1. Executive Summary
Transcription
1. Executive Summary
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:correio@viafunchal.com.br 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:producao@bourbonstreet.com.br 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:imprensa@tombr.com.br 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:imprensa@tombr.com.br 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:adm@theatromunicipal.com.br 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:mistura@misturafina.com.br 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:cp@canecao.com.br 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:contato@theatromunicipal.rj.gov.br 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:ceciliameireles.funarj@sec.rj.gov.br 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:opiniao@opiniao.com.br 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:tsp@tsp.rs.gov.br 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:palaciodasartes.fcs@mg.gov.br 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:map@pbh.gov.br 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:contato@utopica.com.br 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: atracao@atracao.com.br 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 Email: editora@azulmusic.com.br 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) Email: editora@cacodiscos.com.br 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 Email: marcela@dubas.net 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 Email: jovitamaria@asadeaguia.com.br 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: duncanproduções@terra.com.br,dc_setembro@terra.com.br 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 Email: edeuterpe@uol.com.br 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 Email: molequeeditora@ig.com.br 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 Email: kwallace@emimusicpub.com 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 Email: marcostrindade@tchan.com.br 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 Email: gegeedicoes@gege.com.br 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 Email: editora@vitale.com.br 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: jcedicoes@jcedicoes.com.br,luciana@jcedicoes.com.br 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 Email: patricialima@jobimmusic.com 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 Email: editora@djavan.com.br 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 Email: marola.marilda@uol.com.br 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 Email: mc@mcedicoes.com.br Milagro Prod E Ediçoes Ltda Rua Felipe Camarão, 144/2 Rio de Janeiro, RJ CEP 20511-010 Tel: (21) 3795-8290 Email: milagro.editora@yahoo.com 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 Email: editoranowa@nowa.com.br 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 Email: graciela@peermusic.com.br 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 Email: luizribas@posto9musica.com.br Spin Edições Musicais Ltda Av. Pedroso de Morais, 1008 / sl. 22 São Paulo, SP CEP 05420001 Tel: (11) 3034-3688 Fax: (11) 3034-3688 Email: editora@spinmusic.com.br 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 dpeditora@uol.com.br / editore@uol.com.br 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: michelle.cunha@deckdisc.com.br 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 : christiano@diamondrecords.com.br / sucesso@diamondrecords.com.br site: www.diamondrecords.com.br DUC Associadas Avenida Doutor Sebastião Mendes Silva,699 Anhangabaú Jundiaí - São Paulo CEP: 13208-090 e-mail: duc-editorasassociadas@ig.com.br 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: gemagravadora@uol.com.br Gemini Editora e Eventos Musicais Ltda Av. Antonio Maziero, 501 Bairro : Caxambu - Jundiaí São Paulo - SP CEP: 13218-748 Tel: (11) 9770- 0991 E-mail: geminisongs@gmail.com Indie Publishing Ltda Rua Macedo Sobrinho 608 - Humaitá - RJ CEP: 22.271.080 _ Rio de Janeiro Tel.: (21) 2528-8484 E-mail: luciane.rodrigues@indie.com.br Instituto Alberione – Paulinas – COMEP Rua Botucatu, 171 Vila Clementino São Paulo – SP Tel.: (11) 5088-7966 CEP: 040230-60 E-mail: comep@paulinas.com.br 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 E-mail: blessingeditora@uol.com.br 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 E-mail: contato@mjcmusic.com.br 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 E-mail: editora@natasha.com.br Natasha Produções e Discos Ltda Rua Real Grandeza loja 170 - Botafogo Rio de Janeiro - RJ Tel.: 21 - 2527-6200 Emails: connielopes@natasha.art.br / editora@natasha.com.br / ecoshow@uol.com.br / ivone@natasha.com.br Nossa Música Edições Musicais Ltda. Rua Sarapuí - 08 - Humaitá Rio de Janeiro - RJ Tel.: 21-2266-9300 E-mail: marcossantos@nossaeditora.com.br Sigem - Sistema Globo de Edições Musicais Ltda. Rua Assunção 443 - Terreo Botafogo - Rio de Janeiro – RJ Tel.: (21) 2323-3321 E-mail: gilberto.santana@somlivre.com.br 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 E-mail: andrea.guedes@sonyatv.com 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 E-mail: r_ferigato@yahoo.com.br 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 E-mail: eunice.almeida@umusic.com 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 E-mail: eunice.almeida@umusic.com Vm Empreendimentos Artísticos e Culturais Ltda Rua Jardim Botânico,674/317 Jardim Botânico - Rio de Janeiro CEP: 22.461-000 Tel: 2512-0055 E-mail: adm@vmcultural.com.br Warner / Chappell Edições Musicais Ltda. Rua Marquês de São Vicente - 99 - 5o andar Gávea - Rio de Janeiro Tel: (21) 2512-8800 E-mail: silvia.valladao@warnerchappell.com 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: john@basementbrazil.net> 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 Email: cesar.vieira@duetoedicoes.com.br 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.