life is
what
matters. The biography of an advertising agency
My first meeting with Celso Loducca happened because of something I NEVER do: write a
commissioned book. But I did it for him. Don’t ask me why—I can’t recall. I only know that
this allowed me to meet a person whom I would come to admire in times of happiness and talk
to in times of need. Since the origin of this friendship is in the “Book of Manuals” (page 168), here
is a short manual of the things I learned from him:
1 – You can make a mistake. But you cannot repeat the mistake.
2 – If everyone loves you, something is wrong. You can’t please everyone.
3 – No one learns important things by just taking a course on the subject.
4 – As much as we try, we cannot push a river or force its waters to f low any faster.
5 – You need to learn to navigate without any grudges among false friends and true enemies.
6 – The world is divided into two types of people: the “Chico Buarques” and the “Lady Gagas”.
7 – Creative jobs are socially accepted forms of getting naked in public.
8 – There is nothing wrong with looking like an idiot, as long as what you are doing is intelligent.
And to wrap up this long book flap, here is a caveat: don’t believe the “skinny feverish kid” bit,
an expression repeated frequently in the book. Celso is a lion. And his agency is the queen
of the “jungles.”
Paulo Coelho.
(Novelist)
Surface of the
planet Mars
2
Esse menino vai explodir!
3
Close-up of the woodblock
print The Great Wave off
Kanagawa by the Japanese
master Hokusai
German author
Hermann Hesse
Jack Lemmon in a
scene from The
Apartment
Scene from Robocop
Bullfrog
Surfer riding
a tube at
a Hawaiian beach
Master Yoda,
character from the
Star Wars series
Yerba mate, the
weed that makes
chimarrão
Lucia Maria
Clemente in
a moment
of extreme
happiness
The Hindu
god Shiva
meditating
Banco Santos
making the
headlines in
November 2004
Autographed
Santos F.C.
jersey
Leica camera
used by
Cartier Bresson
Michael Douglas
in a scene from
Wall Street
The Heart, a
card from the
Mexican game
Loteria
Fender
Jazz
Bass
Royal flush, the
most valuable
hand in poker
The Brazilian national
amateur baseball
team in 1988
The Irish
writer Oscar
Wilde
Postcard from
Cannes, France
Life is
what
matters.
The biography of an advertising agency
Preface . . . . 31
I.
01. This boy is going to explode .... 36
02. 57 Américo Alves Pereira Filho Street.... 56
03. First base .... 68
04. 12.995 Nações Unidas Avenue .... 76
05. E = mc² .... 118
06. 517 Cristiano Viana Street .... 126
07. Living is dangerous .... 150
08. 325 Colombia Street .... 158
09. Connections .... 174
10. 4.980 Brigadeiro Luís Antônio Avenue .... 182
II.
“This award is ours” .... 230
Talent Show .... 236
Credits .... 302
III.
Illustrated Glossary . . . . 307
PREFACE
It does not matter
Advertising does not matter. Life is what matters.
No one has ever uttered me this line to me. It is derived from another
phrase, this one very real, that I heard some good many years ago from
the mouth of Oscar Niemeyer, at the time still a boy in his 90-something
years old. Right in the beginning of our conversation that lasted a whole
afternoon at the architect’s legendary oval office facing the Copacabana
sea, he condensed thus his life, as he entered the second half of the first
decade of his second century: “Architecture does not matter to me. Life is
what matters to me.”
From the time I received Celso Loducca’s first phone call extending his
invitation to Trip to dive into this venture with him and a group of brilliant
people to celebrate their 18th anniversary and tell the story, or the string
of hundreds of stories, which created the company that carries his family
name, we agreed firmly on some premises.
30
31
And, in my mind, all of them can be summarized by the phrase shown above.
I feel comfortable reprinting this excerpt from 1996 for many reasons, but
mainly because I did not know him back then. It was precisely during this
It is fundamental that these words be read without a drop of sarcasm or
episode that we met and, despite being far from each other and working
contempt for the activity that nourishes the spirits of almost all of those
in different areas of the media industry, we developed a relationship of
involved in the epic that you are about to read. It is meant only to reveal
respect, friendship and empathy that ended up producing this work,
what in fact drives the type of advertising that Loducca believes in and
which is driven more than anything by these things that are not written
practices: an absolute and non-negotiable passion for humanity and life.
into contracts.
In fact, it is worth mentioning that I met Celso because of the death.
It is very probable that neither I nor the valiant Trip team, which spent
Correction: because of the almost-death. For the sake of journalism I ask
more than one and a half years working on the stories that spun the
you to bear with me while I tell a story that is not included in the book, but
Loducca web, would have had the motivation to create a book on
I believe there is a good reason here for it to come out of the deep recesses
advertising. This book is about human construction. About attracting
of memory and become print.
good people with your convictions, by means of a certain smile, a manner
of greeting with a kiss without running the risk of appearing to be
Sixteen years ago, Celso’s then wife and fashion model Claudia Liz became
anything but genuinely affectionate, and a coherence that is not
the victim of an unsuccessful routine liposuction procedure that caused
negotiable. It is about each one of the people, the partners, the guys and
serious complications and plunged her into a coma, almost killing her.
gals who arrived and stayed on, even after they had left.
The celebrity media industry was younger and even more intrusive and
less scrupulous than it is today. Microphones, recorders and cameras
Celso and many of those who work with him are advertising professionals
were attached to the doors of the hospital where the beautiful blonde
who love what they do. But they could give it all up tomorrow to teach a
model/actress laid in a coma and her successful and charming advertising
prep course for the college entrance exam, produce shows of accordion
executive husband made for delicious fodder to be consumed slowly and
players, laminate surfboards in Hawaii, earn a living as a photographer,
pleasurably by ravenous birds of prey.
play baseball, do professional wakeboarding or even go into frog farming.
Simply because they do not depend on advertising, the ads, the awards or
I searched through some old files and found one of the op-ed pieces I used
even their clients to feel alive and whole. They only depend on the
to write for many years at the now defunct Jornal da Tarde newspaper.
assurance that they can continue cultivating quality human relations the
The date written on the back of the clipping is 11/4/96.
way they know best. And this is exactly there where the company’s
greatest asset can be found. The independence that makes them free to
I had written the following: “Claudia’s accident does not just hold lessons
think, speak and create what they believe in. Perhaps it is the continuation
for her. It has also taught us all something. One of the most beautiful and
of what has been up to now traditionally called advertising.
important lessons was the love and transparency displayed by her
husband Celso Loducca on a daily basis via satellite. I confess that I was
Paulo Lima
never very interested in the advertising executive or his work, which only
(Editor and founder of Trip Editora)
caught my attention because of its volume and intensity. This man’s
behavior during his ordeal was one of the most elegant, serene, humane
and dignified things I have ever witnessed. Having all the reasons in the
world to be withdrawn, awkward, rude or display disgust and sorrow,
Celso chose to open up his heart, to be strong without being macho, to
repeatedly declare his love for his wife, controlling his rage at being
deceived by the doctor and pleading for help with bloodshot eyes. Celso
made me feel proud to be a man.”
32
33
I
34
35
This boy is going to explode!
01.
This story begins with a skinny feverish kid, with a mop of
curly hair, working on a simple ruled notebook. The year is
1975. The door to the room is safely locked and the boy is
writing in a feverish burst of excitement. For almost a
week, neither bathing nor hunger has taken him away
from his work. He is in an anxious rush. He needs to pour
onto paper the 17 years of his life, before his feelings
suffocate him.
I.01.
I.02.
36
“There is a whole bunch of people who loved adolescence. I loved
growing out of it,” he says, almost 40 years later. “For me, there were
only issues, issues, issues. I could have succumbed to them, really, but
instead I decided to say: ‘I’m going to own my life, and not my fears.’ It
was then that I locked myself in my room and wrote, wrote, wrote.
With the understanding of a 17-year-old kid, I wrote everything that I
had experienced until then. I wrote because I wanted to clear out my
life and start all over again.”
Deep down inside, everything was right. The life that Geraldo and
Eliane Loducca’s first born wanted to rewind had not suffered, and
was nowhere near suffering, any disasters. His childhood had the
necessary peacefulness of a loving environment; the happiness and a
sense of belonging to something solid that would only increase by
playing with his father and listening to the Chopin nocturnes his
mother would play on the piano before going to bed. Despite the
37
pranks he would pull at school with his friends (once he and a few
pals set loose a greased pig in the school courtyard at recess), he was
considered a hard-working student at Dante Alighieri, the school
where he studied from the age of 6. As a teenager, he had a girlfriend
(“I was always lucky with women; ugly, but lucky”) with whom he got
along well. He lived in a comfortable upper-middle class house in
Brooklin, a district in São Paulo’s southern region—far from his
family’s humble origins in the Tatuapé district, on the eastern side of
town, where he was born on July 23, 1958.
No great historical event took place on that date, except for Pelé,
recently glorified as world champion at the World Cup in Sweden,
reaching the 99th goal of his career after having scored four of the six
goals for Santos against XV de Piracicaba at the state championship.
The mention of the Santos team of Pelé, Coutinho, Zito, Dorval &
company is not entirely gratuitous: that mythical lineup was one of the
first reasons that led the skinny kid with the unruly hair to understand
that choices in life necessarily imply breaking certain ties.
This was what happened precisely on the afternoon he turned on the
TV to watch his team, the team of the great Italian family, on the field.
A few minutes into the game, he wanted to know who Palmeiras was
playing against.
“Santos!” they told him.
“This shows a little of the workings of the decision mechanisms I
would use throughout life. Never choosing the easiest way out: I would
choose what I thought was right,” he concludes.
I.03.
Starting with that innocent act of betrayal and without even realizing
it, questions about what is inherited and what is earned began to fill
the kid’s head. From questioning to questioning, some years later, he
already felt himself to be, in his own words, an “extraterrestrial”
inside his own life:
I.04.
I.07.
We continue talking here about choices and paths. And the paths that
Geraldo and Eliane Loducca wanted for their son definitely were not
the paths that the kid would like to follow.
“My parents had high expectations for me, very strict ones,” he
states. “Maybe they had not realized that I was different from the
rest of the family. But, to be fair, I always had the right to express
myself at home. In a nutshell, my education was democratic. I never
had the last word. Not until I got my financial independence.”
I.05.
I.06.
Conflicts are always inevitable in a family’s life. Such as the time
when Geraldo, then a successful attorney who valued highly what
he had achieved in the name of his family, discovered that his son,
loyal member of the unpretentious Açaí Club in Brooklin, had sold
his membership at the Athletico Paulistano Club in order to fund a
road trip to the south of Brazil with a friend.
It was then, in front of the black and white Philco TV set, on a wooden
stand with spindle legs, that the kid became enraptured. Who were
those guys in white who played so lightly, so freely, so beautifully? How
did they do that? Without much ado, he decided to become a turncoat
and support that other team, the one with the showy soccer moves.
Switching from the white-and-green to the white-and-black for purely
esthetic reasons is commonplace in the life of a 5-year-old kid, but not
if he is the product of a solid Italian genealogical tree on all sides.
Little did he know that his decision would be seen as a character flaw,
an act of unforgivable treason, an offense like none other. For a long
time, the kid would suffer all type of pressure from his classmates and
relatives (except his parents), but he stood firm in his choice of “beauty,
harmony and joy.” It was the first major choice of his life. And it was
the one that would open the way for all the other ones.
38
“When I was 10 or 11 years old, I believed that God had sent me to the
wrong planet,” he says. At that time, I believed in God and thought
that I was from Mars, and had fallen to Earth by mistake. The feeling
I had was that my parents did not know who I was.”
I.08.
Geraldo, who is now 80 and retired, must have been quite
disappointed when he offered his son the possibility of traveling
abroad (“How about Europe? Or Disney?”) and heard the following
succinct reply:
“I don’t want to go. I’ll go when I can pay for it myself.”
In the 1970s, all seventh-graders had to choose the vocational course
they wanted to follow two years later, once they entered high school.
This boy is going to explode!
39
It was a complicated choice in the life of any teenager, and it was usual
at the time for kids to take a vocational test to discover what they
would like to do, or if they had more aptitude for the biomedical, exact
or social sciences, fields that were offered at the time.
my doubts. But it changed my attitude toward everything, because I
felt I was in control of things. I haven’t stopped fearing, I haven’t
stopped doubting, until today. But from that moment, the way I lived
my life changed.
I.09.
At 14, Mr. and Mrs. Loducca’s son sat down to take his vocational
test administered by a man whose fine facial features, prematurely
white hair and pale skin made the boy think of a white mouse.
The test result was not very exciting. The boy had the vocation to
be anything. Whatever he did, declared the mouse, he would do
well. He was a kind of universal donor compatible with all and
any form of work.
I.11.
As expected, this eclecticism was interpreted by the family as a vague
problem. In the presence of the boy (“I even remember that I was
sitting on a high armchair”), the mouse recommended the following
to the parents:
“You need to give him more freedom. Otherwise, this boy is going to
explode!”
“I wanted to live according to what I believed,” he says. “And I believed
in opening up my heart to the world around me.”
I.10.
In addition to teaching chemistry and biology at a college entrance
exam prep course to afford his fledgling independent life, Celso
wanted to understand the world that surrounded him. He wanted
more than this. Now that he was in control of his own destiny, he
was anxious to put in practice a perspective shaped by the four
books that are, in his words, the foundations of this intellectual and
emotional education.
At the time, the boy was shaken. “Damn it, the guy noticed!” he
thought. The advice, however, was not taken to heart at home.
Mr. and Mrs. Loducca both had their own duly formed convictions,
and a radical change in the education given not only to the first
born, but also to the youngest, Vera Helena, was not part of the
program.
The result had already been predicted with all its force. It wasn’t
exactly an explosion but rather an implosion that took place three
years later. An implosion that was building up slowly and silently and
that made a young man of 17 named Celso Luís Loducca lock himself
in his room and write out his own life.
“I didn’t reach any conclusion,” he says about the process. “What I
wanted was to cover up the gaps. And then my life started over.
Looking back today, I think: How did I get that idea of writing a book
about my own life? Why did I do it? I don’t know. But it seemed to me
the right thing to do.” Like any other teenager, I felt that my foundations
were made of sand. I didn’t want to live like that, I wanted to dig deep,
stick my fingers into all the wounds. This does not mean I erased all
40
With the gaps in his soul properly covered, there was not much
more he could do than pack up his backpack and attempt to build a
new life, away from home. Celso went to live in Vila Madalena,
which in the early 1970s was still an outlying neighborhood
predominantly inhabited by working class families. He split his rent
and house expenses with his girlfriend at the time Marly. The
agreement was that they would live together strictly for financial
reasons—under no circumstance would it be considered a marriage.
It was the time of the hippies, after all. And Celso was living very
much accordingly.
I.12.
I.13.
I.14.
One of them is Walden or Life in the Woods by the American naturalist
Henry David Thoreau. A classic for ecologists everywhere, the book
was first published in 1854 and offers a philosophical reflection on
life in society, more precisely, capitalist society. It was written during
the two years that Thoreau lived by the lake that gives the book its
title, planting potatoes, making his own bread and living an
exemplary self-sufficient life.
A similar cause was taken up by another classic in Celso’s essential
bookshelf, The Razor’s Edge by British writer W. Somerset
Maugham. In this book from 1944, Larry Darrell, the hero, is a
young American from the Chicago high society who, after returning
a changed man from the battle fields of World War I, abandons all
material comforts (including his fiancée Isabel) and sets out to
This boy is going to explode!
41
search for the meaning of his existence in India and Nepal. The title
is an expression taken by Maugham from one of the Upanishads,
the sacred texts of India, where the author wandered in the 1930s.
India and the search for the meaning of life also are part of Celso’s
third key book, Autobiography of a Yogi, written in 1946 by
Paramahansa Yogananda, the Indian guru of millions of yogis around
the world, creator of the Self-Realization Fellowship (SRF) organization,
which he founded when he arrived in the United States in 1920. It was
through the SRF that Yogananda disseminated in the America of
President Calvin Coolidge the practice of meditation by means of
lessons by Kriya Yoga that the students received by mail at home.
In the 1960s, Yogananda’s narratives were essential reading for an
entire generation influenced by the hippie movement along with
Steppenwolf, the fourth book that defined Celso’s personality. When
he wrote it in 1927, German author Hermann Hesse, who won the
Nobel prize for literature in 1946, was already known as the author of
Siddhartha, inspired by the teachings of Siddhartha Gautama, the
Buddha. Steppenwolf tells the story of Harry Haller, an intellectual
going through an existential crisis, who prefers to live alone rather
than having to live with humanity, which he believes to be banal and
bereft of values.
was then known as Boca do Luxo (“Luxury Strip,” an area famous for
its nightclubs and called this way in contrast to nearby Boca do Lixo
or “Trash Strip”).
I.15.
“My life was very much sanitized,” Celso explains. “So I wanted
to understand the life that I did not lead, I wanted to understand what
they felt. I was never a drinker. What I liked was talking and
understanding. Understand everything that was possible. I think this
was my entire life’s motivation: to understand.
I.16.
I.21.
I.17.
I.18.
“I sought out the head and told him that they faked being spiritual,
and that there was only politics, hierarchies and envy. The guy gave
me an interesting answer.” He said: “But this here is created by people,
with all their weaknesses and defects. People in search of light, not
enlightened beings.”
I.19.
Despite the frankness, Celso thought it was better to leave. He went to
see if something interested him in Candomblé, but soon understood
that their rituals sometimes included killing animals and bloodletting
was not really his style. The trances in Umbanda also seemed beyond
his threshold. He then knocked on the doors of Spiritism.
With perhaps a slightly greater intensity than Walden, The Razor’s
Edge and Autobiography of a Yogi, Steppenwolf caused such an impact
on Celso that, at a certain point, he even came to believe he was the
reincarnation of Hermann Hesse. He only gave up the notion when he
found out that the author was still alive when he was born. Oh, well,
there was still the strong identification with the character in search of
his place in the world. And a place (whether in a group, or in some
denomination) was everything that Celso wanted for his life.
It was for this reason that for some time he used to make regular
nighttime excursions into downtown São Paulo. His idea was to dive
into a world that was not his, the world of whores and drug dealers.
Taking care not to disturb their activities, and always keeping a, let’s
say, healthy distance in his relationships, Celso spent entire nights
talking on sidewalks of neighborhoods such as Glicério. He made
many friends this way—including, he recalls, a guy named Zoinho,
who dealt drugs near Major Sertório Street, one of the arteries of what
42
In terms of religion, Celso attended Rosicrucianism, a fraternity
known in Europe since the 17th Century, steeped in ancient traditions
such as medieval alchemy, secrecy and the Kabbalah. He abandoned
it when he realized that spiritual searches were also subject to not
always palatable forms of demagogy.
The idea of a city in the heavens, of spirits who evolve and a practice
that was “kinder than Catholicism, which was all blame and
punishment for all of eternity” in the words of Celso himself, even
made some sense. But it did not take long for him to feel, once again,
like a stranger during the Spiritist sessions.
I.22.
I.20.
The future atheist also experimented singing Hare Krishna mantras,
but not for long. It was only when he realized that no matter what
religious path he followed it would always be made by people (in
search or not of the light, but always without light). It was then that he
decided to stay away from all forms of organized religion, limiting
himself to studying the philosophical component that interested him
in the various types of belief.
This boy is going to explode!
43
And studying was his thing. He started six college degrees and
abandoned all of them half way through. Since biomedical science
was the field chosen following his vocational test, Celso tried first to
major in biology.
I.26.
“I thought I would be a doctor, but it was more an issue of wanting to
help mankind, and not because I liked medicine. It was more of a
religious than professional vocation.”
Unsatisfied, he would also try engineering and physics, psychology
and chemistry. After having taken so many college entrance exams,
he always came in f irst or second or, as worst, third place. But
chemistry did not please him, so he then attempted communication
studies, which he would also give up in the end.
I.23.
I.27.
“People thought I didn’t know what I wanted from life. But it was just
the opposite,” he says. “I always knew very well what I wanted. I just
didn’t find it, that’s different. Whenever I started working on a degree,
I expected to feel something. After a while, I would stop and think: “I
don’t feel what I thought I would feel, I’m going to change my major.”
And I was honest enough to drop it and start everything over again.
It was then that he remembered the writing contests he would
enter and invariably win when he studied at Dante. “Gee, people
have always thought I was a good writer. I like writing, I’m going to
make money with it,” he thought. His idea then was to try becoming
a journalist or, who knows, following a friend’s suggestion, making
a career in advertising.
“But I was too shy for this type of work. “I remember standing in the
middle of street, looking at an endless row of homes and thinking: ‘Holy
shit...’ In the end, I only managed to sell one course, to one of my cousins.”
44
More than 10,000 people crowded the Canindé stadium, in the
northern part of town, to see the Forró Brasil show. Looking around,
Celso was proud of what he had accomplished. His pride, however,
would morph into shame a few hours later. It appeared that the
company hired to sell the tickets had stolen the proceeds from
9,000 tickets and Celso ended up only with the takings from 1,000
tickets, which was not enough to pay the accordion players and
their musicians. Deep in debt, frustrated and depressed, he had to
sell his 1966 VW Beetle and pay the artists in installments. Celso
would spend the next four years working to pay off the accordion
concert he organized.
To make matters worse, his relationship with Marly ended soon after
and he had to pay child support. No matter how many classes he
gave—at that time he was teaching morning, afternoon and night—90%
of what he earned went straight to paying his daughters’ expenses.
There was nothing left over by the end of the month.
While he jumped from one college major to another, life was
happening. Along the way came his first two daughters (Mariana in
1979 and Renata in 1980), both with Marly. As a new father, the need
for money became stronger than ever. One day, the long-haired hippie
wearing a Peruvian bandana saw a newspaper ad from International
Horizons seeking people to sell English courses. Celso took a test (and
came in first place, of course), bought two cheap suits, and went
knocking on doors, briefcase in hand.
At a certain point, after also trying to earn a living conducting street
surveys (“Ma’am, can you spare two minutes to answer a few
questions?”), Celso discovered he could make money by promoting
musical shows. With help from the students of the chemistry and
biology courses he taught, he started by organizing shows of artists
such as Arrigo Barnabé, Itamar Assumpção and Sá&Guarabira.
Later, he had the idea of organizing with his engineering school
friends a big concert of famous accordion players—Luiz Gonzaga,
Sivuca, Dominguinhos and Oswaldinho do Acordeon—at the
Portuguesa soccer team stadium.
I.28.
Since the issue was really money, Celso embarked on his sixth college
major: he wanted to see what advertising had to offer him.
Since he had become the master of college entrance exams, Celso
had no problem being accepted by the ESPM School of Advertising
and Marketing. In October 1983, after leaving behind his teaching
career (as well as ESPM, so as to not disavow his habit of dropping
out of colleges), he landed an internship as a copywriter at the
Standard agency, today Ogilvy.
I.24 e I.25.
This boy is going to explode!
45
When he decided to work in advertising, Celso only thought of the
paycheck, three times what he was eking out as a teacher. At first,
he did not see much difference between receiving a kiss from his
mom and winning a Lion at Cannes—which spiked the curiosity of
his first bosses. Hired by Standard in January 1984, he soon
partnered up with Jaques Lewkowicz, then the agency’s vicepresident of creative. Lewkowicz is a master of Woody Allen-style
Jewish humor and has created at least two slogans that all
Brazilians over the age of 30 know: “I like to take advantage in
everything, ok?” (from Gerson’s Law) and “I am you tomorrow.”
I.29.
I.34.
I.30.
I.35.
I.31.
I.32.
I.36.
In the second year of his career, after leaving Standard to join the SGB
agency, Celso had already won a Lion award at Cannes jointly with
Lula Carvalho, and seen his name rise as a remarkable newcomer
beside the stars of advertising. But then the pendulum swung toward
a not very happy period, specifically at the new agency created by
Lewkowicz called SLBB, in partnership with André Brett, Benjamin
Steinbruch and Samuel Schwarcz. The agency did not do well, making
Celso aware of some of the realities of his profession.
At that time, there was the notion that you were a failure if you
were not successful in advertising before the age of 30. Celso, who
had started in this carreer at 25 and, despite his successful first
two years, was experiencing a stormy phase, thought: “It’s over.”
Foreseeing that everything would go downhill, and that there was
no sure thing in life, he decided to invest in another line of business:
he signed up for a course on frog farming at the Água Branca Park.
At that time, there were a lot of people making money with frog
farming by selling the meat to restaurants and leather to the apparel
industry. Celso decided to bet on the trend. He invited an old ESPM
classmate to be his partner and together they raised funds to buy a
frog farm in Pernambuco, where amphibians such as the giant
bullfrog were especially profitable.
The agreement was that his partner would go first and Celso would
run the business from São Paulo. Once they became millionaires,
Celso would move to Pernambuco and they would both manage the
business from there. The partner, however, thought it was better to
take all their money and open a clothing store in Recife. Without
Celso, of course, who would have to swallow the bitter pill and carry
on with his life.
46
“Well, I‘ll just have to survive here in advertising,” thought
Celso, who by now had a second wife, Lúcia Helena, who would
give birth to his third daughter, Marina. It was at this time that
Christina Carvalho Pinto, having recently taken over as head of Young
& Rubicam, invited him to work at the agency. Celso did not disappoint
her. To launch the Russian car Lada in Brazil, he sought inspiration in
Perestroika and chose a good photo of Mikhail Gorbachev and added
the caption: “Would you buy a car from this man?” Boom! A Lion at
Cannes. His career was definitely not going downhill.
The agency Talent checked him out and Julio Ribeiro invited him to
switch agencies. Celso, sharp as ever, once again did not disappoint:
“At that time, the Semp TV set manufacturer realized that it had to
enhance its technology and partnered up with the Japanese at Toshiba,”
says Julio. “We needed to call the attention of customers to this.”
I.37.
Celso thought it was logical to show the Japanese and explain the
reason for the product’s quality. “Our Japanese are more creative than
the others” was more than just a slogan. It became part of Brazilian
vernacular and is still used today. More awards followed. By then,
Washington Olivetto wanted Celso at his W/Brasil, the country’s most
vibrant and prestigious agency at the time. There was no creative who
did not dream of working there. Celso, who had been in advertising
for less than 10 years, did not miss out on that opportunity.
At the end of 1992, Gustavo Cubas invited him to become vicepresident of FCB (Foote, Cone & Belding) and help integrate two
recently bought agencies (Núcleo and Siboney) to create the new FCB.
When it came to forming a team, Celso looked in the mirror and saw
his generation. He called Javier Talavera, Cristiane Maradei, João
Muniz, Amaury “Balí” Terçarolli, Rita Almeida, Márcia Pudelko; a
highly praised award-winning lineup that had brilliant stints at great
agencies such as Ogilvy, Leo Burnett, Talent and W/Brasil. The only
one who was already at FCB was Mario D’Andrea.
I.33.
I.38.
In their own way, all of these young people were also kind of gauche
in life, they were not fans of rules, and were not interested in the
advertising executive clichés, which in the early 1990s meant driving
an imported car, drinking champagne on ice and riding around
Cannes with uninhibited women. Of course, all of them ended up in
This boy is going to explode!
47
Cannes. But instead of convertibles, they went sightseeing in a van
big enough for everyone, and wore Brazilian football team jerseys—
this was the year after Brazil had won the World Cup of 1994—with
the FCB logo merging with the CBF (Brazilian Soccer Confederation)
logo. It was Balí’s idea.
I.39.
They were so happy to ride around the enchanting French Riviera
that they invented ads even underwater. Between dips on a sunny day,
they created the Pine Sol detergent campaign where a crazy scientist
invented a super-powerful microphone to talk with the germs.
“We had the full support of the advertising world during this period at
FCB,” recalls Balí. “The advertising execs were proud of our provocative
manner, which was lighter and good-humored, and thought: these
guys did something different. And our team was very united.”
There in Cannes, between toasts and pleasant conversations with the
jury members, Celso was preparing himself for a great jump in his
career: his partnership, up until then kept a secret, with Frank Lowe,
the Englishman who ow ned one of the largest advertising
conglomerates in the world and was famous for his sharp verve and
charm as well as for his talent for spending money. (Years later, he
would be knighted by Queen Elizabeth. There are many legends
about his lifestyle, such as having paid US$300,000 dollars for a
table designed by the Queen’s nephew, the designer David Linley,
and not using it simply because it did not fit in his office’s elevator.)
Frank Lowe wanted to expand his empire into South America, and
São Paulo seemed an excellent idea, maybe by getting together with
DM9. But DM9 had the Antarctica and Bavária beer accounts—and
Heineken was one of British Lowe’s top clients. But what about Celso
Loducca?, suggested Nizan Guanaes. The marriage was sealed. Being
much lower profile than Lowe, Celso thought of calling the agency
Biscoitos Finos (Fine Biscuits), which he believed was a good definition
of the business he conducted. However, when he told his partner that
he would prefer not to include his surname on the new agency’s
brand, Frank Lowe was adamant:
“I’m putting my name on the business and I’m committing myself. If
you don’t put yours, it’s because you don’t believe in it.”
48
So this is how Lowe Loducca & Partners was born in 1995, in
partnership with Banco Icatu, Nizan Guanaes and, holding smaller
shares, Christiane Maradei, Javier Talavera and João Muniz. Upon his
return from Cannes, Celso gathered his team together and told them
that he had partnered up with Frank Lowe and would open his own
agency. He already had an account—Bamerindus Bank—no time to lose
and he wanted to keep the same FCB team. There was just one catch:
until they found a place, they would have to work in Celso’s own
apartment. They had to understand some things: he was separated
from his wife, did not have much furniture and his daughters would
come to stay every now and then.
“Let’s do it now!” was the answer in unison.
I.40.
I.41.
I.42.
Celso in Vila
Madalena,
in the 1970s
This boy is going to explode!
49
With mother Eliane and
father Geraldo, in 1958
Celso Loducca
at 1 year of age,
in 1959
50
51
Dante Alighieri
School, 1960s
52
Vila Madalena,
1970s
53
On the left,
Conan Doyle’s
quote that says
“Mediocrity
knows nothing
higher than
itself”; on the
right, his
daughters,
1980s
54
55
Real Parque, São Paulo
02.
56
57 Américo Alves
Pereira Filho
Street
57
Edna, the secretary, announced the arrival of their first client over the
intercom and the team was already waiting by the elevator door. But,
heck, the man didn’t appear. Suddenly, they heard a voice coming from
the back: the man, actually Luiz Aurelio Alzamora Gonçalves, director of
marketing for Bamerindus Bank was at that instant walking through the
laundry area full of drying clothes hanging on clotheslines. After taking
the service elevator, he walked through the kitchen where the maid was
frying pies and only then entered the living room.
He took a look at the dining table, where the team worked on their
computers, waved to Celso and João on the sofa, both busy on the only
two mobile phones, noticed the Spartan furnishings—“they must have
recently moved in,” he thought. A little later, he was watching suggestions
for the Bamerindus campaign on a videocassette in the bedroom, sitting
on the queen-size bed. All that was missing was for him to open the fridge
and nibble on something. But it was not just the obviousness of the
location—the apartment belonging to Celso Loducca, the president of the
agency that opened that July in 1995—that made the client feel at home. It
was that the spirit at the agency was truly authentic.
Those four rooms in Real Parque, a district in the southern reaches of São
Paulo, occupied temporarily until they found the official headquarters,
had something breezy about it, a feeling of open windows. In the living
room and in one of the rooms worked guys in their thirties with long hair
who were among the best talents of their generation. Starting with Celso
himself, who still had not turned 40 and already had an extremely
desirable résumé. But no one complained. The ads of the recently created
agency were filled with humor, using a language that spoke directly to
their audience; daring campaigns that often mocked the competition.
There were endless hours of work and lots of rushing around in an effort to do
the best possible job. Of course, it was not always that comfortable. Sometimes
Celso, already dressed in his pajamas, would lumber through the living room
a little annoyed by the art team whose work carried on deep into the night.
II.01.
“It scared me sometimes, Javier would say: ‘Chiquita, do you think it’ll
work?’” Marcia recalls. “But deep down we knew that we were on the cusp
of something really good.”
Bamerindus, to a certain extent, was also going through some changes. It
was a bank from inland Paraná, basically agricultural, that had grown
and urbanized quickly, slowly amassing banks in São Paulo, Rio and
other capital cities. And it was in a hurry. It needed to fend off the
competition with something extraordinary.
II.02.
“At the time banks were important advertisers for agencies. There was no
battle for beer or telephone customers. The banks were the ones waging
war. Everyone wanted these accounts,” explains Luiz Aurélio, today the
vice-president of account service at Nova/sb.
II.03.
Bamerindus itself was working with large agencies that took care of other
parts of the account, such as Talent (insurance), Young & Rubicam
(international market) and Colucci (saving accounts). But the bank lacked
someone different to give it the makeover it needed: to talk about credit
cards and overdraft protection. Luiz Aurélio sought out a longtime friend,
who in his mind was the ideal creative for the job, Nizan Guanaes, then at
DM9. Except that Nizan already had a bank as a client—and once again
recommended Celso Loducca, emphasizing his “absolute confidence.”
II.04.
Also, everyone was always on good terms, it was basically a group of
friends: Cristiane, as copywriter; the Mexican Javier and Balí, both art
directors; Rita in account planning; Edson Giusti in charge of public
relations; Marcia Pudelko as media director; João Muniz as director of
account service. And a small group of assistants, interns, everyone filled
with a feeling of taking on the world. In the smallest room, Odemir Putini
ran the finance department.
The reception was located in the building’s lobby. This was not a ploy to make
the agency look larger. It just that Edna, the secretary, was afraid of elevators.
“When Celso needed something, he had to go down to speak with Edna,”
Cristiane recalls in amusement.
58
II.05.
II.06.
“It was a kind of love at first sight,” Luiz Aurélio jests.
One of Loducca’s mottoes has always been the ability to remain open to
new things, accept differences, believe in mixing. Celso and his team
promoted a different concept, a more modern way of advertising. The
bank fit perfectly into that creative environment. Balí and Cristiane
created the film for the campaign which, doing poetic justice to the state
of the agency at the time, showed an individual out of place. Believing
that he was in a Greek restaurant, the customer breaks all the plates, until
the waiter tells him that the Greek restaurant is actually on the other side
of the street. Time to pull out the credit card and pay for the damage. In
its just first campaign, Loducca was a finalist at Cannes.
In many ways, this beginning, a sort of an experiment, testing limits, was
57 Américo Alves Pereira Filho Street
59
a synthesis of the spirit of the agency, which remains intact today. And
since testing limits was essential, a real challenge emerged: the account
for the TV network Rede Record, which at the time was facing an
unprecedented image crisis.
The episode is historic: in the wee hours of October 12, 1995—the holiday
celebrating Our Lady of Aparecida, patron saint of Catholics in Brazil—a
pastor of the Universal Church of the Kingdom of God, Sergio Von Helder,
was hosting the program O Despertar da Fé (The Awakening of Faith) live
from the Record studios in São Paulo. The pastor, prepared to criticize Catholic
idol worship, decided to bring a statue of the Saint on stage, where he
proceeded to insult, kick and punch it on national television. His justification:
it was a mistake to deposit any faith in saints, idols or images like that.
Throughout the day, the story was splashed over all television channels,
including a lengthy report on the Jornal Nacional, the country’s most
popular nighttime news program. There were so many protests—Gilberto Gil
even wrote a song about the case, Guerra Santa (Holy War)—that Mr. Von
Helder was strategically transferred to the United States (in April of 1997
he was sentenced, in first instance, to two years in prison for religious
discrimination, but never served the time).
that the campaign be taken off the air. It was the first of many lawsuits
that the daring crew of Celso Loducca would face before Conar, an
organization created at the end of the 1970s to sidestep plans by the
federal government to censor all Brazilian advertising. Self-regulation,
summarized in a code with the aim of ensuring freedom of speech and
defending the interests of the advertising market—including the
consumer—calmed federal officials, who were convinced by a delegation
of advertising professionals in Brasília that the industry was mature
enough to provide its own oversight.
In agreements hammered out with Conar, Lowe Loducca proposed
changes to the Benalet commercial, which received cuts until it was aired
without the cowboy appearing on screen. Other satires would come: in
another commercial, in an allusion to a famous commercial by Antarctica
starring Daniela Mercury, the singer of the Benalet version sings an entire
song with a hoarse voice.
II.07.
II.08.
It is likely that it was due to these commercials that no cigarette manufacture
ever hired Loducca—even though the provocation was not directed at any
particular manufacturer.
“It was not a stand against cigarettes or alcohol. The agency has never
taken up these types of causes. It was a play on famous commercials,
showing situations in which someone had to use their throat. After all, it
was a lozenge for coughs and sore throats,” explains Celso. “It made sense
for the product that we were advertising, nothing more.”
It was in the midst of this scandal that the directors at Rede Record
knocked at the door of Lowe Loducca.
“Shortly after the guy kicked the statue of the saint, the management at
Record came to me. I agreed immediately,” Celso recalls. “I don’t have a
problem with that. Proof being the ad that we published in the magazine
Meio & Mensagem about the network’s programming, which read: ‘Don’t
you like it? Go complain to the bishop.’”
Another major challenge faced during this new phase, shortly after
opening the agency: repositioning Benalet, a lozenge brand manufactured
by the pharmaceutical company Aché that was slated to be sold at
drugstores without prescription. The solution proposed by Lowe Loducca
was a tongue-in-cheek campaign, with a series of films created as a satire
of classic commercials—such as the one by Marlboro, in which a handsome
cowboy smokes beside a campfire after driving cattle. In the Benalet
version, the atmosphere is broken on his first drag on the cigarette: our
hero has a fit of coughing.
Philip Morris, the manufacturer of the cigarette, was unamused and went
to the National Council for Self-regulation of Advertising (Conar) to request
60
II.09.
II.12.
II.10.
II.11.
During the three months in which they tripped over each other in the
apartment in Real Parque, Celso and his crew observed the construction
of an ultramodern building along the Pinheiros Ring Road, the Plaza
Centenário, which would become known by São Paulo residents by its
nickname Robocop. Celso, like a scene out of a Hollywood script, gazed
out of the window and predicted: the official headquarters of Lowe
Loducca would be on the 10th floor of that building with the futuristic look.
But a provisional location was needed in the meantime. Not only was the
host no longer being able to endure people practically living in his home,
the agency was quickly outgrowing the apartment and required larger
facilities. They took up residence for three months in the Saint James Park
building, on Brigadeiro Faria Lima Avenue, which had already served as
the headquarters for the agency Talent. It was just the time needed to
finish renovating what would be the third address of Lowe Loducca in six
months: the prophesied Robocop building.
57 Américo Alves Pereira Filho Street
61
Lunchtime in the
kitchen of the
apartment-agency
62
63
BAMERINDUS
Greek
restaurant
1995
After dancing and
breaking a number of
plates, the enthusiastic
individual receives the
news: “Sir, the Greek
restaurant is on the other
side of the street.” Time to
break out the credit card.
64
65
record
ACHÉ
Cowboy
Bishop
1995
1996
The popular saying (which
originated during the
time of colonial Brazil,
when bishops served
as “ombudsmen to the
crown”) was used by
Loducca to poke fun at the
client, a network headed,
as everyone knows,
by a bishop of another
type—Edir Macedo, of the
Universal Church of the
Kingdom of God.
The “Marlboro Man,” an icon
of masculinity introduced
in ads in the 1950s, loses his
glamour: in the Loducca
version for Benalet lozenges,
owned by the Aché Group, he
has a fit of coughing after his
first drag on a cigarette.
66
67
First base
03.
III.01.
Ken was 6 when his grandfather invited him for a
ride in a single engine plane. A photographer for the
town hall who needed to shoot some aerial images of
the city to root out illegal land use and buildings, the
old Hiroshi wanted to give his grandson an adventure
that would be hard to forget. The boy naturally agreed
to the trip, but without knowing that the adventure
contained another adventure. When they got up in
the air, he saw his grandfather tied to a rope and hung
outside the small plane in an effort to find the best
angle for the panoramic photo.
It has to be said that the image that he has of his grandfather is
certainly a little odd. And Hiroshi, today close to 90, is certainly an
eccentric figure. His arrival in Maringá, in the Paraná countryside,
where Ken was born on December 3, 1970, has the feel of an epic film
and deserves a brief detour in this story.
When Hiroshi was born, in 1922, Japan was still a country of strong
family traditions. One of them dictated that only the first-born male
child could carry the father’s last name, to the unending sadness of
Hiroshi’s uncle. He had not fathered a son up until that time. One day,
his brother, content because he had already ensured a successor for
his family, promised: “If I have another boy, he’ll be yours.” Sometime
later Hiroshi was born and delivered to be raised by his uncle as
promised.
68
69
Years later, Hiroshi’s adoptive mother (who was actually his aunt)
died. Hiroshi’s adoptive father married again and then something no
one expected happened: he fathered a long-awaited son. From that
day on Hiroshi felt he was no longer the cherished son of his adoptive
father. Even worse. There was no going back to live with his biological
parents, already settled into their unusual condition of adoptive
uncles. Hiroshi resigned himself to getting on with his life.
In the version that Ken knows, this family heartbreak was one of the
most likely reasons that prompted his grandfather, already married
and with two daughters, to board a ship of immigrants after
accepting an invitation from a distant relative to try to build a new
life in Brazil. Fumiko, Hiroshi’s eldest daughter (who would later
become Ken’s mother), was 15 when they arrived in Maringá, a city
in Paraná where the Japanese community retains a strong presence.
In Maringá, Fumiko met, fell in love and had three children with
Roberto Fujioka (in 2007 they separated and today Roberto lives in
Japan).
III.05.
“I’ve even seen someone lose their car in these poker games,” Ken
recalls. “I didn’t really understand the game, but I thought it looked fun.”
Poker is not a game of luck, it’s a game of skill. If a guy is really good,
he doesn’t even need to look at the cards he has in his hand. He just
has to make you believe that the cards he holds are better than yours.
III.02.
III.03.
Of the children of Fumiko and Roberto, Ken is the eldest, born on
December 3, 1970. Mayumi and Jun are respectively 2 and 12 years
younger than Ken. Only Ken was born in Maringá. When he was one, the
family moved to São Paulo. However, the city in which his gransparents
still live was where Ken spent his summer breaks until his teenage
years. The peaceful nature of the city, the games he would play with the
kids from the Japanese community (when he would practice the
language), the afternoons spent in his grandfather’s darkroom or flying
over the city together—it is all imprinted on Ken’s formative years.
At 7, he started playing on an amateur baseball team in São Paulo.
Trips to Maringá soon became less frequent. On the other hand,
during his adolescence, the trips around São Paulo state for amateur
games and the resulting contact with the Japanese community
associated with the sport became one of the main sources of his
understanding of human nature.
“Baseball is responsible for what I am today in terms of values,” states
Ken Fujioka. “Loyalty, teamwork, friendship, the awareness that no
one does anything alone in life: baseball taught me all of this.”
III.06.
70
Between the ages of 15 and 20, Ken played for a number of baseball
teams, all of them supported by Japanese associations in Brazil. On
more than one occasion he was selected to play for the Brazilian
national team. On the national team he participated in international
competitions, including the South American championships held in
Aruba, in the Caribbean, where Ken’s team came in fourth, the highest
placing ever. Not enough, however, for Ken to consider a professional
future in the sport.
“In baseball, all nine players hit and field. I was a good hitter, but, in
the field, my main position was first base, normally occupied by a guy
who is weak defensively. I even tried to be a pitcher, the star of the
team. But I quickly realized that I didn’t have the talent. Deep down,
what I liked about baseball was the camaraderie. My friendships there
were always very strong. It was the group that meant the most to me.
III.04.
III.07.
III.08.
III.09.
III.10.
III.11.
During school vacations, Ken was in daily contact with the team.
During the school semester, weekends were spent at the training
center. It was on Saturdays and Sundays that the coaches, all of them
Japanese immigrants, would enjoy rounds of poker that could last
hours. Over the shoulders of the adults, Ken would always quietly
observe that card game being played, above all, through gestures and
glances. It was a group that played to win, to the point of breaking up
friendships if it came to that:
It was during this time that I discovered O Encontro Marcado (A Time
to Meet), a book by Fernando Sabino that I would read at various
points in my life and which still holds meaning for me today. Ken also
became a big fan of Woody Allen, as a writer and moviemaker
(especially the film Manhattan) and of New York, a frequent
destination—never missing an opportunity to visit the Bronx, where
the New York Yankees (his favorite baseball team) have their stadium.
After giving up baseball for good, Ken earned a place on the São
Paulo table tennis team, but this sport was also far from being a
career for him.
First base
71
A “typical Japanese,” like he says, the type who loves to sing karaoke,
Ken was also a good computer programmer. At the Federal Technical
School of São Paulo, his secondary school, he chose to study data
processing. He later became a systems analyst and began to think that
he would work with IT for the rest of his life.
III.12.
But it didn’t take him long to figure out that he enjoyed discussing his
clients’ business problems more than programming their computers.
This led him to decide not to do anything associated with technology
at university. Instead he tried the advertising program at the ESPM
School of Advertising and Marketing.
That’s where he met his wife, Margareth, a professional cook who also
provided Ken the experience of being a stepfather—she already had
two daughters—and various ways of enjoying his passion for food
(Ken always jokes that, if they don’t see him eating well and a lot, it’s
time to worry: there must be something seriously wrong.)
Maringá, Japan, baseball, table tennis, information technology, food,
advertising, business. Ken Fujioka was synthesizing principles, values
and interests from a mixture of all these things. Not to mention, of
course, the rounds of poker, a game which he still enjoys immensely
and is a big fan.
The paths that lead to forming a personality are curious indeed.
First graduation,
1976
In 1973
72
73
Crazy about you,
Corinthians. In 1978
74
Table tennis,
in 1980
75
brooklin, São Paulo
04.
76
12.995 Nações
Unidas Avenue
77
Two thousand guests, venue reserved, catering service, guest list, press
waiting: everything ready for the inauguration of the new headquarters
for Lowe Loducca. Then the invitations arrive—and Celso almost has a
cow when he opens the box from the printers. Instead of Diva Donna,
the name of the nightclub where the party would be held, a questionable
Biba Dona is written. It so happened that Javier Talavera, responsible
for ordering the invitations, had used his heavy Mexican accent on the
telephone when dealing with the printers. On the other end of the line,
the guy understood Biba Dona and it didn’t occur to him to ask Javier to
spell it. And that’s the way it was printed.
Everyone started calling the guests to correct the error, while trying
not to laugh. It could have been a disaster, but the accent provided
some additional charm for the agency that Frank Lowe was opening
on this side of the equator with Celso Loducca, “the new genius of
advertising”—as he was described years ago in a cover story on the
Revista da Folha. The party, held on July 18, 1995 with advertising
professionals, clients and competitors from A to Z, was a resounding
success. Celso had arrived.
In January of the same year, Lowe Loducca inaugurated a 500-square
meter office in the Robocop building. The architectural design by
João Armentano (then just at the start of his career and known to
Celso for being the brother of another advertising professional,
Angélica Armentano) helped to define the transparent character of
the agency: open well-lit spaces, everyone working together without
partitions and an oval room in the middle for meetings.
put their two cents in. Celso bet on the teamwork with a large and
unique group of people. He joined four tables together, as if they were
playing an open game of poker, where he, João, Marcia and Rita
determined the direction of the agency.
Respectively, the directors of creative, account service, media and
account planning (Celso and João also serving as partners), the four
formed a type of collegial board and democratically discussed the
paths of the agency. Although it may sound chaotic for those on the
outside, in Celso’s view it was a great opportunity to organize a
broader type of thinking, a sense of a common agenda.
The apartment at Real Parque was left behind only in terms of
geography. The spirit continued unchanged, now on the other side of
the Pinheiros River:
IV.01.
“Ideas flowed, everyone helped each other and stayed abreast of
everything. We would ask to use Celso’s office when we needed to
make a private telephone call, and he would ask, laughing: need to
talk to your gynecologist?” Marcia recalls in amusement. Today, she is
a professor at FAAP.
IV.02.
IV.03.
The human landscape was entertaining. Everything there was
stimulating, but for the first time Celso shouldered the burden of
ownership. He had to rise to the occasion. He worked much more than
was reasonable. It was common to see employees of the firm having
breakfast at the bakery, after a long night of work.
The agency’s success would have been more dizzying if the office had
been located on the 10th floor of the Robocop building as planned,
instead of on the first floor.
“Edna told us that she would not work on the 10th floor because she was
afraid of elevators.” What did Celso do? “He opened the agency on the
first floor,” says an amused Edson Giusti, public relations officer for Celso
since FCB and who joined him in this new venture (later, both would be
partners in Giusti Loducca, a company specializing in the public relations
and management of celebrity careers in the arts and sports).
Prosaic choices like this one were also a way of saying that Lowe
Loducca would not be like the others. Everyone was encouraged to
78
The idea of everyone working together toward a common goal had
already become a mantra for Lowe Loducca. The amount of work
needed to win bids had increased a lot and despite working nights,
there was barely enough time to stay current with correspondence.
Even Dona Lu, the kitchen maid, learned how to send faxes.
IV.04.
Since reality always creeps up on any type of success, in the same year
that Lowe Loducca was inaugurated at Robocop, Celso would face an
unexpected ordeal. In October of 1996, his wife at the time, the model
Claudia Liz, fell into a coma, the result of a reaction to the anesthesia
that was administered for a liposuction procedure. The country
stopped to follow the case—and watch Celso sob on the nightly news
program Jornal Nacional.
12.995 Nações Unidas Avenue
79
Fortunately, Claudia awoke from the coma (she and Celso would
separate four years later). Meanwhile, at Loducca, work continued at
full speed. Fortunately for everyone, the boss bounced back quickly
from the shock.
children, who had been the focus up to that time, the commercial
showed a couple eating almost the entire plate meant for their son,
because it was so delicious. The next step was to reinforce the
attributes of the brand, such as tradition, innovation, and its long
history in the lives of consumers. The results led to growth in sales
volume. Market share, which had fallen to 50%, rose to 65% in the
same year.
“Celso Loducca always knew what his client’s problem was, even if the
client didn’t. He has this sensitivity, it is his competitive advantage,”
affirms Julio Ribeiro.
This is the way that Celso and his team perceived, for example, that
spice was missing in the advertising for Ajinomoto’s Sazón seasoning.
They sensed that the consumer wanted to feel a mother’s special touch,
a desire to mop up the sauce on the serving plate with bread. But what
was missing was a…touch of love in the food. With É o Amor (It’s love),
the sound track by Zezé di Camargo & Luciano, and delightful
commercials like the one with the Italian mother who shouts at her
husband who wipes his mouth on the tablecloth or the woman who,
when praised by her family for the food, evasively responds that the
only secret “is love,” the agency boosted the sales of Sazón from 19 to
120 tons/month in the first phase of the campaign. In June 2000, sales
reached 500 tons/month—not to mention that the commercial coined an
expression that entered into the day-to-day vernacular of Brazilian life.
Since the team was winning, Ajinomoto gave the agency another
mission: prepare the launch of the seasoning that carries the
company’s name. It was literally a Hollywood super production: in
April 1999, a crew including Fernando Meirelles as director landed
in Twin Falls, Idaho, in the US, to film Bruce Willis playing a food
engineer who explains that glutamate (the basic ingredient in the
Ajinomoto formula) comes from nature—and that the product could
bring out the flavor of anything.
IV.05.
IV.07.
“Women loved to see themselves treated that way. Instead of reproducing
hypocrisies, about housewives that love to cook and serve the family,
we did something real: perhaps she hates cooking,” recalls Celso. “But we
made her really disingenuous, making it clear that she was pretending.”
“There was a huge amount of rejection of the product. It simply did
not catch on here; it’s cultural. The film was another effort to turn
things around, break down this cultural barrier, using a movie star.
But it didn’t work,” Celso explains.
Sazón was a powdered seasoning that had been rejected by
consumers—Arisco was the outright leader of the segment. But with
the campaign and the entire process of repositioning, the brand
bulldozed the competition. Celso earned a plaque as a tribute from
Ajinomoto International. But the best prize would come later: the
Nissin account, which in Brazil is part of the same group (in Japan,
Ajinomoto and Nissin are competitors).
With Nissin, the problem was different: Miojo, a brand of instant
noodles, which had started out as absolute market leader in Brazil,
was losing ground due to the entry of other brands on the market.
The work began with the children’s version, Nissin Turma da
Mônica (Monica’s Gang): focusing on the parents rather than the
80
The commercial took two hours to film, showing Willis not with his
original voice, but with the voice of the dubbing artist who had
dubbed his voice for the famous series Moonlighting, which aired
weekly at the time on TV Globo. Everything went well, with much
media coverage, but this time it did not generate great results for
the brand:
IV.08.
In trying to capture what the client needs, instead of simply creating
a cute ad, Lowe Loducca promoted branding, developed a brand
strategy, even if the term still had not been coined at the time. What
the agency did in the Robocop building, as early as 1996, was to
understand—and often anticipate—the desires of their clients by
getting to know them well. Account Planning was used as a key
component in the development of the campaign.
IV.06.
At the time, the agency Talent owned by Julio Ribeiro was an agency
that paid a lot of attention to this aspect. Julio, in turn, had learned
from the guru of planning, the Brazilian Helio Silveira da Motta, an
engineer who ended up in advertising—more precisely at Denison—
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bringing with him the Cartesian reasoning. Motta defended that,
before introducing an idea, it was necessary to structure it, as if it
were a building. Poetry should be used only as a finishing touch.
“Balí is one of the funniest and most irreverent guys I’ve ever met,”
says Mario D’Andrea, a copywriter who worked with him (and who
later became a key figure in the management at Lowe Loducca).
As much as this appears logical today, the idea was not so clear at the time.
Up until then, creative and account planning were not coordinated—
and the probability of these two departments exchanging ideas to
create a campaign was as remote a possibility as an agency’s kitchen
maid being honored at the Caboré awards. But Celso, from the creative
side of the business, also believed in the structuring of account
planning, an idea he picked up from his time at Talent, from where he
had also providentially whisked away the director of account
planning, Rita Almeida.
Mario is the one who recounts an emblematic episode of this phase in
which the group came together to plan the most elaborate pranks.
The victim this time was an intern who had gleefully presented a
terrible idea for a certain campaign. Balí, with a serious bearing,
encouraged the young man to keep working on the idea. For days, the
intern labored over the idea, made the storyboard and was thrilled at
the chance of presenting it to Celso—who, duly warned, feigned
interest and proposed:
IV.09.
“Would you present it to the client?”
Rita believed that, despite being traditionally associated with account
service, planning was something larger, specific, and fundamental to
the functioning of an agency. When she decided to leave the agency,
in 1996, her assistant, Marina Campos, took over as director of account
planning, maintaining the beliefs of her predecessor. Marina, by
the way, is one of the best examples of the Loducca style, where
contributions are always welcome. At the time a girl of 25, who was
required to attend meetings with clients basically because she was
the only one who knew how to run the digital projector, she would
sometimes voice her opinion, as a member of the team—and Celso
encouraged her to participate.
Then at the meeting, the plan became even more elaborate: even the
client, who had been forewarned, played his part. “Furious” with the
ridiculous proposal that he had been presented, he proclaimed that
he was going to cancel his account with Loducca. Mario, who couldn’t
muster the courage to attend the meeting, approached the intern as
he left and asked if it was true that they had just lost the client. And he
remembers that the young man even managed to be petulant:
“He had the nerve to say: ‘It wasn’t my fault, the relationship with this
client was already wearing thin.’”
After the charade was revealed, the intern felt even more “part of the
team.”
“Celso would listen to Marina as an equal, respecting her opinions,
even though she was much younger,” explains Daniel De Tomazo,
who in 1998, at age 19, entered the agency as an intern under Marina
(and who would return in 2012 as general director of account
planning).
Daniel became enchanted with the environment without partitions,
with those people who worked as if they were enjoying a round of
draft beer. A different company that even provided—what a nice idea—
fruit for the gang in the middle of the afternoon. A place with a high
school spirit, where it was common to welcome recruits with initiation
pranks, mostly planned by the devious mind of Balí—and duly
endorsed by the boss or some witty client who by chance was there
for a meeting.
IV.10.
Daniel de Tomazo also didn’t take long to feel at home. He would use
the boss’s bathroom, when necessary. One day an e-mail from Celso
was sent to all employees, dressing down the entire team. The
announcement read: “This e-mail is addressed to everyone and
thrown in the face of some, especially Daniel De Tomazo.” The young
man froze. He tried to remember some gaffe he had committed, an
unforgivable mistake, and could only remember, in his naïveté, of a
time at an agency party when he had let the spoon fall into the sauce
pan for the hot dogs, just as Celso was serving himself. Had it splattered
on the boss’ shirt (and on the reputation of the intern)?
“It was a practical joke, but I had already felt important enough to
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“I was the first Brazilian at the conference of the Account Planning
Group in the United States thanks to Celso, who supported me, paid
for the trip, and let me invest in this,” she says.
deserve an individual reprimand from the owner of the company,”
recalls Daniel.
With due approval from Celso, two protégés of Rita Almeida, Marina
and Daniel, were among those responsible for creating a remarkable
lineage in the field of account planning in Brazil—along with Ken
Fujioka, who arrived at the agency in 1998 also to be part of Marina’s
team. It was the start of the Internet boom, and the novelty looked like
it was here to stay, requiring the hiring of people literate in that
admirable new world. Ken, a programmer and systems analyst, met
Marina during his time at ESPM, when they were classmates and
partners in one of the school’s junior companies that they founded.
With an eye on the international market, Marina read everything on
the subject. One day, she commented to her boss about the bible of the
industry at the time: Truths, Lies and Advertisement – The Art of
Account Planning, by Jon Steel. Celso’s reaction was to invest in an
edition of the book in Portuguese. Marina, Ken and Daniel translated
the text and published Verdades, Mentiras e Propaganda – A Arte do
Planejamento.
In 2000, they founded the Account Planning Group of Brazil, with 13
members invited from various agencies. Rita was the first president of
the group. Marina, the second and Ken, the third to occupy the twoyear position.
Before joining the account planning team at Lowe Loducca, Ken had
worked in the corporate communication sector of a multinational
energy company, negotiating with unions, creating newsletters and
even advertising. When Marina called him, he was in the marketing
sector of an Internet company, where he was responsible for projects
later called “digital.” He had a good job and a commensurate salary.
Stepping into an advertising agency of that size was not on his radar.
Celso also sponsored Daniel De Tomazo’s studies with the American
experts in the field—Douglas Atkins, Pam Scott, Emma Cookson and
David Hackworthy—at Boot Camp, a three-month course at the Miami
Ad School. The first Brazilian to take the course, Daniel ended up
being elected the best student of his class and was invited to run the
Boot Camp in Brazil, the first account planning school in the country.
Look at a list of the planning directors of the major Brazilian agencies
today and chances are good that they are disciples of Loducca’s
account planners —Rita, Marina, Daniel and Ken.
“Two factors seduced me into working at Loducca,” Ken recalls. “One
was the possibility of working with Marina again, because we already
knew each other and got along really well. The other factor was that
Marina had already spoken to me about the agency, that it was
different than what I would imagine an advertising agency to be, a
place with little room for egos, where human relationships were the
backbone of the company. And, in fact, I quickly saw that what she
told me was true. Loducca presented itself as a type of island of
humanism within advertising.
“Celso allowed us to develop account planning as a legacy, for all of
the agencies, even though we were still working inside Loducca. He
understood the importance of this for the future,” affirms Marina.
Marina, Ken and Daniel are not the only good bets Lowe Loducca
placed on young people. One day in 1999, Balí went to speak with the
boss, and approached him enthusiastically:
Without knowing what being a planner in an advertising agency
entailed, Ken used the knowledge he had acquired in marketing to
listen to the needs of the client, identify and understand problems,
something that he had always done (“The planner is a manager of
people” is one of his definitions), and he went about molding himself
to his new profession.
Meanwhile, Marina continued to immerse herself even further into
the world of account planning:
84
“Celso, a couple of guys from Porto Alegre came to the agency to show
me their portfolio. These kids are really good; you’ve got to see them!”
IV.11.
Celso was well aware of the Mother Teresa spirit pulsing inside Balí,
always ready to help others, so he didn’t pay much attention:
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“All right, Balí. Call these two whenever…”
international bank in Brazil.
A week after returning to Porto Alegre with his portfolio under his
arm, many business cards in his pocket and no real leads, Guga Ketzer
received a phone call from Balí: Celso Loducca wanted to meet him
and Marcos Oliveira. Guga and Marcos gave the agency Escala, where
they worked, some convenient excuse and grabbed a flight the next
morning to São Paulo.
Three months later, another multi-national account landed at the
Robocop building: this time it was America Online, the largest Internet
provider in the world at the time, which had arrived in Brazil in search
of a strategy to call its own. The good-humored proposal by Lowe
Loducca was a series of nine commercials, print media pieces and
billboards starring celebrities who, when talking about the arrival of
AOL in Brazil, joked about stereotypes regarding their own public
images.
IV.13.
“I was 23, and had been working in advertising for only two years in
Porto Alegre. I knew about Washington Olivetto and Nizan Guanaes,
but I did not know exactly who Celso Loducca was,” Guga confesses.
“And then something happened that is difficult to explain. I walked
into Loducca and liked Celso immediately. You know when you really
hit it off. He didn’t try to sell us the glamour of advertising, just the
opposite. He even teased us: “All joking aside about your home state,
you have to be a real man to work here. Because I’m going to expect
the truth from you.” “I liked that conversation a lot, I thought he was
sincere and I left there thinking: if everyone is going in one direction
why not have someone going the opposite way?”
IV.14.
In another commercial, Vera Fischer talks about her concern
regarding the content that her son views on the Internet: what if he
accesses sites containing sex, violence and drugs? A third
commercial shows Rubinho Barrichello being invited by the
announcer to speak about AOL, but his friend, Pedro Paulo Diniz, is
the one who gets there first and says it all. The central idea of the
commercial with Carlinhos Brown was simple: what he says doesn’t
make any sense.
Celso, from his perspective, also liked what he saw. Two weeks later,
Guga and Marcos took their places on the creative team at Lowe
Loducca. They arrived at a time of total creative effervescence, of
anticipating market trends—and conquering new territories.
The migration to the agency of the million dollar HSBC account in
June 1999, for example, was met with great excitement by the market.
Headquartered in London, the bank had arrived in Brazil two years
before by taking over the operations of what was formerly
Bamerindus—the account that had marked the debut of Lowe Loducca
in 1995. The HSBC brand, however, was still not fully understood by
the Brazilian public.
The cast also included Dercy Gonçalves, Carmem Mayrink Veiga,
Nelson Motta, Professor Pasquale and the band Raimundos. It was
up to Celso to convince all of them to joke about what the public
considered to be their weaknesses. And he said it was not difficult:
“When we got the account, many people thought that HSBC meant
Hospital São Bernardo do Campo. It’s true!” recalls Celso.
With a commercial that mixed Brazilian and foreign icons (the Maracanã
stadium became a bullfighting ring, a London double-decker bus
circulated under the Lapa arches in Rio and so on), the agency defined
a new positioning for the client: the idea that it was the largest
86
In one of the commercials, the former dancer of the musical
group É o Tchan Carla Perez joked about her image as a dumb
blonde and explained that even she, who always thought “this
computer and Internet stuff” was complicated, changed her mind
after discovering the new service. The commercial ends with Carla
offering a pearl of self-irony: “I can do it… so can you!”
IV.12.
“I convinced everyone with an argument that I really believe in: if
you can laugh at what they’ve labeled you with, if you don’t mind,
it’s because you’re above it,” theorizes Celso. “If Vera Fischer was
worried about her fame as being morally corrupt or if Rubinho was
concerned about his image as a loser, then it would be best if they
didn’t do the commercials. But everyone signed on. This, in my
view, was a sign of intelligence from all of them.”
The campaign was an enormous success, but companies depend on
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more than just advertising. AOL do Brasil faced problems right from
the start. To begin with, the consumer was obliged to use a specific
browser, which encountered a lot of resistance here. Then, it was
discovered that the installation CDs distributed by the company
changed the configuration of the computers—some PCs simply seized
up. If these technical issues weren’t enough, a batch of CDs released on
the market contained songs from the pagode band Raça Negra instead
of the installation software. The error was from the factory where the
CDs were produced, but the crisis ended up costing the president of
AOL in Brazil, Francisco Loureiro, his job in January 2000. Sometime
later, the partnership with the agency came to an end.
In 1999 Celso decided to conduct an interesting experiment: make his
agency the first to sponsor a soccer team—in this case, Rio Branco
Sports Club, from Americana, a town in the interior of São Paulo. This
was before anyone had hardly heard of sports marketing in Brazil, a
term that is today invariably associated with million-dollar
transactions. For Celso, stamping the Lowe Loducca brand on the
black-and-white uniform of the team was a type of experiment, more
than just a different way for the agency to advertise itself.
IV.17.
At the end of 1999, an event that stirred the international advertising
market would have far-reaching consequences in the life of Celso
Loducca and his team. The American group Interpublic, of which
Lowe was a part, and other giants of communication decided to go
ahead with the merger of two of their agencies: precisely Lowe and
Ammirati Puris Lintas. The decision, formalized in November and put
into practice at the beginning of 2000, generated a restructuring of
all of the agencies of the group around the world.
IV.15.
IV.16.
In Brazil, this process reached an impasse: according to the plans
from headquarters, Lowe Loducca should combine operations with
Lintas, operating in Brazil since 1957. Celso was not exactly comfortable
with the new configuration. A series of negotiations began which
would take almost four years to fully resolve. In this first phase,
however, it was agreed that, in the Brazilian market, Lowe Loducca
and Lintas would remain separate, but they would become part of the
new international group, Lowe Lintas & Partners.
The history of brands appearing on uniforms was still in its infancy
and no one knew exactly the amount of impact this type of action
would have. The companies wondered—what kind of return can be
expected? At the time Fernando Julianelli was in charge of account
services at Loducca. Julianelli had strong links to sports as he was also
a professional race driver and would later establish his own sports
marketing company, Reunion, the embryo of what is today the robust
XYZ, part of the ABC Group.
Meanwhile, Loducca campaigns continued to bet on the bold and
unexpected. Like the one for Bonzo, a dog food brand made by Purina.
The agency perceived that nothing touches the heart of a dog owner
more than ads conveying the despair of another dog owner. Banners
were spread around the streets of São Paulo (and commercials aired
during the breaks in the nightly Jornal Nacional) reporting the loss of
a dog named Daisy, emphasizing the sadness of the owner—and listing
a telephone number for contact. Days later, another commercial
pleaded with Daisy to come home, since from that moment on the
owner would feed her only Bonzo. Only then did the public realize
that it was a commercial.
Fernando and Celso created Loducca Sports, a small nucleus within
the agency that began to research the potential of this business. All of
a sudden, an opportunity emerged: Rio Branco was looking for a
sponsor. Instead of presenting the idea to clients, Celso decided that
he would invest.
“It wasn’t that much money, and the championship was slated to be
broadcast on TV, so I thought: I’ll sponsor them. Of course most of the
people didn’t know what Lowe Loducca meant on the jersey, but it
made a lot of impact. “I wanted a case to show my clients. It was a test
for the agency to acquire knowledge in this area.”
88
The conclusion, however, was that it was still too soon. Although he
had embarked on other actions in this regard—such as sponsoring
Cacá Bueno’s Stock Car in 2002—and managing the careers of some
athletes through Giusti Loducca, doing business in sports was
something that didn’t take off. It was best to withdraw.
IV.18.
The subject garnered so much media attention that it even earned a
parody on the comedy program Casseta & Planeta, broadcast on TV
Globo. The entire team at the agency saw themselves, from one
moment to the next, fielding hundreds of telephone calls from people
who swore they had found Daisy—as well as from people incensed for
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having been deceived by the campaign.
client portfolio and Celso decided to keep Record, because it was a
more robust account.
“There were many angry people threatening to sue the agency and
Celso,” says Guga Ketzer. “It was a cutting-edge campaign: today you
see a lot of things like this, playing with reality, but 12 years ago it was
a bold move.”
From this successful phase came the campaigns for the water utility
Sabesp—the only time that the agency worked for a public company—
and GVT, a telecommunications company that had arrived on the
market with an eye on the immense growth potential of Brazil in
areas still not properly served (home telephones were slowly
becoming a good that was no longer restricted to a privileged few and
finally spread to the B, C and D social classes).
“We were able to mobilize São Paulo to talk about dog food!” exclaims
Celso.
Another positive example from the year 2000 was Mitsubishi, which
came to Lowe Loducca at a time when they were quickly losing market
share to imported brands that had recently arrived in Brazil. The
agency’s diagnosis was that advertising should not be fragmented
between the 12 models sold by the brand. The best strategy was to bet
everything on the company’s off-road credentials, concentrating
efforts on the Pajero line and also maintaining regular investments in
the model assembled in Brazil, the L-200. It worked.
IV.19.
In both cases, the challenge was to raise public awareness of bureaucratic
and unglamorous issues (water treatment and distribution for Sabesp,
and communication technology for GVT). What’s the best way to do
this? Focusing on personal stories. On people.
So it was not by chance that one of the institutional films produced for
GVT that year was named Gente (People)—a sequence of images of
people in touching and affectionate moments, with a text narrated by
the actor Paulo José reiterating the idea that, more than just cables,
antennas, fibers, telephones, computers, it was a company made up of
people. The presentation of the company in this type of “manifesto”
was the beginning of a campaign that delivered great results for the
brand and caused its main competitor, Brasil Telecom, to lose sleep.
“We conducted some research and proposed redoing not only the
advertising, but Mitsubishi’s portfolio,” Celso explains. “Forget
everything and focus on the Pajero” was the recommendation we
made and the one that Eduardo (Eduardo Souza Ramos, then
president of Mitsubishi Motors in Brazil), wisely decided to follow. The
decision, which gave rise to an award-winning series of ads with the
slogan “The World is 4X4,” changed the life of the brand.
This was also the year of the campaign for MTV’s 10th anniversary,
the first of a series of successful cases that Loducca would create for
this client. In a satire of the end-of-year campaigns aired by other
broadcasters, which generally showed network stars fraternizing,
Loducca used the slogan “10 years of MTV. Such happy times” and
showed VJs singing the jingle Ten Years of Glory and Excitement in
the pretentiously grandiose (and cheesy) style of Broadway musicals.
The campaign reinforced the irreverent spirit achieved by MTV in
Brazil—but it was followed by a brief separation between the agency
and its client. It so happened that at the end of 2000, TV Record,
which had been with Loducca until 1996, came back after hiring
Adriane Galisteu to compete for the same market segment as MTV:
young people. It was not appropriate to have two broadcasters in the
90
IV.20.
The strategy was based on phases. While the launch focused on
presenting GVT, highlighting its principles, employees, and the
benefits that the company would bring to consumers, the next stage
emphasized differences such as transparency and flexibility. Only
when the market was ready were the products and services presented
and the campaigns launched to attract consumers. The result: in
2000 GVT became Top Of Mind for branding and advertising in the
category and exceeded results by 30% for the first year—with a budget
five times smaller than its competitor.
For Sabesp, the strategy was to do away with classic scenes of
infrastructure works, pipes and grandiose statistics and replace them
with issues that spoke more directly about the daily life of citizens,
such as the need to reduce waste (at the end of the 1990s, sustainability
did not have the coverage it does today). And always with humor.
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In one of the commercials, a group of friends at a table in a bar filled
their glasses with beer only to dump it out. The question at the end:
“Do you think that’s crazy? That’s what you do when you waste water.”
From 1996 to 2000, Loducca had an offshoot directed at political
marketing: Tarso Loducca, a company founded by Celso and Paulo de
Tarso—coordinator of Luis Inácio Lula da Silva’s presidential campaign
in 1989 and 1994, creator of the expression “Lula Lá” (Lula There),
which gave rise to one of the best-known jingles of all time and, more
recently, responsible for the promotion of Marina Silva and her
campaign for president, with the Green Party. Together with Tarso,
Celso participated actively in the political campaigns of Luiza
Erundina, in São Paulo, Jaime Lerner and Cassio Taniguchi in Paraná,
but he left the partnership in mid-2000.
“No government administration would agree to communicate in such
a happy, charming and colloquial manner,” Celso observes. “The
management at Sabesp did the right thing at the time by understanding
that, for the public to pay attention, it had to be funny and intelligent
even when talking about serious issues.”
Celso was particularly surprised about the transparency of the
process: since his agency had never taken part in a public bidding
process and had no relationship with people in the government, it
seemed very unlikely that the agency could win.
He left the game primarily because he did not know how to deal with all
of the variables involved in the process: doing an honest job, but without
absolute certainty of the origin of money used to pay for the work, for
example, was one of the delicate questions that made him reconsider
his decision to work in this field. So, despite his belief in the importance
of politics—for him, helping to place a good person in power is what can
effect change, for the better—he could not run the risk:
“We were shocked when we won. Winning without having to shake
someone’s hand? It was during the Mario Covas administration and
this episode led me to admire him very much. And I was practically
born into the Workers’ Party.”
Politics, in fact, is a subject that has interested Celso since the time of
his successive entrance exams and colleges (where he always enjoyed
being part of student unions). Celso was among the protesters in
September 1977, when the Military Police, headed by then Secretary
of Public Security Erasmo Dias, invaded the Pontifical Catholic
University (PUC) of São Paulo. And he was one of the 32 young people
(from the hundreds arrested) taken to Deops (State Department of
Political and Social Order).
“We were kept in a tiny room, in silence, everyone pretending they
didn’t know each other,” recalls Celso, who was let to go shortly
thereafter, after his father intervened: told by a friend of his son,
Geraldo Loducca called a general he knew and was able to secure
his release.
In the 1980s, already in advertising, he worked pro bono on various
campaigns for the Workers’ Party (PT), a party with which he had felt
an affinity for since its founding. The idea, he said, was not to earn
money: it was to transform the country. In his case, helping with
communication, which was what he knew how to do.
“Credibility is fundamental in my business. And, unfortunately, in
politics not everything is transparent. When I started doing political
campaigns I got a real dose of reality. I learned how life really works.”
IV.21.
IV.22.
In 1999, Celso hired the playwright Leo Lama, son of the enfant terrible
of the Brazilian theater, the playwright Plínio Marcos, to shake up the
gray matter of the agency the way he best saw fit. The way Leo found
to carry out the request was by creating a column, The Palace of Lies,
which would be sent directly to all employees through the company’s
intranet. In it, he would dispense uncensored commentaries on what
he thought of the advertising world.
“I began by creating texts asking how advertising could serve art, in
view of the fact that art provided everything for advertising,” Leo
recalls, 13 years later.
This was one of his tamer comments. Because Leo, then 34, spared no
bullets from his verbal machinegun on what he called the belle dame
sans merci (beautiful lady without mercy), the title of a poem by an
Englishman John Keats that he used to define the soul of advertising.
The staff did not always think his opinions were funny—especially
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“Although I didn’t necessarily agree with his opinions, I enjoyed
talking with Leo a lot,” reveals Ken Fujioka, who in 2000 was on his
second stint at Loducca (after leaving the agency to be the director of
marketing for a website, he was rehired by Marina Campos a year
later). “It was neat having a nut in there spouting nonsense. With his
experience in theater, he helped a lot of people, primarily the people
in account planning, by working on their body language, overcoming
shyness, and loosening up, putting a few tricks up their sleeves for
presentations. Leo made me pay attention to things I was unaware of,
like projecting one’s voice. That exchange that all of us had was useful.
when the target of the criticisms was some piece created by Loducca.
“Celso you are crazy, what’s up with that, this guy is ridiculing our
work!” echoed the complaints. Even Celso winced at one or another
criticism from Leo regarding what was done on the grounds of his
“palace.” Nevertheless, he continued to support the “experiment,” as
he called it.
Leo Lama pocketed four thousand reais a month to arrive at three
o’clock in the afternoon and leave at eight, a period in which he
concocted his diabolical provocations. And today provocateur is
perhaps a good term to describe the role that no one at the time was
able to define. Not even Leo Lama himself. “Am I some type of
ombudsman disguised as a playwright?” questioned Leo in another
text, in his best to-be-or-not-to-be style. “For those who have just
entered the agency, it’s difficult to understand what I do here. They
shouldn’t worry, because even the ones that have been here longer
still don’t understand it.”
Whether they understood it or not, the fact was that, as the weeks and
months wore on, the initial indignation that Leo caused with his
sincerity and the stereotypes that sprouted from his status as a leftist
artist (pot head, hippie and indigent were the most flattering) was
displaced by a growing exchange of e-mails with employees who had
discovered they were willing to discuss the themes—art, religion,
soccer, sex, lack of time, working conditions—raised in The Palace of
Lies. The major turning point, in Leo’s opinion, occurred precisely
seven months after his arrival, when he wrote a text about the death
of his father, in November 1999.
“It was very moving because everyone has a father, this emotional
component. Even a monster has a father,” he says. “That was when
people began to see who I was.”
After publicly displaying his pain (the letter entitled “My father died”
is still a hit on the Internet today), the weirdo who said barbaric things
was no longer so strange and didn’t just write barbaric things. He was
also the guy who relaxed the environment with philosophical tirades,
the one who could make people reveal more from trivial questions
like “Are you happy?” “Do you like your life?” “What’s the difference
between you and a whore?” or “If you died tomorrow, would you be
satisfied with the life that you led?”
94
IV.23.
In 2000, when the agency opened its first branch office, Loducca
Sul, in Curitiba, headed by Mario D’Andrea, Leo was responsible for
the inauguration party and a training workshop, complete with
Paulo Autran, at the ripe old age of 80, as MC and a show by Luiz
Melodia. “Those who didn’t go didn’t miss anything,” he would write
later in his column, “because our team is winning.”
Taking advantage of the positive environment, Leo Lama decided to
create a print version of The Palace of Lies to encourage people to
publicly express the confessions and opinions (those of the boss
included) that they had already confided in private.
“People opened up to me, I had access to gossip, and everyone trusted
me,” he recalls. “I entered into the insides of the agency and knew
what each one thought.”
During the three years in which he was the absolute master of The
Palace of Lies, Leo promoted some revolutions in the thinking of his
colleagues (some of them already elevated to the category of friend).
“I believe it was a valid exchange for everyone who wanted to get
involved,” he wrote in the last entry he posted in his palace of truths,
in 2002. “However, to the extent that it was already crazy to keep a
playwright who generated no ‘profits’ for the company, now that
Loducca was facing difficulties, it was all the more so.”
The difficulties that Leo Lama was referring to in his final column are
the ones that began to appear after the merger between Lowe and
Lintas, which came to a head at the end of 2002. But let’s take this one
step at a time.
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The city of Governador Valadares, in Minas Gerais and 320 km from
the state capital Belo Horizonte, is the most populous of Vale do Rio
Doce region and is the proud host of one of the stages of the Brazilian
Hang Gliding Championship, at the Ibituruna Peak, one of the highest
points in the eastern part of the state at an elevation of 1,123 meters. It
is the main tourist attraction of the city. Since the 1980s, however, the
city has been known for one unusual aspect: it exports more
immigrants to the United States than just about any other Brazilian city.
“What’s funny is that the line was improvised by the actress in the
film. We thought it was good and decided to keep it,” recalls Guga
Ketzer.
IV.24.
“But we didn’t expect the repercussions,” Celso adds. “When you
provoke, you can count on a reaction, but I never thought that I would
be sued by the entire population of a city. A major headache.”
Fortunately, not only headaches marked the year 2001 on the first
floor of the Robocop building. One of the joys of the year was to see
Guga Ketzer, then a copywriter at the start of his career, win the Gold
Lion in the Young Creatives category, a competition created within
the Cannes Festival to feature creatives under 28 years of age. That
year, the trio of Brazilian representatives—Guga from Loducca, Marco
Aurélio Monteiro from F/Nazca, and Washington Theotonio from
DM9DDB—won the category Press & Poster, with an ad created in 24
hours for Leuka, an NGO that fights against leukemia. It was the first
time that a Brazilian team won.
Data from the 2000s showed that 10% of the almost 300,000
inhabitants of the city works or has worked illegally in the United
States, a movement that began in the 1960s, 20 years after city
residents came in contact with Americans who arrived in the region
to work in the mining industry and in the construction of a railway.
The creative team at Loducca was largely unconcerned when it
included a dig at, shall we say, Achilles’ heel of the people from Minas
Gerais in one of the films produced in 2001 for its new client Brasil
Online(BOL). Entitled Consulado (Consulate), the objective of the film
was to counter the competition from AOL, which, in an ironic twist of
fate (and of the advertising industry in particular), Loducca had
helped to launch in Brazil.
Another goal scored that year: a successful campaign for Sprite, a
client that the agency had served since 1998, which launched the
slogan “Image is nothing. Thirst is everything. Obey your thirst.” The
first campaign’s commercials featured celebrities such as Romário,
Marisa Orth, Sérgio Reis and Max Cavalera singing jingles that poked
fun at the idea that using a product (in this case, Sprite) was enough to
make people beautiful or intelligent. The focus of this new batch of
commercials was on nonsense.
Following the tagline “it’s not easy to enter America,” the main thread
of the entire campaign, the commercial showed a service window at
the consulate, where people were waiting in line for their travel visas.
The consular official, an unfriendly woman, asks the first person in
line: “Are you a drug addict? Communist? Terrorist? Nazi? Are you
from Governador Valadares?” And pounds a stamp in the passport:
“Visa Denied.”
A group of consumers united by the Commercial Association of
Governador Valadares went to Conar to request that an ethics inquiry
be opened against the commercial, which according to them injured
the “honor and image of all residents of Governador Valadares.” Not
satisfied with the complaint to the Council, the Association advised
town residents to individually sue BOL and the agency. The result was
thousands of lawsuits that the legal and accounting departments of
Loducca took years to resolve, after reaching many settlements, case
by case.
96
In the commercials Taxi, Pee-pee and Bakery, two teenage vigilantes
“beat up” bizarre characters—the taxi driver who refuses to take the
young passenger because of excessive ear hair, the boy who doesn’t
wash his hands after urinating and the rich woman who argues with
the bakery clerk because she wants her bread more toasted—in fight
scenes that were more like those of an animated cartoon.
IV.25.
The characters in the mold of Hermes & Renato, the retro style, the
backdrops, the music and the funny language made sense to its target
audience, essentially teenagers, but it also generated criticism: there
were those who considered the commercials to be “violent.” Looking
back, Guga Ketzer has the feeling that, once again, it was a little too
bold for the time.
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“I think it was too modern for back then. It was a hit with the kids,
provided results for the client, but it was a campaign that was not well
understood by other agencies.”
Breaking up, in fact, defined the end of 2003, when Celso definitively
split from the Lowe group. The negotiations lasted almost 4 years, a
period which he today sees as necessary to reach a consensus, but it
did wear him down.
Celso disagrees:
Curiously, 2003 was also the year that Frank Lowe left the Interpublic
Group, as announced the year before, when the group removed its top
executives from the board. (His retirement, in fact, didn’t last long: in
December 2005, Lowe announced his return to the market with a
new agency, Red Brick Road, a name taken from the road that Dorothy
decides not to take in the Wizard of Oz).
“Although not all of those codes were deciphered, people liked it. It
was a chanchada, a very Brazilian form of comedy. It was this type of
nonsense, really low-brow jokes, which brought to life shows like
Pânico and others that are still out there today captivating young
people.”
Fact is, because of the success of Sprite, Loducca was called on two
years later to create new ads for Coca-Cola, a brand that, despite being
one of the best known in the world, had lost contact with young
people. The partnership was an important event in the history of the
brand in Brazil: for the first time in over 50 years, McCann had to
share this client with another agency.
IV.26.
Celso felt that Lowe was no longer the same agency after Frank’s
departure. Neither better nor worse, but another agency, from which
he preferred to remain independent from.
“I married a woman and then discovered she was someone else,” he
says today, repeating a metaphor he used at the time. “The marriage
was worthwhile, but sometimes a separation is the best thing for both
parties.”
It was also another milestone in the career of Guga Ketzer. The young
copywriter who had raised his profile by winning the Young Creatives
of Cannes in 2001 really made his mark: of the 12 films presented by
the agency to the client, nine had been created by him and his partner
at the time, Celso Alfieri. And out of the four approved to be aired with
the slogan “This is the real thing,” three were penned by him.
In the divorce, Loducca Sul, in Curitiba (and the HSBC account, the
agency’s biggest client), stayed with Lowe, which served the bank
worldwide.
For everyone there, it was time to start over.
One of them, the winner of various awards, was Distração (Distraction),
remembered up until today as “the silicone one”: a young man drinks
his Coca-Cola while his girlfriend speaks with her friend—and he
simply can’t take his eyes off the girl’s extremely well-endowed chest.
The other, Real Life, shows young people using T-shirts stamped with
various names—Che Guevara, Jesus Christ, Cuba Libre, California,
Chimarrão—all written in the format of the emblematic logo of CocaCola, with a cursive style that is among the most recognized in the
world.
IV.27.
Loducca would also create a campaign for Coca-Cola Light, but the
relationship with the client was relatively short, due to normal market
circumstances. There were changes made in the company’s
management and the new marketing director did not hit it off with
the agency… and the decision was made to break off the partnership.
98
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99
SazÓn
NISSIn
Ernesto
Mother
and father
1996
1997
Ernesto, a typical Italian
grandfather who is scolded by
his wife for using the tablecloth
to wipe spaghetti sauce off his
mouth, is the main character
of this congenial film that
shows the charm of a daily spat
to present the concept of the
campaign: “If they love you,
they use it.”
100
The instant noodles prepared for the child are so
good that the parents end
up eating all of it: this is the
idea of the film that helped
the brand regain its market
dominance, which it had
been losing with the entry
of various competitors.
101
Ajinomoto
sabesp
It’s good
for you
Beer
1998
1998
“If you want to bring out
the flavor, use Ajinomoto,
made from the glutamate
found in nature,” recited
the star Bruce Willis in this
US film shoot. But even
that wasn’t enough for the
product to catch up.
102
A group of friends at a table
in a bar passes time dumping
beer out of their glasses
instead of drinking it. Just as
ridiculous as wasting water,
went the slogan used on print
ads and billboards (at a time
when these still existed in São
Paulo, before the Clean City
Act took effect).
103
AOL
HSBC
Stereotypes
The world
in Brazil
1999
1999
“Man must evolve with the drum. And the
drum must evolve with man. Got it? Do you
understand more or less? It’s even easier”
(Carlinhos Brown feigning confusion)
“It’s so perfect, so easy to use that it’s like
nothing I’ve ever seen before. Try America
Online. I can do it, so can you!” (Carla Perez
doing an impression of a dumb blonde)
Celebrities joking about their own
weaknesses—or rather, with some
stereotypes that they have been stuck
with—in a festival of humor and self-irony
that marked the campaign that launched
the Internet provider in Brazil.
104
The Maracanã stadium
becomes a bull fighting ring.
London buses pass under
the Lapa arches. New York
yellow cabs circulate bayside
in Salvador. The buggy ride in
the sand dunes of Natal has
Mount Fuji in the background.
The film presented a collage
of various icons from places
around the world to promote
the idea of HSBC as the largest
international Bank in Brazil.
105
rio branco
purina
Jersey
Daisy,
Come Home
1999
2000
1999 Paulista
Championship. Certainly
few in the stands
understood the Lowe
Loducca logotype on
the black-and-white
jerseys of Rio Branco,
a soccer team from the
city of Americana. What
brand is that, anyway?
Nevertheless, the
initiative had the impact
that the agency wanted
on the market, testing
the waters of sports
marketing.
Film 1:
Dog is lost. A female Labrador that answers to the
name Daisy ran away from home. If you know the
whereabouts of our Daisy, please call (0xx11) 9655-7161.
Thank you.
Film 2:
Come Back, Daisy, darling, we miss you so much. We
can’t bear arriving home and not having you brushing
up against us, jumping and licking. Come home, Daisy,
we promise to feed you only new Bonzo.
Film 3:
Mixing reality and fiction,
something common today,
was still not common
in advertising. Banners
spread around São Paulo
and a sequence of three
commercials on the dog
Daisy—the first announcing
her disappearance; the
second, already making
reference to Bonzo; and the
third, finally, making it clear
that it was advertising, made
an impact on the public.
106
I thank Saint Expeditus and new Bonzo for bringing
Daisy home. Thanks to the new worldwide formula
of Purina Bonzo, with meat as the main ingredient,
she came home. The proteins, grains, carbohydrates,
vitamins and minerals will make her healthier. And
if she’s healthier, we will live happily ever after. New
Purina Bonzo. Incredible food for incredible dogs.
107
GVT
People
2000
“We were born to be
together. We were born
to touch, smell, exchange
gestures. Express ourselves. We were born to
share our lives. Each detail,
each little piece of our
lives, smiles, difficulties,
affection, achievements.
We even want to share our
loneliness. Because we
were born to be unique,
but also to be more than
just on our own. It was because we were born with
this “people” way of being,
that GVT was born, a telecommunications company
made of cables, antennas,
fibers, telephones, computers. But, more importantly,
made up of people like us,
who just want a better life.
GVT, connecting you to a
better life”.
To mark the arrival of
a new telecommunications
company, GVT didn’t
say anything about
infrastructure or statistics.
Instead, the company decided
to show people in various
emotional situations,
experiencing the power
of communication.
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109
mitsubishi
mtv
Tough
10 years
2000
2000
“Don’t be surprised if people
begin to look at you differently,”
says the commercial that
shows a handsome man in an
L200 pickup traversing large
obstacles on a bumpy dirt
road. When he parks and rolls
down the window, what you
see is a much thinner and less
attractive man. A humorous
way to show one of the two cars
that Loducca recommended
they should focus on—the other
one was the Pajero.
110
Making fun of the classic
end-of-year campaigns of
the major TV networks, the
MTV VJs (a cast that included
Fernanda Lima, Marcos Mion
and Marina Person, among
other veterans) appeared in an
exaggerated Broadway-esque
production to celebrate the
channel’s 10-year anniversary.
111
BOL
mabel
Consulate
Monkey
2001
2001
Are you a drug addict?
Communist? Terrorist?
Nazi? The almost
nonsensical questions
from an unfriendly
consulate official conduct
the film that plays on the
idea that “it’s not easy
to enter America”—in
reference to BOL’s main
competitor, AOL (ironically,
a former client of Loducca).
112
A monkey walks through the
aisles of a supermarket and
stops, excited about finding
banana-flavored cookies. It
opens, tastes… and spits out
everything with a grimace: it
so happens that, in addition to
banana, the recipe contained
cinnamon. A simple, low budget
production with humour
to tie it all together.
113
sprite
stock car
Pee-pee,
bakery
and hair
in ears
Sponsorship
of Cacá
Bueno
2001
2002
Betting on nonsense, the series
takes the slogan “Image is
nothing, thirst is everything”
to an extreme by using
silly vigilantes as the main
characters, who are always
ready to attack—in fights that
look more like they belong in a
cartoon—all types of prejudice.
On his debut in the second
stage of the 2002 season of
the Brazilian Stock Car Racing
Championship, in April 2002,
driver Cacá Bueno came in
second on the podium. It was
the first time his father, Galvão
Bueno, had announced a race in
which his son was competing,
Cacá was featured in the live
broadcast by Globo—to the
delight of Cacá and Loducca,
one of the sponsors with their
brand stamped on his car.
The idea was to associate the
agency’s brand with a modern,
daring and competitive sport.
114
115
Coca-Cola
Coca-Cola
Distraction
Real life
2003
2003
How do you keep your
eyes off the exceedingly
well-endowed chest of your
girlfriend’s friend? This is the
dilemma of our film’s hero,
who becomes so distracted
that, when he returns to the
conversation, he can only
manage to say: It’s silicone.
116
Che Guevara, Jesus Christ,
Caipirinha, College, Cuba Libre,
Caldo de cana, Copacabana,
Chimarrão, California.
Everything written with the
emblematic hand-designed
Coca-Cola font, one of the
most famous in the world. And
everything a reference to the
world of young people, the target
audience of the campaign.
117
E = mc²
05.
V.01.
V.02.
V.03.
V.04.
The teacher asked the students to make a list of things
that each one liked most. The boy did everything but
blurt out the most famous catchphrase from the book
Macunaíma: “Oh my, I feel so lazy!” He had, and has
up until today, an aversion to formulas of any type,
especially one so reductionist as a list of preferences.
At that moment, he felt he had the right to skip the
exercise and, in its place, write an essay explaining
why he had an aversion to formulas, being careful to
make clear that the teacher had forced upon him a
responsibility that he simply did not want. His mother
was asked to come to the school.
It was not the first and certainly not the last time that Solange was
asked to appear at the principal’s office of the Sévigné, a traditional
Catholic high school in Porto Alegre where her three children
studied, to discuss the idiosyncrasies of her youngest José Augusto,
Guga. The boy was very smart, intelligent, everyone agreed—but very
rowdy. The equation, truth be told, was precisely this: the boy was
rowdy because he was smart.
“At school, I paid attention just long enough to understand the subject
being presented,” he explains today, over two decades later. “After
that, it was mayhem.”
The result was that the boy always got good grades, but hurt the
performance of those who could not keep up with him—in other
words, practically the entire rest of the class. Fine. The boy actually
118
119
came up with interesting arguments that captivated everyone.
One day, the teacher asked the class to write an essay on fear. The boy,
then 11 (born on May 6, 1975), decided to write not exactly about fear,
but about the fear of experiencing fear. He argued, in his text, that the
fear of experiencing fear was what messed everything up, and not
fear itself. His conclusion was that people often missed out on great
experiences simply because they were afraid to experience fear. The
resemblance of fear, anyway. The teacher called Solange for a sit
down: her son’s ideas were excellent, but perhaps they were a little
advanced for his age.
On another occasion, the religion teacher asked the students to
write an essay making an analogy of a certain biblical passage with
today. The boy thought it an excellent opportunity to draw a
political and geographic parallel between ancient Rome and the
capital of Brazil, once again, well above average.
Guga had grown up in a family brimming with ideas, where
everyone always made a point of taking a position on any subject,
from the political situation of North Korea to the tone of a color. A
man of strong convictions, Julio Cesar, the father, is a Gaúcho,
meaning he is a Rio Grande do Sul native, who has always loved
books, an engineer who became a farmer, “cultured without
needing to show off,” as described by his son. Solange, a woman
who chose to first raise her children and then build an academic
career that took her to the post of provost of PUC in Porto Alegre,
also always enjoyed family debates. The same can be said about
José Otávio and João Marcelo, Guga’s older brothers, an agronomist
and geologist respectively.
“We were always an argumentative family,” says Guga. “I joke that, in
a family discussion, the first opinion of everyone is always no.
Everything needs a why. This family environment helped to form
part of my personality, of always wanting an explanation for things. I
wasn’t aware of it at the time, but today I see that this has much to do
with creativity: a restlessness, a desire to find a way to subvert things.
And always in a humorous way. Guga has always been a joker and
believed that pretty much any situation (including school) could be
fun. There was no strictness in this home: Solange and Julio Cesar
120
rarely gave orders, although regularly demanded explanations for
missteps.
V.05.
V.11.
V.12.
V.06.
V.13.
“My discipline was freedom,” he remembers, citing the singer
Renato Russo. “There were reprimands, of course, but there was
also a lot of dialogue, many explanations about the consequences
of my choices. My parents always made it clear that I would be the
one who would suffer from my choices. So, in the end, my greatest
fear was to disappoint my parents. Obviously I hid things from
them, like every teenager does. But I never did anything crazy just
to shock them, to create conflict with my parents for no reason.”
There was a time, however, when he found himself at a crossroads—
and he knew that the decision that he made could potentially shock
his parents. Shortly before taking his first college admissions exam,
Guga, a fan of the Internacional of Porto Alegre Football Club, wanted
to be a soccer player. The idea, deep down, was more of a pretext to
put off the choice of a professional career than a love of the sport.
“It was much more of an escape,” he confesses. “I didn’t know for sure
what I wanted, I only knew that I didn’t want an adult life so soon. My
plan was to attend college in the United States and try to be a soccer
player there. But then I thought: ‘Holy crap, if I become a soccer player,
it would be a huge let down for my family’...”
V.07.
V.08.
Luckily (or not, impossible to know), the dilemma did not last very
long. In the middle of the last year of high school, while playing soccer
with friends, Guga sustained a serious injury to a ligament in one of
his knees. The result: one year of no soccer. It was the end of that
chance to escape, and he had no other way out except to choose a
college major.
V.09.
V.14.
V.10.
V.15.
Journalism has always been a theme that he found interesting,
primarily because of his aunt and uncle, Cremilda and Sinval Medina—
she a prominent communication theorist and he a journalist
persecuted during the dictatorship. The expectation that Guga had of
the profession was the same as almost all of the students who decided
to take the admissions exam in the field: become a foreign
correspondent; who knows, perhaps someone like Caco Barcellos. At
least, roam the skies, land and sea in adventures for the TV program
Globo Repórter.
E = mc2
121
Guga got into PUC, but by the third semester he had become more
interested in the elective advertising classes than by the “who, what,
how, where, when and why” of journalism. He even graduated, but his
sights were set on advertising.
When he was already working as a copywriter at the Escala agency in
Porto Alegre, he asked his parents to pay for a trip to the Cannes Lions,
the international festival of creativity. He explained that it was the
most important seminar in the field, the best way to understand how
that business worked, and he convinced them. He went to France,
registered in the events and came back enthusiastic: that was really
what he wanted to do.
Guga has loved the water from a young age, precisely since he was
two, when his mother enrolled him in swimming class to fight bouts
of asthma; he likes to compare the fluidity of the liquid medium with
the way that he tries to lead his life: being flexible, malleable. And, if
possible, surprising as only water can.
“The sea is like that: it can be calm and then show surprising force. I
like that and I respect this force of nature.”
Formulas, as you know, were never Guga Ketzer’s strong suit. Perhaps the
only exception is the one he tattooed on his left wrist, the anti-formula
par excellence: Einstein’s theory of relativity.
V.16.
With his soccer team,
at the start of the 1980s
(Guga is the first
on the left, seated)
Journalist who
became an adman
122
123
Porto Alegre,
in 1976
124
125
PINHEIROS, São Paulo
06.
126
517 Cristiano
Viana Street
127
With the end of the partnership with Lowe, Loducca, which had been
in fifth gear needed to downshift drastically. And a new beginning
meant, among other things, turning off the lights of the Robocop
office and looking for a new place for the crew. An environment that
combined the new spirit that Celso intended to impart on this new
phase at Loducca. Preferably, one that had nothing to do with the
futurism of the old headquarters.
“I didn’t want to have anything more to do with mirrored glass,”
recalls Celso, who, by the way, had decided to adopt a heart as the
agency’s new symbol. “Here in Brazil there is a kind of tendency for
the nouveau riche to place importance on this type of thing. But I was
rebellious; I wanted a different kind of business.”
to the portfolios of Lo.V (Loducca Virtual, an arm dedicated to the
digital world business), Giusti Loducca and the affiliates OM Loducca
(in Porto Alegre and Brasília) and D. Araújo Loducca (in Florianópolis),
all members of the Loducca Group. In June, the winning of three
Lions at Cannes, followed by other awards, also added to the gang’s
enthusiasm.
VI.01.
VI.05.
Celso’s ambition, truth be told, was not so small. His dream was to
create the best agency in the world, regardless of its trappings. The
search took some months until he found number 517 on Cristiano
Viana Street, a warehouse in the Pinheiros district, near Vila
Madalena of the early days of his independence, and said something
like this:
Another significant loss came in August of 2004: Guga Ketzer had
received—and accepted—a job offer from Talent, at a time in which he
felt his output waning at Loducca.
“Man, this is cool!”
To renovate the space, the diachronic sophistication of João Armentano
used at the old address now gave way to the alternative-style solutions
of Marcelo Rosenbaum, with skylights and bare brick.
“I remember that the first day of work at the new office on Cristiano
Viana was lively,” recalls Ken, already with his feet duly planted in the
agency’s account planning department. “It was the beginning of a
new phase, more minimalist, and the space suggested this. We left
Robocop, which at the time was a bastion of horrible architecture in
São Paulo, and went to a warehouse with a more contemporary style,
exposed ventilation ducts, that thing that at the time represented
simplicity and would later become cool.”
But the agency’s festive environment had not been the same for some
time. The last few years during the split from Lowe had taken its toll on
everyone. Even before the change of address, many of the agency’s
talents were no longer in evidence. Marina Campos had been gone since
2000, when she spent some time freelancing in the field and soon found
her true calling in the role of clown, founding the group Clowns at the
Service of People. In 2003, shortly before leaving the Robocop building,
Márcia Pudelko left the company and opened a consulting company.
Cristiane Maradei left the same year with other plans in mind: she
wanted to have children, change her life, and leave advertising once and
for all. The general situation, summed up, was one of withdrawal.
VI.02.
VI.03.
“It was no good working there,” recalls Guga, speaking frankly. “The
stepping on the brake generated by the process of splitting from Lowe
made the agency slowly lose what made it attractive. I was worn-out
and beginning to doubt my own work.”
When he was invited to work at Talent, Guga, feeling his morale low
and curious about learning another way of creating advertising, told
Celso about the job offer and, after already deciding to accept it, made
a request to his boss:
“Please don’t make me stay.”
VI.04.
Celso let him go.
The new Loducca officially opened the doors of its warehouse in
Pinheiros in December of 2003, but its separation from the Lowe
Group would only become official in March 2004. After much
indecision, everything was finally working. The loss of HSBC was
overcome by adding new clients to the company’s portfolio, as well as
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For the first few months on Cristiano Viana Street, Celso and João Muniz
were the sole partners. But since the time that they began to ponder the
split from Lowe, the two had already considered adding new partners,
not necessarily just investors, but rather one with creative experience
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129
and another with business experience. At some point in the process,
they began to talk about the possibility of working with Tomás Lorente.
One of the top award-winning art directors at Cannes of all time, Tomás
(who died in 2009 from a heart attack at 47 years of age) had just left
Age, an agency he had founded in 2000 with Ana Lúcia Serra and
Carlos Domingos, but the details couldn’t be worked out with Celso and
João and Duda Mendonça scooped him up to work at Duda Propaganda.
But it was just a matter of months. In November 2004, the press
announced—as the advertising market looked on with curiosity—the
new shareholder structure at Loducca, whose name was changed to
Loducca22. The official explanation for the number added had to do
with the two new partners who had arrived to join the two already there.
Well, and also with the glorious past of the Modern Art Week of 1922,
the upcoming century... and with the birthday, one year before, of
Gabriel, Celso’s fourth child, the first boy, of his wedding (also the
fourth) with Stela Greco.
deal was 99.9% done. He just needed to let Nizan know to give Celso
the final OK. In the end, I had nothing to lose.”
VI.06.
VI.08.
The event, as everyone knows, was the top news story that Saturday.
When Celso saw the news, his only feeling was one of neutral
condolence. “Oh gosh, the people who have their money in Banco
Santos are in bad shape,” he thought. Nothing more. What did he have
to do with Edemar Cid Ferreira’s bank anyway?
VI.07.
Everything, as he would later learn, when João Muniz called him and
said, in a sad tone of voice, “Celso, all of our money is in Banco Santos.”
Once his contract ended with Duda Mendonça, Tomás Lorente
became one of the two new partners of Loduca22. The other was
André Paes de Barros (PB), who arrived after stints with Young,
Thompson and Africa – where, shortly, PB became a sought-after
name in the market thanks to his intense dedication to everything he
does and his “bulldozer” method of working.
As if the drastic reduction in speed wasn’t enough, now the propeller
had fallen off the ship.
“Just after we split from Lowe, I thought: the team is good, we split, we
scaled down and, are slowly growing again,” Celso recounts, while
also confessing a certain assumption on his part at that time in his life.
“It’s clear that what happened with Banco Santos was bad luck. I know
it’s dumb not to anticipate, but I really didn’t think something like that
would happen.”
It was precisely at this excellent moment in his career that, on a
certain day in 2004, PB’s telephone rang. On the other end of the line,
João Muniz wanted to know if he was open to having a conversation.
“Today Loducca is nothing,” PB reflected, while speaking with João
on the telephone. “Celso must be a great guy, but he doesn’t have
much exposure. He had his moment, but now he’s kind of quiet.” But,
in the end, he concluded: “Why not go there and talk?”
“The next day, I went to have lunch with Celso,” PB recounts. “I thought
that, since he was there to win me over, he would be the most
accommodating guy in the world. It was just the opposite. It was a
tough, sincere conversation, without any type of pretense. I was very
impressed. At the end he asked me: “Do you want to work at Loducca?”
I said: “No. I want to be a partner at Loducca.” He said: “Fine!” “We
negotiated my share of the company and left lunch saying that the
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Tomás Lorente and André Paes de Barros started at Loducca22 on a
Thursday, November 11, 2004. At 10:39 pm the following day, Folha
news website reported the following news: “The Central Bank has
seized control of Banco Santos and Santos Corretora de Câmbio e
Valores. According to the communiqué from the Central Bank, the
intervention was due to the “weakened economic and financial
situation of the institution.”
VI.09.
The penny dropped shortly after the shock subsided. In the midst of
the imminent shipwreck under way, unbeknownst to anyone but the
president, vice-president and director of finance, Celso called in the
two new partners, explained the mess and concluded:
“You can back out now, without any obligation. You are not responsible
for any of this.” – he said to Tomás and PB.
That comment aroused the impetuous soul that PB had cultivated
since the time he was a brat who challenged his older brother’s
friends.
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“I told Celso: Screw you! I just got here and I’m staying! Give me a
blank sheet of paper and I’ll sign it now,” PB recounts, in his direct
manner. “I was feeling really good,” he adds. “I believed that we could
get through that. Monday was the best day. When things fall apart,
you have to be strong to keep it together.”
It wasn’t as bad as Black Monday, when the New York Stock Exchange
crashed, in 1929, marked by insane acts of desperation. But there was
a stark reality to be faced: the recently created Loducca22 was
bankrupt. That week, Celso explained to the group what had
happened and pronounced the first inevitable step: making cuts.
With the promise that, as soon as the agency got back on its feet,
efforts would be rewarded.
“I wanted to show everyone that it was necessary to invest in the
future of the agency,” Celso recounts.
Fast-fowarding over this part of the story, it would take Celso another
two years to recover from the Banco Santos tidal wave. In good
measure, it was thanks to changes undertaken in the administrative
department, which was now run by Antonio Carlos da Costa.
Well-known in the industry, with stints at agencies such as Salles and
DM9, Antonio Carlos is described as an “angel” by Celso and PB, who
both experienced some intense days back then. PB recalls the day
when one of those summer thunderstorms that São Paulo residents
know so well flooded the agency. Antonio Carlos was the first to roll
up his sleeves to save the equipment:
“A gutter was clogged and we had water up to our knees.” Antonio
Carlos, the only one who wore a suit, quickly took off his shoes, rolled
up his trousers and began to shout, with his unmistakable Minas
Gerais accent: “Let’s go everyone, we’ve got to dry all this!”
Today living in the interior of Minas Gerais, where he returned for a
more peaceful life, the former CFO of Loducca also speaks fondly of
his time at the agency.
“I worked at Loducca during a difficult time, but there was always
room for laughter”.
132
VI.10.
Antônio recalls the day on which he did not pay Celso’s salary and
received a visit from his secretary at his desk, inquiring: “Aren’t you
going to deposit Celso’s salary?” To which he responded: “No, I’m not.
And if he doesn’t like it, he can go complain to the owner of the
agency.” The two laughed a lot about the situation—but it was in fact
sometime before he would be paid, since the priority was to manage
cash flow.
“Overcoming that phase and seeing today the powerhouse that is
Loducca was very interesting. I miss the environment, the people, the
approach to the profession. Even the people from the finance
department lived and breathed advertising,” says Antonio.
By the time the house was finally put in order, a lot of water had run
under the warehouse—and taken with it important players.
“I’m aware that, at that moment, many people lost their faith in
Loducca,” Celso recalls. “It was sad to see, but I understood how
frustrating it must have been to work in a cool agency that all of a
sudden had no future.
Out of 80 people who worked at the company, only 45 were left after
two months. Some of them gave in to attractive job offers from other
agencies. Balí, for example, picked up and left for Carillo Pastore Euro
RSCG. Ken left Loducca at around the same time and would spend the
next six years at JWT, where he would become Head of Account
Planning and Digital Strategy.
The first ray of light visible after the Banco Santos debacle was about
nine months after the start of the crisis, when Celso called Guga for
another conversation.
“When this happened, I had already figured out that the way of
working at Talent was very different than what I wanted for myself,”
reveals Guga. “So I accepted the offer to return to Loducca. I always
say that one of the neat things that happened at Talent was getting to
know Cássio (Moron), whom I brought to Loducca and have worked
with ever since.”
Guga came back to the agency in February 2005 with a promise from
the boss of a “different project” in the works. However, a good dose of
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133
instability hovered over the creative department of Loducca,
exacerbated by the difference in the personalities of Celso and Tomás
Lorente, two very different people in the way they interacted, their
way of being, in everything. Two partners who were both creative
directors, with different visions and approaches to work.
The impasse ended months later, when Tomás announced he was
leaving the company. He made off with a number of professionals
from the agency to boot, almost picking the creative team of
Loducca22 clean.
VI.12.
Shortly before him, in June, João Muniz had decided he needed a
change of scenery: leaving the presidency of the Loducca Group, run
in partnership with Celso for ten years, to work exclusively with LoV,
an evolution of Lo.V, Loducca Virtual. The company, which had been
born from Loducca out of a need to brave the world of the Internet—a
mystery at the end of the 1990s—had grown considerably. With André
Piva as a partner, up until then the creative director at Lo.V, João
decided to focus 100% on a new positioning for interactive
communication and innovation in digital media. Starting from that
moment, Loducca22 became a potential client for the new LoV.
In December 2005, Guga Ketzer received an offer to take over as
creative director at the agency replacing Tomás Lorente. Guga
swallowed hard. He knew how difficult it would be to inherit the
position of one of the best art directors Brazil has ever known. But
instead of trying to compete with the work of Tomás, Guga thought:
“I’ve got to do something completely different.”
“I was aware that: ‘If I work in Tomás’ shadow, I’m cooked’,” he reveals.
Not just in Tomás’ shadow, to be sure.
“In a conversation I had with Celso, I confessed my fear of being
known in the market as the eternal creative “protegé” of Celso
Loducca. And he was generous enough to do something that no one
else of his generation had done: let go of his role as creative director in
his own agency. From then on he would be “only” the president of
Loducca and I, the agency’s creative director.”
VI.11.
another controversy—again generated by its penchant for provocative
campaigns. This time, the client was The Panamericana School of Art,
in São Paulo, which normally advertised twice a year, during the
registration season. What was all the fuss about that December? A
parody of one of the largest advertisers in the country, Casas Bahia.
Phenomenally popular, the campaign created by Young&Rubicam for
the store chain made the pitchman, the actor Fabiano Augusto, into a
celebrity. From 2001 to 2006, Fabiano appeared on TV for almost an
hour a day (adding up all the commercials), announcing offers by
shouting and gesticulating frenetically and always hammering home
the same question: “How much do you wanna pay?”
Entitled Varejo (Retailing), the commercial by Loducca for Panamericana showed a young man bearing a resemblance to Fabiano,
with a similar setting, announcing the sale of furniture and household
appliances in a similar manner (in other words, by shouting)—until he
is interrupted by a band that invades the studio, knocks down the
backdrop and smacks him around. At the end of the commercial, a
website appeared on the screen: www.maiscriatividade.com.br, a link
that would take the viewer to information about the school.
“It was not a jab at Casas Bahia, per se, but rather at a style of retailing,”
says Guga. “But when the commercial was aired, it was crazy, pressure
from all sides.”
“We caught on to something that was happening at that time: no one
could stand that pitchman for Casas Bahia. Not him, of course, but
that level of annoyance and shouting,” adds Celso. “That’s what our
film was about: stop with the pestering, be more creative. Because the
advertiser was an art school, that was the subject.”
The networks were pressured not to broadcast the commercial,
under threat of losing advertising dollars from Casas Bahia.
Coincidentally or not, only TV Globo (due to its market dominance)
and MTV (a client of Loducca) broadcast the commercial normally.
The buzz in the market was huge. For aroud two weeks, the registration
period for Panamericana, the commercial was broadcast on television
and reached a wide audience on the Internet. Despite the tight spot,
the result was positive for Loducca and its client.
Before the end of the year, the agency found itself embroiled in
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“People who know me know that I don’t enjoy controversy for the
sake of controversy. That would be infantile,” says Celso. “But I have
no qualms about broaching subjects that may create controversy. The
discomfort caused is proof that our hunch was right.
VI.14
Months later, Fabiano Augusto, the original one, exited the stage.”
Confident in his team, Celso ended the year by passing the
creative helm to Guga. But truth be told, ever since the Banco
Santos episode, he had been unable to shake the feeling of failure
as a businessman.
For the laundry soap Coquel, another KM Casa brand (owner of the
liquid wax Brilho Fácil) the idea was to publish an ad made of cloth in
women’s magazines, something never done before anywhere in the
world. Indeed: producing it was ten times more expensive than
advertising it, traditionally the most expensive part of any campaign.
The client did not regret it: the impact was enormous.
“The fact that I hadn’t monitored the finances of the company
like I should have made me feel like a loser,” he says, with the
benefit of hindsight eight years after the storm. “At one point, I
really thought it was time to close the agency and do something
else with my life.”
“When we believe in something, we work hard to make it happen. Our
role is to show people that the calculation cannot be like this, like in
college: I’ll spend so much in advertising, setting aside 5% of this for
production.’ How do you calculate the impact of the imponderable? Of
proposing something new, different?” Celso provokes.
“No fucking way!” was the delicate response that Celso heard from
PB when he confided in him what was going through his head:
closing Loducca. PB suggested a more reasonable path: since
everyone wanted to be a partner of Loducca, why not sell a part of
the agency? Celso began to consider the idea. While the crisis was
unfolding in the wings, the agency’s new creative director was
working and making things happen. And he didn’t care if there
was money on hand or not to pay for his ideas. Guga had grit, and
that was enough to make a “garage agency,” as he defined this
period at Loducca, by winning a variety of awards.
A similar episode occurred with an ad for the security company Fort
Knox. The briefing asked for a new brochure, but Guga and his team
decided to propose something different. The result: a band wrapped
around the cover of an issue of the magazine Exame that when
opened would sound an alarm.
“It made an impact, was a finalist at Cannes, won the Abril award and
a bunch of other stuff, primarily new business for the client... and it
could have been just a brochure,” says Guga.
With the signature of Guga Ketzer as the creative strongman, Loducca
won more awards in the print media category than any other agency
at the 2006 Cannes Lion. One of the winning ads, created for the
liquid wax Brilho Fácil, dispensed with clichés by not showing a
shiny floor, or a happy housewife, but the shadow of a ceiling fan:
“Brilho Fácil. A lot more shine for your floors.”
The other ad that won at Cannes Lion was created for MTV and
harked back to the trademark of three rock idols: Guitar, for
Jimi Hendrix, Voice, for Janis Joplin, Sex, for Jim Morrison. The
tagline: “MTV. Trademark of music.”
136
2006 also saw some remarkable commercials, like the remake of
Flashdance for Brilho Fácil. Using one of the songs from the
soundtrack of the film directed by Adrian Lyne in 1983—“She’s a
Maniac,” by Michael Sembello—the commercial transforms a
housewife into an accomplished dancer who, à la Jennifer Beals,
performs showy moves while making the floor of her home shine.
VI.13
To be able to create ads like these, one of the first things Guga did in
the creative department was—besides promoting Cassio Moron to
Head of Art— to change the production scheme. It’s standard practice
at every agency to have a graphic producer and an RTV producer,
each one tending to their own business, and in general separate from
copywriters and art directors. Guga moved these two functions into
the creative department. Sid Fernandes and Ana Luisa André, then
promoted to executive creative producers, became part of the creative
process, from the beginning of each new story, seeing up close all the
possibilities of execution for the ostensibly impossible-to-produce
pieces. And they are still there today.
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“In general, production is not very prestigious. But it is immensely
important, because it enables our way of doing things,” says Guga.
“Coming up with an idea is not enough: I like to put ideas out there.
Our production department is one of the best in the country because
of this. This is thanks to Sid and Ana’s skills and also our penchant for
dangerous ideas.”
A penchant that is taken seriously: some years ago, whoever entered
the elevator at Loducca would find a quote from Oscar Wilde that said
“An idea that is not dangerous is unworthy of being called an idea at
all.” To get to your desk, you had to pass by that mantra. Celso cannot
remember where he saw the quote for the first time, but has always
thought it summarized what he believed in and what he should
convey to the entire team.
Another dangerous idea of 2006 was to radically change the
communication for Neutrox, a brand of hair cream. Instead of classic
images of women showing off their impeccable locks, the campaign
featured Sidney Magal pulling off a wig in the middle of a silly show
and flashing his bald head (false, but which made many people
wonder whether the singer was really bald) while he sang with his
deep voice: “If I had hair, I’d use Neutrox.” The campaign not only
caught on but also effectively boosted sales of the product, which had
been falling precipitously.
At the start of 2007 another hit: the institutional film for the Ibi
financial services store, starring Luciano Huck. To the sound of a
hip-hop jingle, Ibi employees participated in the filming, making
reference to the “many faces” of Brazil and emphasizing that Ibi is a
different kind of financial institution: made up of people—just the
way Loducca likes it.
The strategic goal was to make the brand top of mind in five years,
but this was achieved in only two. (Afterward, the business grew,
was acquired by Bradesco... and the account disappeared. That’s the
way it goes.)
A rapper creating a parody of the program Globo Repórter (for Fiz TV,
an Abril Group channel); a resident of Shantu, “the ugliest country in
the world,” asking for help from Brazilians to do something about the
natural ugliness of his native land (for the Instituto Europeo di Design);
138
rabbits fornicating all over the house (for MTV Overdrive, collection of
videos on the website of the broadcaster), new formats and experiments
in print media: there were no limits to the breaking of paradigms.
VI.18.
VI.15.
In the meantime, Celso and PB were putting the final touches on the
sale of 20% of the agency to the ABC Group, owned by Nizan Guanaes
and Guga Valente. Of all the advances received from the market, this
had been the only one to say exactly what Celso wanted to hear: “You
don’t need to give up anything, continue what you’re doing, do what
you know how to do, focus on advertising, we are here to help you
build your agency.”
“Enough money came in for me to be able to pay off the debt we had
with the bank, so we could pay salaries on time,” recalls Celso. “All I
wanted to do was keep my group together. It wasn’t my company or
my name that I wanted to keep, because I never wanted it to be called
Loducca, but I wanted to keep my group. My measure of success was
never money. In my last 10 minutes of life I want to look back and be
able to say: ‘I lived the way I believed.’”
VI.16.
VI.19.
With the back office provided by the ABC Group, Celso could finally
return to focusing on what he knew how to do best: communicate.
Loducca was on the upswing and the return of Celso’s confidence in
his work only reinforced the trend.
Little did he know that there was still another paradigm to overcome
at this juncture of the story.
VI.17.
“After a while, Nizan said that I had to leave the warehouse on
Cristiano Viana Street and move to a more sophisticated location,
which would be important for the agency, because people respect the
packaging as much as the product,” relates Celso. “I expected to be
valued for my product, but I knew that this was not happening.”
Celso had the feeling he was trying to prove something, but was not
being successful. Was it a failure? From a philosophical point of view,
one could say yes. But a small one, he believed, compared to everything
he stood to gain:
“I decided to play the game and said: ‘Nizan, you’re right. Let’s move.’”
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Escola
panamericana
de arte
Seara
I love you
Retailing
2005
A manifesto demanding
more creativity, criticizing the
shouting found in commercials
for retailers, it was the starting
point for the campaign that
aired on TV without a logo,
product or any clear reference
to the client. The only hint: an
Internet address, where the
curious followers who took
the playful game to the end
would find information on
Panamericana.
140
2005
The father takes cares of his
son alone at home and is
deeply touched when he hears
him say, “I love you.” Until he
discovers, on the way to
school, that the boy repeats
the phrase to everyone that
passes by. The commercial
created for Seara plays on the
concept of the perfect family,
widely explored in the
communication of the food
category, using a funnier tone,
addressing the contradictions
and imperfections of daily life.
141
fort knox
coquel
Band
with alarm
Cloth
2006
2006
In September 2006, subscribers
of the magazine Exame received
an issue that came wrapped
in a paper band. When it was
broken, the reader would hear
a loud alarm, and find the
text: “Surveillance 24 hours
for you and your company,” in
addition to the logo and Internet
address of the company Fort
Knox. Ironically, the briefing
initially asked for the creation
of a brochure for the brand.
The awards and impact of the
promotional piece proved: it was
worth changing the idea.
142
Two ads, printed on cloth,
were glued between the
pages of the magazines
Caras and Nova, published
at the end of July and
August 2006, respectively.
It was the first of a series of
creations that would prove
that interactivity is not
necessarily synonymous
with digital media: you can
be innovative and promote
different experiences
even in traditional media,
including the tried and
tested magazine page.
143
neutrox
Romantic
2006
“Multiply yourselves. 24
hours of MTV is not enough”
was the message designed to
promote Overdrive, MTV’s
broadband channel, where
it was possible to access
programming anytime. To
represent this multiplication,
a couple of rabbits were
shown in steamy scenes
around the house.
mtv
Rabbits
2006
Had Sidney Magal gone bald?
Would the singer find the same
success as he did with his long
curly locks? The shiny pate of the
singer of the hit “Sandra Rosa
Madalena” was false, just a joke. But
it generated curiosity: everything
you hope for from a commercial,
in which he sang “If this film had
hair” and introduced a new way
of talking about beauty products.
144
145
IBI
brilho fácil
People
of Brazil
Flashdance
2007
2006
In the institutional film
created for the financial
services store Ibi, TV
presenter Luciano Huck
does his impression
of a DJ and rattles off the
hip-hop jingle to present
the employees of the
store, reinforcing
the diversity of the team.
She’s a maniac/ Maniac
on the floor/ And she’s
dancing like/ She’s never
danced before. One of
the most recognized hits
of the 1980s, taken from
the soundtrack of the
film Flashdance, it is the
perfect background for the
cleaning-dance performed
by the protagonist who tries
to make her floor shine.
146
147
Bayer
HealthCare
Cycles
IED
Ugly
Country
2007
2007
The campaign created by Loducca
for Bayer HealthCare looks back at
the launch of the birth control pill
(which is its best selling product),
in 1961. The commercial pays
tribute to the daily life of women,
all done in cycles, showing how
the pill was essential to the
progress of women since then.
148
“Save my ugly country”, read
the message in the campaing
for the Instituto Europeo di
Design (IED)—a school for
design, fashion, visual arts
and communication in São
Paulo. The ten viral films
featured the character Peter, a
resident of a country where
“everything is ugly” and that
needed a total makeover: in
attire, in furnishings and even
spouses. Without revealing
the advertiser, at the end of
the films the address www.
saveuglycountry.com
encouraged people to visit the
site where they found
information about the school.
149
Living is dangerous
07.
VII.01.
VII.02.
Two words have always been a part of his repertoire:
competition and persistence. That’s the way it’s
been since he tagged along with the friends of his
brother, Marcos, four years his senior. The mascot
of the group, yes, but none of the big boys had the
enthusiasm and courage to risk themselves like
him on a motorcycle or any other epic adventure
that appeared dangerous enough.
The motorcycle he used to brave the trails of Ilhabela Island was a
present from his father, when he was 12. But the encouragement he
received from his father, José Raphael, did not end there. He also
nurtured his son’s passion for surfing, wakeboarding, skiing, water
polo and judo.
When the spotlight shines on that period in his life, however, André
Paes de Barros—PB, as he is known—prefers to minimize his sporting
past:
“I never considered a career in sports. My focus, when I was a kid, was
on having fun. Actually, I was just playing. At 41 (he was born on April
29, 1971), I think it’s much more charming to play the piano, like my
brother, than to have a scar that runs the length of your arm from
falling off a motorcycle.”
150
151
Playing around was even understandable. Thanks to his father’s work
at the São Paulo Stock Exchange, PB led a very comfortable life. He
lived with his family in a beautiful apartment in the Jardim Europa
district, with a driver in the garage, boat anchored on the northern
coast, schooling at the Objetivo high school in Morumbi. Life seemed
really so simple. How could anyone imagine that the work of his father
and brother could be as risky as his juvenile adventures? Since he was
fortunate enough not to die young, at 19 PB channeled his desire to
live dangerously by also going to work on the trading floor of the stock
exchange.
Although he did not think that was the best job in the world, the
environment was competitive, and this made it interesting. Perhaps
he would have stayed there if it weren’t for a cell phone antenna (back
in the day when the handsets looked more like a brick with internal
electronic circuits) that caught him in the eye. The accident left him
with a scratch on his cornea and time off that would end his prospects
of living in the volatile world of finance.
One day, after his eye had healed, PB was resting by the poolside at
Clube Harmonia, where he had been a member since he was little,
when he met a friend, Sergio Sacchi. In the conversation, PB told his
friend of the unfortunate run-in with the cell phone antenna and
confessed a desire to seek out other professional horizons. Sacchi
suggested he stop by Young & Rubicam, where mutual friends worked.
Perhaps he could dig up some work around there? PB didn’t just knock
on the door of Young but spoke directly with Christina Carvalho Pinto,
president of the agency at the time. The internship was settled on the spot.
His rise to the top of the account service department was just a matter
of time. PB, as you will see further ahead, would soon be invited by
other agencies to deploy his talent for listening to people, establishing
relationships and finding solutions to a wide variety of problems. But
life is not for beginners—and to get there he would be put to one of the
toughest tests. The question here is one of upbringing, and a
completely unavoidable turning point, not only in the personality of
PB but in the life of his family, was the premature death of his father,
at 56 (PB was 24), victim of a stroke.
“My father was a very sociable guy, which made me, my mother and my
brother very sociable as well,” he ponders. “When he was hospitalized,
152
VII.06.
VII.07.
VII.03.
the hallway of the Sírio-Libanês hospital swarmed with people.
Everyone was there to provide support. When he died, they began to
disappear. The time we needed them most, they were no longer there.
That was when my sense of responsibility emerged. The death of my
father was what got me on track. Because then I said to myself: ‘No! I’m
going to earn money so I don’t have to think about money.’ So I focused
on work. Work, work, work. I became neurotic about work. If I had to
choose how I would like to be remembered, it would be as a businessman.
Not as someone who risked their life on a motorcycle.”
A matter of principle, one can say, passed down from his father, José
Raphael. And even more from the close relationship PB has had since
he was small with his mother, Patrícia, “a very elegant lady,” in the
affectionate words of her son.
VII.04.
VII.08.
VII.05.
“Even today I am very much guided by what my mother and father did
for me,” he admits. “Thanks to them, I am known today in the
professional world as a man of principles (despite my vulgar language,
but anyway…) and have a really great relationship with Bia, my wife.
For 17 years, Father’s Day was really shitty. It only changed when my
daughter Duda was born on Father’s Day, perhaps as a gift from God.
Bia and PB have been married since 2002. They met when she entered
Young as an assistant in account services. Before they began to date,
Bia, today a well-known fashion consultant, saw PB marry and separate.
Maria Eduarda, Duda, arrived five years later. And the open relationship
that he has with his daughter, he believes, is a direct reflection of the
relationship that he has with Bia (and indirectly reinforced by the
affectionate relationship that he had with his parents).
VII.09.
“Today, Bia and my mother are best friends. They are so much alike
that people ask if they are mother and daughter,” says PB, exhibiting a
smile at once timid and frank. “While most couples need some time
off, Bia and I are inseparable. We exercise together, bike together, we
ski on the lake together, take Duda to the park together. We are a
closed circle. This is because Bia has always been patient with me.
When we got married, I fell off my skateboard and destroyed my knee,
and had to use a cane for eight months…
Bia, like no one else, knows that living is dangerous.
Living is dangerous
153
Guarujá, 1972
154
155
Ilhabela,
summer of 1985
156
First
tuxedo, 1983
157
jardim américa, São Paulo
08.
158
325 Colômbia
Street
159
In July 2007, Loducca inaugurated its new headquarters on Colômbia
Street, a continuation of Augusta Street, almost at the corner of Brasil
Avenue, with a terrace looking out on the domes of Our Lady of Brazil
Church.The new address was a building beyond hip, designed by the
people at Triptyque: a mixture of bare concrete, glass and an external
wall made of undulating wood to impress even the most distracted
visitor. Featured in foreign architecture magazines, the building had a
mezzanine for management and an outdoor garden. It was everything
that Loducca needed to heal his ego.
But nothing is ever that simple, primarily, when it involves people.
Ever since he started at Loducca, PB liked to show why his efficiency
had taken him, in the space of a decade, from intern to partner and
vice-president of one of the most respected advertising agencies in
Brazil.
VIII.01.
“I arrived at Cristiano Viana elbowing everyone,” he admits in meaculpa fashion, years later. Bulldozing over others. Someone would say:
“PB, I’m going there to do that” and I would say: “No, I’ll go!” Another
one would say: “PB, I’ll go get it” and I: “No, I’ll get it!” I wanted to do
everything myself.
“When we moved there, all of a sudden it was like we had become incredibly well-hung,” says Celso using a phallic metaphor and a light touch of
irony with regard to the well known (and never digested) importance that
people place on appearances. “It was the same agency, the same work, but
it had changed. What had changed was the way people began to look at us”.
“From one day to the next we became more intelligent, PB jokes,
reiterating the impact that the new packaging had on the market”.
At the agency’s first press conference in the new building, on August
21, 2007, the management at Loducca, having dropped the 22 at the
end, announced the entry of another partner who would come to join
Celso, PB and the ABC Group: Guga Ketzer, the agency’s creative
director, who would now also serve as vice president. In addition,
they announced the signing on of five new clients: Bayer HealthCare,
Dafra, Peugeot, Cia Muller de Bebidas (Cachaça 51) and Nextel.
Five clients from five bids. Loducca was returning to the ring for real.
Four months later, the year 2007 came to a close with a fireworks
display above the building complete with a pyrotechnic climax: huge
luminous letters spelling LODUCCA 100%. A perfect score, of course:
that year, when it won the Agency of the Year award at Prêmio
Colunistas, Loducca was the only one to score 100% for all the items
surveyed annually by Grupo Consultores, which evaluates what
clients think about their agencies—effective and original creativity,
innovation, good customer service, meeting deadlines, effective
investment of client’s money, honesty.
Now that there was cash on hand and everyone thought the agency
had become more beautiful and intelligent because it now had a fancy
address, it was only a matter of pressing full speed ahead.
160
In an atmosphere up until that time filled with jokes and initiations, it’s
no wonder that a cloud laden with tension had descended on the agency
with the arrival of PB and his work method. His justification is sincere:
VIII.02.
“I was egocentric; I only thought about myself. Becoming a partner at
Loducca at 33 is enough to dazzle anyone. At the time, I said to myself,
‘fuck it, this is what I’m here for.’ I think that in the end I kind of ruined
that carefree environment the agency had.”
This happened during the major crisis at Cristiano Viana, which could
have been an excuse for PB, still green in command and determined
to shoulder all the responsibility himself. But he insisted on bulldozing
other departments now that Loducca was rowing against the tide on
Colômbia Street. Always in terms of his relationship with the team, let
it be understood. As for PB the businessman, this side continued
sharp as ever and he never stopped closing deals as the head of the
agency’s account service department.
“The phrase that I most enjoyed saying was: ‘Celso, I closed another
deal!’ he recalls. “I would come right up and say: ‘I closed another
one!’ Or ‘Celso, I won us another account!’ One day, he said to me:
‘Man, let me tell you something. Don’t use the first person to talk
about the company. Everything with you is I, I, I… What do you want?
Do you want to become rich or for the agency to be successful? The
result is the same. So change.’”
PB describes the conversation as one of the biggest hits he’s ever
taken. But it was a turning point that made him reevaluate his
behavior before the team. And which strengthened his friendship
325 Colômbia Street
161
with Celso even further. But PB was not the only talent to change
radically under the weight of being a partner. Since 2005, another
bulldozer named Guga Ketzer also didn’t make it easy on anyone.
Indeed: one of the most important successes from the start of 2008
was the campaign that helped transform Nextel’s radio-cell phones,
previously thought of only as mere work tools, into objects of desire
for a more sophisticated public. “Welcome to the club,” a series of
print ads and TV commercials starring successful Brazilians from a
variety of backgrounds—the chef Alex Atala, the actress Camila
Morgado, the fashion designer Reinaldo Lourenço, and others—
presented personal experiences invariably ending with the tagline:
This is my life, this is my club.
“I was very demanding of myself and the others who worked with
me,” admits Guga. “When we arrived at Colômbia Street, higher rent,
new accounts, pressure from all sides, the sensation that I had was
that I wasn’t doing so well in the midst of that euphoric climate. Not
having any experience as a leader tripped me up a lot. I thought
people had to react the way I thought they should.
To make things worse (actually, better), the pressure mounted with
the arrival of heavyweight clients from the bids.” Guga felt like a
prisoner in his duties. And in the ones that weren’t his.
VIII.04.
“With Celso and PB developing new relationships, gradually I found
myself informally running the day-to-day operations of the agency,”
Guga continues. “And, of course, without many senior personnel to
help me, it was punishing. Nothing could go wrong, so I began to
bulldoze my way through. I was supposed to be the sheriff of the
agency, but I ended up becoming a despot.
Celso, in his Yogananda style (or, to mention the nickname gifted him
by Guga, Yoda, the mentor of the Jedi warriors in the Star Wars saga),
one day called Guga in for a chat. In another frank conversation, he
repeated an image simple to understand, one he had already used on
PB on another occasion: “if you put more pressure on an already tight
bolt, it will strip. If a person under your command is feeling pressure,
calm him down. Not the opposite.”
“We had a damn good talk,” Guga adds. “After that, we began to share
more work, we hired people for account service, media, and creative,
we began to look a little more inside, I began to control my impulses.
It dawned on me that I was handling pressure the wrong way. I was
the boss for my team that even I would not like to have. Without even
noticing, I was isolating myself, and Celso opened my eyes to this.
That conversation was the beginning of a change in my way of
understanding leadership. I began to pay attention to the people more
individually, to understand the pace of each one. I learned. But even
today the professional dilemma remains: how do you get the best out
of people? But everything began to get better.”
162
The first batch of commercials (in the four following years, dozens of
other celebrities would join the club) was directed by Fernando Meirelles,
who was returning to advertising after four years dedicated to
moviemaking and O2 productions for TV. His direction gave the film a
cinematographic touch.
“The commercials have a powerful language, an attitude, which
Fernando helped to enhance,” says Guga. “With his help, having a
person on a road, speaking and looking straight at the camera, Nextel
now had a style it could call its own.”
Perhaps Nextel is one of the most important recent cases from Loducca,
due to the degree of change that it brought about for the company.
The first year of the campaign saw sales double (in the four following
years, the figure quadrupled). And the way of communicating with
the public was essential for this turning point.
VIII.03.
VIII.05.
The argument used by the agency focused on the idea that Nextel was,
more than just a telecommunications company, a social network via
radio and to speak from Nextel to Nextel you have to be a part of the
same network, the same club. At a time when Orkut reigned over
Brazilian computers and Facebook was spreading, Loducca bet on
the idea that it was necessary to make the network the coolest thing to
be part of.
Once again, the planning costs for production were redrawn—
upwards. Since there is no such thing as an empty club, it was
necessary to bring in very cool people to present the club so others
would want to enter. Over the years, the cast from a wide variety of
fields continued to grow and included stars such as artist Vik
Muniz, writer Fernanda Young, neuroscientist Miguel Nicolelis,
325 Colômbia Street
163
fashion designer Oskar Metsavah, musicians MV Bill and Herbert
Vianna, actor Fabio Assunção, soccer player Neymar... an infinity
of people.
Featuring samba, mixture of races and symbols of Brazilianness,
the campaign would later be continued as “Being Brazilian is a
good idea.”
“Hats off to the client, who could have stayed with what was safer, but
decided to bet on a new idea,” stresses Celso. “I can only remember
two cases in Brazil of products that jumped a level like this: Havaianas
and Nextel. In the case of Nextel, the one I’m intimately familiar with,
the products were no longer just for motorcycle couriers, security or
operations personnel, but also for the president of the company.
The year would also have another campaign resembling a superproduction: the launching of Dafra motorcycles, with commercials
starring Luciano Huck and Wagner Moura. The one with Moura took
three days to shoot, where hundreds of extras almost melted under
the blazing sun on a farm in the state of São Paulo. In the commercial
the actor gives a speech in a Martin Luther King I have a dream style,
urging citizens to inaugurate a new phase in their lives, astride a
Dafra—finally a motorcycle that everybody can afford.
VIII.06.
Loducca also produced one of Nextel’s most successful print media
initiatives that year: an ad that literally speaks. A band wrapped
around a special edition of an issue of the Biggest and Best Companies,
published by the magazine Exame, distributed to executives and
personalities associated with the world of business, featured a
mechanism capable of making a call by simply pressing a button. The
reader received the magazine, pressed the button and could talk with
an operator about the new Nextel push-to-talk service.
Once again, it was something difficult to produce. The chip, battery,
speaker and, of course, the operator on the other end of the line—
everything had to work perfectly, which required months of research
and tests.
“It’s easy to give up on a project like this, because it was so much work
that even the client begins to question whether he should continue,”
recalls Guga. But we persisted and it worked. Everyone loved it.”
The commercial is remembered not only for its qualities—and for the
impact that the campaign had on the success of Dafra’s business (in
four months, it was already the third highest selling motorcycle on
the market)—but also for a parody that became famous on the Internet:
in it, instead of the grandiose original speech, the protagonist,
dubbed, mocks those who bought that brand of motorcycle.
VIII.07.
Loducca ended the year 2008 with growth of almost 200% over 2007.
It was the fastest growth in the ranking of the 50 largest advertising
agencies in Brazil. Celso ended the tradition of opening a bottle of
champagne for each new account and placing the cork on the wall, as
a trophy—a symbolism that had become quite passé. But he still
insisted on gathering all employees together and thanking them for
their efforts. And everyone applauds.
“Working at Loducca had become cool again,” sums up PB.
In the same “Is that gonna work?” type of ads, there is the edible one
produced for MTV. The mission was to publicize the MTV 4th Young
Universe Dossier, whose theme was Sustainability. This led to the idea
of making a really sustainable ad. An ad that, after read, could be
consumed without creating waste. Once again, media exposure,
awards, satisfied client, happy agency.
Another challenge of 2008: rework one of the country’s most
successful advertising slogans: one that since the 1970s has
reminded us that drinking Cachaça 51 is a good idea. “Brazil: a
good idea” was the concept created by Loducca to regain the
strength of the brand, which hadn’t advertised since 2003.
164
The following year, another positive one for business, saw an
important change in the management at Loducca: the hiring of a new
CFO, Ronaldo Severino, who had arrived with over 20 years of
experience in the advertising market. It took time to find someone
who possessed all of the technical qualities required to command a
sensitive department and, at the same time, would be able to adjust to
the democratic style at Loducca. There were many interviews before
the selection of Ronaldo, the candidate who most appeared to
understand the type of place Loducca was.
In a very short period of time it became clear that the impression was
325 Colômbia Street
165
Fiz TV
correct. Celso felt like Ronaldo had been working at the agency for 20
years. He frequently seems even more Loducca-like than Loducca
himself.
Food/
Mano TV
“From an administrative and financial standpoint, the agency today
runs like a Swiss watch,” says Celso. “When this department is not well
run, it completely destabilizes a company. The most important thing
that Ronaldo provides is peace of mind so we can work on what we
enjoy: advertising.”
2007
Ronaldo confirms that he “found himself” at Loducca. After years of
dealing with more traditional forms of management and employee
relations, he was overjoyed to discover that the values were different
there—they were precisely those in which he also believed:
“I’ve worked in a lot of places where they don’t pay any attention to
employees and I’ve never understood why these companies think it
has to be like that. At Loducca you can express yourself, have opinions,
work freely.”
In December 2009, after six months at the agency, Ronaldo prepared
himself for a trial by fire: at that moment, news arrived from the
market that Loducca was merging with MPM, another agency of the
ABC Group. This delicate operation would require a deep
restructuring, a rather difficult puzzle to solve.
But change, as you know, has never scared that bunch.
FIZ TV was the name of the pay
channel owned by Grupo Abril,
whose programming would be
entirely comprised of videos
sent in by the public. The
venture did not last long, but the
campaign for the launch is still
remembered thanks to the
characters of the commercials
(Mano Repórter presented a
hip-hop style news program;
Food was a nonsense version of
cooking programs, except for its
heavy metal soundtrack) and to
the production style at Loducca:
from casting to the directing,
everything had a “homemade”
feel, low-budget, but humorous.
166
167
BR MALLS
MTV
Magic
Christmas
Edible ad
To publicize the fourth edition of
the Young Universe Dossier, a
survey of young people on topics
such as recycling, green policies
and other themes associated with
sustainability, Loducca launched
the “self-sustainable” ad: after
read, it could be eaten—and
therefore disappear completely,
without generating waste for the
planet. The action also had a hot
site in which a chef taught recipes
using the ad as an ingredient.
2008
2008
For the Christmas campaign
of the 16 shopping centers
belonging to the BRMalls
group, the idea was to offer a
different, unique gift. The
solution: a new book from the
writer Paulo Coelho. The
Livro dos Manuais (Book of
Manuals), a compilation of
tips from the author on a
variety of subjects, had a
print run of 500,000 copies.
168
169
nextel
Welcome
to the Club
Fernanda Young
2008
“This is my life, this is my club” is
the central slogan of the campaign
that changed the history of
Nextel—a brand whose products
became coveted items. In the cast
of the campaign, which received
reinforcements and new formats
in the following years, Brazilian
celebrities from a variety of fields
talked about their success. And, of
course, they let it be known that
they belong to a special club.
“I began to write even before
I learned how to write. I had
dyslexia and created my poems
in my head, pages and pages,
just in my head. Then I learned
how to write, colored my hair
pink and was expelled from high
school. Today I have eight books
published, three films, plays, five
TV series, three daughters. Not bad
for someone who thought of killing
herself at 17, huh?
Vik Muniz
Alex Atala
“I’m always up against a wall.
In Belgium I’ve painted walls.
Bedrooms, living rooms, kitchens,
that’s it, kitchen. Sometimes the
walls open, sometimes they shrink
and squeeze you. Time, quality,
productivity. In any wall, you can
open a door.”
170
“When I was little, I didn’t have any
toys, but that doesn’t mean I didn’t play.
Mashed potatoes were like modeling clay
for me. The plate was a canvas, the sauce
was the paint. The game became art,
which today can be seen at the MoMA,
Metropolitan, Tate, Reina Sofia and the
Pompidou. If my parents had given me
lots of toys, where would I be?”
171
nextel
dafra
Band
Encounters
2008
2009
A band that makes calls: published in a special
issue of the Biggest & Best Companies edition, of
the magazine Exame, for top executives and
personalities associated with the world of
business, a band featured a mechanism capable of
making a call to a Nextel consultant by simply
pressing a button. Since each band had its own
unique identification code (ID), recognized by the
consultant upon receiving the call, the action
ensured exclusive and personalized service for
each reader. Another one for the series: Who said
you can’t be interactive using print magazines?
172
Over 100 professionals
involved in a production
with almost 400 extras
working for three days
under a blazing sun. There
are many stories behind
the commercial that
featured the actor Wagner
Moura making a speech
about realizing a dream—
and which helped Dafra to
dramatically boost sales of
its motorcycles. It was so
successful that it earned
a parody on the Internet.
173
Connections
09.
IX.01.
IX.02.
The destiny of a 17 year old. At this age he was already
itching to leave his parents home and quickly establish
his independence. He had played the bass guitar since
he was young. At 15 he was already trying to earn some
pocket change giving private lessons—but he knew it
would be difficult to live on just that. Like many adolescents, he dreamed of being part of a famous band (he
was a fan of the Red Hot Chili Peppers, and others). In
the meantime, until the dream came true, he thought it
best to go to university.
And, you know, Daniel Chalfon is quite the dreamer. When he was 16,
he met a girl named Mariana. That very same night he dreamt that he
said to her: “I’m going to marry you.” When they went out for the first
time, he told her what he had dreamt. She thought it was just a line—
but it worked: they married after six years of dating and had two
children, Ian and Helena, today 12 and 10.
When he married Mariana, Daniel was 21. At the time, he had been
working for three years at McCann Erickson, thanks to his father-inlaw. While still a student of business administration, Daniel, then 19,
was doing an internship at the bank Caixa Econômica Federal. But life
in a bank, in his view, was too bureaucratic. Working in an advertising
agency would be heaps better. Coincidentally, Mariana’s father was a
neighbor of the financial director of McCann.
174
175
“Give me your résumé, Daniel,” his father-in-law said, offering to play
go-between.
However, what did “shiver” was Daniel’s hair (at the time he was not as
bald as he is today) the day he realized: the future is in computers.
Mr. Taliba knew that the financial director of McCann went out at six
o’clock every morning to walk. So, on one of these mornings, he
approached the man during his walk and handed him his son-in-law’s
résumé. Despite the strange approach, two weeks later, Daniel was
invited to begin an internship at the agency.
“I always say that the generation of 1974 is important because it served
to bridge the analogical and digital worlds,” affirms Daniel, who is
crazy about electronic paraphernalia and objects ranging from
computers to cameras from every generation.
It is surprising that someone in line for a life working in a suit at a
bank would suddenly migrate to the unbuttoned world of
advertising. But the story of Daniel, who would later be recognized
as one of the stars of the market when it comes to media, is full of
migratory bridges like this. Beginning with his father, Avraham, a
Bulgarian Jew born in a small city near the capital, Sofia, in 1943. If
persecution by the Nazi’s wasn’t enough (Daniel’s grandfather
worked in a forced labor camp during World War II), at the end of
the conflict came the communists and took everything away again
from the Chalfons.
IX.05.
It was thanks to his good relationship with technology that, in 1995,
Daniel graduated from intern to formal employment in the media
department of McCann Erickson, where he would remain for the
following six years. What surprised him most, during this period, was
how most directors still couldn’t see the technological wave that was
coming to change the world and, evidently, change the way advertising
is done.
“I looked at the more experienced guys and thought: “Hey, the world
is going to change and these guys just don’t see it!” says Daniel.
“Exemplified by the fact that most of my old bosses are now out of the
market. They were focused only on TV and newspapers even with the
arrival of cable TV and Internet…
IX.03.
“My grandmother used to say that the Germans were easy compared
to the Russians. The exodus from Bulgaria after the end of the war
was because of them,” explains Daniel.
The Chalfons left Bulgaria on the last ship to the recently created state
of Israel. There, Daniel’s grandfather met a countryman involved with
a sewing machine factory in Brazil. It was like that, some years later,
that the Chalfon family crossed the Atlantic and ended up in Jundiaí,
60 kilometers from São Paulo. Avraham, Daniel’s father, was 11.
Daniel was born in the Bom Retiro district, a stronghold of the Jewish
community in São Paulo, on July 13, 1974. Born and raised, but never
actually lived in Bom Retiro. Shortly after he was born, his parents
moved to an apartment in the Jardins district. But Eva Kirzner, Daniel’s
mother, worked at Renascença, a traditional Hebrew high school
located in Bom Retiro at the time (years later it would move to the
Higienópolis district). And that was how Daniel’s childhood would be,
back and forth from one district to the other, at a time when an 11-yearold middle-class boy could cross the city by bus without giving his
parents the shivers.
176
IX.06.
IX.04.
The Internet, by the way, is the main star of a case that illustrates well
what Daniel says. In 1996, he was one of a handful of people in Brazil
who subscribed to Compuserve, one of the first international online
services to provide a connection to the Internet.
“You signed up with Compuserve and then three months later your
password arrived in the mail. The password was hard, so hard that it
is still my password today. It’s only eight digits, but, man, it’s tough!”
he says in amusement.
One fine day Daniel wanted to show what the Internet was to then
president of McCann Erickson, Dane Jens Olesen (who left advertising
in 2005 and is today the general consul for Norway, in addition to
presiding over the Brazil-Norway and Brazil-Denmark Chambers of
Commerce). To ensure that nothing went wrong, Daniel took his own
modem from home, borrowed the computer from the vice-president
of media and spent two hours installing all the paraphernalia. When
he was finished, he asked them to call Mr. Olesen.
Connections
177
Minutes later, Mr. Olesen arrives, a man known for his irritable
temperament.
“What is this that you want to show me?” he asked Daniel.
“It’s called the Internet. You are connected to the world and can
research anything.”
“Anything?”
“Yes! Anything!”
Daniel entered Yahoo!, the most popular search engine at the time,
and instructed his boss:
“Type in anything that you want information about.”
Olesen typed “John Lennon.” The page began to load, very slowly.
Olesen looked at it, looked again, then took the elevator, descended to
the garage, went to his car, removed a John Lennon CD that was there,
took the elevator back, returned to the room where Daniel was and
where the search on John Lennon still had not loaded on the screen.
Olesen then tossed the CD to Daniel:
IX.07.
“I’m faster than this crappy Internet!”
Daniel tried to argue:
“No, wait! This here will change everything!”
Conversation over.
In front of McCann
headquarters
in New York, 1996
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179
São Paulo,
1978
180
Young
photographer, 1979
181
jardim paulista, São Paulo
10.
182
4.980 Brigadeiro
Luís Antônio
Avenue
183
Just as fashion has always kept pace with historical turning points of
the world, making the hems of skirts rise and revealing behavioral
changes, it was already noticeable that something had changed in the
history of Loducca just by looking at the attire of the young women.
The women who worked at the agency’s new headquarters, a six-story
building on Brigadeiro Luís Antônio Avenue, would arrive in high
heels. Glancing from top to bottom, the attire was just this side of
cocktail: many pants suits, skirt suits, pencil skirts, all very discreet.
Where were these ladies from? From MPM, the agency with which
Loducca merged in December 2009, and which was always ready for
official occasions since some of their accounts were government
agencies, with clients in suits, brief cases and diplomatic smiles.
Still sighing in longing for their small Tryptique building, the old
Loducca gang had just arrived at their new facilities and, accustomed
to their girls (and boys) in jeans, T-shirts and sneakers, were taken
aback at first by all that formality.
manual,” says Carmen Assumpção, who joined Loducca in 1997, as
director of accounts, and left the agency at the end of 2011, as general
director of account services.
X.01.
When the two groups came together, Celso made sure to gather everyone
together and reassure them that, there, voicing an opinion and speaking
as equals was not only very much welcome but also encouraged.
“I spoke each day with a different department to explain that, despite
the notion that the president must distance himself from other
employees, at Loducca it doesn’t work like that. There is room for
everyone to voice their ideas. Dona Lu (kitchen maid) calls me a cretin
because there is room for this type of banter. I don’t have a superiority
complex, anyone can come to me and tell me I’m wrong.”
Almost 15 years had passed by since Loducca was housed at the
apartment in Real Parque. The heart of the agency, despite some
arrhythmias here and there, hadn’t changed much. Celso and his
team still bet on a relatively unorthodox vision of how the corporate
world functions. Betting on authenticity and diversity, where everyone
is united by a common sentiment: focusing on responsibility and not
targets, leaving people to be the way they are.
X.02., X.03. e X.04.
“It looked like the women at MPM were dressed up for a party,” recalls
David Maia, otherwise known as Catatau, image processor for the
agency.
If the wardrobe immediately revealed different styles, a greater shock
was unfolding behind the scenes in the merger of the two large
agencies. It was kind of difficult for MPM, which composed 60% of the
staff, and owned the building, to just switch to Loducca’s team—which,
despite making up only 40% of the team, retained its name and
philosophy, with Celso Loducca at the helm.
Shareholder equity in Loducca MPM was divided in the following
manner: 50% ABC Group and the rest of the shares were distributed
among the new partners: Celso Loducca, president; Rui Rodrigues,
vice-president; André Paes de Barros, vice-president of operations;
Daniel Chalfon, vice- president of media; and Guga Ketzer, vicepresident of creative services.
The Loducca way would prevail. But no one said it would be easy.
“It’s difficult for those who work in a company with very rigid systems
and processes to understand the Loducca way. Actually the agency
also has processes, but they are more organic, not defined in a
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X.05.
X.06.
MPM was a different kettle of fish. Founded in 1957 by the admen
Luiz Macedo, Petrônio Correa and Antônio Mafuz in Porto Alegre, it
was born into a Brazil Bossa-Nova, on the upswing, beginning to
modernize, when Oscar Niemeyer designed the curves of the new
capital and President Juscelino Kubitschek courted foreign
investors and embraced the international market.
For years it was a classic and envied agency, synonymous with Brazilian
advertising. In the 1970s, it was the largest in the country. It had fallen
into a period of ostracism in the 1990s but reemerged glorious after
being acquired by the ABC Group, using the song O Portão (The Gate),
by Roberto Carlos (“I’ve come back/now for good”) to announce its
return, with Bia Aydar as president. Later, Bia would leave to run her
own event management company and the ABC Group thought it was
time to combine the two agencies. In the merger with Loducca, thirty
MPM employees ended up losing their jobs due to redundancy.
Since there was no president at the time, the tough job of compiling
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the list of employees that would be let go was left to Daniel Chalfon,
and he tried to carry out this task with as much objectivity as possible.
There were people who found themselves in this other way of doing
things,” says Guga. Nine months after the merger, Loducca jettisoned
the suffix MPM. “One personality would have to overlap the other,”
declared Celso on the occasion. “Values, way of working, thinking and
objectives. And it was always clear that it would be Loducca, whose
focus had been built upon the intertwining of the experiences of
various personalities, with their strengths and imperfections.”
“We decided that it was just going to be a bad day,” says Chalfon about
one of the most difficult days of his life.
Chalfon, who divides his time in advertising with his roles as a bassist
in a rock band (there have been many), photographer (he keeps a blog
in which he displays snaps of trips around the world) and father of
two children, earned this position of leadership at MPM.
It is a vision that appears often in the discourse of the partners: what’s
important at Loducca is voicing your opinion, and not necessarily
ingratiating yourself with the client. It is to first think about what the
brand needs, and what needs to be done—and if necessary, going
against what the client expected initially.
His passion for the future of advertising began early, when he was an
intern at McCann and established himself in the media department.
There he discovered that his mission was to blaze alternative paths for
publicizing products (the first banner sold on the Brazilian Internet,
the first ad on the front page of a newspaper and on a bread wrapper,
the first specialized radio station, Rádio SulAmérica: they are all the
work of Chalfon). Next, he worked at DM9 and Zipnet, at the height of
the internet bubble, until 2004 when he accepted an invitation from
Nizan Guanaes to be a partner at MPM.
“There is nothing set in stone about how we should be. Today we are
almost 200 strong. There are times at which our culture becomes
more diluted, or more concentrated. It has to do with the type of
client. Some of them make the company feel anxious, tense, so this
fluctuates. But our idea is not to use authority for the sake of authority;
we want to remove politics from relationships. And gradually the new
people learned from the older ones,” says Celso.
When time came for cuts to be made at MPM, some of his friends
helped by pulling their resignation letters out of the drawer. There
was no other way except to move forward.
Internal relationships have always been a priority at Loducca, a place
where, in addition to the good working conditions, people receive
special treatment like breakfast and fruit served in the afternoon
every day, a massage room and various types of classes that pop up
frequently.
And then, when the guys and gals of Loducca arrived ready to play
ball, proposing new dribbles, betting on their wits, the order of the
day was to adapt. Chalfon, who became partner and vice-president of
media at Loducca, was excited. It was as if he had been walking along
in a suit, seen a ball just sitting there and shot at the goal, the feeling of
a boy beginning a new adventure.
“I thought it was great to be in a company that values a culture that is
above management, manuals. Very few places are like that. That
culture creates a certain spirit at Loducca, a spirit that all companies
should strive for, of having their own values,” he says.
Not everyone liked the game. Some turned up their noses at that
freedom, which looked more like chaos. Others saw their life flourish.
“There were people from MPM, who, in time, discovered they were
much more in tune with Loducca than many already at Loducca.
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On the other hand, “making brands create a strong relationship with
people” is the way the company summarizes the work it does. From
the banners announcing the disappearance of Daisy, the dog, to the
interactivity of the more recent ads, inviting the customer to join
hands with the advertiser comes in the most unexpected ways.
X.07.
One of the campaigns that did precisely this, invite people to play
with the brand, was Peugeot’s: made of paraffin wax, the ad for the
Quicksilver model could be removed from the magazine and used on
surfboards. A year later, another bold move by the automaker: an ad
in the form of an air bag, which exploded when the reader of the
magazine struck the page with force.
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Another on target ad for 2010: The Cyan Movement, created for
Ambev, to urge average citizens to think about the scarcity of water
and what they could do for the planet. On the same day, March 22,
2010, major newspapers and Internet portals painted their pages and
homepages in blue. Magazines, interventions in the largest park of
São Paulo, domestic flights and social networks. The blue city carried
a poetic message of love for nature and social participation.
X.09.
Neymar, by the way, is a constant partner (he debuted in 2011 in a
commercial for Nextel, with a testimonial about the importance of his
father and his upbringing, and in 2012 became the pitchman for
Baruel, a new account for the agency in 2012) who became a client:
leaving it to Loducca to create all the branding and the NJR logo for
the products licensed by the soccer star.
The Cyan Movement generated records for audience in online portals,
newspapers and social networks. The following year, the project had
a spin-off, the Cyan Bank, the first bank in the world to award their
clients for saving water: the amount of water saved by registered
consumers would be transformed into points that could be used on
purchases from a variety of online stores.
The year 2011 began with changes in the shareholder structure of the
agency: in February, Rui Rodrigues, the last partner remaining from
the MPM merger, left to open his own political and institutional
marketing consultancy, Vitória CI. Two months later, the market was
informed that Ken Fujioka was returning to the agency that had hired
him for the first time 13 years before. Now he was back as a partner
and vice-president of account planning.
The on- and offline campaign called attention to the importance of
water. And earmed Loducca its first Jay Chiat Award ever: the agency
won bronze for the best communication and planning strategies, in
the Idea for New Product/Content category.
In the spirit of engagement, Guga Ketzer proposed that the movement
extend its reach by sponsoring the initiatives of the Waves for Water
NGO created by surfer Jon Rose. Guga, who surfs and, since 2010, has
spent his vacations in a rented house in Hawaii, where he met Jon
through mutual friends and fell in love with the work of the
organization, which brings potable water to poor communities and
victims of catastrophes by distributing filters specially developed for
areas with scarce resources.
Guga’s involvement in the organization is such—whether creating
projects, helping to make them possible, putting together meetings
or, when possible, rolling up his sleeves in the communities in which
they operate—that he decided to open a Brazilian branch of Waves for
Water.
Only a project like this one could make Guga Ketzer give up the
precious leisure time that he enjoys spending at home with his wife,
Fabiana (an advertising professional he met at Loducca, who became
a jewelry designer), and his bulldog Geraldo, doing nothing—at most,
reading a book (preferably a biography) or listening to music (“many
types,” but mainly rock).
188
Among the initiatives already coordinated for the NGO, there is the
participation of the soccer star Neymar as an “ambassador” for the
cause: since he spends the year traveling to play, he has committed
himself to taking the message and the initiatives of Waves for Water to
the cities he visits.
X.08.
Ken honed his skills over 20 years in advertising and marketing and
through his work in the Account Planning Group, which he helped to
found and over which he presided. He won awards such as the
Account Planning Professional award from the Association of
Advertising Professionals, and was a finalist for the Caboré awards.
Arriving from his six-year stint at JWT (where he was Head of Account
Planning and Digital Strategy), Ken was ready to put into practice at
Loducca everything he had learned about what he considered the
basic material for the work of an account planner: human behavior.
And Ken returned to the agency in a year of glory. In 2011 Loducca
won more awards than any other Brazilian agency at the London
International Festival and picked up more lions at the Cannes
Festival—three of them (Gold in the Film Craft category, Gold in
Design and Bronze in Film) with the film Balões (Balloons),
created in partnership with the production company Paranoid
for MTV and award winner in many other festivals. Another one
of those dangerous and difficult to produce ideas: created for
MTV’s 20th anniversary, the experimental Balloons was only
ready for its 21st. Directed by Dulcidio Caldeira, it is a stop motion
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189
animation filmed in long takes where 600 balloons printed with
caricatures of pop music icons are laid out on a train track and
popped by a moving needle.
In that same year Loducca was also the only Brazilian agency to win a
lion in the Cyber category: the silver was awarded to Street Art View,
a compilation of places where street art is present and can be viewed
through Google Street View. The project was created for Red Bull, a
client that came to the agency in 2009.
2011 was also the year in which Guga Ketzer became the only Latin
American adman to make the list of “Creatives You Should Know,”
compiled by the magazine Advertising Age. The year also marked the
arrival of two new accounts, Infojobs and Galderma. And, of course, it
was the year that ended with the Agency of the Year trophy at the
Caboré awards, where Celso and his partners, followed by Dona Lu
and dozens of employees of the agency, climbed on stage to celebrate
(being nominated for the prize alone had already been reason enough
for a party in the garage of the agency with a show by Arnaldo Baptista,
a former Mutante band member).
The trophy is displayed on the first floor of Loducca on a large table
that accommodates approximately 300 other awards, all lined up—an
important milestone for an agency that, in comparison with other
competitors, enrolls few pieces for competition.
“The important thing is to never create a piece for a prize. But to do
something fucking great, that sells, and that possibly will win a prize
because it’s good,” declares Guga. “Targeting the prize confines
creation to a series of rules: you create thinking about catering to a
scheme, instead of proposing something really different, new, that is
good for your client.”
In 2012, a year the portfolio of the agency was rounded out by five
new accounts—in addition to Baruel, Fox Film, Yamaha, Unidas Rent a
Car and OR (Odebrecht Realizações Imobiliárias) landed there, there
were also lions at Cannes: a Bronze in Media for Airbag, the unusual
ad-object created for Peugeot, and three Bronzes in the Film category
for another campaign for MTV: the Guitar Man series, again created in
partnership with the Paranoid production company. The three
award-winning films, Ramirez, Miguel and Fabrício, present guitarists
190
that carry not exactly instruments—but rather man-guitars (supported
by invisible cables in the films) who reproduce with their mouths
classic riffs that every rocker recognizes. The result is very
entertaining.
X.10.
“Of course we like the prizes,” admits Guga. “But we know we don’t
have the volume to win more prizes. And the truth is that we don’t
invest much in this.”
The most important investment, in the words of founder Celso
Loducca, is in the vocation to understand what the brands need and
translate these needs into innovative ideas.
X.11.
“There is a phrase that I like to repeat: ‘we are not pharmacists, we are
doctors.’ The agency does not like to sell medicine, but to diagnose
and then recommends the best treatment.”
X.12.
X.13.
If on the eve of turning 18 Loducca is more mature it is because,
among other reasons, the individual heading it—the one who has
always felt and will continue to feel a certain unease in seeing his
name in lights—has earned his gray hair. By promoting his own
personal transition, from life as a hippie to one as an advertising
executive role model, from faith to atheism, from the creative
professional to the businessman, from the businessmen to doting
father (of Mariana, Renata, Marina and Gabriel) who spends weekends
on his farm riding horses and reading, sleeping and getting up early,
Celso Loducca built the culture of his agency little by little. A culture
that was on full display in December 2011, when Dona Lu, an employee
since the very first year, climbed up on stage to receive, on behalf of
the entire agency, the coveted Caboré trophy.
Just like the skinny feverish 17-year-old kid who locked himself in his
room to contemplate his own life (they say that he still hasn’t given up
on the idea), the agency, also 17, had evolved. Not just in numbers—of
employees, clients, earnings, awards—but most of all in the
dissemination of this culture. And in the formation of a new generation
of leaders who will guide the destiny of Loducca in the future.
An important step in this construction is the arrival of people who
have joined Celso, PB, Guga, Daniel and Ken in strategic positions. The
plan is ambitious: to have the best professionals in the market to
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191
improve the performance of the agency even further. And it has
already been put into practice.
In the creative department, the movement began at the start of 2011
when the team, which already had Cassio Moron as Head of Art—in
the words of Guga, owner of an specially refined aesthetic sense,
and yet a “maestro” for the team (in addition to owning a burgundy
Dodge Polara that the whole agency loves)—was reinforced with
Fabio Saboya (a copywriter recognized for a very Brazilian type of
humor, already stamped on campaigns for brands such as Ipiranga,
Banco Real and Semp Toshiba). And culminated in the return
of Sergio Mugnaini to the Brazilian market, a professional with a
strong digital style who racked up national successes before
becoming a creative for two of the most coveted agencies in the
world, Goodby, Silverstein & Partners and, more recently, AKQA,
both in San Francisco, California.
“Combine these three experienced individuals and making them
work together is what I believe will make Loducca a complete agency,
covering anything from pop to app, from the most technological
action to the most popular film. An agency that geeks adore, but
mothers too,” jokes Guga.
In the Media department, the new general director is Adriana Favaro,
who as irony would have it began with Celso and Marcia Pudelko back
at FCB, and for 17 years was one of the pillars of the respected media
department at DPZ. According to Daniel Chalfon, “someone with the
talent to be number one in any media department in the world.” And
who decided to bet on the new Loducca project. In Account Planning,
Daniel de Tomazo resumes his partnership with Ken Fujioka in the
agency where he began as an intern, at 19.
“Daniel is one of the most important leaders in account planning in
the country and someone who I am very much in sync with. He will
raise the level of our strategic delivery and groom more talents”, says
Ken.
“Objectively speaking, we are inflating the payroll and reducing the
profit margin. But we believe that this is the cycle, first to become
strong and then to achieve,” believes PB. “Guga Ketzer is the best
creative I know. Now imagine Guga added to a team with the best guys
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in the market. Aren’t you going to want this agency?”
And to add to the team, arrives Fernão Cosi. The same enthusiast PB
spent months trying to convince Cosi, who, after 17 years at Almap/
BBDO, decided to join Loducca in its project of the future as the
agency’s General Director of Account Service. “In my opinion, he is
the best account service executive in the country, but he is so low
profile that only who is in the area knows him. But everybody is going
to know him now”, says PB.
X.14.
Even the CFO, a figure generally more inclined to cut costs rather than
raise them, defends the investment as necessary (evidently, as long as
the agency has its financial house in order, as is the case now).
“Intelligence, thinking, life experience, none of this can be copied.
The company believes that in the coming years it needs to be even
stronger, to deliver even more relevant products,” affirms Ronaldo.
X.15.
X.16.
X.17.
In a message sent to employees to announce the changes, Celso said
he believes that all of these talents are arriving at Loducca with the
same feeling that makes soccer players from around the world want
to play for Barcelona: a winning project that combines results, style
and taking pleasure in the work, in addition to financial success.
“They, along with you, will form what I call My Dream, Dream Team,”
continues Celso in the message. “Not invincible, not unbeatable, since
nothing is like that in life. But, perhaps, irresistible and very, very
different than anything else.”
To be more competitive—more than just that, to be brilliant—is
Loducca’s grand project on the eve of turning 18. It is the daring
response of the agency to the challenges of the market and, it cannot
be denied, also the need for planning for the day when Loducca will
no longer have its founder in a room on the sixth floor of the building
everyday.
It’s too soon to think about retiring, but not to organize a model that
will allow the agency to maintain its winning mixture of good business
and happy people. A path that will allow Loducca to maintain that
which is perhaps its most important characteristic: the ability to
reinvent itself.
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193
ambev
Cyan
Movement
2010
World Water Day 2010 (precisely, March
22) was not a black and white issue for
newspapers and Internet portals. But
rather a blue one. To draw attention to
the movement by Ambev for water
conservation, Loducca “painted” blue
the front pages and homepages of the
most important media outlets in Brazil,
in addition to publishing banners with
helpful tips on how to promote water
conservation throughout the day and
assembling an exhibition on the theme
in Ibirapuera Park.
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195
CCR
CCR
Asphalt
Breathalyzer
2010
2010
The Bandeirantes Highway had
just been elected the best road in
the country by the Quatro Rodas
Highway Guide for the fifth time.
To publicize CCR’s achievement,
the company that manages the
highway, what about placing a
piece of it inside a magazine? The
crazy idea became the first ad
printed in asphalt in Brazil, an
operation that took two intense
months of work, two tons of
asphalt and hundreds of kilos of
glue. Published in the magazine
Exame in November 2010.
After the asphalt, another surprise created
for CCR—this time, published for subscribers
of the magazine Quatro Rodas: an ad with a
breathalyzer, used to detect whether a
person is fit to drive. Entitled “If you drink,
blow,” the objective of the piece was to raise
awareness of readers about the importance
of driving safely—and not after drinking.
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197
peugeot
“Strike here and discover why the new
Peugeot 408 provides much more
safety,” invited the ad, published in
Exame’s June 2011 issue. The 50,000
readers who had the chance to
participate in the fun saw a mini airbag
pop out from the page. To produce this
number of pieces, a supplier from the
interior of China was contracted. And
special packaging was used to wrap
the magazine so the surprise wouldn’t
go off before it should.
Paraffin wax
2010
peugeot
Airbag
2011
The mission was to
publicize the limited
edition Peugeot Quiksilver
207. The path chosen:
publish an ad in Fluir,
Brazil’s most traditional
surfing publication that
was totally pertinent to
the world of surfing,
printed 100% in wax.
Enclosed in part of the
circulation of the
magazine in April 2010,
the ad could be removed,
kneaded and then applied
to surf boards.
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199
red bull
Street Art
View
2011
200
The idea: when you are in Google Street View—the tool
by Google that allows you to view the exact surroundings
of a certain location—instead of looking for an address,
look for a piece of street art. The interactive gallery,
created in partnership with Red Bull, grew as more and
more people marked the pieces of their favorite artists
on the map. In the first month, there were 300,000
visits—and 4,000 works of art registered on the map.
201
mtv
Balloons
2011
Ten balloons per second. Six
hundred in a minute, affixed
and aligned along 200 meters
of track—and printed with
illustrations that bring back
decades of rock history. A
camera is affixed to a dolly
with a needle that pops each
of the balloons, creating an
animated film to celebrate 21
years of MTV. It is one of the
most celebrated and
award-winning films
in the history of Loducca.
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203
FOX CHANNELs
FOX FILM
Rafinha
Bastos
Rio
2012
2011
An ad created for the
premiere of Life of
Rafinha Bastos (a TV
series showing a
fictional version of the
day-to-day life of the
comedian) highlighted
the trouble-making
side of the protagonist,
famous for the
controversies he’s
involved himself in.
On the day of the worldwide
premiere of Rio, the successful
animated movie created by Brazilian
Carlos Saldanha, Loducca projected
clips of the film on one of the icons of
Rio de Janeiro, the Copacabana
Palace hotel. An action that literally
stopped traffic.
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205
CIA MULLER
Being
Brazilian is
a good idea
2011
The historic slogan “A good
idea,” created for Cachaça 51 in
1970, returned to the fore in
this campaign created by
Loducca for the beverage with
“Being Brazilian is a good
idea.” The commercials
showed real life people who
actually had good ideas—such
as Estevão da Conceição, who
is known as “the Brazilian
Gaudí” and Sotero Nascimento,
who, by offering document
copying services in the streets
of Salvador, is known as
“the Human Copier.”
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207
Baruel
You on
Neymar’s
heels
2012
The agency’s first piece for the brand Tenys
Pé Baruel publicized the promotion “You
on Neymar’s heels” showing the soccer star
in funny situations: while doing pull-ups,
there’s an old woman dangling from his
foot; while he’s relaxing poolside, there is a
fan underwater, and so on.
208
209
GVT
You in the
future, today
2012
It’s Already Tomorrow was a commercial
created for the pay TV, broadband and
telephone operator, GVT—complete with a
new logo and branding strategy, also
created by Loducca. The campaign “You
in the future, today” shows that the most
high tech communication resources are
already a reality for GVT customers.
210
211
Aquaclin
Little
Monster
2012
Flagship of the first
advertising campaign for
Aquaclin, Galderma’s new
brand of dermatological
products, the film Little
Monster personifies acne,
the nightmare of every
adolescent, as a miserable
creature that follows a
young girl all day long, at
school, in the street and
at parties.
212
213
Leroy Merlin
Little bird
2012
214
leroy merlin
After five years without launching
an institutional campaign, the
brand began the year with a
45-second institutional film created
by Loducca. The main character: a
little bird that builds its nest,
bringing out the idea that
“transforming to live better is in our
nature.” The images of the bird are
from the BBC and the music in the
background is the hit Como uma
onda (Like a wave), by Lulu Santos.
In the year that marks the centenary
of the great Brazilian poet’s birthday,
Vinicius de Moraes, Leroy borrowed his and
Toquinho’s unforgettable and well-knownby-parents song “Era uma casa muito
engraçada…” (It was a really funny house...)
to reinforce the concept that the instinct of
creating a space just ours is innate to us.
Scenes of children building their houses
and spaces with everything they have
in hand complete the plot of the film.
Children
2013
215
or
Parque
da Cidade
Development
2012
216
To present Parque da Cidade, a property development by Odebrecht
Realizações Imobiliárias, in São Paulo, Loducca created print media
pieces, a commercial and promotional material for real estate agents
emphasizing the importance of sustainability and a new way of urban
planning. Both the ads and the commercial showed people whose faces
conveyed expressions of aspiration and admiration, mixed with images
of urban buildings and green areas to translate the concept of the
project: creating a city within a park.
217
yamaha
Yamaha
“The motorcycle that has
everything that you want” was
the slogan of the campaign for
the launch of the Fazer 250
BlueFlex, by Yamaha, the first
motorcycle in its category with
flex fuel technology. Presenting
a motorcyclist that rides
through different scenarios,
achieving everything he wants.
Timóteo
2012
Sums
2012
An egg named Timóteo travels,
with other eggs, in a box placed
on the back of a motorcycle. He
dreams of arriving peacefully
at the end of his journey—but
the bumpy ride of the
motorcycle doesn’t let him.
“Oh well, it wasn’t a Yamaha”,
says the narrator at the end.
Another commercial with
Loducca’s hallmark: humor.
218
219
RED BULL
UNIDAS
BC One
The world’s
biggest
2012
2012
To publicize Red Bull BC One,
the b-boys championship that
every year draws an immense
audience to the brand’s website,
Loducca created a film (for the
internet and also TV) that mixes
the universe of street dancing
and Brazilian elements—since
Rio de Janeiro was chosen as
the venue for the final in 2012.
Boardwalk, tropicalism, Rio’s
flair and street art come
together in a production full of
Brazilian swing.
Operating in a sector that
should grow strongly in
the coming years,
specially with increased
demand due to the World
Cup and the Olympics,
Unidas, one of the largest
car rental companies in
the country, hired
Loducca to reposition its
brand. One of the ads
highlights the fact that the
company has become the
representative in Brazil of
the brands National and
Alamo Rent a Car.
220
221
mtv
Guitar Man
2012
As the title implies, the series
Guitar Man features man-guitars
that “play” famous riffs and solos
from rock history with their
voices. The films, which are a
continuation of the campaign A
música não para (The Music Never
Stops) for MTV—the same one that
launched the award-winning
Balloons a year earlier—required
extensive musical research to find
the perfect songs. The long list
was reduced as cast’s tests
progressed (only with the guitarist
and vocalist, since the task of
reproducing the songs was not
that easy). The winner: Misirlou,
from the Pulp Fiction soundtrack,
Hotel California by the Eagles,
Voodoo Child by Jimi Hendrix,
Paranoid by Black Sabbath and
Highway Star by Deep Purple.
222
223
Neymar
NJR Brand
2012
Loducca was chosen by Neymar’s father and his team to be
the guardian of his brand of products, NJR, and to develop
its visual identity (in addition to collaborating on the
creation of new projects, products, branding actions and
partnerships for the soccer star). The happy coincidence
between the design of Neymar Jr.’s initials and the number
on the jersey he wears on the field led to the creation of a
purely typographic logo, strong and elegant, with no need
for explicit references to football.
224
225
II
226
227
Dona Lu and the Loducca team receiving the
Agency of the Year award
at Caboré 2011
228
229
“This award is ours”
She left home for another day at work, which promised
to be as long as so many others. A routine she had come
to know well since the age of 12, when she started earning some extra money as a babysitter. Now, as a cleaning lady, her life was going from house to house, from
boss to boss. But she could not complain. Worse days
were behind her now. Days when she feared not having
enough money for her daughter’s milk or when she
would walk for two hours because she could not afford
the bus fare from Ipiranga to Aclimação. Days when it
was impossible to think of taking a day off. Today, she
can ride the subway to work and take off Sundays to
take care of her own home.
While daydreaming, she suddenly realized she had left her housecleaning clothes at a house she cleaned the day before. She liked to
use specific clothes so as to not damage the other ones. Well, she
thought, the house where she had left the clothes was very close to
where she was working that day; she would just stop by and pick
them up. She rang the doorbell when she arrived at the house, but
there was no answer. She noticed it was not even seven o’clock. She
always had the habit of arriving too early for work. She had an idea:
go visit Maria, another customer, who lived next door. Maria always
woke up early and certainly would have some hot coffee. She could
stay with her until she was able to retrieve her clothes. It is funny
how life begins to change when a routine of many years is strangely
interrupted.
230
231
Maria was already up, making coffee. She invited her in, offered her
a cup, and they started chatting. When she was leaving, she ran into
Odemir, Maria’s son, who was arriving. He was married and lived
nearby, and occasionally would come over for coffee. “Hi, Dona Lu.
How are you?” She answered that she was well, and before she could
leave, Odemir added: “Seeing you here reminds me of something.
Would you be interested in a permanent job? It’s at the ad agency
where I work...” Dona Lu was 43 years old and had no idea that her
life was about to change radically.
Odemir was the CFO of the recently founded Lowe Loducca and
knew that a good cleaning lady would be essential during that stage:
the space that would house the agency temporarily was empty and
dirty, and 20 employees would start working there in a few days,
moving from Celso Loducca’s apartment. Dona Lu did not know
what to say. At home, she told her daughter, who was on the verge of becoming an adult. “I think you should accept the offer,” she
said. “Registered worker, benefits, vacations… Mom, how long has it
been since you last took a vacation?” The real answer was “I’ve never
taken a vacation,” but Dona Lu didn’t say anything. It didn’t matter:
she had decided to accept the job at that Lucuta, Lubuta, Luluca ...
she couldn’t remember the company’s name.
One by one, she gave notice to the women she worked for. Two days
later, she was already at the location on Faria Lima Avenue, where
the agency was moving to. She was the first employee working at
the new place; she arrived before the furniture. She found out that
her responsibilities went beyond cleaning: she had no choice but to
answer the phones, receive the furniture delivery and, oh, also go to
a Ponto Frio appliance store and buy a microwave oven and a fridge
since no one else had bought them. “But how do I pay?” she asked
Odemir. “Open a credit account in your name, Dona Lu. We’ll pay,
don’t worry.” The following days were filled with hard work. The furniture and the arriving staff gradually gave the place the look of an
ad agency. After two weeks, she was called to meet Celso, the owner
of the company. “Hi, Dona Lu, welcome,” he said, shaking her hand.
“I hope you work here with us until you retire.”
out of four, two boys and two girls, she was the tomboy of the house:
she played ball, rode in soap box carts, flew kites, climbed the tallest
trees. Corinthians fan, fearless, she was a troublemaker child who
spent her childhood getting slapped by her mother, to the despair of
her father, who was a calm and kind man.
At age 12, she had to help with the house finances and went to work
as a babysitter. At 17, she was already working as a maid. At 19, she
met the man she would marry at age 21. At 22, she became a mother.
Upon finishing her elementary school education, she convinced herself that she could interrupt her studies and return later, when things calmed down a little. But life offered no respite. Six months after
her daughter was born, Dona Lu lost her father and, two months
later, her youngest brother died in a drowning accident. It was time
to stay by her mother’s side and take care of a baby who depended
entirely on her. There was no time to cry or complain.
When she received the Loducca job offer, Dona Lu already knew she
was capable of supporting herself and giving her daughter a decent
life. All she had to do was work from sunrise to sunset. She started
getting used to her new job, and to those young people who were
always in a good mood and excited to come to work. When Loducca
moved into the Robocop building, Dona Lu unintentionally started
a ritual that still continues today. Every day, she would arrive before
seven in the morning with a bag of bread rolls. One day, an employee
asked if she wouldn’t mind bringing him some rolls as well; he would
give her the money. Then, another employee asked her for the same
favor. Within a short time, she was bringing bread and bologna for
a number of others and organizing a kitty for the next day’s breakfast. Aware of what was going on, the agency’s management started
picking up the tab for breakfast. Seventeen years later, the Loducca breakfast is served in its special room and led to the afternoon
fruit served daily at 4 pm on all floors—at more or less the same time
Dona Lu serves Celso his tea.
Lúcia Maria Clemente, known as Dona Lu, was born in a two-story
house in Paraíso, a district of São Paulo, in 1952. Her mother hailed
from Campinas and her father from Amparo. The second daughter
Dona Lu rode high and low with Loducca. She witnessed days of
glory and moments of deep sadness. She saw layoffs and moves to
smaller offices, saw the fruit being cut and then reinstated. But she
never saw Celso come to work in a bad mood, or without saying good
morning. Nor has she ever seen PB quiet or downcast. On a Monday
afternoon in 2009, she was called into Celso’s office. “Oh, my God, it
232
“This award is ours”
233
Maria was already up, making coffee. She invited her in, offered her
a cup, and they started chatting. When she was leaving, she ran into
Odemir, Maria’s son, who was arriving. He was married and lived
nearby, and occasionally would come over for coffee. “Hi, Dona Lu.
How are you?” She answered that she was well, and before she could
leave, Odemir added: “Seeing you here reminds me of something.
Would you be interested in a permanent job? It’s at the ad agency
where I work...” Dona Lu was 43 years old and had no idea that her
life was about to change radically.
Odemir was the CFO of the recently founded Lowe Loducca and
knew that a good cleaning lady would be essential during that stage:
the space that would house the agency temporarily was empty and
dirty, and 20 employees would start working there in a few days,
moving from Celso Loducca’s apartment. Dona Lu did not know
what to say. At home, she told her daughter, who was on the verge of becoming an adult. “I think you should accept the offer,” she
said. “Registered worker, benefits, vacations… Mom, how long has it
been since you last took a vacation?” The real answer was “I’ve never
taken a vacation,” but Dona Lu didn’t say anything. It didn’t matter:
she had decided to accept the job at that Lucuta, Lubuta, Luluca ...
she couldn’t remember the company’s name.
One by one, she gave notice to the women she worked for. Two days
later, she was already at the location on Faria Lima Avenue, where
the agency was moving to. She was the first employee working at
the new place; she arrived before the furniture. She found out that
her responsibilities went beyond cleaning: she had no choice but to
answer the phones, receive the furniture delivery and, oh, also go to
a Ponto Frio appliance store and buy a microwave oven and a fridge
since no one else had bought them. “But how do I pay?” she asked
Odemir. “Open a credit account in your name, Dona Lu. We’ll pay,
don’t worry.” The following days were filled with hard work. The furniture and the arriving staff gradually gave the place the look of an
ad agency. After two weeks, she was called to meet Celso, the owner
of the company. “Hi, Dona Lu, welcome,” he said, shaking her hand.
“I hope you work here with us until you retire.”
out of four, two boys and two girls, she was the tomboy of the house:
she played ball, rode in soap box carts, flew kites, climbed the tallest
trees. Corinthians fan, fearless, she was a troublemaker child who
spent her childhood getting slapped by her mother, to the despair of
her father, who was a calm and kind man.
At age 12, she had to help with the house finances and went to work
as a babysitter. At 17, she was already working as a maid. At 19, she
met the man she would marry at age 21. At 22, she became a mother.
Upon finishing her elementary school education, she convinced herself that she could interrupt her studies and return later, when things calmed down a little. But life offered no respite. Six months after
her daughter was born, Dona Lu lost her father and, two months
later, her youngest brother died in a drowning accident. It was time
to stay by her mother’s side and take care of a baby who depended
entirely on her. There was no time to cry or complain.
When she received the Loducca job offer, Dona Lu already knew she
was capable of supporting herself and giving her daughter a decent
life. All she had to do was work from sunrise to sunset. She started
getting used to her new job, and to those young people who were
always in a good mood and excited to come to work. When Loducca
moved into the Robocop building, Dona Lu unintentionally started
a ritual that still continues today. Every day, she would arrive before
seven in the morning with a bag of bread rolls. One day, an employee
asked if she wouldn’t mind bringing him some rolls as well; he would
give her the money. Then, another employee asked her for the same
favor. Within a short time, she was bringing bread and bologna for
a number of others and organizing a kitty for the next day’s breakfast. Aware of what was going on, the agency’s management started
picking up the tab for breakfast. Seventeen years later, the Loducca breakfast is served in its special room and led to the afternoon
fruit served daily at 4 pm on all floors—at more or less the same time
Dona Lu serves Celso his tea.
Lúcia Maria Clemente, known as Dona Lu, was born in a two-story
house in Paraíso, a district of São Paulo, in 1952. Her mother hailed
from Campinas and her father from Amparo. The second daughter
Dona Lu rode high and low with Loducca. She witnessed days of
glory and moments of deep sadness. She saw layoffs and moves to
smaller offices, saw the fruit being cut and then reinstated. But she
never saw Celso come to work in a bad mood, or without saying good
morning. Nor has she ever seen PB quiet or downcast. On a Monday
afternoon in 2009, she was called into Celso’s office. “Oh, my God, it
232
“This award is ours”
233
can’t be good news,” she said, setting aside her tray. She walked in
and saw Celso and PB together. “You tell her,” Celso said to PB. “No,
you tell her,” answered PB. Getting anxious, she ordered someone
to say something. “Pack your bags. Tomorrow, you and a guest are
going to Rio to watch the Big Brother finale at the Projac studios,”
said PB. She could not believe her ears. Fly? Visit Rio? Everything
paid for? Moved, she hugged both of them and left to give her daughter the news.
Talent Show
When they arrived at Santos Dumont airport in Rio, they saw a man
holding a sign with her name. “Hey, Mom, look, you’re famous,”
joked Patrícia. They were driven to their hotel in Barra, had dinner
and went on to Projac. At the entrance, they overheard the security guy say: “Boninho’s guest has arrived!” She was pampered and
admired. By the time she returned to São Paulo, she was bitten by
the travel bug. Since then, she has been to Recife twice, and to Curitiba and Londrina, towns where she has friends.
Her marriage ended after 19 years. Today, at 60, Dona Lu has two
granddaughters, aged 18 and 10, who study and take English and ballet classes. Living by herself in the apartment she bought, Dona Lu
has never been happier: she travels, goes shopping, goes out with
friends, sees her granddaughters, watches Corinthians games, has
her own car and continues to work at the place she loves.
One Monday afternoon at the end of 2011, she was getting ready
to go home when Celso called her: “Get ready because you are going
with me to the Caboré awards.” “Who me?” she answered. “What’s
this all about?” Seeing that Celso was not budging, she left to
reapply her makeup. Loducca was competing for the agency of the
year award and it would be nice if she were in the audience in case
they won. When the master of ceremony announced that Loducca
was the winner, her heart skipped a beat. Nervous, she thought
she heard the man say that Celso and she were going onstage to
accept the award. She laughed at the absurd idea. But she stopped
laughing when Celso offered her his arm and said: “Let’s go? This
award is ours.” The auditorium was packed, and the crowd was
clapping. Onstage, receiving the award next to Celso, she looked out
at the hundreds of people cheering and thought to herself: what
a crazy life.
234
“This award is ours”
235
David Maia
Marcella Santos e Sousa
Emerson da Silva Alves
What is your favorite place in the world?
What ability do few people know you
have?
Tell us something that would make us
like you.
I’m a really good narrator!
I’m for real.
On top of a surfboard, riding the waves at
Sapê beach in Ubatuba.
Fernão Cosi
If you could make a wish, what would
it be?
The destruction
of Brasília.
Sinesio de Oliveira
If you could make a wish, what would
it be?
Win the lottery.
Marcelo Rosa
Karina Vadasz
What makes you laugh?
236
Dogs.
Francisco Davi dos Santos
What talent would you like to have?
Play a musical instrument.
Tell us something that would
make us like you.
I can cook a
mean barbecue.
Talent Show
Eliane Souza
What is a skill very few people know
you have?
I play soccer.
237
João Paulo Guzzo
What was the biggest mistake you ever
made in your life?
Bruna Garcia
Getúlio de Sousa
If you could make a wish, what would
it be?
A college education for
my son, definitely.
What is the craziest diet you have ever
tried?
Deborah Pecsi
What’s the most honest thing that you
can say about yourself?
That I’m honest.
I cut out carbohydrates for a week.
During the first three days, I felt
weak, depressed, irritable and had a
headache. I didn’t lose a gram.
Being angry at my
brother for such a
long time.
Thiago Carvalho Veloso
Rodrigues
Describe an ideal day in your life five
years from now.
A Sunday lunch
with the family
gathered round.
Juliana Canducci
Adriana Favaro
What is your favorite place in the world?
Inside the embrace of Theo, my son.
Danilo César Maso Filho
Ken Fujioka
What ability do few people know
you have?
Tell us something that
would make us like you.
I know how to make sweets.
238
I like
listening more
than talking.
Ana Luisa André
Who is the most interesting person
you’ve ever met?
Lama Michel Rinpoche.
What is the most honest thing you can
say about yourself?
I’m happy.
Richard Inoue
What was the last thing that made
you cry?
My grandfather’s funeral.
Talent Show
Levi de Jesus Santos
What makes you laugh?
Coming
home and
having my
son Davi
smiling
at me and
covering me
in kisses.
239
“More so than the informality that
so many people emphasize,
integration has always been a
remarkable aspect of Loducca: its
teamwork and spirit of
collaboration. I believe you can
only create good advertising in a
team, by sharing responsibilities
and discussing strategies. I worked
10 years at the agency. It’s a long
time. I had many experiences there,
from the most banal, the daily
jokes, the relationship with clients,
it was always very interesting. I
would say we were dedicated body
and soul, in an almost romantic
manner.
My company, Lov, was born inside
there, as an arm of Loducca, which
needed to be present in something
that was still a mystery for
everyone: the Internet. It was an
experiment, a test balloon, which
later gained strength and attracted
people who already had the digital
world in their DNA and it became
independent.
We separated the companies, but
the friendship remained. Despite
seeing each other much less than
240
we would like (and everyone’s life
has been like this), Celso is my
brother. A person who always was
very consistent and who shares
this consistency, these principles,
with everyone he works with. Celso
has very ethical values, which I
greatly admire, and the agency has
always reflected this. An agency
that has now reached the age of
consent, maintaining its strong
personality, but with a lot of
maturity.
Loducca is like an 18-year-old girl
who is extremely serious, aware,
mature, and she has taught me
many things in life. I learned with
her that people must never
abandon the principles they believe
in. Any business has its ups and
downs. But we must not abandon
our values at any stage. These
values are not just professional, but
are for life as well. Loducca taught
me that it’s worth it.”
João Muniz was a founding partner
of Loducca in 1995. He left the agency in 2005
to head Lov, today a Dentsu group company.
Talent Show
241
Cássio Moron
Carla Rodrigues Cardenuto
Antonio Assumpção
What is the most honest thing you can
say about yourself?
Tell us something that would make us
like you.
What was the last thing that made you cry?
I’m a very cold person.
I’m a Corinthians fan.
Corinthians being crowned
Libertadores champion in
2012. Undefeated!!
Eduardo Ciampolini Bourroul
Tell us something that would make us
like you.
Good mood.
Guga Ketzer
What is a skill very few people know you
have?
Layssa Pascher Dobes Bakargi
If you could trade places with anyone
in the world, who would it be?
Fátima Bernardes.
I’m very good
at giving people
nicknames.
What is the most honest thing you can
say about yourself?
Alessandra Garone
Joana Cervilla de Souza
I’m really indecisive.
What talent would you like to have?
I would like to work with computers.
Bruno Tenório
Tell us something that would make us
like you.
André Troster
What is the most honest thing you can
say about yourself?
Don’t listen to me.
242
Tancredo de Souza
What is your favorite place in the world?
My home.
I’m easygoing, I do
volunteer work, I take
theater classes; I go
surfing, skating, I just
don’t know how to
play soccer.
Maria Carolina Lacerda
Victor Philipids Freires
If you could trade places with anyone
in the world, who would it be?
Neymar from
Santos.
Tell us something that would make us
like you.
I’m a very communicative
person and I’m not as mean
as my face makes me look.
Talent Show
Gregory Kickow
If you could trade places with anyone
in the world, who would it be?
A Family Guy screenwriter.
243
“I was with Celso Loducca when he founded Loducca. As
far as I know, it was the first time an account planner sat
across from a creative director to work together, define
strategies, have insights and create campaigns. Together.
One learning from the other: I would start thinking in a
different manner, think the opposite, the way he spoke, and
he would think of people’s behavior and their relationship
with brands. For this reason I can talk about Loducca’s
essence. For some time, prior to moving to the Robocop
building, the agency was located in Celso’s home. We knew
one day we would miss those times, and in fact, I really
do miss them now as I write this text. In Celso’s mind the
agency of his dreams was an agency with professionals
who combined expertise and passion together with
open-minded clients, for whom we would take a different
approach to the work, very deep and very creative—but,
above all, with a lot of heart. What I feel is that his Loducca
became a healthy and renowned agency that got the
clients it wanted and created marvelous projects for all
to see. His team was always the best, just like he first
imagined. Loducca’s Account Planning department created
followers, and today Celso knows everything there is to
know about the subject. Really! He has become a great
account planner, which has joined the creative side he’s
always had. Loducca never gave up the belief that having
a group of (way) above average professionals, led with
sensitivity, was the right path for the agency. This is true
for the Creative, Account Service, Account Planning, Media
Buying and all the departments. Although we no longer sit
across from each other, Celso is still my heartfelt friend/
brother. And I still admire Loducca. In addition to what I
said above, Loducca also has the power of renewing itself,
of thinking and doing things differently. Just like in the old
days, everything based on the same spirit because, in the
end, creating lovemarks is a Loducca specialty and this
applies first of all to the agency itself. This is why I love you
all, Loducca gang! Congratulations on your achievements
of yesterday, today and tomorrow. I hope to be always close
by.”
Rita Almeida was Loducca’s Account
Planning Director from 1995 to 1996.
Today, she runs CO.R Inovação.
244
“Participating in
Loducca’s history
from the beginning
was gratifying not
just on a professional
level, but primarily
on a personal one. I
have a lot of affection
for Loducca and for
all the people with
whom I worked and
who are part of the
story of my life.
Friends forever.
I wish all the best for
the agency, as if I
were still part of it”
Márcia Pudelko was Loducca’s Media
Director between 1995 and 2003. Today, she is
professor of Media and Targeted Communication
at the College of Media at FAAP (Armando
Álvares Penteado Foundation).
Talent Show
245
Cesar Monteiro
If you could make a wish, what would it be?
Wagner Fragata
I would ask for good health for everyone
I know. We can work to attain everything
else.
Who do you ask for advice before
making a very important decision?
Vanessa Ramalho
In life: my wife. At work: Cássio Moron,
great guru.
What is the most honest thing you can
say about yourself?
I’m indecisive and anxious.
Tatiana Moliterno Amador Batista
What makes you laugh?
The antics of my two daughters: Duda
4 and Gabi 2!
Renata Benedicto
What makes you laugh?
Marcus Pesavento
The most bizarre and cheesy things.
What makes you laugh?
Leandro Otsuka
What talent would you like to have?
Seeing my mother and
father fight over something
in Datena’s TV show.
Be a soccer player.
Claudia Souza Pinto Stancev
Who is the most interesting person
you’ve ever met?
A friend who won
the lottery. He bet
the ages of the
people he loved the
most. He got his
mother’s age wrong
and won millions.
246
Wagner Felipe Megale
If you could trade places with anyone
in the world, who would it be?
Venancio Rodrigues Dantas Filho
Ana Laura Silveira Masini
Tell us something that would make us
like you.
I’m a woman of faith.
What was the last thing that made you cry?
When my son broke
his femur and had to
be operated.
Carlos Cesar Marcos
Tell us something that would make us
like you.
Come closer, let’s grab some
ice-cold beers and chew the fat.
Anyone who was
in the front row at
Michael Jackson’s
concert in Morumbi
Stadium.
Talent Show
Carolina Varella Galastri
What is your favorite place in the world?
Can it be two? Barcelona and India.
247
“I worked for three years with Celso Loducca at FCB, where he was
the vice-president. And I learned a lot from him there, especially
how to be happy in this profession. I was a little disillusioned and he
showed me another way of looking at advertising, to see the good
things, and it lifted my spirits. In mid-1996, I joined Lowe Loducca,
which was then located in the Robocop building. Celso was my
boss, but above all, he was a friend. We are the same age, our
children are the same age; we have had similar experiences, we are
very much in tune. In 1999, at age 40, I wanted a change of
scenery—and Celso, always very open, knew of the offers I was
getting. More than a boss, he acted as an advisor. At one point,
Loducca got the HSBC account and Celso assigned me to manage
it. Over time, the work required me to spend more time in Curitiba,
where the bank’s headquarters were located. At the same time,
Loducca had won the GVT and the Paraná state government
accounts. The demand justified opening a full branch in Curitiba. So
Celso told me: ‘I’m only going to open a real branch in Curitiba if you
move there.’ I then saw a new horizon open up. And so I went.
The branch grew, and there were many achievements. And then
Lowe and Loducca went their separate ways. Since I wanted to
continue living in Curitiba, I stayed with Lowe, which kept the HSBC
account. And Loducca prospered on its own. Nowadays we are
competitors in the market, but life-long partners. Celso (and
Loducca) has this knack for maintaining long-lasting relationships.
And this is what I’ve tried to do ever since: I don’t want a relationship
with departments, but with people. Eye to eye.
We live more at the agency than at home. So you have to like what
you do—and I learned from Celso that you can have a lot of fun in
this profession. At the same time, it can be very stressful. It’s an
intense profession. Every two hours, it seems the world is going to
come to an end. But then I remember Celso saying: ‘calm down,
people, it’s only advertising.’ And it’s really that. It’s good to get
involved, take it seriously, but the truth is the world won’t end if the
client doesn’t approve an idea. The UN will not declare a state of
public calamity, hospitals won’t close down. If you understand this
and attain this balance between passion and detachment, it lightens
up your everyday life. It’s another one of Celso’s lessons.
I’m happy to see that Loducca is an authentically Brazilian agency
today with all the tools needed for a great job. Loducca has Brazil in
its DNA, they know our market very well, its very unique
characteristics, and they have this ability to plan and create
consistent projects even with all this craziness that surrounds us.
It’s an agency with a very important background for the market and
its clients. 18 years is not much: I wish Loducca many more years.”
“I was at Loducca from when it was
founded in 1995 until January 2003.
I was partner and Creative vicepresident. I think Loducca’s
beginning had the most remarkable
moments. Our first meeting to
present the campaign for our first
client, Bamerindus Bank, was
memorable because the client took
the service elevator, and then had
to walk through the laundry room
and duck under the hanging
clothes. The opening party
invitations went out with the wrong
name, Biba Donna instead of Diva
Donna, a mistake caused by our
Mexican art director Javier
Talavera’s accent and it also went
down in history. Nowadays, I’m
very much out of the advertising
world. I don’t think I could even say
how I see Loducca today—except
as my old agency, the one where
we had fun making history.”
Cristiane Maradei was a partner and
Mario D’Andrea was president of Loducca
Sul, in Curitiba. Today, he is a partner and Chief
Creative Officer of Fischer & Friends.
248
Creative vice-president of Loducca from 1995
to 2003. Today, she owns Central de Designers,
an art jewelry store that brings together
jewelry designers from all over Brazil.
Talent Show
249
Telmo Ursini
Cleusa de Souza Quadros
Who is the most interesting person
you’ve ever met?
My son.
Who is the most interesting person
you’ve ever met?
Gustavo de Lacerda
Zilda Arns.
What is your favorite place in the world?
My imagination.
Cláudia Weschenfelder
Daniel de Tomazo
What makes you laugh?
Almost everything, thank God. And
more things as the days go by.
Lucas Stefano Oliveira
What’s the most honest thing that you
can say about yourself?
I’ve never voted for Maluf.
What was the biggest mistake you ever
made in your life?
I make mistakes on a
daily basis, but maybe it
was quitting volleyball.
Michelle Moreno
What is the craziest diet you have ever
tried?
The water one: you’re hungry, drink water.
Daniel de Oliveira Costa
Tell us something that would make us
like you.
Iria Ribeiro André
Who do you ask for advice before
making an important decision?
I don’t ask, I
follow my heart.
250
Juliana Tomas Lopes
Zezé Dias
What was the last thing that made you cry?
An interview with Reinaldo Gianechini.
What is the craziest diet you have ever
tried?
I’ve never gone on one. Unlike most
women, I hate being too thin.
Cleber Vieira Pinto
Marcela Montolar Losso
What talent would you like to have?
What’s the most honest thing that you
can say about yourself?
Master the drums.
Happiness is in my DNA.
Talent Show
I don’t
like to
borrow
money.
251
“I used to work as Creative director at
Ogilvy in Mexico when Celso invited me to
join his team at FCB. Our mission was to
make FCB one of the most creative
agencies in São Paulo and Celso was the
hottest creative director at the time. It’s
thanks to him that I returned to Brazil and
also worked with one of the funniest, most
talented and unforgettable teams I ever
worked with. I know I should talk about
Loducca, but for me, Loducca is the result
of the work done by the team Celso formed
at FCB. That gang (Cris Maradei, Balí,
Borghi, Jaqueline, Mario D’Andrea, Karin,
Leandro, Serginho) had a chemistry where
work/fun/friendship became one.
When he left FCB to open Loducca (Lowe,
Loducca & Partners, actually), I was once
again invited to be a partner. I don’t recall
the year, but it doesn’t matter. It was the
beginning, the most difficult, the toughest,
the most intense, the most “alive” time.
One thing is to grow an agency that already
has a structure like FCB, but building an
agency out of nothing, in the purest sense
of the word, is something completely
different. He had nothing except a bunch of
dear people and a very great desire to be
successful. Many of us are no longer there,
but Loducca and “Celsinho” are there, and,
in the end, that’s what counts. The reason
for this text is to remember all these people
who are part of the history of this agency
that continues to be faithful to its ideals.”
Javier Talavera was a partner at
Loducca during its first year in existence.
He is now Head of Art at Taterka.
252
“Loducca has many qualities.
The one that surprised me the
most in the many years I worked
there was its ability to anticipate
trends, formats and cultures.
It’s an irrepressible need to
always do things differently.
Celso has an antenna with
some type of connection that
even today I still can’t fully
understand. Without a doubt,
this connection passes through
his heart. I remember when the
agency took on the heart as its
logo... Most people rejected it. It
looked corny. But the market
situation at that time required a
more real, more authentic
agency. What seemed corny
became chic. And people
applauded. All this helps us
understand why Loducca and
Celso are so successful.”
Edson Giusti participated in Loducca’s
foundation in 1995, as communication advisor;
he managed Giusti Loducca until 2007 and is
now head of Giusti Comunicação Integrada.
Talent Show
253
Renato Nunes
If you could trade places with anyone
in the world, who would it be?
Barack Obama.
Lucia Maria Clemente
What was the biggest mistake you ever
made in your life?
Not having continued my studies.
Fábio Câmara
What is a skill very few people know
you have?
I skateboard.
Lucas Bastos
What is your favorite place in the world?
Ibiza.
Daniel Chalfon
If you could trade places with anyone
in the world, who would it be?
Oscar Niemeyer.
Iná Fraga
If you could make a wish, what would it be?
Eduardo Tallia
A mother’s lap... My mother is no longer
with us.
What was the last thing that made
you cry?
A funny story someone just told me.
Eduardo Coleoni Tinoco
Paulo Rogério Fereira
What talent would you like to have?
That of a sculptor.
254
Raquel Ferreira de Medeiros
Fernanda Fonseca
If you could trade places with anyone
in the world, who would it be?
If you could make a wish, what would it be?
Dilma (Roussef).
two more wishes!
Hummmm...I would ask for
Tell us something that would make us
like you.
I’m very crazy! I fight with
Account Service every day,
refusing jobs with no deadline.
Marina Jarouche Aun
Anna Carolina Paulino
What was the last thing that made you cry?
I don’t cry.
Talent Show
If you could make a wish, what would
it be?
That there was no need for money and
that life could be governed by other
things.
255
“A kind of hippie guy, long-haired, who had already tried
various majors in college and given up on all of them, who had
been a teacher, liked chemistry and was trying to turn around
his life and earn a living as a copywriter. Think of a guy who
had everything going against him. Only enlightenment could
have made it work. This guy is called Celso Loducca.
Of course, being talented and obstinate helps, and with this
formula he built one of the most enviable advertising agencies
in Brazil. I met Celso at Ogilvy, formerly Standard. At that time,
I worked in the agency’s studio editing the presentations and
adding the little letters to the layouts, a mind-numbing job. He
was starting to work with Jaques Lewkowicz, who was (and
still is) a great figure in advertising. There, he had the chance
to show two things: his talent and that he was a lucky guy.
Not everyone gets to start their career with Jaques as Creative
Director.
The two of them quickly became a duo and a significant
number of the agency’s good projects came from them.
From the studio, I was able to follow the birth of this new
partnership and I got a chance to get closer to the Creative
department, because I also was lucky enough to be chosen
by the great Jaques to be a type of personal assistant. It was
then that my passion for creating began and my career as art
director started.
The daily routine pushed me increasingly closer to them, and
they gave me the opportunity to do my first projects where
I wasn’t just doing the layout, but creating as well. More
important jobs kept coming up and soon I had one of the
greatest surprises of my life. During the end of year party, at
the famous staff meeting, a photo of me suddenly appeared on
a huge screen and they then announced my promotion. I was
now officially an art director.
This promotion was one of the great surprises the two of
them would give me. A short time later, they announced their
departure from Ogilvy. Jaques had joined other entrepreneurs
and now had his own agency. And he took Celso with him.
After the initial shock, came the good feeling of participating
in a unique moment at Ogilvy, a special time for the agency,
which was attempting to experiment and innovate. I
participated in one of the most daring experiences that an
advertising group ever attempted: mixing very experienced
and award-winning professionals with kids who were totally
junior, but dying to make a difference.
The agency hired a bunch of people with very different
backgrounds, journalists, designers, writers and they worked
with the masters in groups of two or four. It was then that this
younger group and I were introduced to people like Fontoura,
Clovis Calia, Aurélio Julianelli, Alexandre Gama, Pedro
Alcântara, Ivan Rotundo, Paulinho Leite and Lula. And it was
then that this young group learned from these great guys.
And they all became great professionals. People such as Zé
256
Borghi, Edu Lima, Castelinho, Carneiro, Lilian Lovisi, Crisinha
del Nero, Luiz Lobo, Zuza Tupinambá and Martan. And while
we learned how to work in advertising, Celso took off to work
at the most desirable agencies in Brazil until he ended up at
W/Brasil. Washington Olivetto had opened the country’s most
creative agency and the dream of any adman was to receive a
call from him.
The great entrepreneurs of the large multinational groups also
dreamed of a creative agency, and one of them decided to bet
high stakes by hiring Celso as Creative Director. The agency
was FCB Siboney, traditionally square and tough, with clients
who were perfectly matched with their profile. It was headed
by a Cuban and his two sons who had hated their father’s idea.
And there went Celso, well aware of the tough battles that lay
ahead. He hired some good professionals from W/Brasil and
mixed them with other people he had worked with before.
It was on that day that my phone rang. On the other end of the
line, a familiar voice invited me and at the same time propelled
me to higher heights in my career. The team he had created
was committed to revolutionizing the market and turning
that fossil of an agency upside down. Nothing could be more
exciting and threatening than that. Cristiane Maradei, Javier
Talavera, Zé Borghi, Leandro Castilho, Wilson Mateos, Karin
Sá Rego, Jacqueline Lemos, Oscar Fontoura, Mario D’Andrea
and me.
Mission accepted, mission accomplished.
Our team really shook things up and in a short time we had
become one of the agencies with the greatest number of
awards in Brazil and at international festivals such as Cannes.
All the ad agencies supported us a lot during this period; they
had a soft spot for us because of our provocative manner,
lighter and good-humored. They saw us as a true example of
the possibility of changing an old-fashioned multinational. The
team was very, very good and united. And Celso had the talent
and a master’s touch in bringing together and leading these
people.
The agency was so successful that it ended up attracting the
attention of international advertising groups interested in
opening up an agency in Brazil. We all went to Cannes that
year. Upon our return, Celso called me into his office and he
had a twinkle in his eye. It’s impossible for me to forget what
he said: ‘Frank Lowe invited me to be his partner. And I’m
going to create my own agency and I want you to come with
me.’ What he said next was not so encouraging, but at the
same time it showed the trust that he had in me: ‘We’ll start
off without a single client. And we have enough money to
survive for a year. But if we are not successful, that means we
must really be awful.’
Talent Show
257
My hug communicated what I was not able to express verbally.
He could count on me no matter what happened.
And it was this way that in a short time the agency was
created. Very few people: Cris Maradei, Javier Talavera and I
in the Creative department. João Muniz in Account Service.
Rita Almeida in Account Planning. Odemir Putini in Finance.
Marcia Pudelko in Media. That was basically it. The agency
started operating from Celso’s home. Imagine an agency with
its office in a residential building. We had to bamboozle the
doorman, the suspicious neighbors. To make matters worse,
Celso’s maid would cook food for his daughters and that
delicious smell would just torture us while we had to create
something for a client that we still did not have.
Meanwhile, Celso would look out the window at the Robocop
building and dream big: ‘That’s where I want the agency.’
For some reason, a mad man liked our style and we soon had
our first account, Bamerindus Bank. João was prospecting
clients by phone on the dining table, Celso was on the other
phone, Marcia was talking to the media, Odemir was yelling at
some supplier, the maid was vacuuming the place, and in the
middle of all this chaos, Cris and I created the first campaign
for our new client. And, soon after, our first campaign was
aired and became a hit right off the bat. It made us feel secure
about taking a new step.
People say that when you wish hard for something, it comes
true. In Celso’s case it’s definitely true: we soon moved into
the Robocop. The agency won over some more clients, a lot of
new people were hired and it grew bigger and stronger.
A new team was being formed, but it kept something that
was always very important within the agency: its high spirits.
We worked too much, but we also had a lot of fun. It was an
enjoyable and irreverent environment that we cultivated at any
cost. And it ended up setting the tone for the campaigns we
created there.
Irreverent, daring and controversial were the common
adjectives linking most of the campaigns we created for
our clients. We already had a “permanent seat” at the
CONAR advertising regulatory agency. It was rare that our
campaigns did not end up there. Our clients were always at
our side, obviously, having fun with us and enjoying the huge
spontaneous media exposure, being interviewed on radio and
TV and hearing people all over talking about their advertising
campaign. There was a client who even got upset if his
campaign did not end up at the advertising regulatory body. He
would say to us: ‘Gee, you guys have really lost your touch.’
One of our various controversial campaigns, for this particular
client in fact, caused a priest to be transferred to another town
258
after he helped us rehearse an actor. In the commercial, a
priest had a nagging cough, and at each cough he would ring
a little bell, making worshippers sit and stand up constantly.
The poor real-life priest paid the price for having helped us.
The reaction to the aired campaigns was always a pleasant
surprise because they really touched people. Sometimes they
touched the wrong people. One day, the people from the TFP
(Society for the Defense of Tradition, Family and Property)
called us to say they were on their way to trash the agency.
You can’t please everyone, can you?
And campaign after campaign, controversy after controversy,
we spent 12 years dedicated to a very cool place. At Loducca,
I met some incredible people who I’m still friends with; I’m
very proud of each one of them. It was there that I grew
as a professional. As Associate Creative Director, I had
the opportunity to manage and help build one of the most
outstanding and memorable agencies in the country. And I
also had the chance to help people enter the market, people
who started working for me as interns, art assistants and
junior copywriters and who are now in top positions at the
main ad agencies in Brazil.
I’m very proud of having hired a guy from the South who had
an annoying accent, a simple portfolio that was rich in content,
a special twinkle in his eye and a lot of desire to come to
São Paulo. Guga Ketzer. He came, fought many battles, was
brilliant and today has a position right next to Celso. He is
helping build another part of the history of that very beloved
agency. I learned a lot inside that agency. I built a career. I
made very dear friends and I have very strong emotional ties
that make me feel a little like its owner as well. Even from afar,
I still feel very close and I pray that it may never lose the cool
and innovative way of being it still has. I worked many years at
Loducca. And so many stories took place during these many
years that this book could be filled with them. Thinking of this
now, who knows if one day I can convince Celso to write a
book with all those memories? It would certainly be a hit.
After all this success, does anyone doubt this guy’s talent?
I left the agency shortly before it joined the ABC Group. Today,
looking in from the outside, I still admire the professionals
who run the agency and I see how it has grown and become
even more admired and solid. At Loducca, the people as well
as the accounts are longtime partners.”
Amaury Balí Terçarolli was
Creative Director at Loducca. Today, he is
the Advertainment Creative Director of the
Volcano Hotmind production company.
Talent Show
259
Takeshi Suguio
If you could trade places with anyone
in the world, who would it be?
Bono Vox,
Messi, Roger
Federer,
Eddie Vedder,
Neymar...
Fernanda Moino
What is the most honest thing you can say about yourself?
I try.
Sergio Mugnaini
Who is the most interesting person
you’ve ever met?
Neuza Aparecida da Silva
If you could trade places with anyone
in the world, who would it be?
260
Picasso.
Horus Vital Brazil, one of the greatest
psychoanalysts Brazil has ever known.
I felt very small in the presence of such
an intelligent man. And, for those who
might not know, his father saved the
world by inventing the anti-venom
serum and founding the Butantã
Institute in São Paulo.
Marileuza dos Santos
Tell us something that would make us
like you.
For me, any time
is a good time.
Talent Show
Gabriela Amanai
What talent would you like to have?
I already have one: making sweets.
Now I just want to perfect it.
261
“I worked three times at Loducca, and I’m not
the only one: it’s typical for people to want to
come back to the company. In my case, what
made me want to return was the memory of a
great work environment, not only because of the
people, but also the projects developed there.
Especially in Account Planning, which was my
department. Everything was real, researched
and well founded. There were no stopgaps to
fool clients. And Celso and the Creative
department as a whole respected our work.
Everyone’s voice was heard. There was no
Olympus, no one put themselves on a pedestal.
When I first worked there, everything was
very new, people were very excited about
making the agency successful, willing to
work all night long if necessary, to do things
right. It was a very delightful group that was
there because they liked what they did.
I think one of the most significant things that
makes Loducca renowned is the talent it always
had for hiring creative and good-natured
people. These two things together are the
two great virtues of Loducca (and of Celso in
particular). Of course, the team has changed
with time. The agency merged with another one,
became larger, it has a different dimension.
But it still has a lot of personality. The
essence is still the same. Once Loducca,
always Loducca.”
Mario Kavano worked three different
times at Loducca, always as Account Planning
Manager, between 1998 and 2003. Today, he
works as a coach for executives.
262
“When I arrived at Loducca, I didn‘t
know what a layout was, what offline
meant, nothing at all. I knew who Celso
was and I was glad to have the
opportunity of interning in one of the
coolest agencies in the market. I joined
as an intern and left as Account Service
Director to become the owner of a sport
marketing agency focused on motor
racing, my passion. I remember handing
in my resignation to Celso and him
telling me I had ‘shit for brains.’ He
knew that my wife was pregnant with my
first daughter, and when I insisted and
reiterated that this was my decision,
I remember him saying that he would
at least keep me in the corporate health
insurance and, if any ‘shit’ happened,
I should come back. For me, that was
a proof of how Celso and Loducca are.
A father, a mother or an older brother
who helps you in your most difficult times.
Above all, he is an incredible human
being. It was as an intern at Loducca
that I started working with Mitsubishi,
now I am their Director of Marketing. It
was Loducca that started preparing me
for what I am now as a professional. I will
be forever grateful for the opportunity I
had, as well as for the great friends I still
have today from my days at the agency.”
Fernando Julianelli went from being
an intern to becoming Director of Account
Service at Loducca. Today, he is the director
of marketing for Mitsubishi Motors do Brasil.
Talent Show
263
Stephany Christina Hilário
If you could make a wish, what would
it be?
That the world would
change and that there
could be peace.
Thiago Ribeiro
If you could change places with anyone
in the world, who would it be?
Rafael Barbosa
I would change places
with a Rolling Stone
roadie any day.
What makes you laugh?
Two or three beers.
André Monteiro
What is the craziest diet you have ever
tried?
I think it was not
drinking beer for a few
months...
Fabio Victoria
What makes you laugh?
The following muscles: depressor
anguli oris, orbicular oris,
mentalis, buccinator, risorius and
masseter
Ivana Nunez
What is the most honest thing you can
say about yourself?
I always want to be different from
others, but I always catch myself being
the same.
Renato Yuquishigue Nose
Fernando Bueno
Gabriel Rensi
Jéssica Moraes
What makes you laugh?
What talent would you like to have?
Tell us something that would make us
like you.
Jokes that are not funny, those really
bad ones.
Have wisdom.
My congeniality. Regardless of what
happens, you’ll never see me sad.
264
Gustavo Tallia
Diógenes Oswaldo da Rosa
What makes you laugh?
If you could make a wish, what would
it be?
My father’s
laughter...
That I could work
forever.
Talent Show
What is the biggest mistake you’ve ever
made?
Not having taken
advantage of
Japanese classes.
265
“I joined Loducca when it opened its office
in Curitiba, with Mario D’Andrea at the
helm. And the relationship with the São
Paulo team was always very good and very
close. The agency’s manner was the same:
very enjoyable and playful, with a lot of
joking going on, everyone making fun of
each other. You did not feel there was a
hierarchy. Everyone would join in when it
came time to pull a prank on someone,
something that happened a lot. I remember
an intern in the Creative department who
went on vacation and, one day before his
return, we placed all the toys he had on top
of his computer in a box, we emptied his
table and put some layouts on it, as if they
had been made by a new occupant. Even
the press relations people joined in, writing
an announcement about the hiring of a new
copywriter, Antonio Roberto. There was a lot
of laughter, until the truth finally came out.
This good environment is one of the things
that impressed me the most. As well as the
idea that you can do a good job without
having to compete with others and trying to
undermine the work of others, as happens
in so many places. This spirit of everyone
collaborating, working together toward a
goal, is something that will stay with me
forever. I see some of the cool things the
agency has produced recently and I think:
it must still be a lot of fun to work at
Loducca.”
Fabio Miraglia Fabio Miraglia was
Creative Director for Loducca in Curitiba.
Today, he is the Creative Director for Heads,
also in Curitiba.
266
“Little Loducca, as we used to call the
branch the agency opened in Curitiba in
2000, arrived in town making history. For
starters, it was located in the coolest
building in Curitiba decorated in the
style of the São Paulo agency. The
opening party was like no other the
locals had seen before. Little Loducca’s
start-up was conducted by Mario
D’Andrea, who already had been a
creative at Loducca in São Paulo, and he
brought with him the agency’s DNA. I
was hired to start up the Account
Service and Media departments with
local hires. Fábio Miraglia was chosen to
start up the creative team, also using
local talents. I’m very proud of the work
we did together at the agency we built.
We started out with three precious
accounts: HSBC, GVT and the Paraná
State Government. In a short time, we
had already won many other local
accounts. The agency soon needed to
move to a larger space and success was
inevitable. I was very happy in those
days and was very proud to be known as
Jacqueline from Loducca. And then
Celso sold us... He sold the agency, the
facilities, the accounts and we were part
of the package. What do you mean, I was
sold? I was. Celso sold me... But I’ve
gotten over it. After all, if there is
someone who can do anything, that
person is Celso Loducca.”
Jacqueline Vieira de Lemos was
Director of Account Service and Operations
at Loducca Sul in Curitiba, from 2000 to
2004. Today, she is the Superintendent of
ParkShoppingBarigui in Curitiba.
Talent Show
267
Karina Souza Rebelo
What is a skill very few people know
you have?
Valeska Bonfim Ribeiro
What is your favorite place in the world?
I know how to make a
ballerina from rolling paper.
André Bernardo Galvão Serante
Tatiana Akemi Murakami
If you could make a wish, what would it be?
Give my granny Chizuko a hug.
She left us 7 years ago.
What is a skill very few people know
you have?
My home: the room where I watch my
DVDs (I collect them), my bedroom and
my son’s room.
Julio Cesar Bianculli Filho
Guilherme Portela Ramalho
I can lick my elbow. But I’ll
refuse to do it if someone asks
me after reading this.
Who is the most interesting person
you’ve ever met?
If you could trade places with anyone
in the world, who would it be?
Someone who is not afraid of the water.
My father’s life story could be a movie,
because of his travels, his work and
the people he met.
Priscilla Ramos dos Santos
Tell us something that will make us
like you.
Bruno Brasil
Rain or shine, I’m always smiling.
Tell us something that will make us
like you.
If I fall, I get up!
Fábio Felice
Silvia Ramazzotti
Tell us something that will make
us like you.
What was the biggest mistake you ever
made in your life?
I don’t remember.
Perhaps it was majoring
in advertising.
268
André Paes de Barros
If you could make a wish, what would
it be?
Have my father
back.
Jaime Maiante Ribeiro da Silva
What is your favorite place in the world?
Alaska. It’s a real paradise on Earth,
with many unspoiled places.
I’m a sincere kind
of guy, who doesn’t
put up with drama
or fussiness.
Talent Show
Marcelo Tomioka
What was the last thing that made
you cry?
If I recall correctly,
the birth of my son.
269
“There were so many remarkable
moments... Maybe the most important
was the partnership between the
Creative and Account Planning
departments. It is essential for the
existence of Account Planning and, for
this reason, it should be obvious that
it must exist. But no, it doesn’t exist at
most places. Being able to experience
this partnership at Loducca motivated
and inspired me, day after day.
From this rich “integration” emerged
projects of which I’m proud of even
today, friendships that endured, and
the certainty that I immensely enjoyed
having worked at an agency that
respected and breathed Account
Planning! Practically EVERYTHING
that I learned in advertising, I learned
at Loducca... It was my school for
Account Planning and is, in my
opinion, the best school. I also learned
how to work intensely, with passion
and a lot of generosity.”
Marina Campos was an intern, supervisor and
eventually director of strategic account planning
between 1995 and 2001. Today, she is a clown and
has opened Clowns in the Service of People (POP),
a company that uses the language of clowns to better
understand and improve human relations.
270
“I didn’t work at Loducca for long. But
it was enough to understand how
Loducca created Loducca. Loducca’s
greatest attribute in my time was the
quality of life of its environment. This
has a lot to do with Celso’s way of life,
and not just his life as the agency’s
owner. He knows that a better
environment increases the chances of
producing better work. And he never
gave up on this. Celso always made a
point of taking his children to the
office even when they were small. And
he did this in a very natural way. It
made the place even more friendly
and human. The Loducca of my time
was a fantastic place to be.
An agency created with very strong
and simple principles. It reflected the
owner and the people who also ended
up becoming owners. I have the
impression that Celso achieved what
he wanted: build a solid, successful
company in term of business,
accounts and the team’s ulcer-free
stomachs, including Celso’s.”
Ricardo Chester was Loducca’s
copywriter between 2000 and 2001.
Today, he’s the copywriter at the Africa agency.
Talent Show
271
Jonas Silva Queiroga
Eder Pereira da Cruz
What makes you laugh?
Opening my eyes when I wake up
and knowing that I have another day
before me.
Rosa Bonfim de Souza
Tell us something that would make us
like you.
I’m honest
and outgoing.
What’s the craziest diet that you’ve
ever tried?
I went from 75 kg
to 69 kg in two
weeks to compete
in a tae-kwon-do
championship, and
ended up fighting
against a guy that
weighed 90 kg.
What makes you laugh?
Seeing people fall down. When
I’m sad I watch YouTube: “models
falling on the catwalk,” and I
swear it cheers me up.
Rodrigo Neia
Maria Eunice de Almeida
Luiz Carlos S. Vieira
Tell us something that will make us
like you.
Describe an ideal day in your life five
years from now.
Tell us something that will make us
like you.
Isabella Motta
Denis Queiroz da Costa Lisboa
What is the most honest thing you can
say about yourself?
Nathalia Graça
What is your favorite place in the world?
272
My home.
I’ve always had to fight hard.
I don’t go around complaining about life.
To be in Bahia.
Talent Show
Honest and helpful.
273
“I worked at Loducca back at the
beginning. There were only a few of us,
so we had to wear many hats to make
business grow and it was a very good
feeling knowing that everything was still
going to happen. Since Celso was a
creative director with a high standing in
the industry, the agency began winning
accounts and becoming more structured,
attracting people. And each person was
very important for this structure. For me,
who until then had only worked at large
agencies (I met Celso at Ogilvy), it was a
very new and different way, where each
director had an important role. Those
were four very happy years where we had
fun working. Since Celso has always been
very family oriented, like me, it was usual
for us to take our kids to work: children
running around the desks was part of the
agency. If I had to choose one thing that I
learned at Loducca, more precisely with
Celso, is that you need to be transparent.
He was always very honest, always said
what he thought, and people don’t always
have the courage to be that way with
clients. Often, they prefer to say what the
client would like to hear and not what he
needs to hear. But we discovered that
clients like that sincerity, with no mincing
of words. After working at Loducca, I try
to be that way most of the time.”
Bettina Quinteiro was director of Account
Service at Loducca between 1996 and 2000.
Today, she is the superintendent of Aliansce,
a shopping center management company.
274
“Something funny or memorable happened every
day that I worked at Loducca. I think the most
memorable was when Loducca won the Caboré
award for an ad agency. Seeing the happiness in
Celso’s and everyone’s face at the agency, knowing
all the hard work, talent and effort that went into
making Loducca a special place to work, and all of
us being onstage at the event to receive the award...
wow, what a moment.
That moment belonged to us. It was Dona Lu who,
as the first employee of the agency, received the
award with Celso. It belonged to every person who
knew exactly what they did to place Loducca there.
I learned that all those who work at Loducca are the
owners of Loducca. That all of us truly carry the
Loducca surname. That victories and failures really
belong to us. And that there is no stronger force
than this identity and conviction that everyone is
part of the family.
Loducca has an interesting story with highs and
lows that makes sense in light of the type of
commitment and vision that the agency has. It is
not an agency for just any type of client. It’s an
agency for clients who want to be challenged, who
are willing to work together with the agency to find
solutions and who have great listening skills. These
are rare qualities nowadays.
Loducca will always be an agency with clear and
strong positions, with a brilliant and efficient
creative department and a high commitment to
results. Celso is like that, his partners are like that
and the people chosen to be there are like that.”
Isabella Mulholand was Loducca’s Director
of Account Planning between 2009 and 2012. Today,
she is Executive Director for Strategy at JWT.
Talent Show
275
Juliana Lima
Candida Semensato
What is a skill very few people know
you have?
What is a skill very few people know
you have?
I bake delicious cupcakes!!
I dance flamenco.
Renan Alves
What was the biggest mistake you ever
made in your life?
Amélia de Oliveira Gama
If you could trade places with anyone
in the world, who would it be?
I didn’t spend
enough time with my
grandparents.
Kate Middleton. I think it’d be great to
live in a palace, don’t you?
Alex Scorsato
If you could make a wish, what would it be?
A fair world. And, if it wouldn’t be asking
for too much, I would like to marry Ellen
Rocche.
276
Kelly Cotta
Patricia Vismara
What talent would you like to have?
What was the last thing that made
you cry?
Dance, like in
a Broadway
musical.
After a year and half of taking
my brother for his cancer
treatment, his exams came
back all normal. He is a warrior
and was given a new chance.
Roger Yuri Sehn
If you could make a wish, what
would it be?
Talent Show
World peace is too much
of a cliché. So then,
superpowers!
277
“I can say that I exist because
Loducca exists. Without
exaggerating too much.
When I was undecided about
what to do in life, an article fell
into my lap about a rebel adman
who was fed up with the same
old story and decided to open his
own agency. I was impressed by
the guy’s determination and
healthy ambition and thought:
‘I think this is it, I want to be his
partner.’
The year was 1995 and the guy
was Celso Loducca. To make a
long story short, time passed and
nothing went as planned, until
2002 when, shaking with nerves
at a meeting with Celso himself,
I joined Loducca. In 2005, I
became a partner of one of the
group’s companies. My dream
came true, and life went on
regardless. Faraway, but always
close. For 18 years.”
André Piva was Creative Director of Loducca Vitual
between 2002 and 2005.
Today, he is CCO of Lov, the Dentsu group’s digital agency.
278
“Loducca is renowned as a very important
school for Account Planning and I had the
opportunity to participate in this school.
It’s the agency that has most contributed to
Account Planning having the importance it
has today. This courage that they had to
blaze new paths, even though they were
smaller than other agencies, is admirable.
This willingness made a gigantic
contribution to the industry, a generosity
that deserves to be chronicled.
For me, the time I worked at Loducca was
fundamental for me to consolidate my
vision of Account Planning and become the
professional I am today. It was the
everyday experience of working with very
talented people and even the high volume
of work that had to be done. I had a very
intense period there, working all night long
to keep up with the work from the bids. I
will never forget those nights. The whole
team gathered together, wanting to do a
great job, it’s priceless.
In order for advertising to be great, no
effort can be spared to make a good
project feasible. And this can give you a lot
of joy. If you give of yourself, advertising
gives back to you. We used to work that
way at Loducca. And even today the
agency’s work is outstanding.”
Rodrigo Maroni was Account Planning
Manager at Loducca between 2003 and 2005.
Today, he is the Account Planning Director at
Wieden + Kennedy.
Talent Show
279
Tomás Garnier Coutinho
What is your favorite place in the
world?
Juliana de Freitas Clorado
My favorite place is the unknown. I think
it’s an incredible feeling to discover new
places, new cultures, new people, to have
new experiences. I also want to travel the
entire world and continue to grow, learn
more and expand my vision.
I’m the best-humored bad-humored
person that you’ll ever meet.
Tell us something that will make us
like you.
Fabiane Veiga
Tell us something that will make us
like you.
I’m someone
you can
count on,
for whatever
comes up...
always!
Dino Santos
Thiago Bocatto
If you could make a wish, what would it be?
What is your favorite place in the
world?
The end of gunpowder!
Indaiara Pelizario
What makes you laugh?
Everything. At this exact moment, I’m
laughing at this questionnaire and at what
people are talking about it.
My aunt’s animal shelter, with 268 dogs,
11 cats and 2 sows (Isabel and Rita).
Rafael Genu
Tell us something that will make us
like you.
Rodrigo Tamer
If you could make a wish, what would
it be?
Have more time to enjoy life!
280
Kely Galante
Fernando Saú
What makes you laugh?
www.9gag.com
Describe what would be an ideal day in
your life five years from now.
A beautiful trip with the family
that I will have formed by then.
I’m the bassist
for PELVs,
damn it!
Carla Patrícia da Silva
What talent would you like to have?
I wanted to become a
nurse. I’m still trying to
get up the courage.
Talent Show
Josemar Macedo
If you could trade places with anyone in
the world, who would it be?
A Brazilian country singer. I really like
making people happy.
281
“Loducca will always be in my heart because it
was the first agency I worked for. I had already
worked in aviation, banking, as an electronics
technician, a whole bunch of stuff, but what
brought me to advertising was Loducca. It’s
the place where I learned, where I laughed the
most, where I began my professional life.
I started as a media intern during the agency’s
first week at the Robocop building. Then I
became an assistant, coordinator, supervisor...
And then something really nice happened,
which has a lot to do with Loducca’s spirit: at
the same time that the possibility of becoming
a manager came up, I had the chance to live
abroad, to study a year in London. And then
Márcia Pudelko, my boss, said: ‘Your
promotion is guaranteed. But if I were you, I
would travel. You have to go, learn and bring
back ideas.’ She made me promise that the
first thing I would do when I returned to Brazil
would be to call Loducca. But shortly before I
returned home, she called me to let me know
that they were creating an internet department.
I said: ‘But I don’t know anything about the
Internet.’ And she said: ‘No one does! We’ll
build it together.’ This is the Loducca style: the
doors are always open. It is always a caring
agency, thinking about people and not just
business, accounts or figures.
There were fewer than 30 persons when I
joined. When I left, there were 120. Today there
are even more people, and I continue rooting a
lot for everyone.”
“Loducca was important for my career and for
reinforcing values I believe in. Celso created the
agency in his image, with transparency, ethics and
his own leadership style, and created an
unforgettable environment, which brought people
closer together, made them more united and turned
professional relationships into long-lasting
friendships. Many of us from that time are very close
friends and we have followed and cheered each
other’s growth and success. It was the best work
environment that I found in my 20-year-long career.
Good memories. I remember Celso designing his
digital agency with João Muniz. I remember Balí
fighting to create special projects. I remember
Pudelko. And Rita Almeida creating killer concepts.
And Marina Campos, who was the first one who
interviewed me and always knew how to balance
strength and gentleness. Good times, in which such
a multidisciplinary integration, so in fashion today,
was already happening in a natural and free manner
at Loducca’s good-humored and partition-less
office. It was there that Giusti came up with his
image-building concept and helped shape many
good people.
A very good place to work, with well-deserved and
celebrated achievements. Talent also for enabling
good stories—such as interviewing new interns in
“Japanese.” Various pranks. Lunches at the “testa.”
Playing soccer and frescobol with Guga in the office.
Excellent memories of people who are still there and
others who were there in my time. Celso is to be
praised for having brought together so many great
people and for his very close management.
I will always cheer for the agency. Congratulations
on your 18 years. In bocca al Lupo and thank you so
much, Loducca!”
Dado Lancellotti joined Loducca in
André França worked at Loducca
between 1995 and 2004, with a one year
break. Today, he is Chief Operating
Officer at the Lov agency.
282
February 1997 in strategic planning, became
manager and left in November 1999 when he was
new business director. He is now Commercial and
Marketing Director of Portal R7.
Talent Show
283
Filipe Rodriguez de Souza
Josefa Telvina do Nascimento
What talent would you like to have?
What ability do few people know you
have?
Dance tango.
Roberto Porto Freires
Pamela Brito
What was the biggest mistake you ever
made in your life?
I’m a jack of all trades.
Sid Fernandes Gonçalves
Not having done what really makes me
happy.
If you could trade places with anyone
in the world, who would it be?
Dilma Rouseff. In order to
carry out all the reforms
Brazil needs.
If you could trade places with
anyone in the world, who would
it be?
Woody Allen.
Pâmela Mendes Galvão
If you could trade places with anyone
in the world, who would it be?
Marcela Parolini
If you could trade places with anyone
in the world, who would it be?
Nelson Costa
Mauricio Rodrigues de Oliveira
What was the last thing that made
you cry?
284
The day the doctor told me
my daughter was going to
live.
If you could trade places with anyone
in the world, who would it be?
Hugh Hefner.
An English teacher I had when
I was an exchange student:
living in New York and working
from 8 am to 5 pm at the
Empire State Building.
Marina Morzoletto Pedrollo
What is a skill very few people know
you have?
I’m pretty good in the kitchen!
Talent Show
With my
twin sister;
it must be
sensational
to be my
twin sister.
285
“I joined Loducca by participating in the ‘Intern’s Day.’ A
selection process where you waited in a damned long line at
the door, chose the department you wanted to interview with
and wore a T-shirt they gave you (spoiling the outfit chosen
with the greatest care for the interview). Once you were
wearing the T-shirt, the promoter then stuck a nametag on
you with the desired department (Creative, RTV, Account
Planning, Account Service, Media) and you would wait in
another line until someone from the chosen department
would come for you. I was lucky: the then-director of
Account Planning, Marina Campos, interviewed me and we
discovered we had many things in common. For example,
for the classic question about hobbies, I gave her the
equally classic answer: ‘movies, reading, traveling.’
Suspicious, she mischievously asked me: ‘OK, and what
book are you reading now?’ I answered The Ascetic of
Desire (a book that told the story of the author of the Kama
Sutra). Bingo! She was reading the same book at the time
and we starting discussing it.
Well, I worked there for a short time with Marina, who soon
left. Ken Fujioka (a partner nowadays) was promoted from
account planning manager to director. In this department,
led by Marina and later by Ken, I learned that there are
different types of thinking and ways of planning—and
they’re all fine. Participating in a wide range of projects,
from super-pragmatic accounts, such as Sabesp, to bids
such as one for Coca-Cola, I learned to create a diverse
repertoire and ways of thinking.
I decided to leave on a youthful impulse: I wanted to leave
‘mother’s apron strings,’ the comfort, the familiar, to take
risks and basically learn other forms of account planning. I
left Loducca and only now do I realize that while I did find
different ways of account planning, the pillars and structure
of the edifice and thought had already been formed, they
were ready. I incorporated what I learned from other bosses,
other places, but I know that my DNA was formed at
Loducca.”
“Celso Loducca is a teacher. One of
those people with a mission. A
generous guy. Sharing knowledge,
achievements, talent, whatever—it’s
what makes people like him special. I
learned a lot from Celso. I learned that
you can always take another step;
that the greatest of pleasures is
derived from doing truly great stuff;
always seeking what is different (isn’t
that the point of our profession?); I
learned that there always exists a
perspective that no one else has seen
before. And I saw how great it is to
look at the team and—check this
out—see people.
Loducca is not just Celso’s surname.
This generous and passionate teacher
shapes people who take up his
beliefs. Loducca today has many
Celsos. It is to the credit of the
original Celso, who always had a very
unique vision of our business. And of
the people who make this business
happen.
The teacher deserves his apples.
When I grow up, I want to be just like
Loducca.”
Ana Kuroki was an intern and later
strategic planning assistant at Loducca
between 2001 and 2003. Today, she is a
partner-director at Limo Inc., a culture and
behavior consulting company.
286
Alexandre Vilela was art director
at Loducca during the 1990s. Today, he is
Creative Director at Young&Rubicam.
Talent Show
287
Luiza Valdetaro
Ronaldo da Silva
Tell us something that will make us like you.
What is a skill very few people know
you have?
I come back
hoarse from
Carnival.
I’m very agile.
Natalia Fernandes de Oliveira
What was the last thing that made you cry?
Injustice.
Celso Loducca
Who is the most important person in
your life?
Sidney Pereira Rosa
What was the biggest mistake you ever
made in your life?
My children. They
are the center of
my life.
Stefany Azevedo Soria (Fany)
What was the last thing that made you cry?
My father telling me I’m a consumerist.
It doesn’t take much for me to cry.
I confess that there are times when
I need to cry, it makes me feel good and
“lighter” (laughter).
Having rooted once
for Corinthians to
help out my team,
São Paulo F.C.
Rico Lins
If you could make a wish, what would
it be?
Vanessa Lima
If you could make a wish, what would
it be?
Gabriela da Costa Ruffo
What ability do few people know you
have?
I play soccer.
288
That my
mother
may live
to be 200.
Carla Pessoa de Figueiredo
What is your favorite place in the
world?
I don’t know the entire world to say but, out
of the places I’ve been to, there is no better
place than Disney World!
Marisa Tertuliano Silva
Roberta Moraes
Tell us something that will make us
like you.
What is the most honest thing you
could say about yourself?
I’m an excellent photographer.
I’m very indecisive.
Talent Show
Can Sport
remain
in the A
series?
289
“Loducca the company and Loducca the man are two
unmistakable expressions of love of and dedication to
good advertising. I get really emotional when I
remember the time I worked there. Celso hired me in
2007. Loducca was undergoing a type of restructuring
and needed to reorganize its book of business. I had an
offer from another agency, but Celso convinced me
when he said that what he had to offer me was a project
and not just a job. I accepted on the spot. Well, almost
(admen always exaggerate). From the time I joined the
agency, I felt very much at ease to discuss ideas. In
fact, it has always been like that: the goal was always
a big idea. Hierarchy, politics, fussiness, ego trips,
drama, none of this seemed to enter the discussion.
They were marvelous and frank clashes. I never felt
held back. It was all the free thinking taking effect.
When the director of my department left, I was put in
charge temporarily and, suddenly, a shower of requests
to bid came in. Nextel, Dafra, Peugeot, Cia Muller de
Bebidas and two divisions of Bayer Schering Pharma.
Everything came in at once. I think there were few times
that I worked so hard in my life, but it was very much
worth it. It didn’t seem like work, it was like a cause.
A fighting spirit and desire for collaboration took hold
of all of us. We were the few and good against large
bureaucratic machines that no longer loved advertising
and transformed it into a cold and calculating business
like any other (admen always exaggerate).
I remember as if it were yesterday when we started
receiving the bid results. Celso would gather everyone
on the ground floor and he would stand at the top of the
stairs, like on an improvised stand, and give us the
good news, one by one. Now, please imagine this: after
working so hard, against so many different Goliaths,
little David receives the good news about the two Bayer
projects we were competing for. We were still waiting
on the decisions of four more bids. One or two weeks
later, we received the news from the Muller beverage
company. We were going to do the campaign for the
legendary Cachaça 51! Now, it was down to three. News
from Dafra came in the following week. A brand that we
290
were going to take from zero to fourth place in the
market in less than 6 months. Now, there were only two
left. From then on, statistical probability told us that no
one could possibly win all the bids they competed for.
One day, Celso confessed to me that it would be
incredible to win them all, but it was highly unlikely.
How could anyone think otherwise? Then, on the
following Monday, we were called to go over to Nextel at
the end of the day, after normal business hours. “They
are so ethical and considerate that they called us at the
end of the day to let us down gently,” we all thought. We
had fallen in love with the Nextel staff, they seemed to
be incredible people (this was later confirmed), but the
competition was very tough. Nextel’s Marketing VP at
the time, Mário Carotti, a terrible actor, but one of the
best minds in marketing that I’ve ever met, walked into
the room faking disappointment at first, only to give us
the news that we had won the account. We exploded.
Protocol went out the window. I saw Celso lifting up
Mário and planting a kiss on his cheek. He always goes
around kissing everyone he likes (admen always
exaggerate).
Only Peugeot was left: the largest account and the most
difficult one of the bids. It was Friday. We were having
lunch with Guga (Ketzer), Cássio (Moron) and Sílvio
(Calissi, a.k.a. giant Wee Man) and some other
colleagues. We received a call. We had to get back to
the agency. Fast. We met again on the ground floor of
the agency and, once again, Celso appeared at the top
of the staircase-stand. He got emotional, and was
barely able to finish the sentence correctly, but the
message was conveyed: we won Peugeot. We won
everything. We set the agency’s direction upwards once
more. We became part of the agency’s history. And, in
closing, Loducca took possession of a part of my heart
forever (and, this time, I’m not exaggerating at all).”
Raphael Barreto joined Loducca as
Account Planning Manager in early 2007,
and was named Account Planning Director
in November of the same year. He left in 2009.
Today, he is General Director for Strategic
Planning at DPZ.
Talent Show
291
Duda Reis
What is a skill very few people know
you have?
I know people very well. I
rarely make a mistake.
Patrick Matzenbacher
Roberto Roque
What makes you laugh?
Who is the most interesting person
you’ve have ever met?
Woody Allen, Liniers
and mimes in general.
Reinaldo Motta
What was the biggest mistake you ever
made in your life?
Marriage.
Roberta Beltrão L. Bignardi
What makes you laugh?
I laugh very easily,
I even laugh at
myself.
292
Raphael Franzini
Tell us something that will make us like
you.
I write with my right hand
and shoot with my left leg.
My wife. Because
she has the power to
transform things.
Carolina Nigro Sangoão
If you could make a wish, what would it be?
Renato Mendonça
What is the most honest thing you
could say about yourself?
I’m fat.
That the day would last a lot longer
than 24 hours.
Renata Andrade
Nathalia Kott Cardoso
What is a skill very few people know
you have?
I write stories.
What is the most honest thing you
could say about yourself?
That I still don’t
know myself well!
Eliane dos Santos Barros
José Carlos de Melo
What talent would you like to have?
What was the last thing that made you cry?
Pilot a plane
The film “The Green Mile.”
Talent Show
293
“It’s hard to choose one thing to say about
Loducca. In addition to having worked there for a
long time (a total of seven and a half years), I had
many good experiences there, and made great
friends. The agency was always a lot of fun. There
was always a great feeling in the air. And
everyone always worked together, this was the
big advantage. Camaraderie, teamwork, dedication
from everyone. But above it all, passion. We were
all passionate about what we did.
The desire to do better every time permeated all
the departments in the agency, Creative, Account
Planning, Account Service and Media, reaching
Finance, Technology and all the supporting areas.
The efficiency level was high, everyone was
always striving for more.
But what impressed me the most at Loducca was
that today I know it has shaped my professional
character. I arrived there at the beginning of my
career; it was my first job. And the values
(professionalism, ethics, fairness, sincerity,
honesty, integrity) that I saw in the agency’s
leaders, especially in Celso, really made a big
impression on me. I’m very proud of having
worked there, and having worked for a leader that
has these values. The agency forged these traits
in me. And I continue respecting these values
above all.
The image that I have now is that Loducca was
able to grow and maintain its fundamental
characteristics intact. All these values continue to
be present in the agency’s daily routine. I have
friends who work there, some from that time and
others who have left and come back, and we can
all see it: it still has its firm roots.”
Fabio Camargo joined Loducca in 1998
as an intern in the technology department
and left five years later as Director of Projects
and Technology at LoV (Loducca Virtual). He
returned in 2004 and stayed for two years.
Today, he is IT Director at Grupo Newcomm.
294
“I joined Loducca as account supervisor in
1999, unsure if I wanted to work in an
advertising agency. But everyone spoke of the
agency with such love that when I was invited, I
decided to go talk to them. But right from the
start, I made it clear that for me it was very
important to balance work and quality of life. I
knew it wasn’t the best thing to say in a job
interview, but I had to be honest. The answer I
received was: ‘Great, you’re hired, when can
you start?’ This is the Loducca spirit. Of course,
I worked hard, sometimes until very late at
night. But always something light, that made
want to stay on longer.
In the years I was there (I left in 2003), the
agency went through a delicate phase that
resulted in its split from the Lowe group. But
even during the crisis—and Account Service is
an area that ends up being affected a lot since it
is in the eye of the hurricane—there was never
the feeling that we were in the wrong place, that
the boat was sinking. In fact, it was during the
most difficult period that I was most appreciated
and promoted.
Loducca treats people well, pays them well,
wants the best for those who work there. Today
I see that the agency grew by allowing joy,
positive energy and the human side to prevail.
All the people that I know in advertising speak
fondly of Loducca. In my case, I not only made
lifelong friends, but I also met my husband—so,
I could not be more grateful.
At Loducca they believe in teamwork: there are
no stars, there are groups of people who get
together to do their best. I value this a lot today,
and I know that it was there that I learned it.”
Fabiana Malavazi was account director
at Loducca. Today she is a jewelry designer.
Talent Show
295
Patricia Araújo Rocha
Vendramini
What makes you laugh?
Good films and
stories of friends.
Danielle Béllio
What is the most honest thing you
could say about yourself?
I say everything I think.
Zacarias Santos Gomes
What is a skill very few people know
you have?
Soccer!
Nelson Soares da Graça
Karen de Victória Lira Guerra
What is a skill very few people know
you have?
Who is the most interesting person
you’ve ever met?
I sing very well.
A 75-year-old teacher.
Ticiana Gomes
What is your favorite place in the
world?
My parent’s
house in
Fortaleza.
Fabio Saboya
What is the most honest thing you
could say about yourself?
I lie.
Beatriz Vieira da Silva
Allan Alfaro Nunes
Paula Ventura
Fabio Cotrim Lima
If you could make a wish, what would
it be?
If you could trade places with anyone
in the world, who would it be?
What is your favorite place in the world?
Felipe Senise
Less traffic in São Paulo.
Silvio Santos... giving away
money and laughing all day long!
Any clean and
unspoiled beach.
What is a skill very few people know
you have?
296
I play the cavaquinho.
Fernanda Teixeira Vicente
What makes you laugh?
If you could make a wish, what would
it be?
Waking up everyday healthy,
being surrounded by
marvelous people, knowing
that I’m special and that
many eagerly await a simple
smile from me.
I’d like to have
my grandmother
Áurea back.
Talent Show
297
Celso Dal Sasso
What talent would you like to have?
Rafaela Petita da Silva
What is your favorite place in the world?
My parents’ home.
Edson Antonio Silva
Alex Adati
What is your favorite place in the world?
What is a skill very few people know
you have?
A bar.
I would like to be more
articulate and not get
emotional when I say
something serious.
I understand a lot about mechanics.
Before working in advertising, I wanted
to be an engineer.
Edmar Gonçalves de Souza
If you could trade places with anyone
in the world, who would it be?
Nelson
Mandela.
Paula Padilha
What is your favorite place in the
world?
298
A place with
comfortable
chairs.
Welton Santos Silva
What makes you laugh?
I love to tell jokes
and listen to funny
stories.
Ronaldo Severino
What was the last thing that made
you cry?
Mariana Teodoro Esteves
Gisele Tcherkesian Kumruian
Semir Gonçalves da Silva
What was the last thing that made you cry?
Describe an ideal day in your life five
years from now.
What is a skill very few people know
you have?
Ahhhhhhhh, when I arrived in Yerevan in
Armenia. The country of my paternal and
maternal grandparents. An enchanting
place, it was very moving.
Happy on my family’s
ranch eating my father’s
barbecue.
I have a photographic memory!
Talent Show
When my
daughter
got her first
internship
in a
hospital.
299
Angela Cintra Coimbra Xavier
Describe an ideal day in your life five
years from now.
Marcel Almeida
If you could trade places with anyone
in the world, who would it be?
Messi.
Ana Paula Cury
What is the craziest diet you have ever
tried?
I want to
be doing
something
I want
to do.
Carine Alves de Oliveira
Guilherme Palma
What was the last thing that made you cry?
Corinthians winning the
Libertadores championship.
Tell us something that will make us
like you.
Honesty.
Only chocolate for
a week.
Marcos Aurelio Franco
Luiz Eduardo Ferreira Junior
Who is the most interesting person
you’ve ever met?
My father.
300
Marcelo Marques
Marcela Rocha Bortolai
What was the biggest mistake you ever
made in your life?
What was the last thing that made you cry?
Having taken so long to finish college.
Answering this question. I cried because
I remembered the last thing that made
me cry... I’m a Pisces, it’s complicated.
What is the most honest thing you
could say about yourself?
I found a cell phone
on the bus and I
returned it to its
owner.
Marco Aurélio Porfírio
Carolina Ladeira Silva
Who do you ask for advice before
making an important decision?
What makes you laugh?
My mother.
Talent Show
People falling down.
And puppies.
301
Thank you.
1995 – 2012
Febraban
Graziela Magalhaes Araujo
José Carlos De Melo
Lucas Stefano Oliveira
Maria Eugenia Humberg
Felipe Dos Santos Vega Senise
Gregory Kickow
José Eduardo Cazarim Silva
Luciana Kley Bognato
Maria Eulalia De Campos Mello
Felipe Dienfenbach Silveira
Felipe Gavronski Lopez
Felipe Gomes D. Da Silveira
Loducca would like to thank all the people and clients who have contributed directly to its success. And to all our friends and partners
who have shared these last 18 years with us.
Felipe Lemes De Morais
Fernanda Rocha Martins Moino
Fernanda Dos Santos
Fernanda Dos Santos Flandoli
Fernanda G. De Albuquerque
2001 Vídeo
Andre Godoy
Camila Afonso De Souza
Cleber Vieira Pinto
Edson Antonio Da Silva
A Crítica
Andre Luiz Piva Demarzo
Camila Da Matta Fonseca
Cleusa De Souza Quadros
Edson Simplicio De Melo
96 Rádio Rock
Ache
Aderaldo Ferreira De Medeiros
Adherbal Teixeira Rocha Jr.
Adriana A. Ribeiro Lima
Adriana Felix Silva
Adriana Favaro
Adriana F. De Camargo Tintori
Adriana S. De Mello Monteiro
Adriano Alarcon
Adriano De Laurentiis
ADVB - Associação dos
Dirigentes de Vendas e
Marketing
Andre Luis Dos Santos Felix
Andre Martins
Andre Monteiro Felix
Andre Pauletti
Andre Pereira Nassar
Andre T De Alcantara
Andre Troster Rodrigues Alves
Andrea Branco Farhat
Andrea Longhi
Andreas Toscano
Andrei Sanches Croisfelt
Andreia Oliveira De Lima
Angela Cintra Xavier Coimbra
Afonso Madeira Abelhao
Angelica Cristina De Oliveira
Alcan
Anrafel T. De Toledo Draganov
Agnaldo Lopes Valentim
Anna Carolina Paulino
Alda Canto
Antonio Carlos Da Costa
Aldo Bitencourt Chã Neto
Antonio Correa Da Silva Junior
Aldo Moino Junior
Antonio Campelo Aranha
Alessandra Dos Santos Pereira
Antonio Roberto Lovato
Alex Sandro Bitencourt Da Silva
AOL
Alessandra Avella Garone
Antonio Moreira Dos Anjos
Alex Akio Adati
Antonio Salomao Assumpção
Alex Silva E Amorim
APCD - Associação Parceria
contra Drogas
Alexander De Almeida Scorsato
Alexandre Popoviski
Alexandre Ricardo O. Garcia
Alexandre Rocha Mantovani
Alexandre Saulo L. Do Amaral
Alexandre Vilela Mariano
Alexis Thuller Pagliarini
Aline Bezerra Maier
Aline De Souza Rodrigues
Aline Pereira Lima
Aline Vieira
Almir Pereira Da Silva
Allan Alfaro Nunes
Alyne Zamperlin Souza Silva
Amanda Freire Manchini
Amaury Polizio Terçarolli
Ambev
Amcham
Amelia De Oliveira Gama
American Properties
Ana Carla Reber
Ana Claudia Saad Melo
Ana Claudia T. Do Nascimento
Ana Laura Silveira Masini
Ana Lucia De Souza Magalhaes
Ana Luisa F. De Campos Andre
Ana Luiza Maluf Nassif
Ana Maria Piassi Kupper
Ana Paula Cury Antonaglia
Anayha Amoara C. C. Ferreira
Anderson Vaz Fernandes
Andre Amaral De Oliveira Faria
Andre Batista Candido Ferreira
Andre Bernardo Galvao Serante
Andre Braga Bini
Andre Brik
Andre Correia Batista
Andre De Melo Godoi
Andre Franca
302
Associação Parceiros Da
Educação
Camila Correia Sottano
Camila Massari Guerra Peixe
Camila Mendes Galvao
Camilla De Oliveira Reis
Candida Semensato Abrao
Cargill
Carglass
Carine Alves de Oliveira
Carla Cristiane G. Horas
Carla Patricia Da Silva
Carla Pessoa De Figueiredo
Carla Pimentel Libanori
Carla Rodrigues Cardenuto
Clickon
Clineu M. Fernandes Junior
Clovis Marchetti Junior
Coca-Cola
Coca-Cola Light
Coelho Da Fonseca
Colégio São Luis
Com Braxis
Corello Comercial Ltda
Cremer
Cristiana M. Botto De Barros
Cristiane Maradei
Carlos Alberto Chagas
Cristiane Pereira Heal
Carlos Alberto Farias Thunm
Cristina Georgetti Brenna
Carlos Alberto Conti
Cristiane Ramos Valle
Carlos Cesar Marcos
CTEEP - Companhia de
Transmissão de Energia
Elétrica
Carlos Eduardo Martinez
Carlos Eduardo Perpetuo Cha
Carlos Pereira Da Silva
Carmen De Lamare Assumpção
Carolina Alonso Fontes
Carolina Garcia Do Rego
Carolina Guimaraes
Carolina Ladeira Da Silva
Carolina Markowicz Bastos
Aurora
Carolina Nigro Sangoao
Banco Ibi
Carolina Varella Galastri
Barbara Ribeiro Mota
Caroline Dos Santos Magalhães
Baruel
Carta Editorial
Bazinho Ferraz
Cassiano Surek
Beatriz Vieira da Silva
Catarina Menchik
Benq Eletrônica
Cecilia De Oliveria Araujo
Bergerson
Celso Alfieri
Bh Shopping
Celso Luis Lemos
Bol
Cereja Digital
Bridgestone Firestone
Cesar Henrique Noda
Bruna Araujo Pinheiro
Christian Pentagna Sampaio
Bruno Araripe Brasil De Araujo
Cia Muller
Bruno Chamorro Ribeiro
Citibank
Bruno Diniz
Clarisse Padilha
Bruno Leonardo Cunha
Claudia Junta
Bruno S. De Mesquita Cirello
Claudia Regina Weschenfelder
Bruno Yantob Toporovschi
Claudio Andres V. Arriagada
Bamerindus
Carolina Roxo Nobre Barreira
Barbara Elisa Caetano Gomes
Caroline Bonani Pedroso
Barbara Teixeira Da Conceicao
Caroline De Mattos C. Castello
Bayer HealthCare
Casa Do Saber
Beatris Kemper
Cassio A. M. De Andrade
Benjamin Yung Junior
CCR
Bertin
Celina Esteves
Bettina Zaguer Iampohsky
Celso Dal Sasso
Bm&Fbovespa S.A
Celso Rausch De Amorim
Br Malls
Cesar Bernardo Monteiro Junior
Britania
Charlles Frederiko R. Bezerra
Bruna Garcia De Abreu
Chupa-Chups
Bruno Bocchese Silva
Cintia De Oliveira Franco
Bruno De Menezes Zuccato
Clarisse Fernandes Pinto
Bruno Friaes Marques
Clauber Volinsky De Oliveira
Bruno Morais Nobrega Tenorio
Claudia P. De A Queiroz
Bruno Souto
Claudia Souza Pinto Stancev
Burn
Claudio Dratwa
C&A
Cleonice Da Silva Serio
Claudio Sandrini Mendes Leal
Edson Giusti Junior
Eduardo Augusto Rebola
Eduardo Braga De Santana
Eduardo Ciampolini Bourroul
Eduardo Coleoni Tinoco
Eduardo De Almeida Godoy
Eduardo Julianelli
Eduardo Parra
Eduardo Penteado Lancellotti
Eduardo Pereira Biliato
Eduardo Tallia
Eduardo Zaniboni
Egle Tubelis
Elaine Carvalho De Barros
Elcio Edir Laurindo
Eliana Fatima de Souza
Eliane Dos Santos Barros
Eliane Fatima De Souza
Cynthia Preter Rewin
Eliane O. De Souza Pereira
Daewoo
Eliezer De Souza
Daniel De Castro Toni
Elisangela Alexandre
Daniel De Tomazo
Ellen Fernandes Fatorelli
Daniel Luiz Duarte Ribeiro
Emerson Electric Co.
Daniel Spinelli
Enio Marin Vergeiro
Daniela Marcia Leal
Epson
Daniela S. Ribeiro Lima E Silva
Erico Cheung
Danielle Cristiane B. Bellio
Ernestina E. De Paula Eduardo
Danielle Pennacino Serra
Even
Danilo César Maso Filho
Fabiana A. Rodriguez Lopez
Debora Maria Ouafa Rocca
Fabiana Malavazi
Decio Nunes Farias
Fabiano H. De Oliveira Santos
Denis Queiroz Da Costa Lisboa
Fabio Almeida Felice
Denon Oliveira De Figueiredo
Fabio A. De Alencar Saboya
Diógenes Oswaldo da Rosa
Fabio Barbato
Doroteia Tkaczuk
Fabio Cordeiro Marino
Dupé
Fabio De Jesus Queiroz
Eder Pereira Da Cruz
Fabio M. Dumont Evangelista
Edimere A. F. Gonçalves
Fabio Odia Meneghati
Editora Globo
Fabio Tedeschi
Edmsilson Fonseca
Fabricio Lima Kassick
Edna Baruch Fagner Clementino Franco
Cyrela
Elias Da Silva Prado
Dafra Elisabete Branco Rojas
Daniel De Oliveira Costa
Elita De Paula Bento
Daniel Ferreira Fernandes
Elvis Ribeiro De Souza
Daniel Poletto
Energil-C
Daniela Cezar Ferreira
Enplanta
Daniela Marcia Leal
Erica Cristina Moreira
Daniele Pizzo
Eridiane Mateus Porciuncula
Danielle Follador
Evelyn
Danielle Villa Nova Arello
Everton Alves Da Silva
David Cesar De Oliveira Maia
Fabiana Andreoli Monteiro
Deborah Pecsi
Fabiane Silveira Veiga
Deloitte
Fabio Adiron Ribeiro
Denise Podgornik Abramovici
Fabio Antonio Cesarini
Diego De Oliveira Salvador
Fabio Augusto De Camargo
Doriano Cecchettini
Fabio Camara
Dulcineia Silva Dos Reis
Fabio Cotrim Lima
Édeprima!
Fabio Lacombe Miraglia
Edgard Duccini Da Rocha
Fabio Neri Lyra Editel
Fabio Rodrigues Fontan
Edla De Lima Paniguel
Fabio Victoria Da Silva
Edmur Astrauskas Celice
Faculdade São Luis
Fernanda Lopes
Fernanda Marques Busnelo
Fernanda M. Pereira E Souza
Fernanda Moreira F Rezende
Fernanda Moura
Fernanda Oliveira
Fernanda Pedroso Lopes
Fernanda R. Da Luz Fajardo
Fernanda R. Da Fonseca
Fernanda Sartorelli
Fernanda Teixeira Vicente
Fernando Almeida Santos
Fernando Bueno De Souza
Fernando Julianelli
Fernando Lopes Cardoso
Fernando Luiz Diniz
Fernando Mariutti Assumpcao
Fernando Sau Lopes
Fernando S. Pereira De Barros
Fernando William Barbosa
Fernão Cosi
Festival de Cinema
de Curitiba
Filipe Bartholomeu
Filipe Rodrigues De Souza
Flaminio Fantini
Flavia Cristina Campos
Flavia Cristina Da Silva
Flavia Liz Silva
Flavia Simoes Pinto
Flávia Tagliapietra Godoy
Flavio Pereira Biliato
Flavio Travaglini Casarotti
Folha Sp
Fort Knox
Fox Channels - Canal Fox
Fox Film
Francineide Albuquerque
Francisco Davi dos Santos
Frank Augusto Barbosa Santos
Folha da Tarde
Fundação Gol De Letra
Fundação Victor Civita
Gabriel Alexandre Queiroz
Gabriel Rensi Silva
Gabriel Russo De Queiroz
Gabriela Ben David
Gabriela Da Costa Ruffo
Gabriela De Oliveira Amanai
Gabriela De Vasconcelos Leitao
Gabriela Oliveira Barbosa Motta
Gabriela Schorer
Gabriella Garcia Carpinelli
Galderma Brasil Ltda
Gerson Thiago De Lima
Getulio Francisco De Sousa
Giovanna Maciel
Gisele Kinoshita Pereira
Gisele Kumruian
Gisele Sakamoto
Giuliana C. Toledo E Silva
Giuliana Rocha Barletta
Giulliano Alves Da Silva
Gouvea De Souza & Md
Governo PR
Governo SP
Grecina Eugenio Silva
Greta Verga Nogueira De Sa
Grupo Icatu
Guga Valente
Guilherme Camargo Palma
Guilherme Castanho Neto
Guilherme Moreira Teixeira
Guilherme Portela Ramalho
Guilherme Rabboni Junior
Gustavo Barcellos Machado
Gustavo De Lacerda Goncalves
Gustavo Pinto Spanholi
Gustavo Tallia
GVT
Harley Davidson
Heitor Savignano
Helbert Santos De Oliveira
Helena T. Brant De Carvalho
Helio G. Vasconcellos Neto
Henrique Eduardo P. Lazarim
Henrique Manzoli
Hershey’s
Heublein - Atualmente Diageo
Hideo Hirano
HSBC
H-Stern
Hugo Costa Pinheiro
Icatu Seguros
IED - Instituto Europeu di
Design
Ignacio Gonzalez Del Solar
Inajaina Fraga De Lima
Indaiara De Souza Pelizario
Infojobs
Iniciativa Verde
Irany Carvalho De Oliveira
Iria Ribeiro Andre
Iris Maria Jonck
Isabel Da Silva Castro
Isabela Crepaldi
Isabela Regina C. P. Franca
Isabella L. Escobar Silva
Isabella Motta
José Carlos Dos Santos
José Eduardo Cosmo Da Silva
José Neuri Maciel Junior
Josefa Telvina do Nascimento
Josiane Besold Figueiredo
Josmael Rodrigo Camargo
Juan Cruz Keller Sarmiento
Juan Enrique Frias Justiniano
Julia Cassiano V. Nascimento
Juliana Barreto Apovian
Juliana Canducci Figueira
Juliana Cardoso Della Libera
Juliana Cora
Juliana De Freitas Clorado
Juliana Fernandes Monteiro
Juliana G. Yamanaka
Juliana Lopez Ferraz Donnini
Juliana Moreira Penido
Juliana Nammur Senna
Juliana Paiva Rio Mendes
Juliana Pereira De Lima
Juliana Peres Moyses
Juliana Precaro Siqueira
Juliana Racioppi Tangary
Juliana Rodrigues Tocalino
Juliana Seabra Amaro
Juliana Tomas Lopes
Juliana Veloso De Aguiar
Juliana Vieira Gardim
Julio Cesar Bianculli Filho
Julio Cesar Reis
Jussara Ferreira Lima
K&M
Karen De Victoria Lira Guerra
Karen Pila
Karina Souza Rebelo
Karina Vadasz Kayode Campos Adegeye
Keila Cristina Da Silva
Kelly E. De Oliveira Cotta
Kely Galante
Kelly Teixeira
Isabella Nappi Bevilaqua
Kenner
Ismar Soares
Kidde Itaipu
Layssa Pasher Dobes Bakarigi
Ivana Maria Da Silva Nunez
Laramara
Izabel S. De Ferraz Ferreira
Larissa Storch
Jacqueline Ap.C.V. De Lemos
Leandro Augusto Pasini
Jaime Leme
Leandro Jose Dena
Javier Gerardo Talavera Garcia
Leila Coqueto Kalid
Jefferson Bernardini Cossa
Leonardo Meschiatti Milani
Jessica Ribeiro Moraes
Leonice De Oliveira
Joanna M. Soares Cavalcanti
Levi De Jesus Santos
João Paulo Barbosa Guzzo
Ligia Camargo
Jonas Silva Queiroga
Ligia Temis Goncalves
Isabella Sampaio Mulholland
Kennex
It´S
Lais Dantas
Itavema
Lara Guimaraes Guedes
Ivete Cordeiro Dos S. Leite
Lara Ramos C. De Carvalho
Jackson Alves De Sa
Lasaro Celso Da Silva
Jaime Kiss
Leandro El Achkar Otsuka
Jaime Maiante Ribeiro Da Silva
Leandro Machado Pinheiro
Jeferson Do Nascimento Rocha
Leonardo M. Dias De Andrade
Jefferson Ferreira Da Silva
Leonardo Silva Assad
Joana B. Hyppolito Das Neves
Leroy Merlin
Joao Batista Muniz Filho
Liane Varela Santi
João Pedro Badue
Ligia Mendes Soares
Jood Garland Araujo Nogueira
Jorge Uesu Jr.
José Ailton Pereira Gomes
José Antonio Goncalves Boralli
José Arnaldo Pereira Suaid
José Bello S. Francisco Filho
Lilia Franca Quinaud
Lilian Benjamin
Liliana Galvao Seleghin
Lisiane Kindlein
Livia Vincenzi Silveira
Lucas C. Nogueira Bastos
Lucia Maria Clemente
Luciana Paiato Teixieira
Luciana Setubal Van Deursen
Luciano Marangoni
Luciano Paulino
Luciano Sorrentino
Luciene Fantuci
Lucila Coqueto Kalid
Lucilene Fantuci
Lucindo Grizante
Luis Fernando Ramos
Luis Roberto Maia Leime
Luiz Augusto J. Hadura Tosi
Luiz Carlos Silva Vieira
Luiz Eduardo Ferreira Junior
Luiz Eduardo Ritton
Luiz Eduardo Soutello
Maria Eugenio Aravena Nunez
Maria Eunice de Almeida
Maria Fernanda Moura
Maria Fernanda Steck Haddad
Maria Glauciane Santos
Maria Helena De Borba H.Fleck
Maria Jose Dias Filha
Maria Livia V. Castro De Oliveira
Maria Rita Duarte Angeiras
Mariana Coelho Rocha
Mariana De Lucca Zaggia
Mariana F. Figueiredo De Abreu
Mariana Groke Campanatti
Mariana Martins
Mariana Moyses Casali
Mariana Q. Nogueira Simeao
Mariana Teodoro Esteves
Luiz Felipe Gall Filho
Mariana Valladares
Luiz Paulo De Andrade Viana
Marianna Moretti Olivieri
Luiza Coelho Valdetaro
Marilia Da Silva
Lygia Alves C. Novoa Conde
Marília Zara Chiarelli
Maildes De O.Costa E Silva
Marilu Rodrigues
Manoela E. Cavalcanti Pessoa
Marina Lorena Campos
Marcel Augusto De Almeida
Marina R. Monteiro Da Silva
Marcela Parolini De Oliveira
Marinete Raimondi
Marcella Santos e Sousa
Mario Cosmo D’andrea
Marcelo Anache Marques
Marisa Tertuliano Silva
Marcelo Fernandes Estevam
Mauricio Jose D. Machado
Marcelo Jose Da Silva
Mauricio Rodrigues De Oliveira
Marcelo Scalice
Meire Pereira Da Silva Pedreira
Marcelo Tomioka
Michelle Moreno
Marcelo Yoshikawa Jordao
Miguel Lopes Vicente Bacelar
Marcia Castanho
Miriam Siqueira De Moraes
Luiz Paulo Bonci
Mariane Wiederkehr Grechinski
Luiz Paulo Haruo Takahashi
Marianne Macedo Martins
Luiza Silveira Pirani
Marilia Madeira Da Silva
Mabel
Mariliza Felizardo Moreira
Manoel Francisco P. Oliveira
Marina Jarouche Aun
Marc Ernesto Schwarzberg
Marina Morzoletto Pedrollo
Marcela Montolar Losso
Marina V. Franco Figueiredo
Marcela Rocha Bortolai
Mario Cintra Carneiro
Marcelo Altschuler
Mario Yoshio Kavano
Marcelo Fernandes Da Rosa
Martin Olaso
Marcelo Gianni
Mauricio Penteado Trentin
Marcelo Reis
Mauro Sergio Nigri Landi
Marcelo Teixeira Marques
Micaela Molan Monteiro
Marcelo Torma De Farias
Mid Sugar
Marcia Araujo Simal
Mirelle Martins Rodrigues
Márcia Pudelko
Marcio Araujo
Marcio Moreira Puga Barbosa
Marcio Oliveira Garcia
Marcio Roberto Leone
Marco Antonio De Almeida Pinto
Marco Aurelio Monteiro
Marco Aurélio Porfírio
Marcos Aurelio Franco
Marcos Camilo De Santana
Marcos Mentone Blinder
Marcos Oliveria Silva
Marcus De Meireles L V Leite
Marcus Kawamura
Marcus Vinicius Furtado Perrot
Marcus Vinicius Pasavento
Maria Angelica Veiga
Maria Anita Bardelli
Maria Carolina C. De Lacerda
Maria Collier De Mendonca
Maria Crsitiane Alves De Araujo
Maria Das Gracas R. Santos
Maria De Fatima Silva Jacintho
Maria Eduarda Augusto Costa
Maria Elizabeth Correa Lote
Mirna Nogueira Fernandes
Mitsubishi
Monica Mesquita Di Pierro
Monika Marlene Henschel
MTV Brasil
Multiplan
Murilo Cesar Cury Lico
Nadia Bianchi De Oliveira
Nanci Crespo
Natalia Bastos Souza
Natalia Fernandes De Oliveira
Nathalia Dos Santos Graca
Nathalia Kott Cardoso De Sa
Nelson Pereira Da Costa Neto
Nelson Saldanha De Castro
Nelson Soares Da Graça
Nestea
NET
Neuza Aparecida Da Silva
Nextel Telecomunicações
Newton Nagumo
Nicholas Bergantin
Nidia Christina Calado
Nissin Ajinomoto
Nizan Guanaes
303
Noticias Populares
Reinaldo Jose Joao
Sandra Helena R. De Souza
Vinicius Artioli Dos Santos
Odebrecht
Renan Ricardo Alves
Sazon
Vitoria Bina Monteiro
Nutrilatina
Odemir Aparecido Putini
Olivia Yongmi Cho
Osesp
Osmar Ferandes Veiga
Ovomaltine
Pamela De Souza Brito
Pamela Mendes Galvão
Panamericana Escola de Arte
e Design
Parker
Patricia Araújo Rocha
Vendramini
Reinaldo Motta Lima
Renan Sattim De Oliveira
Renata C. De Souza Leite
Renata De Andrade
Renata Del Bosque Benedicto
Renata Moura Rocco
Renata Paolucci El Dib
Renato Andrade Nunes
Renato Estevam Bastos
Renato Guerra De Mendonca
Renato Hajaje Spinelli
Renato Soares De Moura Girard
Patricia Regina Veita Stuani
Renato Souza Ramos
Patrick Matzenbacher
Revista Quatro Rodas
Paula Padilha Da Costa
Ricardo Amaral Da Silveira
Paula Rodrigues Ventura
Ricardo Gomes De Oliveira
Paulo Celso Baldi De Freitas
Ricardo Hiroyuki Oda
Paulo Cesar De Carvalho Filho
Ricardo Mendes Lins Filho
Paulo Henrique Menuci Setti
Rita De Cassia Almeida
Paulo Maciel D’andrea
Roberta Gonçalves De Moraes
Paulo Rogerio Ferreira
Roberto Carlos Porto Freires
Pedro Arambasic Mendes
Rodny Arriagada Lobos
Pedro Del Rio G. A. Martinez
Rodolfo Barreto
Pedro Guerra De Araujo Freitas
Rodrigo Augusto Sganzerla
Pedro Luiz Woiski Franco
Rodrigo Bergel
Peugeot Do Brasil
Rodrigo De Marchi
Plug&Use
Rodrigo D. De Figueiredo Pinto
Popcorn
Rodrigo Machado Leoni
Priscila Franco Avila Kuhn
Rodrigo Marcel Rodrigues
Priscila Xavier Da Cunha
Rodrigo Mathias Paulino Bolta
Produtora Abril
Rodrigo Netto Neia
Radio Eldorado
Rodrigo Senra
Rafael Antonio Carmineti
Rodrigo Vinhaes Tortima
Rafael Genu Faria
Rogerio Fernandes Siqueira
Rafael Vieitas Fragoso
Romana De Oliveira
Rafaela Petita Da Silva
Ronaldo Severino
Raissa Krawtschenco
Rosa Bonfim de Souza.
Raphael Augusto Barreto
Rosemary Lemos Silva
Raquel Ferreira De Medeiros
Rui Sergio Da Silva Rodrigues
Rayovac
Saeco Do Brasil
Record
Samantha Sittart
Redley/Cantão
Sandra Cristina S. De Oliveira
Regina Lara Stevanatto
Sandra Helena Dos S.Ribeiro
Patricia Rodrigues Vismara
Renato Yuquishigue Nose
Paula Leite Bastos Nogueira
Ricardo Alonso Zacarias
Paula Queiroz Caetano
Ricardo Amaral Filho
Paulo Areas
Ricardo Hellmuth Schrappe
Paulo Cesar Abdala Ilha
Ricardo Martin Neto
Paulo C. Fernandes Pontes
Richard Albanez Inoue
Paulo Lucas Ferreira Patricio
Roberta Beltrao Lemos Bignardi
Paulo Roberto De Camargo
Roberta Zorzi Loureiro
Paulo Vidiz
Roberto Roque Da Cruz
Pedro De Britto Battesti
Rodolfo Aresta Barretto
Pedro Ewaldo Pletitsch
Rodolfo Ramos Vettore
Pedro Guimaraes T. Motta
Rodrigo Barradas Krammes
Pedro Sperandio Chamme
Rodrigo Cordelini
Philippe Pires Demar
Rodrigo De Oliveira Chedid
Poliana Forgnieri Vasconcelos
Rodrigo Ferreira De Moraes
Priscila Cortat Ribeiro
Rodrigo Magno Sales Senra
Priscila Leopoldino
Rodrigo Maroni
Priscilla Ramos dos Santos
Rodrigo Mavuchian
Purina
Rodrigo Nincao
Radson Manoel De Souza
Rodrigo Tamer De Betta Inama
Rafael Beretta Calvo
Roger Yuri Sehn
Rafael Tadeu Pedro Barbosa
Rogerio Mello Lima
Rafaela Felix Claudio
Rona Aparecida Bernardes
Rafaela Porto
Rondon Fernandes
Ramiro Torres De Amaral
Rosana Fernandes
Raphael Xavier Gomes Franzini
Roziley Barbosa
Raquele Rebello Aizemberg
Sabesp
Rebeca Bautista Saravia
Salete Paludo
Red Bull
Samir Fonte Boa Mesquita
Regina Aparecida Dias
Sandra Haraguchi
304
Sandro Ricardo Freiria
Schewepps
Seara
Selma Martins
Serge Lories
Sergio Franco
Sergio Luiz Fadul
Sérgio Mugnaini
Sergio Valente
Sheila Marie C. De Campos
Shizen
Shopping Eldorado
Sidclei Fernandes Goncalves
Sidmar Batista Esposito
Sidney Pereira Rosa
Silene Illa De Manchon
Silvan Barbosa De Lima
Silvia Martins Durazzo
Silvia Ramazzotti
Silvio Luiz Calissi
Silvio Luiz Medeiros
Silvio Takeshi Suguio
Simone Delite
Simoni B. Ribeiro De Mendonca
Visão Mundial
Vivian Delphino Castilho
Vivian Do Nascimento Genachi
Vivian Gradowski Bueno
Vivian Nascimento Genachi
Vogue
Wagner Felipe Megale
Wagner Fragata
Walter Bedante
Wanderlei Doro
Waterman
Waves 4 Water
Weber Luiz De Andrade
Welton Santos Silva
Widerson Souza Da Silva
William Santos Cabral Da Silva
Wilson Marco Guarnieri Negrini
Wilson Samoyeden
Wlademir De Lima Meireles
Wolfgang Florian Covi
Wwf Climate S. Programme
Yamaha Motor Do Brasil
Yasmin Verlangieri Fernandes
Sindicerv
Sofia Costa Pinto Mariani
Solange Furlan Salvagnini
Sprite
Stephany Christina Hilário
Stefany Azevedo Soria
Stella Chaim Manzano
Stephania Abrantes Da Silveira
Sulamerica
Tadashi Habu
Tap Air Portugal
Tatiana Akemi Murakami
Tatiana Moliterno Amador Batista
Telmo Ursini
Thais Blanski Schnekenberg
Thais Boucas Correa
Thais Ferraz Uvo
Thais Galantini Serotti
Thais Serotti
Thatiana De Almeida
Thaysa Azevedo
Thiago Augusto Matos Coelho
Thiago Carvalho Veloso
Rodrigues
Thiago Correa Nori
Thiago Ribeiro
Thiago Rodrigo Bocatto
Tiago Marcondes De Oliveira
Ticiana Braga Bezerra Gomes
Tishman Speyer
Tomas Lorente
Ubiratan Antunes Ortega
Unesco
Unicid
Unidas
Unimed
UOL
Valeska Bonfim Ribeiro
Vanessa Bueno Tordino
Vanessa Dos Santos Lima
Vanessa Elizabeth Christov
Vanessa Previero
Vanessa Ramalho
Venancio R. Dantas Filho
Vera Lucia Veiga Silveira
Veralucia Pereira De Macedo
Viaje Aqui
Victor Domingues Berto
Victor Philipidis Porto Freires
Vinicius Affonso Barra
305
Illustrated Glossary
III
I l lu st r at e d
G lossa ry
Illustrated Glossary
CHAPTER
01
I. 01 | P. 037
Adolescence
Illustrated Glossary
I. 03 | P. 038
I. 11 | P. 041
I. 13 | P. 041
Dante Alighieri
Vila Madalena
The Razor’s Edge,
Named in honor of the
greatest poet of the Italian
language, the school was
founded in 1911 by Italian
immigrants in São Paulo. It
is located in the Cerqueira
Cesar district and is known
as one of the most traditional
schools in the city.
Famous for its bohemian
lifestyle and the art on its walls
and studios—and for its streets
named after lovely nouns such as
Harmonia (Harmony), Simpatia
(Sympathy), Purpurina (Glitter)
and Girassol (Sunflower)—this
São Paulo district used to be
called Sítio Rio Verde and once
provided shelter for Indians
fleeing the Jesuit hamlets in Pinheiros. The owner of this land, a
Portuguese man called Gonçalo,
divided it into three parts named
after his daughters: Albertina,
Beatriz and Madalena.
I. 04 | P. 038
Pelé
Human development phase
that denotes the transition
between childhood and the
adult years, characterized by
physical, mental and social
changes. A process of leaving
behind the behavior and
privileges of childhood and
acquiring the skills to take on
adult social roles.
I. 02 | P. 037
Edson Arantes do Nascimento was
born in Três Corações (MG) on
October 21, 1940. According to a
record that considers official and
non-official games, he has played
1367 matches and scored 1282
goals. He began playing for Santos
F.C. in 1956 and joined the
Brazilian national team 10 months
later. He shined in the World Cups
of 1958, 1962 and 1970 (in 1966,
he took part in two of the three
matches Brazil played). He left
Santos in 1974 and joined the New
York Cosmos, leaving in 1977. At
his farewell game, between
Cosmos and Santos, he played one
half for each team and scored a
goal for the American team, which
won 2 to 1. At the party, he yelled
the words that became lyrics in a
Caetano Veloso song: “Pelé said
love, love, love.”
I. 05 | P. 038
TV
Despite the first experimental
transmissions in the 1920s,
the worldwide television
boom took place only in the
1950s. Assis Chateaubriand
brought TV to Brazil: He
created the Tupi network in
1950, the country’s first
broadcaster that ruled the
airwaves for many years. To
get his idea off the ground,
Chateaubriand imported 200
TV sets from the US and
spread them all over São
Paulo. Six years later, Brazil
already had a respectable 1.5
million TV sets.
I. 06 | P. 038
Santos
Soccer
Club
Chopin
Frédéric François Chopin (18101849), a Pole residing in France, was
one of history’s greatest pianists
and piano composers. His Nocturnes are comprised of 21 short solo
piano pieces written between
1827 and 1846.
Official name: Republic of India
(Bharat Juktarashtra).
Location: South-central Asia
Area: 3,287,782 km²
Capital: New Delhi
Population: 1.21 billion (2010)
Currency: Indian rupee
Main cities: Mumbai (formerly
Bombay), Calcutta, New Delhi,
Madras, Bangalore
Disney
Peixe, Leão do Mar, Alvinegro
Praiano, Sele-Santos and
Santástico (Fish, Sea Lion,
Beach White and Black,
Sele-Santos and Santastic) are
all nicknames for the club
founded in 1912 in Santos on
the São Paulo shore. Known
worldwide for having discovered
the “Athlete of the Century,”
Pelé, at the end of the 1950s,
Santos leads Brazil (along with
São Paulo F.C.) in Libertadores
Cup championships, with three
titles. Its stadium, Vila Belmiro,
can hold 15,800 fans.
I. 07 | P. 039
I. 09 | P. 040
It’s the fourth planet from the
Sun in the Solar System. Named
in honor of the Roman god of
war, Mars is known as the “Red
Planet.”
After fighting in World War I,
young Larry Darrell returns to his
comfortable life in Chicago. But he
desires something beyond a
good job, a beautiful fiancée and
influential friends. He seeks
another purpose in life. To find an
answer to his existential anguish,
he breaks with everything and
travels throughout the world in
search of himself.
India
I. 08 | P. 039
On July 17, 1955, Walt Disney
opened one of the main
thematic amusement parks in
the world, Disneyland, built on
a 650,000 square meter large
orange grove in the city of
Anaheim in California, located
40 km from Los Angeles. In
October 1971, it was Walt
Disney World’s turn to attract
thousands of visitors to its
opening in Orlando, Florida.
The park complex has the
Magic Kingdom as its flagship,
with its iconic Cinderella’s
Castle. It received 17 million
visitors in 2011.
Mars
by Somerset Maugham
I. 15 | P. 042
Vocational test
The poet Fabrício Carpinejar of
Rio Grande do Sul tweeted the
following to his almost 160,000
followers: “Envy is the best
vocational test: we say the worst
things about the people who we
would like to be.”
I. 10 | P. 040
“Freedom is not
worth having if it
does not connote
the freedom to err.”
(Mahatma Gandhi)
I. 14 | P. 042
I. 12 | P. 041
H.D. Thoureau
(1817 - 1862)
“I went to the woods
…to live deliberately,…and
suck out all the marrow of
life…To rout all that was not
life,…And not, when I came
to die, discover that I had not
lived.”
Author of books, essays and
poetry, Henry D. Thoreau
was unsatisfied with life in
society when in 1845, at age
27, he went to live in the
woods, on a land that
belonged to a friend. He built
his home on the banks of
Walden Lake. Despite having
no experience as a farmer, he
was successful in planting
potatoes and making his own
bread.
Chicago
I. 16 | P. 042
Third most populous city in the
United States, after New York and
Los Angeles, Chicago is known as
the country’s architectural capital
and the proud birthplace of the first
skyscrapers in the 19th century,
many of them built following a
tragic fire that almost destroyed the
city in 1871.
Paramahansa
Yogananda
“The best thing you can do to
pursue true wisdom is to
practice the awareness that the
world is a dream”
“Perform your role on the stage
of life, but never forget that it is
only a role. What you lose in the
world will not be a loss for your
soul.”
Illustrated Glossary
Illustrated Glossary
I. 22 | P. 043
I. 17 | P. 042
I. 27 | P. 045
Hare Krishna
Hippie
“My Sweet Lord,” the song that
former Beatle George Harrison
recorded in 1970 for the album
All Things Must Pass was written
in praise of the Hindu god
Krishna, but with a touch of the
Christian expression “Halleluiah.”
Under the banner “Peace and
Love,” a movement was formed
in the 1960s in support of the
civil rights, equality and
anti-militarism inspired by the
struggles of Gandhi and Martin
Luther King, but with a much
more anarchic attitude. The
hippies supported: free love
and non-violence.
I. 23 | P. 044
I. 33 | P. 046
Chemistry
VW
Beetle
The first car model built by
I. 18 | P. 042
Steppenwolf
“Was what we called culture,
spirit, soul, all that we called
beautiful and sacred, nothing
but a ghost long dead, which
only a few fools like us took for
true and living?” (Hermann
Hesse)
(Marcos y Paulo Servio Valle)
I. 28 | P. 045
Whores
Advertising
In 1975, Martin Scorsese cast the
child star Jodie Foster to play a
13-year old prostitute in the film
“Taxi Driver.” The actress
underwent psychological tests
prior to taking on the role. She
was nominated for an Oscar as
supporting actress.
I. 26 | P. 045
Luiz Gonzaga
I. 19 | P. 042
Nobel Prize
I. 24 | P. 044
Arrigo Barnabé &
Itamar Assumpção
I. 21 | P. 043
Rosicrucianism
One of the symbols used by
the society contains a circle, a
triangle and a square. The
circle symbolizes eternity,
infinity. The triangle symbolizes
three great forces: Father, Son
and Holy Spirit. The square is
the foundation for building a
new mankind.
Two of the main figures of the
Vanguarda Paulistana, name
given by music critics to the
cultural movement that took
place in São Paulo between
1979 and 1985.
I. 25 | P. 044
Sá & Guarabira
A musical duo formed in 1973 by
singers and composers Luíz Carlos
Pereira de Sá and Guttemberg
Nery Gurabyra Filho, after their
break up with Zé Rodrix, with
whom they formed the rural rock
band Sá, Rodrix & Guarabyra.
Born in Exu (PE) on December 13,
1912. He came to like music
watching musicians from the
Northeast at fairs and religious
feast days. He migrated to the
South, played at dockyard bars
and in 1941 participated in radio
talent show conducted by Ary
Barroso. He won with the song
“Vira e Mexe.” Years later, he
became known as the King of
Baião, representing the best in
Northeastern music until his
death in 1989.
noun 1. the action of calling
something to the attention of
the public especially by paid
announcements 2.
Advertisements <the magazine
contains much advertising> 3.
the business of
preparing advertisements for
publication or broadcast
commercials.
I. 29 | P. 046
Lion
One of the most sought-after
awards in advertising
worldwide, the Cannes Lions
had their origin in the famous
winged lion sculpture in the
Piazza San Marco in Venice—the
city that hosted the festival’s first
edition in 1953.
I. 31 | P. 046
Over the age of 30
the German company
Volkswagen, the Beetle was
the best-selling car in the
world, surpassing in 1971 the
record held by the Ford
Model T.
I. 20 | P. 042
Created by Alfred Nobel,
Swedish chemist and
industrialist, in his will, the prize
is awarded annually on
December 10th to people who
have conducted important
research, created pioneering
techniques or made great
contributions to society.
I. 30 | P. 046
Jaques
Lewkowicz
Chief Creative Officer at
Lew’Lara\TBWA and a
native of São Paulo’s Bom
Retiro district, Lewkowicz
is one of the top prizewinning admen in Brazilian
advertising, with more than
35 years of experience in
the field. Famous for many
of the catch phrases he
created, Lewkowicz is proud
of his typically Jewish
humor. “We have a tradition
of joking about ourselves,”
he often says, and also
states that he doesn’t know
of a product that can’t be
dealt with humor.
Don’t trust anyone over the
age of thirty / Don’t trust
anyone with more than thirty
cruzeiros* / The teacher has
more than thirty pieces of
advice / But he is over the age
of thirty, oh more than thirty
/ Oh more than thirty
Don’t trust anyone with more
than thirty suits / Don’t
believe anyone with more
than thirty dresses / The
director wants more than
thirty minutes / To direct
your life, your life / Your life /
I measure life by the things I
do / And by the things that I
dream about and don’t do / I
travel in time and space / Step
by step, I do one more stroke /
I take one more step, stroke
by stroke / I’m a prisoner of
the polluted air / I’ve heard
about Article Thirty / I travel
in time and space / In the
smoke of a new world I create
/ I create a new world in the
smoke... *Brazil’s old
currency
I. 32 | P. 046
Gerson
A commercial for Vila Rica
cigarettes in 1976 created an
expression that turned the former
soccer player Gerson into the
personification of the Brazilian
jeitinho (knack for circumventing
rules)—and gave rise to the famous
Gerson’s Law. In the ad, Gerson
appears saying: “I like to take
advantage in everything, ok?”
It stuck forever.
Frogs
Small anuran amphibians of the
Ranidae family, frogs live near lakes
and other humid places. Like other
animals of the anuran order, they
have lungs as adults, but breathe
primarily through their skin.
According to a study from the
University of California published in
the journal Proceedings of the
National Academy of Sciences,
male frogs have a curious reaction
when exposed to a common
pesticide: they change sex and
can even reproduce.
I. 34 | P. 047
Christina
Carvalho Pinto
Top female name in the
history of Brazilian
advertising, she was the first
woman to lead a
multinational group in Latin
America: the Young &
Rubicam Group, which she
ran for seven years. She has
been the president of Grupo
Full Jazz de Comunicação
since 1996.
Illustrated Glossary
Illustrated Glossary
I. 38 | P. 047
II. 02 | P. 058
Gauche
I. 35 | P. 047
Mikhail Gorbachev
(March 2, 1931) Responsible for
opening up the former USSR,
summarized in the words
Glasnost (Transparency) and
Perestroika (Restructuring),
Gorbachev’s quotes caught the
imagination of communists and
liberals. One of them: “It’s easy to
kill an elephant. But it’s difficult
to remove the corpse.”
CHAPTER
02
“When I was born,
a crooked angel / the
kind who lives in the
shadows / said: Go,
Carlos! Be gauche in
life! (First lines from the
II. 01 | P. 058
“Seven-Sided Poem” by Carlos
Drummond de Andrade,
published in 1930).
Bank
The oldest bank surviving in
the world is located in the
Tuscan town of Sienna, Italy:
Banco Monte dei Paschi di
Siena (BMPS), founded in
1472. The bank today is in a
tight spot. Much exposed
to Italy’s debt, the bank
ended 2011 with losses of
4.69 billion euros and in 2012
had to be rescued by the
Italian government.
I. 36 | P. 047
Julio Ribeiro
“In advertising,
those who don’t
change die.”
I. 39 | P. 048
Jersey
Since Brazil is the only country
to have participated in all the
FIFA World Cups, its yellow
football jersey is the best
known in the world. But it was
not always like this: in the first
Cups, Brazil’s jersey was white
with blue details and the CBF
symbol did not even exist. The
famous canary yellow jersey
was introduced after the 1950
World Cup in Brazil.
I. 37 | P. 047
Washington
Olivetto
(São Paulo, September 29, 1951)
One of the most famous advertising
executives in Brazil, Olivetto now
is the chairman of the WMcCann
agency.
I. 40 | P. 048
Frank Lowe,
a timeline
1960: Begins his career in JWT’s
mailroom in London
I. 41 | P. 048
I. 42 | P. 048
Queen
Elizabeth
(London, April 21, 1926)
1995: Lowe Loducca opens in
Brazil
1999: Lowe merges with
Ammirati Puris Lintas
2003: Frank Lowe leaves
Interpublic and announces his
retirement
2006: He opens a new agency,
Red Brick Road
2009: He leaves Red Brick Road
II. 03 | P. 058
Apartment
II. 04 | P. 059
Love at
first sight
Neuroimaging studies state
that “love at first sight”
happens very quickly: the act
of falling in love takes about
one fifth of a second.
When she was born,
Elizabeth Alexandra Mary
was third in the succession
line, after Prince Edward
and her father, Prince Albert
(crowned King George VI).
After her uncle’s abdication
and her father’s death, she
was crowned queen at age 25
in 1953. 125 million people
live in countries where the
United Kingdom sovereign
is head of state. In the UK,
her reign has outlasted 12
prime ministers.
II. 06 | P. 059
Cannes
City in the south of France on the
shore of the Mediterranean Sea,
located in the Alpes-Maritimes
department and on the Côte
d’Azur, Cannes is one of the most
glamorous tourist destinations in
the world. Much of its fame
derives from the annual Cannes
Film Festival held since 1939, the
most traditional event in cinema.
II. 07 | P. 060
Saint
II. 05 | P. 059
1981: Founds Lowe Howard-Spink
1990: Interpublic Group buys
Lowe
Videocassette
Nizan Guanaes
Born in Salvador on May 9, 1958,
Nizan Mansur de Carvalho Guanaes
Gomes, Brazilian entrepreneur
and advertising executive, is
chairman of the ABC Group, a
Brazilian holding company
composed of 12 companies in
advertising, marketing of
specialized services, content
and entertainment.
Greek
restaurant
For decades, the custom of
breaking plates became so
common that Greek
restaurants would buy special
ceramic plates to be smashed at
the end of the night. This habit
is now illegal at restaurants,
clubs and taverns in Greece.
The tradition was replaced
with throwing flowers.
Illustrated Glossary
II. 08 | P. 060
Gilberto
Gil
Excerpt from Guerra Santa, a
song composed by Gil in 1995
after the episode when Pastor
Sergio von Helder of the
Universal Church kicked a
statue of Our Lady of
Aparecida on TV: “He says he
knows how to open the gates
of heaven / he promises
salvation / he kicks the saint’s
statue, goes berserk / but
doesn’t rip up money, no”
Illustrated Glossary
II. 10 | P. 060
III. 05 | P. 071
03
III. 01 | P. 069
Adventure
Marlboro Man
The Marlboro Man, the cowboy
immortalized by the commercial
that aired in the US from 1954 to
1999, was created to make filter
cigarettes popular as they were
previously considered feminine.
Two of the men who played the
cowboy, Wayne McLaren and
David McLean, died from lung
cancer.
CONAR
Composed of advertising
executives and professionals
from other fields, the National
Council for Self-Regulation in
Advertising is responsible for
“preventing deceitful or
abusive advertisements that
cause embarrassment to
consumers or companies.”
II. 09 | P. 060
Bishop
Poker
III. 04 | P. 070
Baseball
A game played by two teams
with nine players each. One
team bats and the other one
fields for nine innings. After the
fielding team eliminates three
players of the batting team,
the fielding team becomes
the batting team and the
batting team takes the field.
There is no draw in baseball: if
the game is at a stalemate by
the end of the ninth inning,
new innings will be played
until one of the teams wins an
additional inning.
II. 11 | P. 060
In November 1989, Edir Macedo
took over Record TV network’s
direction, which at the time only
had three broadcasters, one in
São Paulo city and two in the
state’s interior. In 1991, he bought
and took control of the network.
In the following years, he bought
studios, printing plants, radio and
TV broadcasters and became the
owner of the Família, Mulher
(which became Record News)
and Aleluia networks, with more
than 70 radio broadcasters.
A Time to
Meet
CHAPTER
Accidental circumstance
or event, unexpected;
escapade, incident.
III. 07 | P. 071
The five highest-valued cards
of the same suit form a Royal
Flush, the most valuable hand of
the game.
A young man’s desperate
search for himself and the
true purpose of his life is the
story of the book that writer
Fernando Sabino (1923-2004)
from Minas Gerais published
in 1956. It became the
favorite novel of thousands
of young people who saw
their own existential dramas
reflected in it.
III. 08 | P. 071
III. 10 | P. 071
Woody Allen
“I’m not afraid of
dying. I just
don’t want to
be there when
it happens.”
Yankees
Symbol of the New York
Yankees, Major League
baseball team founded in 1901
and headquartered in the
Bronx, New York. Better
known simply as the
“Yankees,” it is one of the best
well-known professional
American sport franchises.
III. 11 | P. 071
III. 06 | P. 071
Table tennis
Aruba
An autonomous territory settled
by the Dutch and located 20
kilometers from the Venezuelan
coast, Aruba is one of the closest
Caribbean tourist destinations
to Brazil.
III. 09 | P. 071
manhattan
Invented in England in the 19th
century, table tennis—
previously known as ping
pong—is one of the most
popular sports in the world and
one of the newer Olympic
sports.
III. 02 | P. 070
Maringá, PR
Picture of the city, showing its
main tourist attraction: the
124-meter tall Our Lady of Glory
Lower Basilica Cathedral, the
second tallest monument in
South America.
III. 03 | P. 070
Japan
II. 12 | P. 061
Robocop
American science fiction
film from 1987, directed by
Paul Verhoeven. At the end
of the 1980s, the cyborg
hero was one of the top
box-office hits.
In the background of the
rough sea and fishing
boats, Mount Fuji is
considered a sacred
mountain and symbol of
national identity in Japan.
It is one of the elements
of the woodblock print
The Great Wave off
Kanagawa by Katsushika
Hokusai.
III. 12 | P. 072
Computers
Computers make art,
Artists make money.
Computers make art,
Artists make money.
Computers advance,
Artists hitch rides.
Scientists create robots,
Artists take the fame.
(Chico Science & Nação Zumbi)
Illustrated Glossary
Illustrated Glossary
IV.07 | P. 081
IV.03 | P. 079
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IV.14 | P. 087
É o tchan*
Moonlighting
CHAPTER
TV series starring Cybil
Shepherd and Bruce Willis
playing private detectives,
mixing comedy, drama and
romance.
04
Fax
(It’s the tchan)
“Hold the Tchan
Tie up the Tchan
Hold the tchan tchan
tchan tchan tchan”
*Popular pagode group
from Salvador that was a
hit in Brazil in the 1990s
Telecommunications
technology used to remotely
transmit documents through
the telephone network.
IV.04 | P. 079
Jornal
Nacional
IV.01 | P. 078
Genius
The most watched and best
known TV news program in
Brazil, broadcast by the Globo
network from Monday to
Saturday at prime time ever since
it was first aired on September 1,
1969 with anchormen Hilton
Gomes and Cid Moreira.
Extraordinary intellectual
ability, especially when
manifested in creative
activities. (e.g.: Mozart’s
genius). Individual endowed
with this ability. (e.g.: Leonardo
da Vinci was a genius).
IV.15 | P. 088
CABORÉ
IV.06 | P. 080
Miojo
(Instant Noodles)
“Peace is
guaranteed
when people
are not hungry”
Momofuku Ando (19102007) created instant
noodles in 1958, launched
by the company he
founded and ran, Nissin
Food Products Co.
IV.08 | P. 081
ACCOUNT
PLANNING
“It exists to understand and
guide relationships between
brands and people. Good
planners understand the
business context in which the
brand exists, but also the
human and cultural context.”
(John Steel, author of “Truth,
Lies and Advertising: The Art
of Account Planning”).
Raça Negra*
Bird whose scientific name
Glaucidium brasilianum means
‘small Brazilian owl,’ the caburé
(ferruginous pygmy owl) is common
in northeastern Brazil. Its shape was
chosen for the trophy that Meio &
Mensagem newspaper awards
annually to the best in Brazilian
advertising.
IV.10 | P. 082
DRAFT BEER
IV.13 | P. 087
Stereotype
Non-pasteurized draft beer is called
chope in Brazil, from the German
word Schoppen (“half liter glass”),
and is called fino or imperial in
Portugal. The royal Portuguese
family brought draft beer to Brazil
in 1808. At that time, the drink was
restricted to the Court, but it became
popular with the emergence of bars.
Preconceived idea or
classification of someone or
something, arising from
expectations, judgment or
false generalizations. That
which lacks originality; banal,
commonplace, model, basic
standard.
You threw out the love
I gave you/ the dream
I dreamed/ you can’t
do this/ You threw
out my illusion / crazy
passion/ it’s too late
*Pagode group from
São Paulo
IV.16 | P. 088
Rio
Branco
IV.12 | P. 086
IV.05 | P. 080
Double-decker
bus
É(It’soLove)
amor
IV.02 | P. 078
João
Armentano
The son of physicians, he has
been interested in architecture
since his childhood because of
his world travels with his parents.
A fan of Paulo Mendes da Rocha,
Armentano has worked in Brazil
and abroad on homes and
commercial buildings.
It’s love,
That affects my mind
And leaves me this way;
That makes me think of you
And forget myself;
That makes me forget
That life is made for living.
It’s love,
That came like a bullet
Into my heart;
Knocking down the defenses
Of my passion
And made me realize that life
is nothing without you.
IV.11 | P. 085
Mother Teresa
(1910-1997)
Catholic missionary of Albanian
origin, naturalized Indian citizen,
beatified by the Catholic Church
in 2003.
Rio Branco Sports Club is a
soccer club in the town of
Americana in the interior of São
Paulo state. Its nickname is Tiger
and its colors are black and
white. The club’s stadium is
called Décio Vitta, which
opened on May 1, 1977, and has
capacity for 15,000 people. It
currently competes in the São
Paulo Series A3 Championship.
Illustrated Glossary
IV.17 | P. 089
IV.23 | P. 095
Illustrated Glossary
IV.25 | P. 097
CHAPTER
05
V. 01 | P. 119
Stock car
The first Brazilian Stock Car
Championship took place on
April 22, 1979, at the Tarumã
race track in Rio Grande do Sul.
IV.18 | P. 089
Casseta
& Planeta
IV.21 | P. 092
Politics
“Often, it is the lack of character
that decides a match. You don’t
do literature, politics or football
with good feelings” (Nelson
Rodrigues)
Paulo Autran
(1922-2007)
An icon of Brazilian
theater.
Comedy troupe created from
the merger of the staff of two
publications in Rio de Janeiro:
the Casseta Popular magazine
and the O Planeta Diário tabloid.
Hermes
& Renato
Comedy program shown by
MTV Brasil from 1999 to 2009. The
sketch that gives the program its
name is a satire of the 1970s soft
porn films. Hermes (Marco
Antônio Alves) and Renato
(Fausto Fanti) are two typical
rogues who try to take
advantage of others, but their
plans always go awry.
Laziness
Adapted for the silver screen
by Joaquim Pedro de Andrade
in 1969, with Grande Otelo in
the main role, Macunaíma is
the saga of an Indian
anti-hero who represents the
Brazilian people. His
characteristic expression is
“My, I feel so lazy”.
V. 07 | P. 120
V. 03 | P. 119
Intelligence
The ability to know,
understand and learn.
A set of psychic and
psychophysiological
functions that contribute to knowledge and
understanding of the
nature of things and the
meaning of facts.
IV.26 | P. 098
IV.19 | P. 090
V. 04 | P. 119
Year 2000 (Y2K)
Rowdy
“The change from 1999 to 2000
was predicted to cause a
breakdown in computer
systems around the world. This
is because computer clocks
work with two decimal points
and would read 2000 as
00.”(Fantástico, Globo TV,
12/26/1999)
Ibituruna Peak,
Minas Gerais
IV.27 | P. 098
Lists by Nick Horby
The author of “High Fidelity”
and other popular bestsellers is crazy about lists.
Two of his choices:
Top 5 Favorite Films
IV.20 | P. 090
Broadway
The expression “on Broadway”
refers to a play or musical
performed in one of the 39 large
theaters located in the Theater
District of Manhattan, New York.
Together with London’s West
End, it represents the highest
level of commercial theater in
the English language.
IV.22 | P. 093
Leo Lama
(São Paulo, September 21, 1964)
Leonardo Martins de Barros,
known by his artistic name Leo
Lama, is a musician, poet,
playwright, director, author,
scriptwriter and lecturer.
Silicone
The Brazilian Plastic Surgery
Society reports: Breast
augmentation is the second
most popular surgery for
women, ranking second only
to liposuction.
Fear
Classic scene from Alfred
Hitchcock’s Psycho.
V. 06 | P. 120
One of the most important cities
in world history, one of the
symbols of European civilization.
Rome’s ruins and monuments
date primarily from the days of
the Roman Empire and the
Renaissance.
V. 02 | P. 119
Nashville
Sullivan’s Travels
The Philadelphia Story
Coup de Foudre
The Life and Death of Colonel
Blimp
Top 5 Favorite Places
San Francisco
Highbury
My local Italian restaurant
Iceland
Ischia
As exemplified in the film by the
master of teenage movies of
the 1980s, John Hughes, starring
Matthew Broderick, Ferris
Bueller’s Day Off is an icon for
anyone who has ever skipped
class.
North
Korea
The announcement of the
death of dictator Kim
Jong-il, who governed the
country with an iron fist for
17 years, by an
anchorwoman dressed in
black on state TV: “Our great
leader has died.”
Ancient Rome
John S. Pemberton created the
drink’s formula in 1886. But it was
his partner and accountant, Frank
M. Robinson who suggested the
name Coca-Cola and created the
logotype in Spencerian Script, a
common font at the time.
IV.24 | P. 096
V. 05 | P. 120
V. 08 | P. 120
Gaúcho
Name given to the people
working with livestock in the
Pampas biome, which covers
areas of the River Plate valley
and southern Brazil. They
have mixed Spanish, Indian,
Portuguese and African
blood. The term is also
currently used for natives
of the Brazilian state
of Rio Grande do Sul.
Illustrated Glossary
V. 09 | P. 120
V. 11 | P. 121
Russo
Porto Alegre Renato
(1960 - 1996)
Enough of you,
Bad vibes
I’m going to Porto Alegre
Bye!
When I’m feeling like this
kind of down
I go to Porto and wow! Super
cool
It’s kind of magic, who knows
30th parallel south
Hello Bonfim gang
The girls are really up for it
Garopaba or João Bar
Bela dona and chimarrão
How I miss Redenção
Fogaça and Falcão
Company in bed on a cold night
And the guys from Beira-Rio
Artist name of Renato
Manfredini Júnior, singer and
composer famous for having
been the vocalist and founder
of the rock band Legião
Urbana.
V. 12 | P. 121
Craziness
“We must all indulge in
a few follies if we are
to make reality
bearable.”
(Marcel Proust)
(Deu Pra Ti is one of the best
known hits by Kleiton and
Kledir duo)
Illustrated Glossary
VI. 04 | P. 128
V. 14 | P. 121
Journalism
“Journalism is
above all, and
especially,
the daily
practicing of
intelligence and
the everyday
exercising of
character.”
(Cláudio Abramo)
CHAPTER
06
VI. 01 | P. 128
Heart
Muscle organ in the chest
V. 15 | P. 121
cavity that pumps blood
from the veins into the
arteries. Its shape is the
symbol of love.
Birth of the Cool is a Miles Davis
album released in 1957 by Capitol
Records. It is a compilation of
twelve songs recorded by Davis’
nonet over the course of three
sessions during 1949 and 1950.
With its unusual instrumentation,
remarkable musicians, innovative
arrangements influenced by
classical music techniques, the
album is a landmark in postbebop jazz. As the title states,
these are seminal recordings in
the history of cool jazz.
SEA
“Entire days of calmness,
burning nights, fingers on the
helm, eyes on the horizon, I
discovered the joy of
transforming distances into
time. A time when I learned
how to understand the things
of the sea, to talk with the
huge waves and not fight with
foul weather. To transform
fear into respect, and respect
into trust. I discovered how
good it is to arrive when you
have patience.” (Amyr Klink,
“100 Days Between Sea and Sky”)
VI. 07 | P. 130
VI. 02 | P. 128
VI. 05 | P. 129
Marcelo
Rosenbaum
Born in 1968, in Santo André
(SP), he is a designer,
leading the Rosenbaum
firm for more than 20 years.
He finds his inspiration in
the values of Brazilianness.
Clown
Modern
Art Week
of 1922
Effervescent new ideas, the
search for self-identity and a
freer way of expression. A
movement without a defined
agenda: it felt more like a desire
to experiment with different
paths than the definition of a
single modern idea.
It’s the personification of the tragic
in daily life: a man accepting his
own humanity and weakness and,
because of this, becoming comic.
V. 10 | P. 120
AWARENESS
noun 1. feeling
or knowledge
that allows
V. 13 | P. 121
people to
experience,
Sport Club
experiment or Internacional
understand
Known as Internacional, Inter,
aspects or the Internacional de Porto Alegre
Inter de Porto Alegre,
totality of their orit issimply
a Brazilian soccer club from
inner self. 2.
the capital of Rio Grande do Sul
whose supporters are known
knowledge,
as Colorados. Internacional
conviction,
celebrated its centennial in
perception,
2009 by winning the Gaúcho
understanding. Championship undefeated.
Cool
VI. 06 | P. 130
Tomás Lorente
VI. 03 | P. 128
V. 16 | P. 122
Albert Einstein
Theoretical physicist born in
Germany who developed the
general theory of relativity,
creating a revolution in
physics. Born: March 14,
1879, in Ulm. Died: April 18,
1955, in Princeton.
ARCHITECTURE
“The most important
thing is not
architecture, but
life, friends and this
unfair world we need
to change” (Oscar
Niemeyer)
(1962- 2009)
Son of Spaniards, he spent most of his
childhood in Barcelona, returning to
Brazil in early adolescence. In 1976, he
became an intern at Lage Stabel &
Guerreiro. From then on, he had a
career of 33 years working at various
agencies. He was the top prizewinning art director in the history of the
São Paulo Clube de Criação.
VI. 08 | P. 131
Banco Santos
The lawsuit that led to the
bankruptcy and subsequent
liquidation of Banco Santos for
fraudulent management that
began at the end of 2004, when
the Central Bank took control of
the institution. At the time,
withdrawals by checking
account holders were limited
to R$ 20,000 for current and
savings accounts. Other funds
remained blocked awaiting a
solution for the bank.
VI. 09 | P. 131
Shipwreck
A wrecked ship
or its parts. The
destruction or
loss of a ship.
Loss or failure,
lack of success.
Ruin, wreckage.
VI. 10 | P. 132
Black Monday
Illustrated Glossary
Illustrated Glossary
VII. 04 | P. 152
VI. 11 | P. 134
Virtual
CAPÍTULO
07
Futures made of virtual insanity
now
Always seem to be governed by
this love we have
For useless, twisting, our new
technology
VII. 01 | P. 151
Oh, now there is no sound - for we
all live underground
(“Virtual Insanity,” song from the
album Traveling Without Moving,
released by Jamiroquai in 1996).
Jimi, Janis and Jim
Work
Unusual effort; drudge,
chore, toil. Set of activities,
productive or creative,
performed to achieve a
specific goal. Regular
remunerated professional
activity.
Clube Harmonia
A haven for the São Paulo
aristocracy, it was founded in
1930 by members of the Club
Athletico Paulistano. It was one
of the sites of the tennis matches
during the Pan American
Games of 1963.
How much do
you wanna
pay?
VI. 13 | P. 136
Motorola, the company that
trade the first cell phone, in
the United States, in 1983, only
entered the Brazilian market in
1996 with the MicroTAC model.
Despite the “micro” in its name,
it was one of those brick cell
phones of the time: 17.1 cm long
and 3.1 cm wide.
VII. 07 | P. 153
VII. 05 | P. 152
VI. 12 | P. 135
Fabiano Augusto, TV and stage
actor, became famous
nationwide for being the face
of the Casas Bahia commercials:
he appeared in more than 200
commercials repeating the
catchphrase “How much do
you wanna pay?”
Brick Cell
Phone
VI. 18 | P. 139
VI. 14 | P. 137
Flashdance
Musical film made in 1983
tells the story of a young
talented woman, played by
Jennifer Beals, who is
relentless in her efforts to
make her dream of
becoming a dancer come
true. She works during the
day as a welder and at night
as a dancer in discos.
VI. 15 | P. 138
VI. 16 | P. 138
Sidney Magal
Artistic name of Sidney Magalhães,
singer and actor born in Rio de
Janeiro in 1953 and known for hits
like “Sandra Rosa Madalena, a
Cigana” and “O Meu Sangue Ferve
por Você.” He became popular by
mixing elements of gypsy music,
disco and Latin music.
Oscar Wilde
(1854-1900)
Irish writer whose best known
work is The Picture of Dorian
Gray, his only novel. Accused
of gross indecency, he was
sentenced to two years in
prison: Wilde had a love affair
with a young man, Bosie, and
was denounced for it.
VI. 17 | P. 138
HIP-HOP
Musical genre that began in the
1970s in Jamaican, Latin and
African-American communities
in New York. Afrika Bambaataa is
recognized as its official
creator. He established four
essential pillars: rap, DJing,
breakdance and graffiti.
The largest Brazilian
advertising group in Latin
America and the 18th largest
group worldwide, ABC
provides a wide range of
services, with deep intelligence
on the Brazilian market and
a global vision of brand
insertion. With 12 companies
located in Brazil and the
United States, it is active in
three strategic sectors:
Advertising, Branding
Services and Content.
VI. 19 | P. 139
Communicate
Motorcycle
VII. 06 | P. 153
VII. 02 | P. 151
Money
The first motorcycle in the world
was probably invented by the
American Sylvester Howard
Roper in 1867. It was powered by
a 2-cylinder steam engine.
Judo
Martial art created in Japan
in 1882 by sensei Jigoro
Kano. His goal was to create
a self-defense technique that
would develop body, spirit
and mind.
VII. 03 | P. 152
Trading
Floor
A “trading floor” is a trading
venue. This expression often
refers to a place where traders
or stockbrokers meet in order
to buy and sell equities, also
called a pit. Sometimes, the
expression “trading floor”
is also used to refer to the
“trading room” or “dealing
room”, i.e. the office space
where market activities are
concentrated in investment
banks or brokerage firms.
“Money in hand is a
windstorm/Money in
hand is the solution/And
loneliness”(Paulinho da Viola)
VII. 08 | P. 153
Father’s Day
The date on which we honor
paternal figures is thought to
have begun in Babylon: more
than 4,000 years ago when
the young Elmesu molded in
clay the first card wishing his
father good luck. In Brazil, it
is celebrated on the second
Sunday in August.
VII. 09 | P. 153
Skateboard
Illustrated Glossary
VIII. 03 | P. 162
Illustrated Glossary
VIII. 06 | P. 165
CHAPTER
IX. 06 | P. 177
CHAPTER
08
09
IX. 01 | P. 175
VIII. 01 | P. 160
Compuserve
Martin Luther King
Triptyque
Group of architects
formed by Greg
Bousquet, Carolina
Bueno, Guillaume
Sibaud and Olivier
Raffaëlli, who met at
the Paris-la-Seine
School of Architecture
in 2000, and work
in São Paulo.
VIII. 02 | P. 161
«I have a
dream»
Dazzled
Someone who was dazzled,
whose vision is clouded
by excessive light or
brightness. Impressed
deeply, overpowered or
confounded by brilliance.
VIII. 04 | P. 163
Fernando
Meirelles
(São Paulo, 11/09/1955)
Brazilian filmmaker, producer
and scriptwriter who gained
international fame with his film
City of God (2002) for which he
was nominated for an Oscar for
Best Director in 2004. He also
directed The Constant Gardener
(2005), Blindness (2008) and,
more recently, 360 (2012).
Communists
VIII. 07 | P. 165
Master Yoda
Only 66 centimeters tall, he is
a member of a mysterious race.
He was Grand Master of the
Jedi Order, one of the most
illustrious members of the Jedi
High Council during the last
days of the Galactic Republic.
He is the wisest, oldest and
most powerful Jedi Master
of all time.
IX. 03 | P. 176
In the illustration: comrades Karl
Marx, Friederich Engels, Vladimir
Lenin and Josef Stalin: icons who
changed history in the 20th century.
Champagne
In 1798, Barbe-Nicole
Ponsardin (1777-1866)
married François Clicquot,
son of the founder of the
champagne house in Reims,
France, that would become
one of the most famous in the
Social structure composed of
world. When her husband
people and organizations
died seven years into their
connected by one or more types marriage, the widow took over
of relationships, sharing common control of the company and
values and goals.
built a powerful brand.
IX. 05 | P. 177
VIII. 05 | P. 163
IX. 07 | P. 178
Camera
SOCIAL
NETWORK
Cartier-Bresson used
almost exclusively a Leica
35 millimeters equipped
with normal 50 mm
lenses or, occasionally, a
wide-angle lens for
shooting landscapes.
Bass Guitar
The ten best bassists of all times
according to the Rolling Stone
magazine: John Entwistle (The
Who); Flea (Red Hot Chili Peppers);
Paul McCartney (The Beatles,
Wings); Geddy Lee (Rush); Les
Claypool (Primus); John Paul
Jones (Led Zeppelin, but who also
played with Foo Fighters and Them
Crooked Vultures); Jaco Pastorius
(solo, but who also played with
Herbie Hancock, Joni Mitchell
and others); Jack Bruce (Cream,
The Bluesbreakers); Cliff Burton
(Metallica); Victor Wooten (Bela
Flack and The Flecktones, Bass
Extremes and Vital Tech Tones).
IX. 02 | P. 175
Red Hot
Chili Peppers
IX. 04 | P. 176
Bom Retiro
District in São Paulo’s
central area, Bom Retiro is
a stronghold of the Jewish
community, which also shares
its streets with immigrants from
various countries.
On September 24, 1979,
Compuserve began offering
an online dial-up information
service. It was the beginning
of the Internet as we know it.
John
LenNon
“Life is what happens to
you while you’re busy
making other plans”
(lyrics from “Beautiful
Boy,” song from the
Double Fantasy album,
Lennon’s last, composed
in honor of his son Sean)
Illustrated Glossary
X. 03 | P. 184
Illustrated Glossary
X. 09 | P. 189
X. 05 | P. 185
Neymar da Silva Santos Júnior,
a football player known
worldwide simply as Neymar
Jr., was born in Mogi das
Cruzes on February 5, 1992.
He is a striker for the Santos
Soccer Club and also plays
for the Brazilian national team.
10
X. 01 | P. 184
T-shirt
Skirts cut about 20 cm
above the knees became
the fashion symbol of
“Swinging London,” a
term used to describe
London’s cultural
effervescence that spread
worldwide during the
second half of the 1960s.
X. 02 | P. 184
Jeans
The Levi’s 501 jeans came
into being in 1872 when
Levi Strauss was creating
heavy duty work clothes for
miners in the US. It is one
of the most successful
products in the world.
Movie stars such as Elvis
Presley and James Dean
helped make it the most
popular clothing item,
turning it into the official
uniform of youth.
dodge polara
NEYMAR
CHAPTER
Skirt
X. 14 | P. 192
Until the early 20th century,
T-shirts were only worn as
underwear. In 1948, US
presidential candidate
Thomas E. Dewey’s campaign
created one of the first
advertising T-shirts in
history, printed with “Dew it
for Dewey.” But it was in 1952
that t-shirts became a part of
everyone’s wardrobe, when
Marlon Brando appeared in a
t-shirt, without a shirt on top,
showing off his muscles in
A Streetcar Named Desire.
X. 04 | P. 184
Sneaker
Athletic shoes that go beyond
comfort and notable for their
style and design, sneakers are
associated with hip-hop,
skating and basketball. Sneaker
culture was born in the 1950s in
New York and became strong in
1970 when people were
looking for a different style.
X. 11 | P. 190
Advertising Age
PRESIDENT JK
Advertising Age, marketing
and media magazine and an
international benchmark,
Advertising Age began as a
tabloid in Chicago in 1930 and
today its content is available in
a print edition and on
electronic platforms.
Juscelino Kubitschek, the
“Bossa Nova president,” took
office in 1956. The JK
administration was
responsible for a leap in
development, crowned by the
construction of Brasília in
Brazil’s Central Plateau.
X. 16 | P. 192
GEEKs
Idiomatic expression that
defines people obsessed
by technology, electronics,
electronic or board games.
The terms nerd, dweeb and
dork have similar meanings.
X. 12 | P. 190
Arnaldo Baptista
X. 06 | P. 185
O Portão (The Gate)
(Roberto Carlos)
X. 07 | P. 187
I arrived in front of the gate
My dog smiled at me barking
I dropped my suitcases to the
ground
I’ve come back
Wax Substance derived
from petroleum and applied
on surfboards by surfers for
traction, so that their feet do
not slip.
(São Paulo, July 6, 1948)
Brazilian singer and composer
known internationally for his
work with the group Os
Mutantes and for solo albums
such as the cult Lóki?
Paraffin
X. 13 | P. 190
Awards
Everything was the same as it was
before
Almost nothing changed
I think only I have changed
And I’m back
I’ve come back
Now for good
Because here’s
Here’s my place
I returned to the things
That I left behind
I’ve come back
X. 10 | P. 190
Street art
X. 17 | P. 193
BARCELONA
Term that refers to artistic
expressions in public
spaces, without any
institutional or corporate
involvement and far from
being mere vandalism.
X. 08 | P. 188
Waves for Water
Organization started
by surfer Jon Rose that
distributes easy-to-install
portable filters to needy
areas around the globe. The
Amazon and Rio’s highland
region are among them.
X. 15 | P. 192
São francisco
“If you’re going to San Francisco/
Be sure to wear some flowers in
your hair/ If you’re going to San
Francisco/ You’re gonna meet/
some gentle people there”(Scott
McKenzie, American singer and
composer, died in 2012)
One of the most famous brands
in the planet, the Futbol Club
Barcelona is a Spanish club from
Barcelona in Catalonia. It has
Europe’s largest fan base, with
over 50 million supporters.
Currently the European triple
champion and winner of two of
the last three FIFA Club World
Cups, Barcelona (or Barça, as it is
called by supporters) ranks first
in the listing of the 1,000 best
teams of the 21st century in the
world according to the
International Federation of
Soccer History and Statistics.
Image credits
Image credits
Illustrated Glossary
INTRODUCTION
Chapter 01 Adolescence (film Rebel Without a Cause, 1955) Everett Collection/Keystone Chopin
Classic Photos/Alamy/Other Images TV IstockPhoto Santos Supporters Caio Guatelli/Folhapress Mars
Alamy/Other Images Disneyworld IstockPhoto H.D. Thoreau SuperStock/Keystone Chicago IstockPhoto
India Alamy/Other Images Paramahansa Yogananda Alamy/Other Images Hippies Zuma Press/Keystone
Herman Hesse Ullstein Bild/Easy Pix Nobel Prize Alamy/Other Images Whores (Taxi Driver, 1976)
Alamy/Other Images Hare Krishnas Getty Images Periodic Table Alamy/ Other Images Arrigo Barnabé
and Itamar Assumpção Danilo Pavani/Cedoc FPA VW Beetle IstockPhoto Lion Alamy/Other Images
Jaques Lewkowicz Ricardo Benichio/Valor Christina Carvalho Pinto Tuca Vieira Frog Keystone Mikhail
Gorbachev Lehtikuva OY/Rex Features Júlio Ribeiro Publicity Washington Olivetto Robson Fernandes/
Estadão Conteúdo Romário Paulo Giandalia/Folha Imagem Frank Lowe Richard Young/Rex Features
Queen Elizabeth John Hedgecoe/TopFoto/Keystone Nizan Guanaes Publicity
Surface of Mars Universal Images Group Limited/Alamy The Great Wave off Kanagawa THE BRIDGEMAN
ART LIBRARY Hermann Hesse Imagno Jack Lemmon Everett Collection Robocop Orion pictures Surf
Ron Dahlquist Master Yoda 20th Century Fox Licencing/Merchandise/Everett Collection Lucia Clemente
personal collection Yerba mate Milton Carello Folha de S.Paulo Reproduction Shiva Robert Harding
Picture Library Ltd/Alamy Santos F.C. Rodrigo Ribeiro Carta El Corazón Reproduction Wall Street 20th
Century Fox Baseball team personal collection Ken Fujioka Cannes postcard Reproduction Oscar Wilde
The Granger Collection, New York Illustrations (frog, camera, bass guitar and playing cards) Rosa Navarro
Chapter 02 Bank (little pig) IstockPhoto Cassette IstockPhoto The Apartment Alamy/Other Images
Greek restaurant (plate) IstockPhoto Cannes IstockPhoto Saint Manuel Lourenço/Olhar Imagem Gilberto
Gil Marcelo Soubhia/Folhapress Marlboro Man Action Press/Keystone Robocop Everett Collection/
Keystone
Chapter 03 Maringá Publicity “The Great Wave Off Kanagawa” by Hokusai The Bridgeman Art Library/
Keystone Baseball IstockPhoto Poker IstockPhoto Aruba IstockPhoto Appointment Publicity Woody
Allen Everett Collection/Keystone Table Tennis IstockPhoto
Chapter 04 Genius (lamp) IstockPhoto João Armentano Fernando Moraes/FolhaPress Fax IstockPhoto
Jornal Nacional Publicity TV Globo Zezé Di Camargo & Luciano Reprodução Momofuku Ando Action
Press/Keystone Moonlighting Publicity Caboré Haroldo Palo Jr. /Kino Draft Beer IStockPhoto Mother
Teresa Rex Features/Glow Images Double-decker Jonathan Hordler/Rex Features/Glow Images É o
Tchan Publicity Rio Branco Publicity Stock Car Loducca Casseta & Planeta Hipólito Pereira/Estadão
Conteúdo Year 2000 Reproduction (The New York Times of 01/01/2000) Leo Lama Paulo Liebert/
Estadão Conteúdo Paulo Autran Vivi Zanatta/Estadão Conteúdo Pico da Ibituruna Andrew Holt/Alamy/
Other Images Hermes & Renato Divulgação MTV Silicone Everett Collection/Keystone
Chapter 05 Laziness (Macunaíma, 1969) Everett Collection/Agência Keystone Intelligence (brain)
IstockPhoto Rowdy Everett Collection/Keystone Fear (Psycho, 1960) Publicity Ancient Rome (Spartacus,
1960) Photo12.com/Other Images North Korea Xinhua/ZUMAPRESS.com/Keystone Gaúcho Ale Ruaro/
Pulsar Imagens Porto Alegre Fernando Bueno/Pulsar Imagens Craziness (Van Gogh) Chris Hellier/Alamy/
Other Images Internacional Alexandre Lops/Agif/Folhapress Mar IstockPhoto Einstein CAMERA PRESS/
Alan W. Richards
Chapter 06 Marcelo Rosenbaum Paduardo/Futura Press Cool (Miles Davis) Rue des Archives/AGIP/
Granger/Other Images Clown IstockPhoto Tomás Lorente Publicity Modern Art Week Reproduction of
the publicity poster, with art by Di Cavalcanti Black Monday AFP Jim Morrison, Janis Joplin and Jimi
Hendrix ZumaPress/Grupo Keystone Flashdance Alamy/OtherImages Oscar Wilde Granger/Other
Images Sidney Magal Reproduction of the Magal album cover from 1978 Comunicar IstockPhoto
Chapter 07 Motorcycle Playmobil Publicity Stock Market Caro/Alamy/Other Images Brick (cell phone)
Reproduction of Clube Harmonia ad (scene from High Society, 1956) Everett Collection/Keystone Money
Publicity Skate (Tony Alva) Scott Tugel/Zuma Press/Keystone
Chapter 08 Triptyque Publicity Dazzled (Peacock) IstockPhoto Mestre Yoda Everett Collection/
Grupo Keystone Fernando Meirelles Publicity Martin Luther King TopFoto/Grupo Keystone Champagne
Reproduction of the portrait painted by Léon Cogniet in 1859
Chapter 09 Bass Guitar Alamy/Grupo Keystone Red Hot Chili Peppers Antony Saint James/Retna/
Keystone Communists TopFoto/Grupo Keystone Bom Retiro Mônica Varela/ Estadão Conteúdo
Camera Leica TPG Images/Grupo Keystone Compuserve Reproduction of ad from 1983 John Lennon
Reproduction of the Imagine album cover from 1971
Chapter 10 Skirt TopFoto/Grupo Keystone Marlon Brando Everett Collection/Grupo Keystone
Sneakers Sonny Meddle/Rex Features/Glow Images JK Reproduction (100 cruzados note) Waves for
Water Publicity Paraffin, Neymar Jr. and Street Art Loducca Advertising Age Publicity Arnaldo Baptista
Luiz Paulo Lima/Folhapress Dodge Polara Publicity Geeks (Revenge of the Nerds, from 1984) Publicity
Chapters 01 to 10
Photos by Celso Loducca, Ken Fujioka, Guga Ketzer, André Paes de Barros and Daniel Chalfon
Personal Collection
Photos from campaigns by Loducca Reproduction
TALENT SHOW
Photo Caboré 2011 Eduardo Lopes
Loducca Employees Marcelo Naddeo/Deixe Seu Retrato
Photo Partners Awards Rodrigo Ribeiro
Editor Paulo Lima
Superintendent Director Carlos Sarli
Editorial Director Fernando Luna
Creative Director Ciça Pinheiro
Adjunct Creative Director Micheline Alves
Director of Advertising and Circulation Isabel Borba
Director of Events and Special Projects Ana Paula Wehba
Director of Business Development Adriana Naves
Director of Finance Renato B. Zuccari
Life is what matters. The biography of an advertising agency
Created by Paulo Lima, Fernando Luna, Ciça Pinheiro and Micheline Alves
Editorial Coordination Micheline Alves
Final Text André Viana and Micheline Alves
Text “This Award is Ours” Milly Lacombe
Graphic Design Pedro Inoue and Ciça Pinheiro
Research Cristina Ramalho, Gustavo Fioratti, João Luiz Vieira
Art Débora Bianchi, Mariana Bernd, Renata Masini, Vini Marson
Proofing Cárita Negromonte
Image Research Aldrin Ferraz
Legal Counsel Leonardo Inson
Production Alex Bezerra and Bárbara Xavier
Graphic Design Sid Fernandes/Loducca
Communication Loducca Maria Eugenia Humberg and Ana Laura Masini
Translation Glenn C. Johnston
LIFE IS WHAT MATTERS is a Trip Editora e Propaganda publication
in partnership with Loducca. Address for correspondence:
Rua Cônego Eugenio Leite, 767, 05414-012, São Paulo, SP.
www.tripeditora.com.br
www.loducca.com.br
First edition
December 2012
978-85-66710-00-7