November 2012

* Data in %

Azteca America5153586666424645454068
People en Espanol5046455059494751484345
MSN Latino7466616665675957595753
AOL Latino9184677466544136353634
EZ Target Media5355514148424243444365
Audience Science3262474349473355525346
Tribal Fusion3241323332323230312528


Methodology: How we measure “Buzz”

Our Barometer  measures the monthly percentage change in influence (buzz) that the top  Hispanic media companies  generate on a monthly basis on the Internet.  Buzz is measured by the amount of times the name of the media company was  used in Google searches during a given month, compared to the amount of searches  it generated a month before.  The measure does not compare the media companies between them, but a given media company with its own past performance. Again, this is is not a comparison between the  companies but of the same company versus its own performance the month  before. The study was made with data from Google Trends. The performance of  each media company has been tracked since 2004 until November 30, 2012.

Portada Buzz Barometer February 2012 Data  to be released in two weeks.

Batanga Media is acquiring Bolsa de Mulher,  a women’s online destination in Brazil and a portfolio company of Ideiasnet.  According to the agreement, Ideiasnet will also obtain a 7% participation in Batanga Media. Ideiasnet, a publicly quoted venture capital firm operating in Brazil since 1999,  will become a shareholder alongside existing US-based investors H.I.G. Capital, Tudor Ventures and HarbourVest Partners.

Global Latin AudiencesBolsa de Mulher is a leading women’s online destination in Brazil catering to the needs of women through content areas and online communities focused on Beauty, Diet and Fitness, News and Gossip, Astrology . Bolsa de Mulher has 11 properties, which together account for 9.5 million unique visitors per month and more than 30 Mm pageviews per month, representing approximately 30% of all women online in the country.

Batanga Media adds a strong Brazilian digital media company to its Latin American assets.

Brazilian expansion

Through the Bolsa de Mulher acquisition, Batanga Media adds a property in the all-important Brazilian market. The only Latin American market it did not have a strong presence yet. Bolsa de Mulher joins Batanga Media’s portfolio of websites, mobile applications and social media platforms that collectively reach over 150 million unique visitors per month in the United States and Latin America. Batanga owns and operates  properties in music, entertainment and women’s lifestyle. Batanga Media, has in the last few years expanded its reach throughout Latin America to include operations in Mexico, Colombia, Chile, Venezuela Argentina and now Brazil. Acquisitions have included I-Network and Adfunky as well as more recently Uruguayan lifestyle publisher Crovat.



Get our e-letters packed with news and intelligence!