Bet, The Ugly: Brazil’s Leading Betting Firm Demands Artist in Olinda Stop Satire

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In Olinda, Pernambuco, local artist and activist Catarina Deejah is renowned for her music, art, and vibrant, typographic banners that reflect Olinda’s lively culture and UNESCO-recognized history. Calling herself an artist with “practical application,” Deejah uses irony and mockery at her studio-gallery—located on the historic property where she has lived for decades—to provoke thought. Recently, she was surprised when Bet Esportes da Sorte, a leading Brazilian electronic betting firm, sent her an extralegal notice regarding her provocative work. In January of this year, Deejah launched “Bet, The Ugly” on Instagram, an art project combining visuals and typography related to both games of chance and the Colombian telenovela Betty, The Ugly. The project was inspired by the aftermath of the 2021 Olinda Carnival, where Bet—a major sponsor—left behind a large amount of non-biodegradable polyester waste on the streets. On January 23rd, Deejah received an email from Esportes Gaming Brasil Ltda., demanding the immediate removal of all social media and physical content featuring or mentioning the brand. Deejah found this demand surprising, considering that “Bet, The Ugly” aligned with the spirit of carnival fun and parody.

Deejah stated that this was not her first interaction with Bet Esportes da Sorte regarding her critical posts. Following the previous year’s Carnival, she posted images of the non-biodegradable trash left behind, which prompted responses from people in other locations experiencing similar issues. Subsequently, Bet’s head of operations in Olinda contacted her, claiming her post was unfair and requesting its removal. He offered her money for the following year’s visual identity, but after she did not comply, he mobilized a digital campaign to discredit her post and ceased communication. Bet did not respond to public inquiries about the situation. Deejah considered their reaction excessive, explaining that her humor is sarcastic and iconoclastic, and that she aimed to create a character that would connect with people subliminally through empathy. Flavio Pougy, a lawyer and intellectual property expert, believes that Deejah’s “Bet, The Ugly” project does not violate any trademark regulations, as it is a parody. He also suggested that removing it could be construed as censorship. Moreover, the project is based on factual allegations concerning Bet Esportes da Sorte, which has been accused of illegal gambling and money laundering. The company is a major sponsor of Brazilian carnivals, including Olinda’s.

After receiving the notice, Deejah modified “Bet, The Ugly,” incorporating a unique font in her art that differs from the betting company’s visuals. Living and working in Olinda’s historic district, Deejah is also concerned about the city’s preservation. She has lamented the difficulties faced by residents due to the exploitation and predatory tourism driven by real estate speculation. This concern extends to the city’s leadership, as she criticizes the current mayor, Mirella Almeida (PSD), for her perceived lack of understanding regarding the importance of preserving history and culture. Almeida, known for her conservative views and ties to evangelical churches, was supported by Governor Raquel Lyra (PSDB) and former mayor Professor Lupercio during her election. This year, Luck Sports is a primary sponsor for the city’s Carnival, supporting the parade of Alegoria and Critical Man from the Midnight Club, one of Olinda’s oldest samba schools known for its political messages, which is celebrating its 95th anniversary. Other schools and large puppets also paraded, showcasing sponsorships from betting houses. Olinda’s city laws ensure that the festivities adhere to specific regulations, such as restricting loud sound systems on historic streets to prioritize frevo orchestra parades.

Cultural Clash and Advertising Regulations in Olinda Carnival Amidst Bet’s Involvement

Rodrigo Cantarelli from Fundaj noted that the involvement of major brands like Bet in Olinda’s Carnival is not a new phenomenon. Cantarelli, who studies the intersection of culture and economics in Olinda, suggests that “they’re just joining a game already in play and taking over.” He also questioned the appropriateness of Bet advertisements, given the festive spirit and heritage of the event. On February 4th, the Brazilian Senate approved a bill to prohibit betting companies from advertising during Carnival and elections, which will next be reviewed by the Constitution and Justice Commission. Deejah’s experience underscores the complex dynamics between artistic expression, corporate influence, and the safeguarding of cultural heritage in a historically significant city like Olinda.