O Estadao De Sao Paulo: Songs Of Violence [image]

Credits & Description:

Agency: Fcb Brasil
Brand: Estadao Digital
Country: Brazil
Advertising Agency: Fcb Brasil , São Paulo
Entrant Company: Fcb Brasil , São Paulo
Media Agency: Fcb Brasil , São Paulo
Pr Agency: Fcb Brasil , São Paulo
Production Company: Saxsofunny, São Paulo
Additional Company: Saxsofunny, São Paulo
Account Executive: Tatiana Ornellas (Saxsofunny)
Rtvc Assistant: Mariana Carneiro (Fcb Brasil)
Rtvc Producer: Pedro Lazzuri (Fcb Brasil)
Project Manager: Suelen Mariano (Fcb Brasil)
Art Buyer: Carol Silva (Fcb Brasil)
Media Vp: Fabio Freitas (Fcb Brasil)
Executive Creative Director: Fabio Simões “Simon” (Fcb Brasil)
Art Director: Tiago Freitas Gaum" (Fcb Brasil)
Account Director: Anna Santanna (Fcb Brasil)
Account Supervisor: Juliana Peralta (Fcb Brasil)
Account Director: Mauro Silveira (Fcb Brasil)
Motion Designer: Rodrigo Resende (Fcb Brasil)
Art Buyer: Tina Castro (Fcb Brasil)
Producer: Cezar Brandao (Saxsofunny)
Rtvc Director: Charles Nobili (Fcb Brasil)
Account Executive: Kiska Kaysel (Bossa Nova Filmes)
Copywriter: Vinicius Dalvi (Fcb Brasil)
Media Manager: Cristina Omura (Fcb Brasil)
Cco: Joanna Monteiro (Fcb Brasil)
Account Executive: Larissa Sarkis (Saxsofunny)
Project Manager: Reano De Vitto (Fcb Brasil)
Media Manager: Rebeca Aguiar (Fcb Brasil)
Account Executive: Renato Coelho (Fcb Brasil)
Photographer: Ricardo Barcellos (Ricardo Barcellos)
Account Director: Cris Pereira (Fcb Brasil)
Song List Curator: Debora Cassolatto (Self-employed)
Account Executive: Renata Prado (Bossa Nova Filmes)
Rtvc Producer: Ricardo Magozo (Fcb Brasil)
Producer: Zezinho Mutarello (Saxsofunny)
Film Editor: Dudu Doria (Fcb Brasil)
Film Director: Georgia Guerra Peixe (Bossa Nova Filmes)
Film Director: Juliana Borges (Bossa Nova Filmes)
Rtvc Assistant: Natasha Zaminiani (Fcb Brasil)
Outcome:
High engagement level: the message was really relevant and in the context of the media.63% of the users who clicked the banner listened to the testimonialOnly 6% of the users proceeded to downloading/getting/streaming the song after listening to the testimonial.Direct impact in over 1MM users.
Strategy:
To start the debate, we first needed to identify the songs. A female music curator was invited to help us building the database while mapping the songs to cases of violence according to the law. The list had more than 300 titles, with billions of plays on video and audio streaming platforms.The idea was to impact young audiences between 15 and 30 years old at the very moment in which they are searching for a song they liked. We chose the app that was ideal to do that: Shazam. Whenever the user tries to identify a song containing violence against women, he gets an alert about it. Then, he listens to a real testimonial of a woman who has been on an identical situation such as in the lyrics.
Campaign Description:
"Songs of Violence" as an idea whose very existence depends on the creative use of data. We used Shazam to identify songs that promote gender-based violence and then match them to actual testimonials of women who suffered identical abuse.We started came up with a list of real songs that contained violence against women on it's lyrics, according to Brazil's Federal Law 11340. They were all tagged according to the lyrics content and the laws statements.Disque Denúncia gave us real stories to be shared. These testimonials were crossed with the list of hundreds of tagged songs, matching the stories to the song lyrics.It was time for some media intelligence: each song was given it's own testimonial. This way, matching lyrics and real abuse story would only appear together. And people would listen to a real story that would fit the lyrics of the song they intended to hear.
Synopsis:
Estadão, one of Brazil's biggest newspaper, partnered up with Disque Denuncia, hotline that deals with domestic violence denounces, to put violence against women on the spotlight. According to the World Health Organization, one out of three women will suffer violence during her life. And, in Brazil, the numbers are even higher: every 15 seconds a women suffer some kind of violence. Brazil has no law regarding warnings on songs contents. There are no restrictions. Most of the time, these songs are quite popular, being played and sung by teenager that just doesn't realize what they are actually promoting.On this scenario, Estadão will bring the matter to discussion on digital platforms, really relevant to the audience, bringing information and a different point of view to it.
Execution:
Brazil is a mobile country: an average count of two devices per habitant, being at least one a smartphone. Despite expressive numbers, tech companies like Shazam still don't have local offices, what made negotiation quite difficult, beyond barriers of language and distance. It was a brand new media format that required a few months of testing.Placement period: April 4th 'till May 5th 2016, directed to the biggest cities in Brazil: São Paulo and Rio de Janeiro. These are the area that hold 68% of Shazam users in the country, guaranteeing an impact of more than a 1MM users on both Android and iOS devices.