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| Record Entretenimento | |
|---|---|
| Name | Record Entretenimento |
| Type | Subsidiary |
| Industry | Media conglomerate |
| Founded | 1989 |
| Founder | Edir Macedo |
| Headquarters | Rio de Janeiro |
| Area served | Brazil, Portuguese language markets |
| Products | Television, radio, music, publishing, events |
| Parent | RecordTV |
Record Entretenimento is a Brazilian entertainment conglomerate linked to RecordTV and the Universal Church of the Kingdom of God. Founded in the late 20th century, it expanded from television production into radio, music publishing, and artist management, influencing Brazilian popular culture alongside rivals such as Globo Comunicação e Participações and SBT. The company has intersected with Brazilian politics, regulatory debates, and cultural institutions including the Ministry of Culture (Brazil) and the Brazilian Association of Record Companies.
The enterprise traces roots to media investments by Edir Macedo and linked corporate groups during the 1980s and 1990s, a period marked by the privatization of broadcast concessions and competition with entities such as Grupo Globo, SBT, and Rede Manchete. Early milestones include affiliation deals with regional broadcasters in São Paulo (state), expansion into cable partnerships with operators like NET Serviços and content licensing agreements with international distributors such as Sony Music Entertainment and Universal Music Group. Throughout the 2000s and 2010s the company navigated regulatory scrutiny by the Brazilian Federal Police and electoral disputes involving figures from Brazilian Democratic Movement and Workers' Party coalitions. Strategic acquisitions paralleled moves by Latin American media groups like Grupo Televisa and TelevisaUnivision.
The holding structure situates the company within the broader media holdings controlled by religious and business leaders associated with Universal Church of the Kingdom of God and entrepreneurs with ties toIgreja Universal. Corporate governance reflects board composition interacting with executives formerly linked to Banco Bradesco and legal advisors who have represented clients before the Supreme Federal Court. Ownership stakes and debt facilities have been reported in financial markets alongside instruments underwriters such as Banco Itaú and BTG Pactual. Joint ventures with international partners mirror arrangements seen with Warner Music Group and Paramount Global in the region.
Broadcast operations include terrestrial stations, cable channels, and radio networks affiliated with major markets such as São Paulo, Rio de Janeiro, and Belo Horizonte. The television portfolio has competed in prime time with programming from Rede Globo and sports rights negotiations involving entities like Confederação Brasileira de Futebol and international leagues such as UEFA. Radio divisions have rostered presenters who previously worked at Rádio Globo and Rádio Jovem Pan, and have syndicated talk shows resembling formats used by BBC Radio and CNN Brasil. Technical infrastructure investments were procured from vendors including NEC Corporation and Sony broadcast equipment divisions.
Music publishing and record label activities brought collaborations with artists across genres, negotiating distribution and rights management alongside collection agencies like ECAD. Partnerships with record labels such as Som Livre and multinational distributors like EMI Records influenced catalog strategies. The publishing arm released biographies and devotional works touching on figures connected to Igreja Universal while competing at retail with publishers including Grupo Santillana and Companhia das Letras. Synchronization deals for telenovelas placed songs alongside catalogs represented by ASCAP and BMI counterparts in international markets.
Programming slate has included telenovelas, variety shows, religious broadcasts, and reality formats adapted from international franchises originally developed by companies like Endemol and Fremantle. High-profile productions aired in competition with dramas from Globo such as those penned by authors associated with Rede Globo's dramaturgia, while reality and talent contests invoked formats similar to The Voice (franchise), Big Brother, and Dancing with the Stars. Sports broadcasts and specials have featured commentary from personalities with backgrounds at TV Cultura and ESPN Brasil.
The talent roster has encompassed musicians, actors, presenters, and religious leaders, some of whom migrated from networks like SBT, Band, and TV Cultura. Notable contracted performers have appeared alongside guest stars connected to institutions such as Academia Brasileira de Letras and award ceremonies like the Prêmio Multishow. Management agreements resembled those of agencies like Star Management and independent labels that operate in the Brazilian market.
Market influence includes audience share shifts affecting advertising buyers such as Procter & Gamble and Unilever Brasil and competitive positioning versus conglomerates like Grupo Globo and Grupo Abril. Controversies have involved editorial independence debates, accusations of preferential treatment tied to Igreja Universal, and legal disputes adjudicated before bodies including the Superior Electoral Court and Supreme Federal Court. Investigations engaged regulators such as the National Telecommunications Agency (Anatel), and public discussion incorporated commentary from journalists at outlets like Folha de S.Paulo, O Globo, and Estadão.
Category:Brazilian media companies