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2. Nowadays ad agencies in Brazil include three major types.
First, many well-known multinational agencies like BBDO,
DDB, Draftfcb, Grey, JWT, Leo Burnett, McCann Erickson,
Ogilvy, TBWA, Saatchi and Saatchi, and Y&R have a strong
presence in Brazil and service multinational accounts as
well as some local ones. Second, there are many smaller
home-grown agencies whose clients are primarily local.
Third, there are a small number of extraordinarily successful
Brazilian agencies (including Africa, Almap, DM9, and
W/Brasil) that grew up in the last two decades and enjoy
distinction as some of the world's most creative agencies.
São Paulo is both the primary business capital of Brazil and
the nerve center of Brazilian advertising.

3. In 1929, the J. Walter Thompson Advertising Agency of
New York opened an office in São Paulo, bringing with it
the international advertising standards of the time that
included the latest market strategies and research
techniques. The ostensible reason for this expansion into
Brazil was to service its major client, General Motors,
which had just opened a manufacturing plant in Brazil.
Similar GM plants and accompanying JWT offices were
opened in more than 20 locations around the world
during the 1920s. Another American agency, N.W. Ayer
& Son, established offices wherever the Ford Motor
Company had its manufacturing plants. McCann
Erickson, whose client was Standard Oil, soon followed.

4. When Marcello Serpa, 45-year-old Partner and Creative
Director of the Almap/BBDO agency in São Paulo and
one of Brazil's most famous admen, talks about the
history of creativity in Brazilian advertising, he begins
with the 1960s when the media outlets for
ads, especially television, began to assume their present
forms. Rather than creating advertising space to
accommodate demand as happened in some other
countries, the ratio of commercials to programming on
Brazilian national television was fixed from the
beginning. Airtime has always been sold in blocks to ad
agencies, and this fact has produced a highly
predictable and relatively stable media situation

5.  Washington Olivetto- In 1986 Olivetto started to run the
new GGK office in São Paulo. Under Olivetto's leadership, the
agency's billings increased exponentially. In 1989, Olivetto and
his business partners bought the company and renamed it
W/Brasil. Today it is one of the best-known Brazilian agencies.
 Nizan Guanaes- Guanaes opened DM9, his first
advertising agency, in 1990. Three years later, DM9 won the
Grand Prix at Cannes. The award put both Brazil and DM9 on
the "who's who" of world advertising.
 Marcello Serpa-Partner and Creative Director of
Almap/BBDO He is also one of the stars of contemporary
Brazilian advertising, the first to claim a Grand Prix at Cannes.
The year was 1993, and Serpa was an art director at
Guanaes's company, DM9, in São Paulo.

6. Brazilian creativity has been exported to other
countries in two important ways. First, the best
of Brazilian advertising is seen around the
world as a result of the various competitions in
which it is entered. Creative people pay
attention to all sorts of artistic work —
movies, photography, music, art, etc.—and
frequently draw on it for their own inspiration.
The latest Hollywood hit or music video or
Brazilian ad that won at Cannes might turn up
elsewhere—albeit transformed—just as the
animal photographs in the New York show
inspired the Brazilian Parmalat campaign

7. Brazil's position as a world leader in advertising
creativity was earned through hard work,
borrowing and remaking ideas from abroad,
focusing on visual communications over the
written word, and a generous portion of
artistic talent. Many other national advertising
traditions strive to imitate Brazilian advertising.
Along with the other BRIC countries (Russia,
India, and China), Brazil's economy is as vital
to the global economy as its advertising
tradition is to global marketing

8. http://muse.jhu.edu/journals/advertising_a
nd_society_review/v009/9.2.o-barr.html