1. Executive Summary

Transcrição

1. Executive Summary
Brazil has long been a self-contained market. With local repertoire accounting for 70% of music sales and with
touring by international acts being an expensive undertaking, the country has long been under the radar as far
as the international music industry is concerned.
Music from local artists accounts for 59% of the industry’s physical format. In 2010 22 of the top 25 best selling
albums were by local artists (many of them priests). The principal local genres are sertaneja, samba and forró.
Every CD manufactured in Brazil carries a lot number. For example, AA001000 is an initial quantity of 1,000
CDs; AB002000 would be the second lot of 2,000 units. The manufacturers supply this information to the music
publishers every month.
The musical landscape is hugely diverse and extremely varied with hundreds of different styles. Access to
YouTube, blogs, illegal downloading, etc. has created a new generation of music listeners who are increasingly
open to a broad cross-section of music.
The media is controlled by a small number of powerful companies, catering to the needs of their advertisers and
the tastes of the general population. Access to radio is dictated by pay for play (with receipts and invoices) which
means the majors continue ruling the roost.
Music coverage and criticism have traditionally been the role of the cultural sections of the daily newspapers.
There have been very few music publications; the printed media has improved greatly with the arrival of local
editions of Rolling Stone and Billboard.
The music scene in major cities like São Paulo and Rio de Janeiro is blooming. There is an extensive network of
clubs and festivals, and a growing number of professionals bringing bands to tour these networks. The public is
focused on local acts but there is room for non-established international artists who are willing to invest the time.
Local promoters are increasingly in contact with their Latin American counterparts and this will be the key
importance of Brazil in the future. For touring bands, Brazil is the gateway to the rest of the continent.
The opportunities with the digital market are negligible with regard to revenue for sales online. The marketing
opportunities however, although still embryonic, are enormous and significant.
There are two distinct worlds: that of the traditional music industry (the major label, music publishers, payola,
etc) and the independent sector (young managers, DIY artists, indie labels, indie music festivals, etc). Although
the independents are still only finding their feet, they are creating the new Brazilian music industry.
Brazil has become the world’s sixth largest economy in the last couple of months. With a rapidly expanding
middle class of about 90 million consumers, it is a market that no brand can afford to ignore.
Brazil’s economy grew by 7.5% in 2010 and although that slowed to 3.5% last year, it is in sharp contrast to
predictions that the Eurozone economy will shrink by up to 2% in 2012.
The country is the fifth largest globally in terms of digital users, with around 91 million people online, according to
Forrester research. This gives marketers the opportunity to reach consumers through cost-effective digital
marketing, products and services.
One of the special things about Brazil is that it is ‘leapfrogging’ trends. For example, people are jumping straight
from not having used technology at all to having smartphones.
A concerted push by the government to offer free Wi-Fi means that Brazilians are now the third highest users of
the internet out of all nations, according to research by Ebiquity. The typical Brazilian also has 231 social
network friends (whether on Facebook or the Google-owned Orkut)
Brazil has also fallen in love with YouTube and is sixth in the world based on video views, according to a study
by EMarketer.
2. An Introduction to the Market
The Federative Republic of Brazil has a population of 195.4 million (UN, 2010) with almost 70% of the population
in urban areas. It is the fifth largest country in the world, with a landmass of 8.5 million square kilometers (3.3
million sq miles), sharing borders with every South American country except Chile and Equador.
It is divided into several geographic regions: the North (main cities: Manaus and Belém), the Northeast (main
cities: Salvador, Recife and Fortaleza), the South (main cities: Curitiba and Porto Alegre), the Southeast (main
cities: Rio de Janeiro, Sao Paulo and Belo Horizonte) and the Midwest (main cities: Brasilia, Cuiabá and
Goiânia). Most of the population is concentrated in the cities along the coastline, especially the industrialized
areas of the Southeast. Twelve cities have more than a million inhabitants, of which Sao Paulo, Rio de Janeiro,
Salvador and Belo Horizonte are the largest. The capital city is Brasilia, built in the centre of the country in the
early 1960s.
The official language is Portuguese, the only country in the continent to speak the language. Portuguese spoken
in Brazil contains a multitude of words derived from both Latin and Arabic; it has also borrowed freely from other
European languages, such as Italian, Spanish, and English, as well as words from Asia that reflect Portugal’s
maritime history. There are two other major sources of words for Brazilian Portuguese: the Tupi and African
languages. Within the music industry most people will also speak English and some Spanish.
More than half of Brazilians claim to be descendants of European immigrants from Portugal, Germany, Italy,
Spain and various East-European countries, while over 40% are descendants of the slaves brought by Portugal
from Africa until abolition in 1888. There is also a large population from the Middle East and Asia, including the
largest settlement of Japanese outside Japan. The original inhabitants of the country account for less than 1% of
the population.
After decades of political and economic chaos and debilitating corruption, Brazil seems to be finally moving from
being a developing country to the status of a world player.
3. The Media and Entertainment Environment
South America's biggest media market is home to thousands of radio stations and hundreds of TV channels. TV
has long been the most influential medium. Media ownership is highly concentrated. Domestic conglomerates
such as Globo, Brazil's most-successful broadcaster, dominate the market and run TV and radio networks,
newspapers and pay-TV operations. Brazilian-made dramas and soaps - known as telenovelas - are aired
around the world. Game shows and reality TV attract huge audiences. The constitution guarantees a free press;
vigorous media debate about controversial political and social matters is commonplace. Around 17% of homes
subscribe to pay TV. Brazil is rolling out digital TV and aims to switch off analogue signals from 2016.
(i) Press & Print Media
O Dia - Rio de Janeiro daily
O Correio Brazilense - influential daily
O Globo - Globo-owned Rio de Janeiro daily
Jornal do Brasil - Rio de Janeiro daily
Folha de Sao Paulo - daily
O Estado de Sao Paulo – daily
Music Press
Rolling Stone - www.rollingstone.com.br
Billboard Brasil – www.billboard.br.com
Veja - veja.abril.com.br
Rock Brigade - www.rockbrigade.com.br (metal)
Roadie Crew - www.roadiecrew.com (metal)
Guitar Player - www.guitarplayer.com.br
Modern Drummer - www.moderndrummer.com.br
Sucesso – principal music industry publication
News agencies/internet
Agencia Brasil - state-owned
Agencia Estado - private, Sao Paulo-based
Agencia Globo - private
UOL - popular portal
G1 - news website, operated by Globo
Market pressures and successive economic crises led many Brazilian newspapers to fold in the 1980s and
1990s. Some markets have consolidated into one major daily newspaper, but in the beginning of the twenty-first
century, most Brazilian cities still have two or three competing dailies.
A city such as São Paulo, for example, has three major dailies, Folha de São Paulo (circ. 560,000), O Estado de
São Paulo (circ. 242,000), and Gazeta Mercantil , and still has enough space for popular newspapers, tabloids,
and niche-filling publications. The same is true for Rio de Janeiro, with O Globo (circ. 350,000), O Dia (circ.
250,000), and Jornal do Brasil being the most important and influential regional newspapers, and still having
smaller tabloids and specialized dailies.
Besides full-color printing and digital and satellite production, most Brazilian newspapers have simultaneous
Internet versions. In many cases, those electronic versions are updated throughout the day, and have as many
or more readers than the traditional paper versions.
Folha de Sao Paulo is the biggest newspaper in Brazil. Though it is a liberal newspaper and without doubt the
most influential of public opinion, its music coverage is sporadic but influential.
Veja is the biggest magazine in Latin America and is read by more than a million Brazilians each week. It
publishes one or two pieces about music each week, usually a mix of reviews and reports.
O Globo and O Estado de São Paulo are next in importance. O Globo, the newspaper second in circulation in
the country prints a little less than Folha. Some of its strength rests on the fact that it is part of Organizações
Globo, the biggest communication group in Brazil, owners of TV Globo, the most-watched TV channel in the
country. It is more relevant to Rio de Janeiro, where Globo is based.
O Estado de São Paulo rivals Folha in São Paulo. Its cultural section devotes ample space to criticism and
reports. Texts are written by experienced critics and journalists.
In big cities, an important fact concerning reading habits is the distribution of free newspaper copies by
transportation companies, private institutions and also, just like it is observed in many cities of the world, by
Metro International
There are few specialized music publications in Brazil. Both Rolling Stone Brazil and Billboard have been
present for just over 2 years in the country. The main industry publication is Revista Sucesso. Mainly focused on
the popular Brazilian genres such as sertaneja and pagode, its online version is an important source of
information:
Digital sales: www.portalsucesso.com.br/ranking-digital
Radioplay: www.portalsucesso.com.br/toc-10
Through the sister company ShowBusiness, the company also offers contact information on industry services:
www.showbusiness.com.br.
Brazil has several national news agencies, maintained by the major newspapers in the country, and operating
under subscription agreements with affiliated news organizations throughout the country. The most important of
those are Agéncia Folha, Agéncia Globo, Panorama Brasil, and Agéncia Estado. There is also a governmentowned news agency, called Agéncia Brasil, and other regional news services.
Agéncia Estado, sponsored by the newspaper O Estado de São Paulo , bills itself as the largest news agency in
Brazil. It has hundreds of subscribers throughout the country, and sends out an average of 230 news items per
day, plus photos. Besides using traditional wire technology, Agéncia Estado delivers news to clients through
satellite links and the Internet.
Agéncia O Globo is sponsored by the newspaper O Globo , from Rio de Janeiro, and is associated with the TV
Globo corporation. It was created in 1974, and distributes approximately 120 news items per day.
Agéncia Folha was created and is maintained by Folha de São Paulo, the largest daily newspaper in Brazil. It
employs approximately 500 journalists, and has offices and correspondents spread throughout the country.
All major international news agencies, such as Reuters, Associated Press, and Agence France-Press, have
offices in Brazil. The Associated Press, for example, has offices in Rio de Janeiro, São Paulo and Brasilia. Other
news agencies that have offices in Brazil include EFE (Spain), ANSA (Italy), Deutsche Presse-Agentur
(Germany), Kyodo Tsushin (Japan), and Xinhua (China).
(ii) TV
Brazil is a TV-viewing nation. Broadcast TV has an immense influence on virtually all aspects of Brazilian culture
and society. Television programming is often a topic of conversation at school and in the workplace, in the house
and among friends. Television is an extremely important source of information for Brazilians of every socioeconomic stratum. Brazilians across the board refer to reports they have seen on Jornal Nacional-TV Globo's
most watched evening newscast, or to the latest plot twist in one of the soap operas.
Rede Globo (redeglobo.globo.com)
TV Globo is Brazil’s most important media monopoly, with 32 affiliates. The network garners an estimated 70%
of advertising and about 35% of the audience in its prime-time slots. Every night it broadcasts three novellas
(soap-operas) to an estimated 50 million viewers, out of a possible audience of 85 million viewers. Each
character within the novella usually has a song linked to them.
The Globo group also controls 33 newspapers, 52 AM radios AM, 76 FMs, 27 magazines, 17 channels and 9
pay-TV operators, as well as the Som Livre record company and music publisher.
Sistema Brasileiro de Televisao (SBT) (www.sbt.com.br)
SBT’s founder Silvio Santos is a rags-to-riches media mogul who started out selling on the streets of Rio de
Janeiro. From street hawking to a network of retails stores that sold lottery prizes on an installment plan, Santos
has captured second place in the market by importing games shows from the US and telenovelas from Mexico.
TV Record (rederecord.r7.com) - commercial network
TV Band (www.band.com.br) - commercial network
TV Cultura (tvcultura.cmais.com.br) - public, educational and cultural programmes
NBR (www.radiobras.gov.br) - operated by state-run Radiobras
Rede TV (www.redetv.com) - commercial network
(iii) Radio
Radio continues to be the principal means of promoting music to the public, especially outside the large urban
areas where internet penetration is still in its infancy.
Radio Nacional (www.ebc.com.br) - FM and mediumwave (AM) network operated by state-run Radiobras
Globo Radio (globoradio.globo.com) - commercial networks operated by Globo
Radio Bandeirantes (www.band.com.br)- network operated by Grupo Bandeirantes
Radio Cultura (www.radiocultura.com.br) - public, cultural programmes
(iv) Online
30 Most Popular Sites in Brazil Jan 2012
1. google.com.br
2. facebook.com
3. google.com
4. youtube.com
5. uol.com.br
6. globo.com
7. live.com
8. blogspot.com
9. orkut.com.br
10. yahoo.com
11. terra.com.br
12. twitter.com
13. orkut.com
14. wikipedia.org
15. mercadolivre.com.br
16. msn.com
17. tim.com.br
18. itau.com.br
19. babylon.com
20. abril.com.br
21. wordpress.com
22. 4shared.com
23. tco.com
24. linkedin.com
25. xvideos.com
26. ask.com
27.megaupload.com
28. blogger.com
29. caixa.gov.br
30. r7.com
There were 75,982,000 internet users in Brazil (representing 37.4% of the population) in June 2011, according
to Internet World Stats.
The majority of Facebook users are below 17 years of age (45%) as opposed to most other parts of the world
where the majority of users are between 18 and 24. Facebook users in Brazil are reported by Google to be in
excess of 37 million which is a 49% Facebook penetration.
YouTube is the third most popular website after Google and Facebook. Most teenagers access their music
throught YouTube. This suggests a huge potential in video internet marketing in Brazil especially since the most
time spent on Facebook is viewing YouTube videos. (YouTube’s Brazilian domain has sold sponsorships for livestreaming events such as Carnival in Salvador and Rock In Rio for the first time in 2011, allowing global brands
such as Volkswagen, Garnier and Santander to access the marketing power of local events. With the FIFA
World Cup coming to Brazil in 2014 and Rio de Janeiro hosting the 2016 Olympics this is an area that looks set
to grow.)
Instant messaging in Brazil is a big deal and MSN Live Messenger is the most popular instant messenger
service occupying nearly 80% of the market share in Brazil. In fact, Brazil is amongst the top 3 MSN messenger
user bases.
Brazil is the fifth-largest nation of Twitter users and the highest percentage of users of all of the non-English
speaking countries. The top Twitter-using countries are all English speaking: the US leads with 62.1% of Twitter
users, followed by the UK, Canada, and Australia.
Social media accounts for nearly 20% of Brazilians' time spent online, making it one of the top online activities in
the country. As the ninth largest internet market in the world and one of the fastest growing, Brazil offers global
marketers large and growing opportunities to reach consumers, with the social networking market representing
one of the most efficient ways of doing that.
Additional social media insights in Brazil include:
- Traffic to social networking sites grew 51% in the past year.
- Facebook experienced triple-digital growth, increasing its audience 479% in the past year.
- Twitter.com reached 23% of the entire Brazilian online population, the highest penetration in the world.
- Visits to the Blogs category grew 48% to 29 million visitors. Blogger ranked as the top blog destination with
more than 21 million visitors.
Speaking to Google executives in 2008 Gilberto Gil (Minister of Culture and leading member of the Tropicalia
movement) argued for fresh thinking regarding digital distribution: “The 21st century technologies represent a
huge challenge to regulations. The revolution generated by the convergence of digital technologies obliges us to
reinvent the way we do almost everything. I believe that anybody with public responsibility should look into the
digital distribution of Intellectual Property as the most direct and powerful way of democratizing knowledge in the
history of mankind. But instead we see almost every formal institution insisting on bluntly calling the digital
distribution ‘Piracy’.”
Cultura Digital was a transversal action developed in the Ministry of Culture. Originally developed as a strategy
to be implemented in 50 big cultural centres throughout the country, it evolved into a methodology to bring free
technologies to the Pontos de Cultura (cultural hotspots) programme: 600+ grassroots cultural projects spread
across many different regions as far north as the Amazon. That digital culture strategy was developed by dozens
of activists, gathered in what came do be the Articuladores network, and was compiled in a collective statement
called Tecnologia Apropriada (appropriated technology). Some of its principles were a commitment to free and
open-source software, copyleft (creative commons and other open licenses), online decentralisation via
collaborative tools such as wikis and mailings lists, autonomy and cultural diversity. Technology was not seen as
a magic healing formula, but tools to promote articulation between people themselves. Many artists within the
independent music sector have embraced the commitment to free. It’s common to see new releases sent to
influential blogs for free download. The longterms results of free remain to be seen.
(v) Mobile
At present there are almost 174 million mobile phone users in Brazil and this figure is predicted to rise to 200
million by 2014. On average only around 25% of Brazilian homes are connected to the internet and Google has
reported that mobile internet usage has increased by 500% over the last five years in terms of search traffic. This
suggests that many people access their social networking profiles from their internet capable phones which tend
to be of the wap variety although Smart Phones are increasing in popularity. Any internet marketing campaign
should target Twitter, Orkut and Facebook to gain maximum exposure in Brazil, although Orkut is rapidly
diminishing in popularity.
Mobile phones have become an indispensable accessory for young Brazilians. Brazil ranks second behind Italy
among the markets where multiple SIM (Subscriber Identity Module) cards are used among those aged 15-24,
according to a Nielsen study conducted in nine countries (US, Germany, Spain, Italy, U.K., Brazil, Russia, China,
India).
According to research conducted by Brazilian publisher Editora Abril, 25% of C class consumers plan to
purchase a smartphone in the next 12 months, and 27% plan to buy tablets. The C class consumes the largest
amount of mobile content, games and videos. With the ease of access and the low prices, many are making
mobile devices their first screen. They don’t have computers at home or laptops, but connect with brands online
and engage with social media through their handsets.
Very few Brazilian companies are investing in creating apps or software focused on the music industry. 01 Digital
has recently created You App for the local music industry. The hope is that as the public become accoustumed
to paying for digital content, there will be more reason for investments.
(vi) Festivals and shows
According to PricewaterhouseCoopers, China and Brasil will be where the live market experiences most growth
over the next five years.
The market for international shows in Brazil has gone through three distinct phases. In the first decades of the
20th century Rio de Janeiro, São Paulo and Buenos Aires were visited by European opera companies. Later saw
the arrival of such acts as Nat King Cole and Marlene Dietrich, performing at the Copacabana Palace in Rio, and
Fasano in São Paulo. By the end of the century, the country was hosting megashows. In 1980 Roberto Medina
brought Frank Sinatra to perform at the Maracanã stadium to a public of 170,000 people. He followed this in
1985 with the first edition of Rock in Rio – 14 international acts and 1.3 million audience.
The two following editions in 1991 and 2001 became some of the largest events in the world. “The price of a
ticket in 2001 was R$30,” says Medina. “In 2011, it was R$200. There’s been a massive increase of purchasing
power in Brazil.”
The 2011 edition saw an investment of R$95 million with tickets sold out in 72 hours. Sponsorship, broadcasting
rights and internet rights generated R$55 million. 15,000 tickets have already been sold for the next edition –
even without the artistic lineup confirmed. “Research shows that 45% of the public go because of the event and
not the artist.”
Brazil is awash with big festivals. Recent events are SWU and Planeta Terra which featured Peter Gabriel,
Duran Duran and Faith no More. Other visitors have been Britney Spears, Pearl Jam and Ringo Starr. It’s not
just the stable economy, the favourable exchange rate and the paying public that attract international acts.
Tickets prices increased by 45% between 2010 and 2011.
Time For Fun, the biggest live entertainment company in Latin America, generated R$94 million in the second
quarter of 2011, a jump of 125% against the previous year. The company s owner of Credicard Hall, Citibank
Hall and Teatro Abril in São Paulo. It also owns Citibank Hall in Rio and Citi Ópera in Buenos Aires. And controls
Ticketmaster (in Brazil) and Tickets For Fun.
Another major player is Geo Eventos (www.geoeventos.com). A joint venture between Globo Organizations and
RBS Group, Geo aims to promote and produce events in the sports, entertainment and business. Among the
events promoted by Geo are F1Rocks, Tênis Espetacular, ASP Surf Word Tour Rio, HSM, Expo Money and
FIFA’s World Cup Preliminary Draw. Geo has been working on tours with such acts as Miley Cyrus, Rihanna,
Jack Johnson, Sade and Julio Iglesias. The company is also bringing the Lollapalooza festival to Brazil.
The Brazilian Association of Independent Festivals (ABRAFIN: www.abrafin.org) was founded in 2005. Around
20 festivals take part. Its management is made up of the principal Brazilian independent festivals. The entity was
created for the purpose of establishing, organizing and strengthening the Brazilian independent music festivals
circuit. The idea is to cover the entire country, presenting new music, aesthetically experimental as well as in its
traditional manifestations.
Some of the festivals are financed by their box-office receipts, other by fiscal incentive laws and sponsorship. To
bring international performers to Brazil, some of these festivals make deals with producers from São Paulo,
sharing the attractions with presentations thus dividing the travel expenses to Brazil.
Many independent artists and festivals use the TNB site to plan their live activities: www.tnb.art.br. The site
owners plan to open this service to international acts intent on touring Brazil (and also Latin America).
ABRAFIN associates quite often also host many of the local industry music fairs, two of the most significant
being Feira da Musica in Ceara and Porto Musical in Recife.
International tours always go through Sao Paulo or Rio de Janeiro, or both. Larger tours opt for key cities such
as Porto Alegre, Curitiba and Belo Horizonte. International shows are less frequent in the Northeast, and even
less in the Amazonian region. Often events are not viable due to the high cost of airline tickets (not only
international tickets, but also domestic ones).
Rio de Janeiro has recently seen the development of a crowd-funding project entitled Queremos (We Want).
Based on the production costs, the organizers sell “ticket-units” for an average of R$200. The buyers/investors
promote the event on Facebook, Twitter, through emails to friends, etc. If the final revenue through additional
ticket sales is greater than the prodution costs, the initial buyers/investors can have all or part of their investment
returned. Recent bands participating are Miike Snow, Belle & Sebatian, Mayer Hawthorne, Two Door Cinema
Club, Vampire Weekend and LCD Soundsystem.
Principal venues:
Sao Paulo
Anhembi Sambodromo
Anhembi Stadium
Beco 203
Carioca Clube
Citibank Hall
Espaco Lux
Inferno Club
Jockey Club
Morumbi Stadium
Teatro Bradesco
Tribe
Via Funchal
Museu De Arte De Sao Paulo
Sala Sao Paulo
Anhembi Park
Caricoa Club
Credicard Hall
HSBC Brasil
Instituto da Musica Judaica Brasil
Playcenter
Direct TV Music Hall
The DirecTV Music Hall, has an area of 3,900 m2, with a capacity for up to 3,000 standing persons, and 1,600
seated persons, with comfort and safety. BB King, Jean Luc Ponty and Rita Pavone have already performed on
its stage.
Av. Jamaris, 213 - Moema Sao Paulo - SP - 04078-000 Capacity: 3200 persons Phone +55 11 – 5643-2619 Fax
+55 11 – 5051-5999
Website: www.directvmusichall.com.br
Credicard Hall
The Credicard Hall, as well as the DirectTV Music Hall, are part of CIE (Comunidade Interamericana de
Entretenimento). Rua Bento de Andrade Filho, 400 04795-900 Sao Paulo – SP Phone +55 11 5643-2555 Fax
+55 11 5643-2599
Via Funchal
The Via Funchal show house was designed to be one of the best in Brazil. With a capacity of up to 6 thousand
standing persons, it has already hosted shows by Norah Jones, Diana Krall, Jamiroquai, Nina Simone, B.B.King,
Buddy Guy, Kitaro, Buena Vista Social Club, Dionne Warwick, Afro Cuban All Star, Laurent Garnier, The
Chemical Brothers, Bruce Dickinson, Deep Purple, Rick Wakeman, Steve Hackett, Jethro Tull, Helloween,
Stratovarius, Rhapsody, Green Day and The Mission, among others.
Rua Funchal, 65, Vila Olimpia 04551-060 Sao Paulo, SP Capacity: 6 thousand persons Phone +55 11 38462300 E-mail:[email protected]
Website: www.viafunchal.com.br
Bourbon Street Bourbon Street is responsible for the major Jazz and Blues attractions in Sao Paulo. Many
American musicians have already performed there.
Rua dos Chanés, 127 Moema, Sao Paulo – SP Phone +55 11 5095-6100 Fax +55 11 5095-6129 Email:[email protected]
Website: www.bourbonstreet.com.br
Tom Brasil
Tom Brasil has already hosted the major exponents of Brazilian popular music, as well as foreign artists such as
Buena Vista Social Club. Tom Brasil has a capacity of 1,000 seats or 2,300 standing persons. Rua Olimpíadas,
66 Vila Olímpia, Sao Paulo – SP Capacity: 1200 seats
Phone +55 11 2163-2000 E-mail:[email protected]
Website: www.casatombrasil.com.br
Tom Brasil Nações Unidas
The new Tom Brasil venue has a capacity of 2,400 seats or 5,400 standing persons. It is one of the major
venues in the country. Tom Brazil Nações Unidas Rua Bragança Paulista, 1281 Santo Amaro, Sao Paulo - SP
Phone +55 11 2163-2000 E-mail:[email protected]
Website: www.casatombrasil.com.br
Teatro Municipal de São Paulo (Sao Paulo Municipal Theater)
The Municipal Theater, with its impeccable acoustics, is the crown jewel of the classical music in Sao Paulo. An
intense program and the quality in the selection of the artists and repertoire are its differentiating factor.
Pça Ramos de Azevedo s/n 01037-010 Capacity: 1,580 seats Phone +55 11 223-3022 Fax +55 11 223-3715 Email:[email protected]
Website: www.theatromunicipal.com.br
Rio de Janeiro
Circo Voador
Citibank Hall Rio
Estádio Olímpico João Havelange
Fundicao Progresso
HSBC Arena
Planet Music
Praia da Barra
Stadium Rio
Teatro Odisséia
Cine Joia
Praca da Apoteose
Vivo Rio
Claro Hall
Venue with a capacity for 8,432 persons, standing up, or 3,368 seats around tables. One of the main venues for
shows in Rio de Janeiro, it has hosted all types of musicals and shows. Coldplay, Deep Purple, Echo & the
Bunnymen, Oasis, Men at Work are some of the names included in the list of performers hosted by the Claro
Hall.
Av. Ayrton Senna, 3000 - Barra da Tijuca Rio de Janeiro - RJ - 22775-001 Phone +55 21 2421-1331
Website: www.clarohall.com.br
Mistura Fina
Venue with 174 seats, for jazz, blues and other musicians. In operation for 25 years. It has hosted artists such
as Andy Summers, the John Pizzarelli Trio, Ron Carter, Jane Monheit, and Laura Fygi among others
Av Borges de Medeiros, 3207 - Lagoa 22470-001 Phone +55 21 2537-2844 Fax +55 21 2 286-4158 Email:[email protected]
Website: www.misturafina.com.br
Canecão
One of the most traditional clubs in Rio de Janeiro, well situated, and with a capacity for 3,000 seats around
tables, it has hosted several rock, jazz and blues artists, such as Take Six, Bob McFerry, Emerson Lake and
Palmer, Ramones, Night Wish, and Echo & The Bunnymen among others.
Av. Venceslau Bras 215, Botafogo
Rio de Janeiro – RJ - 22290-140 Phone +55 21 2105-2000 Fax +55 21 2105-2009 E-mail:[email protected]
Website: www.canecao.com.br
Estádio Mario Filho (Maracanã) & Ginásio Gilberto Cardoso (Maracanãzinho)
The Gilberto Cardoso Sports Gymnasium, staged the first international shows in the 1970’s and 80’s. Jackson
Five, Dione Warwick, Peter Frampton, Rick Wakeman, Cindy Lauper, Genesis, The Police, The Cure, New
Order and Van Halen were the main artists hosted there. Maracanã hosted Sinatra in the 70’s, Sting, Kiss and
Tina Turner in the 80’s and, in the 90’s, it hosted Rock In Rio II, Madonna, the Rolling Stones, Rush and the
anthological show of Paul McCartney, registered in the Guinness Book of Records as the largest audience for a
solo artist performance.
SUDERJ Rua Professor Eurico Rabelo, s/nº, Portão 18, 5ºandar Maracanã -20.571-150- Rio de Janeiro - RJ
Phone +55 21 2568-9962 r.203 / 21 2569-3346
Website: www.suderj.rj.gov.br
Theatro Municipal do Rio de Janeiro (Rio de Janeiro Municipal Theater)
Inspired by the Paris opera house, the Rio de Janeiro Municipal Theater, with 2,338 seats, is the Mecca of
classical artists. The theater has hosted an immense number of attractions, from major tenors, sopranos, opera
companies and dance groups to symphony orchestras and philharmonics in nearly a century of existence.
Praça Marechal Floriano s/nº Centro – 20031-050 – Rio de Janeiro – RJ Phone +55 21 2299-1677, 2299-1678,
2262-8941 Fax +55 21 2220-7584
E-mail:[email protected]
Website: www.theatromunicipal.rj.gov.br
Sala Cecília Meireles (Cecília Meireles Hall)
The 835 seats at the Cecília Meireles Hall are an invitation for classical music, with wonderful acoustics. Situated
in the center of Rio, it has also staged dance and mime shows. It is a great venue for recitals. The hall also has
a small auditorium, the Guiomar Novaes, for 174 persons.
Rua da Lapa, 47 Lapa 20021-170 – Rio de Janeiro – RJ Phone +55 21 2224-3913 Fax +55 21 2224-4291 Email:[email protected]
Website: www.funarj.rj.gov.br
Porto Alegre
Bar Opiniao
Beco 203
Pepsi on Stage
Teatro do Bourbon Country
Porto Alegre Festival Grounds
Casa Do Gaucho
Gigantinho
SESI Theatre
Zequinha Stadium
Bar Opinião
The Opinião is the main stage for Brazilian and international artists in Porto Alegre, and has hosted more than
60 international artists such as Bob Dylan, Kiss, Mike Stern Trio, Rush, Dead Kennedys, Red Hot Chili Peppers
and Metallica, among many others.
Rua Jose do Patrocínio 834, Cidade Baixa Porto Alegre / RS Phone +55 51 3211-2838 Fax +55 51 32112838 E-mail:[email protected]
Website: www.opiniao.com.br
Theatro São Pedro (São Pedro Theater)
A renowned theater for classical music and concerts in general, with a 636 seats capacity.
Rua Barra Funda, 171 90010-300, Phone +55 51 3227-5300 Fax +55 51 3226-4269 E-mail:[email protected]
Website: www.teatrosaopedro.rs.gov.br
Curitiba
John Bull Music Hall
Master Hall
Moinho Sao Roque
Curitiba Pop Festival
Curitiba Rock Festival
Estádio Durival Britto
Music Hall
Teatro Ópera de Arame
With a 1,650 seats capacity, the Ópera de Arame theatre is one of Curitiba’s post cards, with the infrastructure to
host performances in all styles, with emphasis on classic performances. Rua João Galva, s/n 82130-010. Phone
+55 41 354-3266 Fax +55 41 354-2652
Website: www.artes-curitiba.com/opera-arame-parana.htm
Teatro Guaíra (Guaíra Theater)
The main theater for classical performances, this is the so-called Guaíra Theater Complex, with three
auditoriums. The largest one (Guairão) has a 2,173 seats capacity. The Guairinha can accommodate 500
persons, and there is also a smaller auditorium with 113 seats (Auditório Glauco Flores de Sá Brito).
Rua XV de Novembro, s/n 80060-000 Phone +55 41 322-2629 Fax +55 41 232-9145
Website: www.pr.gov.br/tguaira
Moinho São Roque
The principal shows in Curitiba are hosted at the Moinho São Roque, a night club for young people with live
music. Also a nice venue for DJ’s.
Rua Des. Westphalen 4000 Phone +55 41 333-3964
Belo Horizonte
Chevrolet Hall
BH Music Hall
Olhos D'Agua
Palacio Das Artes
Expominas Belo Horizonte
Praca Da Estacao
Marista Hall
Right in the center of Belo Horizonte, it hosts up to 3,700 seated people, and can be adapted for shows and
spectacles, as well as sport events.
Av. Nossa Senhora do Carmo, 230 Savassi – Belo Horizonte – MG Phone +55 31 3228-7500
Website: www.maristahall.com.br
Palácio das Artes (Arts Palace)
The Palácio das Artes is in the center of Belo Horizonte, and hosts orchestras, instrumental music shows and
rock shows. The Palácio also includes the Juvenal Dias Hall with a capacity of 176 seats.
Avenida Afonso Pena 1.537, Centro - 30130-004 Belo Horizonte - MG Capacity: 1700 seats Phone +55 31
3237-7399 Fax +55 32 3237-7220 E-mail:[email protected]
Website: www.palaciodasartes.com.br
Pop Rock Cafe
The thematic Pop Rock bar, an annual event that celebrates the reunion of several rock groups, during three
days, in Belo Horizonte. It was created to offer a venue for new bands, with shows for up to 700 persons.
Rua Sergipe, 1211 Savassi – Belo Horizonte – MG Phone +55 31 3284-8006
Website: www.poprockcafe.com.br
Museu de Arte da Pampulha (Pampulha Art Museum)
The museum is located in an aristocratic area of Belo Horizonte. It also has a small theater. It is ideal for
classical performances.
Av. Otacilio Negrão de Lima, 16.585 - Pampulha Phone +55 31 3277-7955 Fax +55 31 3443-4533 Email:[email protected]
Vinnil Cultura Bar
Vinnil is the best venue for those who like quality music. Rhythms such as jazz, blues, samba and instrumental
music have a guaranteed place in this local with a capacity for up to 200 persons.
Rua dos Inconfidentes, 1.068 - Sobreloja Savassi - Belo Horizonte - MG Phone +55 31 3261-7057
Website: www.vinnil.com.br
Utópica
A house inaugurated as an architecture and design atelier, bar and cultural space. Elected as the best live music
bar in Belo Horizonte by the Veja Magazine. With a capacity for 350 people, it is ideal for small intimate
performances. Blues and Jazz find their space here.
Av. Raja Gabaglia, 4700 – Santa Lúcia. Belo Horizonte – MG Phone +55 31 3296-2868 Email:[email protected]
Website: www.utopica.com.br
Lapa Multishow
An alternative space for small sized bands, with a capacity for up to 1,500 people, it is a haven for hard rock
bands, and for hip-hop and heavy metal artists. Rua Alvares Maciel, 312 Santa Efigênia 30150-250 - Belo
Horizonte-MG Phone +55 31 3241-5953 ou 31 3241-2074
Website: www.lapamultishow.com.br
**********
SESC - www.sesc.com.br
SESC (Social service for commerce workers) is a large non-profit private organisation with subsidiaries across
Brazil. The institution is maintained by service and retail companies. It offers its members, primarily the workers
and families of those who work in retail, (who number over 5 million) a wide range of services including hostels,
holiday resorts, theatres, cinemas, schools. Their cultural activities, however, are directed to the population in
general. Shows, plays and other performances promoted by the SESC units are considered by the population to
be more accessible, with ticket prices from as low as R$4 to R$30.
Strong in musical programming the Rio and São Paulo SESCs promote locally-known series and festivals, such
as Prata da Casa at the SESC Pompéia in São Paulo, which gives preference to local performers. The units in
these two cities are also those that receive the most international shows, such as the American rock instrumental
band Tortoise (SESC Santana) and the American Jazz trio Medeski, Martin & Wood (SESC Vila Mariana). A
recent visitor to the SESCs in São Paulo was Canadian prog rock band Mahogany Frog.
The French Export Bureau has a long relationship with SESC, hosting showcases for visiting French artists, or
release parties with local record companies.
Classical Music
There are a great number of festivals and events in Brazil almost all conforming to the model of mixing teaching
with extensive concert programming. They try to remedy a lack of regular music schools by offering classes and
intense master classes, while allowing students to mix, maintain contacts and become acquainted with disparate
repertoires, listen to top professionals and to play in specially-formed festival ensembles.
Some of these festivals have long histories. The International Winter Festival of Campos do Jordão (SP) is in its
40th year, the Colonial Music Festival in Juiz de Fora (MG) has reached its 19th and The Londrina Music
Festival (PR) is in its 28th season. New festivals too have demonstrated excellent results; the Santa Catarina
Festival (Femusc) has each January for the past three years been bringing more than 400 students to Jaraguá
do Sul.
A good deal of the classical music festivals and events occurring in cities that want to stimulate tourist activity
have proven to be excellent attractions, offering varied programmes with a popular appeal, benefiting hotels,
restaurants and other tourist-related services.
The laws offering tax breaks for the sponsors of projects involving classical music has a certain perversity
clinging to it; they subsidize concerts and performances by famous artists and ensembles who charge high fees.
Thereby, innumerable small but excellent activities end up without a sponsor as they cannot offer large media
exposure.
On TV, classical music is aired only on the public channels, such as TV Senado (the Senate’s channel) or
Paraná Educativa. In the State of São Paulo, TV Cultura gives a bit more space to concert music, with a nucleus
that produces a variety of programmes dedicated to symphonic music, opera, and chamber music as well as a
live-audience programme dedicated to discovering young instrumentalists. Classical music is totally ig-nored on
the private channels.
Besides the general media there are various editorial initiatives which are limited to those who follow the concert
programmes of the large centres. Among them are the two publications dedicated exclusively to classical music
in Brasil: Revista Concerto and the VivaMúsica! programme guide distributed free in Rio. The same company
also publishes the VivaMúsica! Guide which contains a complete survey of the entities and activities in Brazilian
classical music.
(vii) The Record companies
Besides the major multinational record companies, there are about 200 independent recording companies in
activity, some of them big companies (such as Som Livre, Deckdisc, Biscoito Fino, Indie, Atração) medium sized
with more than 50 titles in the catalogue (Albatroz, Azul, Dabliú, MCD, Rob Digital, ST2, Visom and others) and
the great majority of small ones, united in two associations: the ABPD – Brazilian Association of Record
Producers (the majors and a few big national companies), and the ABMI – Brazilian Association of Independent
Music (currently consisting of 100+ independent record companies).
The ABMI was founded in 2002 by independent record labels from the need to coordinate and mobilize the
music industry. With the turnaround of the market, the organization’s role has grow in importance and it became
the largest association of record companies in Brazil bringing together producers and artists that are now owners
of their music content through their own record companies.
The vast catalog of its members covers a wide variety of musical styles and represents, in the Brazilian market,
the largest share of current music production.
ABMI members
3 Plus Music
+ Brasil Músic
Allegretto
Art Mix
Art Solução
Astral Music
Atração Fonográfica
Banda Paralela
BHZ
Biscoito Fino
Blues Time Record
BMGV Music
Borandá
Bossa 58
Building
Caco Discos
CCC Discos
CD Factory
Chantecler
Chita Produções
Ciamusic
Cid
Circuito Musical
Codimuc
Comando SD
Cooperativa de Música
Coqueiro Verde Records
Crioula Records
Dabliu
Delira Música
Diamond Records
DN Music
Eldorado
Ethos Brasil
www.3plus.art.br
www.myspace.com/maisbrasilmusica
www.allegretto.art.br
www.estudioartmix.com.br
www.midiadobrasil.com.br
www.astralmusic.com
www.atracao.com.br
www.bandaparalela.com.br
www.trioirakitan.com.br
www.biscoitofino.com.br
www.bluestimesrecords.com
www.bmgv.com.br
www.boranda.com.br
www.albatrozmusic.com.br
www.buildingrecords.com.br
www.cacodiscos.com.br
www.centroculturalcarioca.com.br
www.cddvdfactory.com
www.chantecler.com.br
www.chicocesar.com.br
www.ciamusic.com.br
www.cid.com.br
www.circuitomusical.com
www.codimuc.com.br
www.comandosd.com.br
www.cooperativademusica.com.br
www.coqueiroverderecords.com.br
www.crioularecords.com.br
www.mpbnet.com.br/dabliu
www.deliramusica.com.br
www.diamondrecords.com.br
www.dnmusic.com.br
www.eldoradodiscos.com.br
www.ethosbrasil.com
Evidências Music/Courage
www.chx.com.br
F3 Empreendimento
www.f3ea.com.br
Fine Music
www.finemusic.com.br
Fonomidia
www.fonomidia.com.br
Gravadora Vertical
www.gravadoravertical.com.br
Guanabara
www.guanabararecords.com.br
Gvianna Produções Culturais www.geraldovianna.com
iMusica
www.imusicacorp.com.br
Kalamata
www.kalamata.com.br
Kuarup Música
www.kuarup.com.br
Lab 344
www.lab344.com.br
Lua Music
www.luamusic.com.br
Luar Music
www.luarmusic.com.br
MCD
www.mcd.com.br
MD Music
www.mdmusic.com.br
Microservice
www.microservice.com.br
Mills Records
www.millsrecords.com.br
Movieplay
www.movieplay.com.br
Music News
www.musicnews.art.br
Mutante
www.mutante.com.br
MZA Music
www.mzamusic.com.br
Nany CDs
www.nanyscds.com.br
NFK Filmes
www.nfk.com.br
Núcleo Contemporâneo
www.nucleo.art.br
One World Music
www.graphicway.com.br
Orquestra de Bolso
www.orquestradebolso.com.br
Performance
www.perfomance.art.br
Pinocchio Music
www.pinocchiomusic.com.br
Por do Som
www.pordosom.com.br
Posto 9 Música
www.posto9musica.com.br
Praise Records
www.praiserecords.com.br
Quitanda
www.biscoitofino.com.br
Radar Records
www.radarrecords.com.br
Rádio MEC
www.radiomec.com.br/seloradiomec
Repique Brasil
www.repiquebrasil.com.br
Revivendo
www.revivendomusicas.com.br
Rob Digital
www.robdigital.com.br
S de Samba
www.sdesamba.com.br
Sala de Som
www.saladesom.com.br
Sambatá
www.gugastroeter.com.br
Seastar
www.seastarmusic.com.br
Sonarts/Phonogamia
www.sonarts.com.br
Spectra
www.spectranova.com.br
Star Gallery/Libra Music
www.luarmusic.com.br
ST2 Records
www.st2.com.br
Super Reds
www.superreds.com.br
Tacacá Music
www.tacacamusic.com.br
The Concept
www.theconcept.com.br
TJB Empreendimentos Artisticos
www.jazzband.com.br
Trilhos.Arte
www.trilhos.arte.com.br
Ultra Disc
www.ucomunicacao.com.br
Usa Discos
www.usadiscos.com.br
US Madureira Records
www.loroza.com.br
Viabiliza
www.businesstelevision.com.br
Vila Pirutinga
Visom Digital
Work Music
ybmusic
www.clarabecker.com.br
www.visomdigital.com.br
www.workshowproducoes.com.br
www.yb.com.br
Although its members are record labels, many generate their principal revenues through other activities, whether
it be cultural projects, recording or production. As elsewhere, record sales are weak. To find a licensing partner
in Brazil is difficult but not impossible. Borandá recently closed a deal to represent ECM. Lab 344, MCD,
Building, Rob Digital and ST2 have been active for many years with international repertoire, as have non-ABMI
members Deckdisc (www.deckdisc.com), Indie Records and Som Livre. Som Livre was started in 1971 to
release soundtracks for the soap operas produced by Rede Globo. It also releases TV-advertised compilations.
Deckdisc has a subsidiary label, Vigilante which released two albums by Canadian act Broken Social Scene.
The band also performed at the Planeta Terra festival.
Most of the leading indie labels also have their own sales and distribution, while many of the smaller labels and
independent artists use the services of Tratore (www.tratore.com.br). Increasingly, the CD manufacturers are
also proving distribution services.
The gospel/evangelical market continues to move mountains, approximately R$2 billion per year. With the
second largest population of evangelicals, major companies such as Sony, Som Livre, Rede Globo are focusing
on this market. Sony Music recently created a gospel department. Som Livre is distributing gospel CDs and
DVDs as well as advertising them TV Globo. TV Globo, in turn, is broadcasting shows and including gospel
music (national and international) in its soap-operas.
After almost a decade of dropping sales, the record industry is stabilizing and beginning to grow again, based
principally on sales of CDs and DVDs, especially new releases. Universal has had success with local sertaneja
singer Paula Fernandes as well as Amy Winehouse. Paula has sold 1.5 million albums. The top company in
Brazil, Universal has a cast of 30 artists and is focusing on these; back catalogue will increasingly be through the
online stores.
Another increasing source of revenue is partnershiping with brands and marks, offering “free” music in exchange
for a percentage of the sales of the product.
With the ongoing changes in the record industry, opportunities have arisen for the creation of new services and
companies. A recent example is Inteligência Musical, a holding consisting of Chantilly Kizumba (production of
events and special projects), Casa do Show (production of corportive shows and events, festivals, fairs, rodeos,
etc), Fábrica de Rádio (radio [rojects) and Kappamakki Digital (distribution and licensing of digital content, online
business and strategies, royalty payments, etc). Representing such companies as Coca-Cola, Facebook, Terra
Sonora, Claro, LG, Shell and Vivo, and artists such as Falcão e os Loucomotivos, Los Hermanos, Jota Quest
and Little Joy, the holding is creating a series of branded projects.
The Associação Brasileira dos Produtores de Discos, better known as the ABPD, represents the principal record
companies and the interests of the recording industry in Brazil. It also publishes the weekly sales charts.
ABPD members:
EMI Music
Music Brokers
MK Music
Paulinas
Record Produções e Gravações
Som Livre
Sony BMG
The Walt Disney Records
Universal Music
Warner Music
Based in Rio de Janeiro, and created in April 1958, it is affiliated with the IFPI. ABPD uses Crowley Broadcast
Analisys, to supply information about the market. Crowley was established in 1997. Present in 10 of Brazil’s
principal cities, and accompanying the broadcasting of 250 radio stations, the company publishes each week the
Top 20.
Top 20 Radio – January 2012:
Tupi FM – 104,1
Leonardo
1
Luan Santana
2
Michel Teló
3
Léo Magalhães
4
Marcos & Belluti
5
Paula Fernandes
6
Bruno & Marrone
7
Gusttavo Lima
8
Fernando & Sorocaba
9
George Henrique & Rodrigo
10
Nativa FM – 95,3
Victor & Leo
1
Michel Teló
2
Paula Fernandes
3
Luan Santana
4
Eduardo Costa
5
Leonardo
6
Léo Magalhães
7
Bruno & Marrone
8
Gusttavo Lima
9
Fernando & Sorocaba
10
Transcontinental – 104,7
Sorriso Maroto
1
Baby, Fala pra Mim
Nega
Ai Se Eu Te Pego
Nosso Casamento
Desce do Salto
Sensações
Parede de Vidro
Balada
Férias em Salvador
Receita de Amar
Lágrimas
Ai se eu te pego
Sensações
Nêga
Tomara a Deus
Baby, fala pra mim
Nosso casamento
Juras de amor
Balada
Férias em Salvador
Assim Você Mata o Papai
Pixote
2
Nosso Sentimento
3
Bom Gosto
4
Fino Trato
5
Sampa Crew
6
Thiaguinho
7
Fiuk e Jorge Ben Jor
8
Turma do Pagode
9
Samprazer
10
Band FM – 96,1
Michel Teló
1
Luan Santana
2
Paula Fernandes
3
Gusttavo Lima
4
Jorge & Mateus
5
Fernando & Sorocaba
6
Latino e Daddy Kall
7
Leonardo
8
Thiaguinho
9
Bruno & Marrone
10
Mix FM – 106,3
LMFAO
1
Bruno Mars
2
Adele
3
Charlie Brown Jr
4
David Guetta
5
Britney Spears
6
Lady Gaga
7
Katy Perry
8
NX Zero
9
Rihanna
10
Jovem Pan FM – 100,9
Adele
1
Rihanna
2
Britney Spears
3
Charlie Brown Jr
4
Bruno Mars
5
Lady Gaga
6
Coldplay
7
Nx Zero
8
Maroon 5
9
David Guetta
10
Dilema
Fora da Lei
Patricinha do Olho Azul
Essa é a Nossa Vida
Conquistar com Você
Buquê de Flores
Quero Toda Noite
De Repente o Céu
A Gente Faz Amor
Ai Se Eu Te Pego
Nega
Pássaro de Fogo
Balada
Amor Covarde
Férias em Salvador
Dança Kuduro
Baby, Fala Pra Mim
Mamão com Mel
Juras de Amor
Recorded Music Sales US$ million, trade value (Source: IFPI)
Physical
Digital
Performance Total (US$)
2010
172.5
38.1
18
228.5
2009
186.9
30.2
14.2
231.3
2008
186.1
30.5
13.6
230.2
2007
183.9
16.8
12.1
212.8
2006
267.3
6.3
11.3
284.9
Recorded Music Sales by Sector 2010
Physical:
76%
Sexy and I Know It
It Will Rain
Someone Like You
Céu Azul
Without You
Criminal
Yoü and I
The One That Got Away
Não É Normal
We Found Love
Someone Like You
We Found Love
Criminal
Céu Azul
It Will Rain
Marry The Night
Paradise
Não é Nomal
Moves Like Jagger (feat. Chrstina Aguilera)
Titanium feat. Sia
Total % Change
-1.2%
0.5%
8.2%
-25.3%
-23.8%
Digital: 17%
Performance:
7%
Digital Sales by Format 2010 (value)
Subscription:
60%
Mobile Single Track:
14%
Ad-supported:
10%
Mastertones:
5%
Other:
11%
Recorded Music Sales Volume (million units) (Source: IFPI)
CD
DVD/VHS
2010
20.7
7.3
2009
22.8
6.0
2008
25.4
5.8
2007
26.6
5.7
2006
33.0
6.0
Top Selling Albums 2010 (Source: ABPD)
Artist
1
Luan Santana
2
Justin Bieber
3
Lady Gaga
4
Zeze Di Camargo & Luciano
5
Padre Fabio de Melo
6
Padre Reginaldo Manzotti
7
Padre Fabio de Melo
8
Beyonce
9
Bruno & Marrone
10
Various Artists
Title
Luan Santana ao Vivo
My Worlds
The Fame
Double Face
Iluminar Ao Vivo
Sinais do Sagrado
Iluminar
I am… Sasha Fierce
De Volta Aos Bares
Erguei As Maos
Sales Certificates (Source: ABPD)
Downloads/Ringtones
Certificate As of November 2008
Gold
50,000
Platinum
100,000
Diamond
500,000
CD
Certificate
Before 2004 After 2004 After 2006 After 2010
Gold
100,000
50,000
50,000
40,000
Platinum
250,000
125,000
100,000
80,000
Double Platinum 500,000
250,000
200,000
160,000
Triple Platinum
750,000
375,000
300,000
240,000
Diamond
1,000,000
500,000
500,000
300,000
DVD
Company
Som Livre
Universal
Universal
Sony
Som Livre
Som Livre
Som Livre
Sony
Sony
Sony
Certificate
Before 2006 After 2006
Gold
25,000
25,000
Platinum
50,000
50,000
Double Platinum
100,000
Triple Platinum
150,000
Diamond
100,000
250,000
International Repertoire
CD
Certificate
Before 2004 After 2004 After 2006 After 2010
Gold
100,000
50,000
30,000
20,000
Platinum
250,000
125,000
60,000
40,000
Double Platinum 500,000
250,000
120,000
80,000
Triple Platinum
750,000
375,000
180,000
120,000
Diamond
1.000, 000
500,000
250,000
180,000
DVD
Certificate Before 2006 After 2006
Gold
25,000
15,000
Platinum
50,000
30,000
Diamond
100,000
125,000
Top International Artist Sales
Artist
Period
Nationality Genre
Sales
Madonna
1982 – 2011 USA
Pop
3500000
U2
1976 – 2011 Ireland
Rock
2500000
Enya
1982 – 2011 Ireland
New Age
1780000+
Backstreet Boys
1996 – 2011 USA
Pop
1750000+
Julio Iglesias
1968 – 2011 Spain
Latin Music
1500000+
Guns N' Roses
1985 – 2011 USA
Rock
1300000+
A-ha
1982 - 1994
Norway
1998 - 2010
Pop/Rock
1200000+
Phil Collins
1967 – 2011 UK
Pop
1200000+
Nirvana
1987 – 1994 USA
Grunge
1100000+
Kenny G
1982 – 2011 USA
Smooth jazz
1025000+
Mariah Carey
1990 – 2011 USA
Pop/R&B
1000000+
Queen
1970–1997
Rock
960000+
Spice Girls
1996 – 2000
UK
2007 – 2008
Pop
930000+
UK
Alanis Morissette
1987 – 2011 Canada
Rock
800000+[
Elton John
1969 – 2011 UK
Rock
780000+
Rod Stewart
1962 – 2011 UK
Pop/Rock
750000+
Andrea Bocelli
1992 – 2011 Italy
Pop/Classical 715000+
Simply Red
1984 – 2011 UK
Pop/Soul/R&B 700000+
Red Hot Chili Peppers 1983 – 2011 USA
Funk/Rock
700000+
Linkin Park
2000 – 2011 USA
Rock
625000+
Aerosmith
1970 – 2011 USA
Rock
550000+
Eric Clapton
1963 – 2011 UK
Rock
505000+
Laura Pausini
1987 - 2011 Italy
Pop
505000+
Amy Winehouse
2003 – 2011 UK
Soul
500000+
Avril Lavigne
2002 – 2011 Canada
Pop Rock
500000+
The Beatles
1960 - 1970 UK
Rock
500000+
Led Zeppelin
1968 – 1980 UK
Rock
500000+
Top International Albums
Album
Artist
Year Genre
Sales
Serious Hits... Live!
Phil Collins
1990 Rock
750,000+
Jagged Little Pill
Alanis Morissette
1995 Rock
500,000+
Greatest Hits II
Queen
1990 Rock
500,000+
The Immaculate Collection Madonna
1990 Pop
500,000+
Like a Prayer
Madonna
1989 Pop
500,000+
Spice
Spice Girls
1996 Pop
500,000+
Backstreet's Back
Backstreet Boys
1997 Pop
500,000+
Millennium
Backstreet Boys
1999 Pop
500,000+
Paint the Sky with Stars
Enya
1997 New Age 500,000+
Californication
Red Hot Chili Peppers 1999 Rock
In Concert
The Three Tenors
500,000+
1996 Classical 500,000+
Top International Downloads/Ringtones
Artist
Period
Country Genre
Sales
The Killers
2002 - 2011 USA
Rock
1.150,000+
Lenny Kravitz
1989 – 2011 USA
Rock
1.000,000+
Chris Brown
2005 – 2011 USA
Hip-hop
900,000+
Katy Perry
2008 – 2011 USA
Pop
800,000+
Avril Lavigne
2002 – 2011 Canada
Pop/Rock
700,000+
Madonna
1982 – 2011 USA
Pop
650,000+
Akon
1996 – 2011 Senegal
Hip-hop/R&B 600,000+
Alanis Morissette 1987 - 2011 Canada
Rock
500,000+
Fergie
2003 – 2011 USA
Pop
500,000+
Rihanna
2005 - 2011 Barbados R&B
500,000+
CD Singles
Although they are released occasionally, Brazil doesn’t have a market for singles. They are released mainly as
marketing tools by indie labels and independent artists.
Although there are still the exceptions in terms of sales, most releases fall around the 10,000 mark. Independent
labels are looking at 1 or 2,000 units maximum. Many independent artists regard the CD as a promotional tool
rather than a sales item. Many artists use the SMD format – a semi metallic disc, a cheap CD sold in an
envelope. There is also a return to vinyl, again more for promotional than sales purposes.
(viii) The Publishers
There are over a hundred music publishers in Brazil, such as Warner Chappell, EMI, Universal, BMG, Sony,
Sigem, Abril, Mangione, Vitale, Fermata, Arlequim, ADDAF and others, united in two associations: the ABEM –
Brazilian Association of Musical Producers and the ABER – Brazilian Association of United Producers.
The performing rights and neighbouring rights resulting from the public performance of musical works and
phonograms is collected and distributed in Brazil under the unified collective management of ECAD – Central
Office of Collection and Distribution, a private entity integrated by 10 associations of title-holders of authorial
rights (composers, writers, performers, arrangers, musicians and record producers). On the international level,
public performance rights generated from Brazilian-owned works are received through reciprocity agreements
with foreign societies signed with some of the 10 Brazilian associations such as UBC and ABRAMUS.
The following publishers are affiliated with ABEM:
Atração Prod. Ilimitadas Ltda
Av. do Estado 4667 - Mooca
São Paulo, SP
CEP 03105-000
Tel: (11) 2188-0942
Fax: (11) 2188-0944
Email: [email protected]
Site: www.atracao.com.br
Azul Music Multimidia Ltda
Rua Fernandes Moreira,163
São Paulo, SP
CEP 04716-000
Tel: 11 5181-0610
Fax: 11 5181-0610
Site: www.azulmusic.com.br
Caco Music
Av Tancredo Neves,2421 Ed Emp. Redenção 16º sala 1607-Caminho das Arvores
Salvador, BA
CEP 41820-021
Tel: (71) 3016 1652
Fax: (71)
Site: www.cacodiscos.com.br
Dubas Música Ltda
Av. Beira Mar, 200 – 12o Andar
Rio de Janeiro, RJ
CEP 20021-060
Tel: (21) 2532-6963
Fax: (21) 2532-6963
Site: www.dubas.net
Duma Criações E Produções Artísticas
Rua Leonor Calmon, 44 – Ed. Empresarial Cidade Jardim - 19º andar
Candeal - Salvador, BA
CEP 40296-210
Tel: (71) 2107-0007
Fax: (71) 2107-0007
Duncan Edições Mus E Prod Art Ltda
Rua Pacheco Leão 1270- Fds A jardim Botânico
Rio de Janeiro, RJ
CEP 22460 030
Tel: 21 2259 7394
Email: duncanproduçõ[email protected],[email protected]
Site: www.zelia.duncan.com.br
Edições Euterpe Ltda
Rua 7 de Setembro, 98 – Sl: 308/309
Rio de Janeiro, RJ
CEP 20050-002
Tel: (21) 2508-9186
Fax: (21) 2509-6613
Edições Musicais Moleque Ltda
Av. Rio Branco, 156 / sl. 3301
Centro - Rio de Janeiro, RJ
CEP 20040-003
Tel: (21) 2262-5449
Fax: (21) 2262-5449
EMI Songs Do Brasil Edições Musicais Ltda
Edições Musicais Tapajós Ltda
Praia do Flamengo, 200 – 15º Andar
Rio de Janeiro, RJ
CEP 22210-030
Tel: (21) 3235 1900
Fabrica Da Musica Edições Musicais Ltda
Rua Dr José Peroba 275 Sl 806 - Ed Metropolis - Stiep
Salvador, BA
CEP 41770-235
Tel: (71) 3341 3131
Gege Edições Musicais Ltda
Para Correspondência: Estrada da Gávea, nº 135, casa
Rio de Janeiro, RJ
CEP 22451-260
Tel: (21) 3323-1600
Fax: (21) 2239-9727
Site: www.gilbertogil.com.br
Irmãos Vitale S/A Indústria. E Comércio
Rua França Pinto, 42
São Paulo, SP
CEP 04016-000
Tel: (11) 5081-9499
Fax: (11) 5574-7388
Site: www.vitale.com.br
JC Edições Musicais Ltda.
R. Visconde de Inhaúma, 134 /Sl333 e334
Centro - Rio de Janeiro, RJ
CEP 20091-007
Tel: (21) 2253-2785 / 2223-0038
Fax: (21) 2253-2785 / 2223-0038
Email: [email protected],[email protected]
Site: www.jcedicoes.com.br
Jobim Music Ltda
Rua Jardim Botânico, 674 – Sls. 601/623
Rio de Janeiro, RJ
CEP 22461-000
Tel: (21) 2512-8224 / 8946 / 9391
Fax: (21) 2239-6583
Site: www.tomjobim.com.br
Luanda Edições Musicais Ltda
Av. Ataulfo de Paiva, 135 – Conj: 1.310
Rio de Janeiro, RJ
CEP 22449-900
Tel: (21) 2540-0332
Fax: (21) 2540-0332
Site: www.djavan.com.br
Marola Edições Musicais Ltda
Av. Ataulfo de Paiva, 135 – Sala 710
Rio de Janeiro, RJ
CEP 22440-032
Tel: (21) 2294-2999
Fax: (21) 2511-2243
MC Distribuição E Edição Musical Ltda
R. General Gustavo Cordeiro de Farias, 84 / 2º andar - parte
Benfica / Rio de Janeiro, RJ
CEP 20910-220
Tel: (21) 2125-1700
Fax: (21) 2125-1776
Milagro Prod E Ediçoes Ltda
Rua Felipe Camarão, 144/2
Rio de Janeiro, RJ
CEP 20511-010
Tel: (21) 3795-8290
Site: www.milagroweb.com.br
Nowa Produções Artísticas Ltda
Av. Ministro Ivan Lins, 480 / cob. 307
Rio de Janeiro, RJ
CEP 22620-110
Tel: (21) 2492-1243 / 2486-0175
Fax: (21) 2495-5687
Peermusic Do Brasil Edições Musicais Ltda
Av. Angélica, 501 – 2º Andar – Conj: 206
São Paulo, SP
CEP 01227-000
Tel: (11) 3825-5533
Fax: (11) 3825-0810
Posto 9 Edições Musicais Ltda
Av. Delfim Moreira 120/201
Rio de Janeiro, RJ
CEP 22441-000
Tel: 21 2249 2989
Fax: 21 2249 2665
Spin Edições Musicais Ltda
Av. Pedroso de Morais, 1008 / sl. 22
São Paulo, SP
CEP 05420001
Tel: (11) 3034-3688
Fax: (11) 3034-3688
Site: www.spinmusic.com.br
And ABER:
Bonus Consultoria Artística Ltda
Av. João Carlos Machado , 380 COB. 304
Barra da Tijuca Rio de Janeiro - RJ
Contato: Jorge Reis
CEP.: 22621-222
Tel.: (21) 2491-5353/ (21) 2848.1282
[email protected] / [email protected]
Deck Produções Artísticas Ltda
Av. das Américas 500 - Bl 15 sala 303 e 304
Barra da Tijuca - Rio de Janeiro
Rio de Janeiro - RJ CEP: 22640-100
Tel: (21) 3299-7000
E-mail: [email protected]
Diamond Records do Brasil Discos e Cds Ltda
Rua dos Inválidos, 57/59 - 3º Andar - Centro Rio de Janeiro, RJ - CEP:20231-040
Contato: Sr. Carlos Portella/Reginaldo
Tel:(21) 2507-2379 - (21) 2507-2392
Fax:(21) 2224-3463
E-mail : [email protected] / [email protected]
site: www.diamondrecords.com.br
DUC Associadas
Avenida Doutor Sebastião Mendes Silva,699
Anhangabaú
Jundiaí - São Paulo
CEP: 13208-090
e-mail: [email protected]
Gema Gravadora e Editora Ltda
Rua General Osório 306 sala 32
Santa Efigênia - São Paulo
Contato: Meriely
CEP: 01213 - 000
Tel: ( 11 ) 3331-6755
e-mail: [email protected]
Gemini Editora e Eventos Musicais Ltda
Av. Antonio Maziero, 501
Bairro : Caxambu - Jundiaí
São Paulo - SP
CEP: 13218-748
Tel: (11) 9770- 0991
Indie Publishing Ltda
Rua Macedo Sobrinho 608 - Humaitá - RJ
CEP: 22.271.080 _ Rio de Janeiro
Tel.: (21) 2528-8484
Instituto Alberione – Paulinas – COMEP
Rua Botucatu, 171
Vila Clementino São Paulo – SP
Tel.: (11) 5088-7966
CEP: 040230-60
João Maria Sarinho Soares Musical - ME
Rua Roma, 620 - cj 46 - A
Lapa - São Paulo - SP
Tel: (011) 3877.0206/7718-5943/8321-5898/7818-7916
MJC -Empreendimentos e Participaçoes Ltda.
Rua Joaquim Manoel Macedo 101 - Conjs 12 e 14
Edifício Memorial Center - Barra Funda- São Paulo - SP
Tel.: (11) 2184-5367/2184-4800/2184-4038
Natasha Enterprises Ltda
Endereço: Rua Marquês de São Vicente, 99
sala 401 - parte - Gávea
Rio de Janeiro - RJ
CEP: 22.451-041
Tel.: (21) 2529-0723
Natasha Produções e Discos Ltda
Rua Real Grandeza loja 170 - Botafogo
Rio de Janeiro - RJ
Tel.: 21 - 2527-6200
Emails: [email protected] / [email protected] / [email protected] / [email protected]
Nossa Música Edições Musicais Ltda.
Rua Sarapuí - 08 - Humaitá
Rio de Janeiro - RJ
Tel.: 21-2266-9300
Sigem - Sistema Globo de Edições Musicais Ltda.
Rua Assunção 443 - Terreo
Botafogo - Rio de Janeiro – RJ
Tel.: (21) 2323-3321
SM Publishing (Brasil) Edições Musicais Ltda. (SONY / ATV)
Centro Empresarial Mario Henrique Simonsen
Av. das Américas 3434 Bloco 4 sl 519
Barra da Tijuca - Rio de Janeiro - RJ
Tel.: (21) 2128-7777
Studio 3 Produções Fonográficas e Ed. Musicais Ltda
Rua Ernestina de Castro Marcondes 290
Pq da Represa - São Paulo
Jundiaí - SP
Tel.: (11) 4492-1684
Universal Music Publishing Ltda.
Av. das Américas, 3500 Bl I lojaA
Condomínio Le Monde
Edifício Londres - Barra da Tijuca
CEP: 22.640102
Tel: 2108-7740
Universal Music Publishing MGB Brasil Ltda.
Av. das Américas, 3500 Bl I lojaA
Condomínio Le Monde
Edifício Londres - Barra da Tijuca
CEP: 22.640102
Tel: 2108-7740
Vm Empreendimentos Artísticos e Culturais Ltda
Rua Jardim Botânico,674/317
Jardim Botânico - Rio de Janeiro
CEP: 22.461-000
Tel: 2512-0055
Warner / Chappell Edições Musicais Ltda.
Rua Marquês de São Vicente - 99 - 5o andar
Gávea - Rio de Janeiro
Tel: (21) 2512-8800
Both ABEM and ABER are in the process of joining forces to become one entity named UBEM, the Union of
Brazilian Music Publishers.
Unaffiliated with these bodies are two independent but important publishers:
Basement Brazil Editora Musical Ltda
Av Paulista 2416
São Paulo
SP 01310-300
Brazil
55 11 3259 7726
www.basementbrazil.net
Email: [email protected]>
Dueto Edições
Fone 11-2737-7673
Fax: 11-2737-8373
Av. Cdor Alberto Bonfiglioli, 649 – S.04
Jd. Bonfiglioli – São Paulo – SP – CEP.05593-001
ABEM and ABER have blanket agreements with the following companies for their related services:
Ring Tones
A-Tono Latin America Marketing E Serviços Digitais Ltda.
Acotel Do Brasil Ltda.
Arvato Mobile Ltda.
Atech Desenvolvimento De Mídias Eletrônicas Ltda.
Building Records
Buongiorno Myalert Brasil Serviços Celulares Ltda.
Cycleologic Do Brasil Mobile Solutions Ltda.
Dada Brasil Serviços De Tecnoligia Ltda.
Dindo - Neomobile
Hanzo S/A
M4u Soluções S.A.
Memo Serviços Interativos S.A.
Mobile Fun Sistemas De Informática S/A
Mobile Streams
Neomobile Do Brasil – Tecnologia Da Informação Ltda.
Okto Mobile Ideas
Ouvi Divulgação E Marketing Em Celulares Ltda.
P Movil Ltda.
Pcontent Solutions
Pmovil
Supportcomm
Takenet
Tjnet Ou Arvato Mobile
Total Spin Brasil Serviços De Telecomunicações Ltda.
Zero 9 Do Brasil Servicos Digitais Ltda
Streaming
Baixa Hits
IG
M4U - Mobile For You
Terra
TV - sync
MIX TV
PLAY TV
TV SBT - Sistema Brasileiro de Televisão
Band
Canal Futura (Fundação Roberto Marinho)
CNT
Globosat
MTV Music Television
Rede Record
Tv Globo
TVE Brasil (Fundação Roquette Pinto)
Downloads
IG
Nokia (+ Comes With Music)
UOL
Terra
Baixa Hits
BaixaHits
Building Records
Funstation
IMusica
iTunes
Members of the ABMI and ABPD also benefit from blanket agreements with the music publishers whereby they
pay mechanicals on sales rather than quantities manufactured. Although there are a few small mechanical rights
collecting societies, most mechanical royalties are paid directly by the record companies (and by the local digital
distributors) to the publishers. The mechanical rate is 8.4% of PPD.
ECAD
ECAD is Brazil’s central bureau for the collection and distribution of both authors’ and neighbouring rights, and
this unique model allows for domestic competition to take place amongst ten membership societies. Put more
bluntly, one body (as opposed to two or more) gets the money in and sends the money out for both sets of
rights.
ECAD is best viewed as an umbrella organisation; it collects royalties for performing and neighbouring rights and
allocates them among its six full-member societies – ABRAMUS, AMAR, SBACEM, SICAM, SOCINPRO and
UBC – and its four associate members – ABRAC, ANACIM, ASSIM and SADEMBRA – which then forward them
on to their members.
ECAD is not allowed to represent authors and composers, nor foreign societies, directly, as this function is
devolved to the membership societies which compete with each other for members by using their expertise and
intelligence, and by investing in quality and excellence of services. In terms of operational costs, ECAD deducts
a fixed 17% from its collections to cover costs. A further 7.5% of gross is retained by the societies for their own
costs.
The ownership of ECAD means that the individual membership societies are responsible for membership,
documentation, membership services and international relations. Certain societies, especially the larger ones,
may process the distribution to refine it for the benefit of its members.
Both ECAD and the societies have to invest in the development of IT systems and data management. ECAD
uses the administration fee for this purpose, although the general budget and strategic plan for each year is
approved by the General Assembly of the societies.
ECAD and the individual societies have developed a centralised works database. This is unique inasmuch as it
contains both the ISWC details of the original ‘creators’ of the work (writers, composers and publishers) and also
the details of any recordings of the work which have been made (ISRC). This enables ECAD to easily and
accurately match each use of a song to the correct performing and neighbouring right holders. Societies are
responsible for providing details of their members’ works to the database. Despite its centralised nature, ECAD
may not amend or edit data which has been entered by the societies.
ECAD licenses rights users in the same way as any other collecting society does with their main sources of
income being radio and TV broadcasters, live events and ‘general users’ (shops, restaurants, hotels, cinemas
etc.). Concerts and other live events are licensed purely for the author’s right; other uses of music are licensed
jointly for author’s and neighbouring rights, as there is invariably a sound recording used. All royalties collected –
except from live performance – are split as to 2/3 to authors’ rights and 1/3 to neighbouring rights. Tariffs and
licence fees are negotiated by ECAD directly with the users, ensuring that market rates are applied. However,
the absence of a specialised copyright tribunal in Brazil can make the tariff setting exercise difficult and time
consuming.
Television is split into ‘open’ (ie: terrestrial ‘free-to-air’) and subscription TV; and accounts for around a quarter of
ECAD’s collections. Recent court cases have recognised the right of the copyright owner to set a de facto tariff
of 2.5% for the use of their works.
Cinema collections have grown considerably in the last decade as ECAD has got to grips with licensing. Most
Latin American countries follow the US exemption whereas ECAD has endorsed the European laws by
recognising this performing right in cinema.
Live performance is the one area where ECAD’s collections are purely for author's rights. As no sound recording
rights are involved, the original creators (writers and publishers) of the works performed are the sole
beneficiaries of ECAD’s highest tariff.
The financial performance of ECAD has been impressive, with collections growing by at least 10% year on year
since 2006, totaling R$374m in 2009. This is in stark contrast to the steep decline in recorded music revenues
over the same period. In addition to growth of established revenue sources, ECAD has focused on increasing
the number of ‘general’ licensees – bars, restaurants, academies, commercial halls and stores. In 2008 it
launched Mobile ECAD Tec, a technology designed to speed up licence requests, and the ECAD Tec Sound,
which automates identification of musical works. Productivity has also risen, as distributions increased by over
17% between 2008 and 2009, outstripping the 12.6% rise in collections over the same period.
Whereas ECAD collections have grown by 47% between 2005 and 2009, recorded music revenues (excluding
performance right income) have fallen by 40% over the same time period. To translate this point, converting
these numbers into US dollars and adjusting for double counting of performance rights has the two revenue
streams at neck-and-neck at around USD $200m for 2009. Going forward, whilst Brazilian recorded revenues
would appear to have bottomed out and are now edging northwards, ECAD gross collections are expected to
continue to show double digit growth for 2010 and beyond. These contrasting stories need to be interpreted
carefully, as piracy will have had a dramatic effect on consumer facing recorded revenues whilst business-tobusiness licence environment which ECAD collects from will be more insulated.
ECAD connected its database to CIS-Net in October 2007, making the Brazilian repertorie available for
consultation.
ABRAMUS
(Associação Brasileira de Música e Artes)
www.abramus.org.br
AMAR
(Associação de Músicos, Arranjadores e Regentes)
www.amar.art.br
SBACEM
(Sociedade Brasileira de Autores, Compositores e Escritores de Música)
www.sbacem.org.br
SICAM
(Sociedade Independente de Compositores e Autores Musicais)
www.sicam.org.br
SOCINPRO
(Sociedade Brasileira de Administração e Proteção de Direitos Intelectuais)
www.socinpro.org.br
UBC
(União Brasileira de Compositores)
www.ubc.org.br
ABRAC
(Associação Brasileira de Autores, Compositores, Intérpretes e Músicos)
www.abrac.art.br
ASSIM
(Associação de Intérpretes e Músicos)
www.assim.org.br
SADEMBRA
(Sociedade Administradora de Direitos de Execução Musical do Brasil)
4. The Digital Music Landscape
The following are the principal digital stores in Brazil:
Baixa Hits
Claro
Coolnex
CTI Movel
Esom
Ideias Musik
iMusica
iToc
iTunes
IWFC Net Music
Mercado da Musica – Transamerica
MSN Music Store
Mundo Oi
Ovi Music
Ovi Music Unlimited
Som Livre
Sonora
Tim Music Store
Universal Music Loja
Universal Music Mobile
UOL Megastore
Vivo Tons e Images
Warner Music Store
Yahoo! Music
YouTube
The most recent additions to the digital market are iTunes and Ideiasmusik.com.br. Developed by iMusica and
Claro, the IdeasMusik service offers a combination of streaming and download, via mobile phone, initially for
Brazil and Mexico to be followed by a Latin American rollout. iMusica is the principal digital distributor in Brazil.
Although streaming and downloads online are increasing, the real money in being made through mobile phone.
80% of downloads are through mobile phones. A recent research showed that over 60% of Brazilians would pay
for music delivered through the mobile phone. Downloading through a PC is still very much associated with free.
An interesting model, linked to the independent sector, is Trama Virtual, which offers free downloads sponsored
by advertising. They also offer Virtual Albums with artwork, sleevenotes, etc. This service is open to independent
bands worldwide.
Downloading (and paying) has traditionally been more associated with the C and D classes. The arrival of
iTunes is expected to attract the A and B classes
Top digital Sales January 2012
Digital Stores
iMusica
Os Paralamas do Sucesso, Pitty
1
Michel Teló
2
Rihanna
3
Coldplay
4
David Guetta, Sia
5
LMFAO
6
Usher, David Guetta
7
Keane
8
Don Omar
9
Mulekada
10
UOL
Adele
1
Adele
2
Rihanna
3
David Guetta
4
Adele
5
Maroon 5
6
Katy Perry
7
Paula Fernandes
8
Paula Fernandes
9
Pitbull
10
Ovi/Nolia
David Guetta
1
Coldplay
2
Maroon 5
3
David Guetta
4
Katy Perry
5
Amy Winehouse
6
Shakira feat. Pitbull
7
Linkin Park
8
Kelly Clarkson
9
Red Hot Chili Peppers
10
CoolNex
Colbie Caillat
1
Playback
2
Marcelli Soeiro
3
LMFAO, Chuckie
4
Víctor Quiñónez
5
Víctor Quiñónez
6
Sergio Vitier
7
Sergio Vitier
8
Sergio Vitier
9
Sergio Vitier
10
Sonora
Adele
1
Paula Fernandes
2
Adele
3
Tendo A Lua
Ai Se Eu Te Pego
We Found Love
Paradise
Titanium (feat. Sia)
Sexy And I Know It
Without You (feat. Usher)
Everybody’s Changing
Danza Kuduro (Danza Kuduro)
Dança da Hora (Reloginho)
Someone Like You
Rolling In The Deep
We Found Love
Without You (feat. Usher) [Extended]
Set Fire To The Rain
Moves Like Jagger
Firework
Pra Você
Não Precisa
Give Me Everything
Without You (feat.Usher) [Remixes]
Paradise
Moves Like Jagger
Where Them Girls At (feat. Nicki Minaj)
Last Friday Night (T.G.I.F.)
Where Them Girls At (feat. Nicki Minaj)
Rabiosa
Iridescent (from Transformers 3: Dark of the Moon)
Mr. Know It All
The Adventures Of Rain Dance Maggie
Kiss the Girl
Se Tu Minha Alma (PLAYBACK)
Se Tu Minha Alma
Let The Bass Kick In Miami Bitch
Declaración de principios
Aló mulata
Roble de olor (orquesta)
La utopía
Pavorreal
Tema de Bertha Hesse (orquesta)
Someone Like You
Pra Você
Rolling In The Deep
4
5
6
7
8
9
10
Paula Fernandes
Michel Teló
Paula Fernandes
Paula Fernandes
Adele
Paula Fernandes
Michel Teló
Mobile Phone:
Tim
Michel Teló
1
Don Omar
2
Victor e Leo
3
Gusttavo Lima
4
Lady Gaga
5
Zeca Pagodinho
6
Adele
7
Carlos & Jader
8
Bruna Karla
9
Ne-Yo, Pitbull, Afrojack, Nayer
10
Vivo
Michel Teló
1
Gustavo Lima
2
Dom Omar
3
Paula Fernandes, Vitor & Leo
4
Eduardo Costa com Paula Fernandes
5
Victor & Leo
6
Fernando & Sorocaba
7
Rihanna
8
Katy Perry
9
10
Bruno & Marrone
Pássaro de Fogo
Ai Se Eu Te Pego
Tocando Em Frente
Jeito De Mato
Set Fire To The Rain
Dust In The Wind
Humilde Residência
Ai Se Eu Te Pego
Danza Kuduro
Não Precisa
Balada (Tchê Tchê Rere)
Marry The Night
Griselda
Rolling In The Deep
Sou Foda
Que Bom Você Chegou
Give Me Everything
Ai Se Eu Te Pego
Balada (Ao Vivo)
Danza Kuduro
Não Precisa
Meu Grito de Amor
Amor de Alma
Pega Eu (Ao Vivo)
We Found Love
Last Friday Night
Juras de Amor
5. Cultural Incentives
So, there’s little money to be made from selling CDs, and the digital market is still in its infancy. How do people
make money? Along with the touring circuit an important source of revenue comes throught the government.
The musical life has two principal variants: education and diffusion. In Brazil both are subsidized solely by public
funding. Therefore cultural activities proliferate in the states where there is a higher concentration of wealth and
funds, since their develop-ment is assured by public funding. The schools, large festivals, orchestras and more
expensive and onerous initiatives occur almost exclusively in the wealthier states.
Almost all initiatives are concentrated in São Paulo and Rio de Janeiro. The Culture Department of the State of
São Paulo invests about 60% of its budget in music (about US$ 85 million annually). The states in the North and
Northeast have much smaller budgets and are much more dependent on federal funding and so end up not
allocating very much to cultural activities.
It should be pointed out that contrary to the experience of countries with strong economies, Brazilian musical
activity is not financeable solely from the income generated by ticket sales. Box-office revenues form no more
than 10% of the production budget, and the greater part of the population cannot afford high ticket prices. It is
public funding and some private sponsor-ship which allows institutions to maintain regular programmes.
The Lei Rouanet or The Rouanet Law is a Brazilian fiscal/cultural incentive law that allows any corporation to
pay 4% of its owed income tax to finance cultural projects. It is the main mechanism for cultural financing today.
An artist first has to ‘insert the project into the Law’. There are companies specialized in inserting projects into
the law. This means the project has to be filled out on the internet for approval from the Ministry of Culture
(MinC). Once approved, the project is published in the Diário Oficial, the government’s official publication. With
this publication the project qualifies to be financed by any company, corporation or private individual. It is then up
to the artist and/or producer to go after this owed tax money amongst sponsors. The problem with this
mechanism is that corporations will finance cultural works with which they want their brands to be associated. So
productions with famous artists are more likely to attract sponsorship than smaller or lesser-known productions.
This is not patronage. It is money that the corporation would have had to pay as tax to the government. In a way
it is free advertisement for companies using tax-payer money.
Of all the corporations that make use of the Lei Rouanet for cultural sponsorship, the most important by far is
Petrobras, the semi-public Brazilian Energy Company. Of the 500 largest sponsors in 2007, 44% of the money
came from only 6 companies:
Eletrobrás — 14,3 million reais.
Banco Bradesco — 20,2 million reais
Banco do Brasil — 20,5 million reais
Telecomunicações SP — 21,9 million reais
Vale do Rio Doce — 33,1 million reais
Petrobras — 172 million reais.
In recent years several countries have taken steps towards intensifying their cultural relations with Brazil. Spain
and Portugal have expanded their cultural missions and institutions over the past few years, while France has
tried to stimulate additional cultural exchange by means of a special French year in Brazil (2009), after Brazilian
culture had been the focus of attention during a Brazilian year in France (2005). Sweden, UK and Germany are
also very active.
When embarking on cultural exchange with Brazil it is advisable to work with a local organisation as an
intermediary. Collaboration with a ‘culture broker’ or lawyer like this can be helpful when dealing with
complicated issues such as Brazilian legislation regarding sponsoring.
6. Opportunities and Recommendations for Canadian
Companies
The Agonist, Simple Plan, Mute, Anvil, Silverstein, Justin Bieber, Exciter, Alanis Morissette, Dragonette,
GrimSkunk, Michael Bublé, Three Days Grace, Sacrifice, DOA, Nelly Furtado, Arcade Fire, Rush, Dream Aria….
Whether it be an established act like Rush or an unsigned unknown like Dream Aria, there’s a regular flow of
artists from Canada to Brazil, especially heavy metal. But the big names are present as well. Michael Bublé will
be performing at HSBC Arena in Rio on March 31st and Via Funchal, in São Paulo on April 1st. Rush are also
due by the end of the year.
Whether you be signed to a major record company or totally independent, nothing beats meeting face-to-face
with potential partners at the various global trade fairs. It may be a cliché but networking and establishing
relationships goes a long way. The Brazilians are always to be found at such events as APAP, Midem, SXSW,
CMW, Liverpool Sound City, The Great Escape, c/o Pop, Reeperbahn, CMJ and Womex. In South America
there are fairs like Bafim (Buenos Aires), PortoMusical (Recife) and Feira Musica Brasil, an itinerant fair held
each year in a different city. Although the main music industry is focused in São Paulo and Rio de Janeiro, each
State has it’s own music scene, usually represented by cooperatives, music associations and cultural bodies –
and many of these are very active in international trade fairs. Canadian bands showcasing at trade fairs should
also look for opportunities to divide a stage with their Brazilian counterparts. Little touches can generate a lot of
media.
Canada itself is also host to a large Brazilan population.
Canada is now the number one study abroad destination for Brazilians.
There is an active Brazilian Association of Canadian Studies (ABECAN) established since 1991 that
includes 12 Canadian Studies centres throughout Brazil and over 500 members.
In 2010, approximately 16,000 Brazilians came to Canada to study.
Since 2007, 465 Brazilian students and professors received scholarships to study or conduct research in
Canadian universities.
Brazil broke into the top ten Canadian export markets for the first time in 2010, placing 9th—a considerable jump
from 14th place in 2009. Exports vaulted 60.4 percent, or $967million, to nearly $2.6 billion. Three products
accounted for the bulk of the increase: fertilizers, up $301 million (180.9 percent); pharmaceutical products, up
$281 million (3,158.6 percent); and mineral fuels and oils, up $192million (94.7 percent). It may have nothing to
do with our business of music but an estimated 400 Canadian companies already operate in Brazil. There
must be some company in there willing to use music to further promote its presence in Brazil – whether it be
through downloads, showcases, sponsorships. Also worth exploring are the audiovisual coproductions between
Brazil and Canda (the audiovisual industries already have a co-production agreement since 1995).
Within the traditional industry the Brazilian publishers are the key to the market.
Collaboration with Brazilian songwriters, co-writing songs or versions.
Recording with influential or popular Brazilian artists.
The Revista Sucesso site is a constantly updated source of info on what’s selling and most songs can be heard
through YouTube. Current star Paula Fernandes recently recorded with Taylor Swift. Sony teamed up Vanessa
de Mata with Ben Harper. Naturally, the Brazilian labels and managers are looking to place their artists in the
Canadian market.
As previously mentioned, blogs are used extensively to promote and distribute new music. O Esquema is a blog
collective, featuring 17 influential Brazilian bloggers, covering various aspects of the arts and media, both
Brazilian and international. Blogger Chico Dub recently featured the work of Canadian experimental artist Aidan
Baker: oesquema.com.br/chicodub/2012/02/03/o-espectro-da-distracao
Other influential sites are www.meiodesligado.com and colunistas.ig.com.br/lucioribeiro.
The heavy metal scene is enormous. The touring circuit for heavy metal bands can be accompanied at
http://whiplash.net/agenda/agenda.html.
To tour Brazil is, first and foremost, an exercise in patience and perseverance. The work begins at least 60 days
before arriving, with a submission to the Immigration Sector of the Ministry of Labor (Setor de Imigração do
Ministério do Trabalho), of a request of contract regularization, and a work visa for the artists and the whole team
that accompanies them. It is necessary to attach the full documentation including contract, photocopy of the
passports, and personal data.
With this authorization in hand, it is necessary to go to Ministry of External Affairs (Ministério das Relações
Exteriores) to request the issuance of a memorandum of visa transmission and authorization, which will be made
available at the Brazilian consulate in the country of origin.
Another important issue affecting artists visiting Brazil is equipment transport. The person responsible for the
arrival of the artist should fill out a Simplified Declaration of Import (Declaração Simplificada de Importação) for
the imported equipment, sign a term of responsibility, and deposit a bond equivalent to the import duties on the
equipment, plus the IPI (excise tax), aside of any potential fines for delays. This deposit is reimbursed after
proof of the removal of the equipment from the country. In case the transport comes as air cargo (much cheaper
than as a luggage), there will be the need to hire a customs broker. In general, clearance takes up to 48 hours,
a period during which the load will be kept in storage with Infraero (the Brazilian government airport
management and development company), subject to a 2% fee on the declared value.

1. Executive Summary

Transcrição

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