A record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists ("artists and repertoire" or "A&R"); and maintains contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information.^[1]

Music industry[link]

Within the music industry; most recording artists have become increasingly reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on mp3, radio, etc. and of course television also, with publicists that assist performers in positive media reports to market their merchandise, and make it available via stores and other media outlets. The Internet has increasingly been a way that some artists avoid costs and gain new audiences, as well as the use of videos in some cases, to sell their products.

Major vs. independent record labels[link]

Record labels may be small, localized, and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The largest four record labels are called "major labels".^[2] A "sublabel" is a label that is part of a larger record company, but it trades under a different name.

Imprint[link]

When a label is strictly a trademark or brand, not a company, then it is usually called an imprint, a term used for the same concept in the publishing industry. An imprint is sometimes marketed as being a project, unit, or division of a record label company, even though there is no legal business structure associated with the imprint.

Major labels[link]

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Major labels 1988–1998 (Big Six)

1. Warner Music Group
2. EMI
3. Sony Music (known as CBS Records until January 1991 then known as Sony Music thereafter)
4. BMG Music
5. Universal Music Group
6. Polygram

Major labels 1998–2004 (Big Five)

1. Warner Music Group
2. EMI
3. Sony Music
4. BMG Music
5. Universal Music Group (Polygram absorbed into UMG)

Major labels 2004–2008 (Big Four)

1. Warner Music Group
2. EMI
3. Sony BMG (Sony and BMG joint-venture)
4. Universal Music Group

Major labels 2008–2011 (Big Four)

1. Sony Music Entertainment
2. EMI Group
3. Warner Music Group
4. Universal Music Group

Major labels since late 2011, if approved (Big Three)

1. Sony Music Entertainment
2. Warner Music Group
3. Universal Music Group (EMI recorded music division to be absorbed into UMG, pending approval by antitrust regulators^[3][4])

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2005, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market. Record companies (manufacturers, distributors, and labels) may also comprise a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.

Independent[link]

Record companies and music publishers that are not under the control of the big three are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to an independent criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.

Sublabel[link]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label company (such as those within a group). For example, in the 1980s and 1990s, "4th & B'way" was a trademarked brand owned by Island Records Ltd. in the UK and by a subordinate branch, Island Records, Inc., in the United States. The center label on a 4th & Broadway record marketed in the US would typically bear a 4th & B'way logo and would state in the fine print, "4th & B'way™, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'way is a sublabel or imprint of just "Island" or "Island Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that company's sublabel, Island Records, Inc. However, such definitions are complicated by the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered as corporations in both the US and UK, but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels[link]

Vanity labels are labels that bear an imprint that gives the impression of an artist's ownership or control, but in fact represent a standard artist/label relationship. In such an arrangement, the artist will control nothing more than the usage of the name on the label, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron label owned by ABC while at Phonogram in Great Britain. At one point artist Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is still used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are later bought out by a bigger company. If this is the case it can sometimes give the artist greater freedom than if they were signed directly to the big label. There are many examples of this kind of label, such as Nothing Records, owned by Trent Reznor of Nine Inch Nails; and Morning Records, owned by The Cooper Temple Clause, who were releasing EPs for years before the company was bought by RCA.

Relationship with artists[link]

A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on the selling price of the recordings. Contracts may extend over short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to get terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. provides a strong counterexample, as does Roger McGuinn's claim, made in July 2000 before a US Senate committee, that The Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Turn, Turn, Turn".^[5]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the label is often involved in selecting producers, recording studios, additional musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a label is usually less involved in the recording process.

The relationship between record labels and artists can be a difficult one. Many artists have had albums altered or censored in some way by the labels before they are released—songs being edited, artwork or titles being changed, etc. Record labels generally do this because they believe that the album will sell better if the changes are made. Often the record label's decisions are prudent ones from a commercial perspective, but this typically frustrates the artist who feels that their artwork is being diminished or misrepresented by such actions.

In the early days of the recording industry, record labels were absolutely necessary for the success of any artist. The first goal of any new artist or band was to get signed to a contract as soon as possible. In the 1940s, 1950s and 1960s, many artists were so desperate to sign a contract with a record company that they usually ended up signing a bad contract, typically giving away the rights to their music in the process. To this day, standard recording contracts define record labels as the rightsholders of the music that the contracts cover. Entertainment lawyers can be used by some to look over any contract before it is signed.^{[citation needed]}

Through the advances of the Internet the role of labels is becoming increasingly diminished, as artists are able to freely distribute their own material through web radio, peer to peer file sharing such as BitTorrent, and other services, for little or no cost. Bigger artists such as Nine Inch Nails have announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends are hurting musicians and the industry as a whole, and most of all hurting the fans.^[6] Radiohead also cited similar motives with the end of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model as an online download.

New label strategies[link]

With the advancement of the computer and technology like internet, leading to an increase in file sharing and direct-to-fan digital distribution, combined with music sales plummeting in recent years^{[citation needed]}, labels and organizations have had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

A look at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the structure. Atlantic’s document offers a conventional cash advance to sign the artist, who would receive a royalty for sales after expenses were recouped. With the release of the artist's first album, however, the label has an option to pay an additional $200,000 in exchange for 30 percent of the net income from all touring, merchandise, endorsements and fan-club fees. Atlantic would also have the right to approve the act’s tour schedule, and the salaries of certain tour and merchandise sales employees hired by the artist. But the label also offers the artist a 30 percent cut of the label's album profits —if any—which represents an improvement from the typical industry royalty of 15 percent.^[7]

History[link]

Industry consolidation[link]

In the 1970s and 1980s, there was a phase of consolidation in the record industry that led to almost all major labels being owned by a very few multinational companies. CDs still flow through a handful of sources, with the majority of the sales going through the "big four" record labels.

Resurgence of independent labels[link]

In the 1990s, as a result of the widespread use of home studios, consumer recording technology, and the Internet, independent labels began to become more commonplace. Independent labels are often artist-owned (although not always), with a stated intent often being to control the quality of the artist's output. Independent labels usually do not enjoy the resources available to the "big four" and as such will often lag behind them in market shares. Often independent artists manage a return by recording for a much smaller production cost of a typical big label release. Sometimes they are able to recoup their initial advance even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined advantage of name recognition and more control over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, BKBravo (Kua and Rafi), among others, have gone this route. Historically, companies started in this manner have been re-absorbed into the major labels (two examples are Frank Sinatra's Reprise Records, which has been owned by Warner Music for some time now, and Herb Alpert's A&M Records, now owned by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and another partner) was to come under control of Warner Music when Madonna divested herself of controlling shares in the company.

There are many independent labels; folk singer Ani DiFranco's Righteous Babe Records is often cited as an ideal example. The singer turned down lucrative contracts from several top-name labels in order to establish her own New York-based company. Constant touring resulted in noteworthy success for an act without significant major funding. Ani and others from the company have spoken on several occasions about their business model in hopes of encouraging others.

Some independent labels become successful enough that major record companies negotiate contracts to either distribute music for the label or in some cases, purchase the label completely.

On the punk rock scene, the DIY ethic encourages bands to self-publish and self-distribute. This approach has been around since the early 1980s, in an attempt to stay "true" to the punk ideals of doing it yourself and not "selling out" to corporate profits and control. Such labels have a reputation for being fiercely uncompromising and especially unwilling to cooperate with the big record labels at all. One of the most notable and influential labels of the Do-It-Yourself attitude was SST Records, created by the band Black Flag. No labels wanted to release their material, so they simply created their own label to release not only their own material but the material of many other influential underground bands all over the country. Ian MacKaye's Dischord is often cited as a model of success in the DIY community, having survived for over twenty years with less than twelve employees at any one time.

Internet and digital labels[link]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded free of charge or for a fee that is paid via Paypal or other online payment system. Some of these labels also offer hard copy CDs in addition to direct download. Most net labels acknowledge the Creative Commons licensing system thus reserving certain rights for the artist. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels are more competition for the major record labels.^{[citation needed]}

Open source labels[link]

The new century brings the phenomenon of open-source or open-content record label. These are inspired by the free software and open source movements and the success of GNU/Linux.

Publishers as labels[link]

In the mid-2000s, some music publishing companies began undertaking the work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album under a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[8]

See also[link]

• List of record labels
• White label

References[link]

v t e Music industry Genres Avant-garde · Blues · Contemporary R&B · Country · Crossover · Dance · Drum and bass · Easy listening · Electronica · Experimental · Folk · Funk · Gospel · Hip hop · Instrumental · Jazz · Latin · Motown · New age · Operatic pop · Pop · Reggae · Rock · Soul · Soundtrack · World Sectors and roles Album cover design · Artists and repertoire (A&R) · Distribution · Entertainment law · Music education · Music executive · Music journalism · Music publisher · Music venue · Musical instruments · Promotion · Radio promotion · Record label · Record shop · Road crew · Talent manager · Tour promoter Production Arrangement · Record producer · Recording artist · Session musician · Songwriter · Sound engineer Record labels Major: EMI · Sony Music Entertainment · Universal Music Group · Warner Music Group · Independent: Independent UK record labels Release formats Album · Extended play (EP)/Mini album · Single Awards American Music Award · ARIA Music Awards · Billboard Music Awards · Brit Awards · Choice Music Prize · Classic Brit Awards · Diapason d'Or · Echo Award · Golden Disk Awards · Grammy Award · Grand Prix du Disque · Juno Award · Latin Grammy Awards · Meteor Music Awards · MTV Europe Music Awards · MTV Video Music Awards · MuchMusic Video Awards · Music of Black Origin Awards · New Zealand Music Awards · NRJ Music Award · TEC Awards · World Music Awards Charts ARIA Charts · Billboard Hot 100 · Canadian Hot 100 · RIANZ Singles Chart · Irish Singles Chart · UK Singles Chart Sales certifications ARIA (Gold · Platinum) · BPI (Silver · Gold · Platinum) · CRIA (Gold · Platinum · Multi-Platinum · Diamond) · PROMUSICAE (Gold · Platinum) · RIAA (Gold · Platinum · Multi-Platinum · Diamond) Publications Billboard · HitQuarters · Hot Press · Kerrang! · Mojo · NME · Q · Rolling Stone · Smash Hits · Top of the Pops Retailers Amazon.com · Fnac · HMV Group · Online music stores (iTunes Store) · Trans World Entertainment · Virgin Megastores Television Black Entertainment Television · Country Music Television · Fuse TV · Idol · Juice TV · MTV · MuchMusic · The Music Factory · Star Academy · Viva · The Voice · The X Factor Other A-side and B-side · Christian music industry  · Hidden track  · Grammy Museum  · White label Category

Benny Benassi
Background information
Birth name	Marco Benassi
Also known as	Benny B., Benny Bee
Born	(1967-07-13) July 13, 1967 (age 44)[1]
Origin	Reggio Emilia, Italy
Genres	House Techno Trance Electro Eurodance
Occupations	DJ, producer, remixer
Years active	Late 1980s–present
Labels	Energy Prod. - D:Vision, Airplay, Ministry of Sound, Ultra
Associated acts	Benassi Bros., Madonna, Chris Brown, Bat67, The Biz, FB, KMC, M&M, Two Men, Skrillex, Gary Go
Website	www.bennybenassi.com

Marco Benassi (born July 13, 1967),^[1] better known as Benny Benassi, is an Italian disc jockey (DJ) and record producer of tech house music. He is best known for his 2002 summer club hit "Satisfaction". On October 28, 2009, DJ Magazine announced the results of their annual Top 100 DJ Poll, with Ultra Records artist Benny Benassi placed #26, 13 spots higher than the previous year.^[2]

Career[link]

Benny Benassi at Electric Daisy Carnival 2009.

A native of Reggio Emilia, DJ/producer Benassi, started DJing alongside cousin Alle Benassi in the late 1980s in their hometown, before moving to Larry Pignagnoli's Off Limits production studio in the mid 1990s, creating music for various acts, including Whigfield, J.K. and Ally & Jo.

Benassi first hit the dance floors with projects of his own, in 2001, with the single "I Feel So Fine", released under the name KMC with vocals by Dhany. The track first climbed the charts in Benassi's native Italy, and soon became a #1 hit in the UK club charts.^[1]

Moving from house to electro, "Satisfaction" took Benassi's success worldwide a year later with high-profile DJs like Carl Cox, Darren Emerson, and Roger Sanchez offering praises. The track reached #2 in the UK Singles Chart after the Ministry of Sound record company replaced the original video (an almost still picture of the band, overlayed with graphics) with a video of models using power tools.

Released in 2003, the "campy" and "quirky" Hypnotica was Benassi's solo debut album. At the end of 2004, he won the European Border Breakers Award for Hypnotica, which racked up the most sales for an Italian album outside Italy.

Benassi often works with vocalists Paul French and Violeta, who are collectively known as The Biz. He produced a group with cousin Alle, called Benassi Bros., a project designed to shine the spotlight on the two Biz vocalists, Paul French and Violeta Claudia and other guest singers. A year after the release of Hypnotica, thr album Pumphonia marked their first full length release. And, in 2005, Benassi Bros. released their second album …Phobia.

Some of Benassi's singles have charted high in the United Kingdom and have been played worldwide in clubs. Remixes for OutKast, Goldfrapp, and Felix da Housecat followed. Benassi also remixes music of his contemporaries, such as Tomcraft and Fischerspooner.

In 2005, Benassi founded the record label Pump-Kin Music. The focus of the label is primarily new and unsigned producers. The stated aim of the venture is to give exposure to some of the lesser known DJ/production talent across the world.

In August 2007, Benassi released a remix of Public Enemy's "Bring the Noise". The video for the track was created by Eclectic Method and features a montage of live footage from Public Enemy. It premiered on imeem.com. In February 2008, "Bring the Noise" won a Grammy for best Remix (Dance).

His album Rock 'n' Rave was released on June 16, 2008. The first single from the album was "I Am Not Drunk."

Benassi also broadcasts the one-hour long The Benny Benassi Show on Sirius XM Radio's channel Area.^[3]

In 2009, he worked with Madonna on a remix for her single "Celebration" which was included on the official music video for the song.

In 2010, Benassi released "Electro Sixteen", a video for Benny Benassi vs. "Iggy Pop", “Electro Sixteen,” published by Ultra Records, which is an experimental music video featuring more than 15,000 photographs from his DJ set at New York’s Electric Zoo Festival.^[4]

On May 24, 2010, "Spaceship", which featured Kelis, apl.de.ap and Jean-Baptiste, was selected as the Song of the Day on About.com, with the site calling Benassi's production "tight and melodic, [while] Kelis turns in a fantastic performance." The single was released via digital download on August 21, and charted at #18 on the UK Dance singles chart on August 28."^[5]

On January 23, 2011, Benny Benassi released the music video for "Electroman", a single featuring T-Pain.

Benassi is featured on the track "Beautiful People", off Chris Brown's latest album, F.A.M.E..^{[clarification needed][citation needed]}

On June 7, Benny Benassi released a new album titled Electroman, which includes several singles, such as "Cinema", "Electroman", "Spaceship" and "Control".^[6]

In 2012, working for the second time with Madonna he produced 3 tracks for her studio album MDNA: "Girl Gone Wild", "I'm Addicted" and "Best Friend".

Discography[link]

• Hypnotica (2003)
• Pumphonia (2004)
• ...Phobia (2005)
• Rock 'n' Rave (2008)
• Electroman (2011)

Awards and nominations[link]

• 2011 - Benny Benassi was rated #27 on DJ Mag's Top 100 DJS.
• Benny Benassi recently was rated #7 on DJ Poll Top 100 on www.thedjlist.com.
• 2008 - Benny Benassi won the Best Remixed Recording at the 50th Grammy Awards for his remix of Public Enemy's Bring the Noise.
• 2006 - Benny Benassi "Hit my Heart" opened The 2006 Victoria Secret Fashion Show.
• 2004 - Three nominations at Dancestar, Miami and won the best video award.
• 2004 - DJ MAG's Top 100 DJs: Benny became number eighteen, the highest new entry.
• 2004 - European Border Breakers Award for Hypnotica, the Italian album that sold most in Europe outside Italy.
• 2003 - Number one in the Top 100 dance tracks on the Ministry of Sound Internet radio.
• 2003 - DJ MAG tune of the year in UK.
• 2003 - Revelation of the year – Italian Dance Music Awards.
• 2003 - Dance revelation of the year – Danish Music Award.
• 2003 - Nominated for international revelation of the year – NRJ Awards, France.

See also[link]

• 'Benassi pumping'

References[link]

External links[link]

Wikimedia Commons has media related to: Benny Benassi

• Official website
• Artist Site at Ultra Records
• Fan site

Chris Lake is a Scottish House music DJ/producer who lives in West London. Lake first became recognized for his bootleg remixes of The Prodigy's "Climbatize", Leftfield's "Phat Planet", and Eurythmics "Sweet Dreams". which he did under the alias "Cristophe D'Abuc".^[1] His 2006 track with vocals from Laura V, "Changes", reached the UK Singles Chart,^[2] peaking at #27.^[3] "Changes" was first released in 2005 on Alternative Route Recordings and was licensed to Universal Music for a full worldwide release in Summer 2006.^[4] It reached #10 on Billboard's Hot Dance Airplay chart.^[5] His 2007 single, "Carry Me Away" (featuring Emma Hewitt), topped the Billboard Hot Dance Airplay Chart.^[6] He scored his third consecutive top ten hit on the US dance chart with "Only One". "If You Knew" featuring Nastala, became his fourth consecutive top ten single on the US dance chart. A debut album is planned for release in 2009.

Lake has been a guest DJ on many radio shows such as Pete Tong's Radio 1. Tong hailed Lake as the "best thing to come out of Scotland since Mylo."^[4][7][8]

Chris Lake runs two labels: Rising Music and Rising Trax. For in-studio mixing, Lake uses Apple Logic.^[8]

Selected discography[link]

Album

• 2009: "Crazy" (Nervous Records – NRV 20839)

Singles

• 2002: "Santiago de Cuba" (Lost Language)
• 2004: "Filth" with Rowan Blades (Alternative Route Recordings)
• 2004: "Hiatus" (Pangea Recordings)
• 2005: "One Too Many / Electro Retro" (Rising Music)
• 2005: "Until She Rises" (Little Mountain Recordings)
• 2006: "Changes" featuring Laura V (Alternative Route Recordings, Apollo Recordings) (Billboard Hot Dance Airplay #10, Global Dance Tracks #18, European Hot 100 Singles #77)
• 2006: Mistakes EP (Rising Music)
• 2007: "Carry Me Away" featuring Emma Hewitt (Rising Music) (Hot Dance Airplay #1, Global Dance Tracks #28)
• 2008: "Word / Ghost" with Sébastien Léger (Rising Music)
• 2008: "Only One" (Rising Music) (Hot Dance Airplay #9)
• 2008: "If You Knew" featuring Nastala (Hot Dance Airplay #4)
• 2008: "Start Again" featuring Nastala
• 2010: "Minimal Life" with Nelski (Rising Music)
• 2010: "Sleepwalker" (mau5trap)
• 2010: "Running Out" with Marco Lys (Rising Music)
• 2010: "Cross The Line" with Marco Lys (Rising Music)
• 2010: "La Tromba Risin'" with Marco Lys and Copyright (Defected)
• 2011: "Colours" with Nelski
• 2011: "Secrets In The Dark" (Rising Music)
• 2011: "Sundown"
• 2011: "Build Up"

Remixes

• 2001: Leftfield - "Phat Planet"
• 2002: Sia - "Drink to Get Drunk"
• 2002: The Prodigy - "Climbatize" / Eurythmics - "Sweet Dreams" (as Christophe D'Abuc)
• 2003: Joshua Collins - "Project 3"
• 2004: Sia - "Buttons"
• 2004: Bod - "Copycat" (as Echofalls)
• 2007: Mark Ronson featuring Lily Allen - "Oh My God"
• 2007: Robbie Williams - "She's Madonna"
• 2008: Kylie Minogue - "In My Arms"
• 2009: A.T.F.C - "Tell U Y"
• 2009: Madonna - "Celebration"
• 2009: Mini Viva - Left My Heart In Tokyo
• 2010: The Black Eyed Peas - Rock That Body
• 2010: Nalin & Kane - "Beachball"
• 2011: Lady GaGa - "Judas"

Unreleased

• 2008: "Mission" (Rising Music)
• 2008: "Released" (Rising Music)
• 2008: "Deadline" with Adam Shaw (Rising Music)

References[link]

External links[link]

• Official Site
• Chris Lake discography at Discogs
• Chris Lake discography at MusicBrainz
• Chris Lake Essential Mix 2010

Sandro Silva, fullname Sandro Laurindo da Silva (born April 29, 1984 in Rio de Janeiro), is a Brazilian footballer, who currently plays for Internacional on loan from Málaga CF.

Career[link]

On 10 February 2010 Botafogo reduce the time for sign the midfielder of Palmeiras, the player would arrive on loan until May 2011.^[1] However in the summer 2010 he was snapped by Málaga CF for a transfer fee of €2.2 million.

During the next summer, he was loaned back to Brazil. This time to Internacional with an option to buy for €2 million after the season.

Position[link]

He plays as a defensive midfielder but can play also as a right back.

Honours[link]

Botafogo

• Rio de Janeiro State League: 1

2010

Internacional

• Rio Grande do Sul State League: 1

2012

References[link]

Family[link]

Relation to Mixed Martial Arts Fighter Seyandro Silva

External links[link]

• (Portuguese) [1]

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