Eduardo Vicente
Professor Associado do Departamento de Cinema, Rádio e TV (CTR) da Escola de Comunicações e Artes da Universidade de São Paulo (ECA/USP), docente no Curso Superior do Audiovisual e Coordenador do Programa de Pós-Graduação em Meios e Processos Audiovisuais (PPGMPA). Bacharel em Música Popular e mestre em Sociologia pela Unicamp, doutor em Ciências da Comunicação e Livre-Docente em Som para Meios Audiovisuais pela ECA/USP. Realizou estágios pós-doutorais pela Faculty of Arts, Design and Media da Birmingham City University, BCU (Reino Unido, 2014) e pela Facultad de Ciencias de la Información da Universidad Complutense de Madrid, UCM (Espanha, 2018). É editor da Novos Olhares: revista de estudos sobre práticas de recepção a produtos midiáticos (www.revistas.usp.br/novosolhares), coordenador do MidiaSon: Grupo de Estudos e Produção em Mídia Sonora. Bolsista de Produtividade em Pesquisa PQ 2 (CNPq, 2014). Suas pesquisas e publicações estão vinculadas a temas como música popular, indústria fonográfica, rádio e podcasting. E-mail: [email protected]
Eduardo Vicente is Associate Professor (tenured) at the Film, Radio and Television Department of the School of Communication and Arts of University of São Paulo (USP) since 2006. He coordinates the MidiaSon Research and Audio Production Group and received a Research Fellowship – Productivity Level 2 from CNPq (Brazilian National Research Council). He´s also the editor of Novos Olhares Journal (www.revista.usp.br/novosolhares). He holds a Ph.D. in Communication Sciences from USP, and an M.A. in Sociology and B.A. in Popular Music from the University of Campinas. He previously undertook two post-doctoral research projects, one at Birmingham City University in 2014 focusing on music industry and the second at University Complutense of Madrid, in 2018, on radio and podcasts. He has published works in popular music, music industry, radio and podcasting. E-mail: [email protected]
Eduardo Vicente is Associate Professor (tenured) at the Film, Radio and Television Department of the School of Communication and Arts of University of São Paulo (USP) since 2006. He coordinates the MidiaSon Research and Audio Production Group and received a Research Fellowship – Productivity Level 2 from CNPq (Brazilian National Research Council). He´s also the editor of Novos Olhares Journal (www.revista.usp.br/novosolhares). He holds a Ph.D. in Communication Sciences from USP, and an M.A. in Sociology and B.A. in Popular Music from the University of Campinas. He previously undertook two post-doctoral research projects, one at Birmingham City University in 2014 focusing on music industry and the second at University Complutense of Madrid, in 2018, on radio and podcasts. He has published works in popular music, music industry, radio and podcasting. E-mail: [email protected]
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elencadas algumas das produções pioneiros ou mais influentes. Na sequência, é oferecida uma amostra dos trabalhos mais recentes. Através dessa amostra, o texto busca apresentar tanto os principais agentes envolvidos nesse campo de produção (grandes grupos de comunicação locais e produtoras de podcasts de maior porte) quanto os temas predominantes dos podcasts. O texto busca ainda apontar para a significativa concentração econômica presente nesse cenário, para a importância social e política da produção independente e para a necessidade de sua maior valorização e visibilização.
most influential productions are listed. Subsequently, we provide a sample of the most recent works. Through this sample, the text seeks to present both the main agents involved in this field of production (large local media groups and larger podcast producers) and the predominant topics of podcasts. The text also seeks to address the significant economic concentration present in this context, the social and political importance of independent production, and the need for its greater valorization and visibility.
elencadas algumas das produções pioneiros ou mais influentes. Na sequência, é oferecida uma amostra dos trabalhos mais recentes. Através dessa amostra, o texto busca apresentar tanto os principais agentes envolvidos nesse campo de produção (grandes grupos de comunicação locais e produtoras de podcasts de maior porte) quanto os temas predominantes dos podcasts. O texto busca ainda apontar para a significativa concentração econômica presente nesse cenário, para a importância social e política da produção independente e para a necessidade de sua maior valorização e visibilização.
most influential productions are listed. Subsequently, we provide a sample of the most recent works. Through this sample, the text seeks to present both the main agents involved in this field of production (large local media groups and larger podcast producers) and the predominant topics of podcasts. The text also seeks to address the significant economic concentration present in this context, the social and political importance of independent production, and the need for its greater valorization and visibility.
Palavras-chave: Vanguarda Paulista; crítica cultural, Rádio em São Paulo; Música independente
Abstract: This article discusses the process of cultural renovation that took place in Brazil during the turn of the 1970/1980 decades. This debate is circumscribed to the city of São Paulo, and considers the role occupied by radio stations as part of strategies designed by independent producers in the fields of popular music and theatre. Therefore, the article highlights an important moment of political and cultural effervescence in the recent history of Brazil, as well as the important part undertook by radio in such process. In the course of the debate, it will also be addressed the potentials and limits of a independent cultural production in a context of strong economic concentration in the broadcast market.
Keywords: Vanguarda Paulista; cultural critic; Radio in São Paulo; Independent Music
The medium is also a curator since many artists and musical groups consolidated their careers as a result from those negotiations and from the listeners’ feedback, sustaining the Brazilian music industry’s profitability. Although sharing with television the public exposure of the musicians, it was the redundan‑ cy of the artists in the radio programming the responsible for their persistency in the listenership’s memory. It is also important to note that domestic music has always been predominant over the international music in Brazil, even with multinational corporations controlling the national market. According to IFPI data, the domestic music catalogue represented 63% of official sales in Brazil in 2011, against 44% in Mexico and only 14% in Argentina. Besides, the period from 1960 to the years 2000 saw the emergency of musical movements of great political and artistic relevance, such as Bossa Nova, Tropicalismo, MPB, Brazilian Rock in the 1980’s and the Mangue Beat in the 1990’s. Primarily we will make a brief historical introduction on the role of “divulgators” – employees of record companies – and how they negotiate with the radio stations the decisions on which music should be played and stressed. This approach results from an investigation conducted by the authors during 2015 and 2016, for which retired and active professionals of both fields have been interviewed. The main subjects are the strategies of record companies, divulgators and station workers to select the music to play on the programming. From those information, we will draw a comparison with the current moment of radio in Brazil, present on the internet and facing competition to the listeners’ attention with streaming services that supposedly replace radio as music curator, such as Spotify and Deezer. Our hypothesis stands that radio keeps its relevance as a curator even though music subscription software brings new formats for musical consumption, especially in massive musical genres as Brazilian country music (Sertanejo) and Brazilian Funk. Radio’s specific language and the presence of stations on the web allow managing demands of both listeners and record companies, complementing the role performed today by software instruments to organise the offering and consumption of cultural content.
das ciências sociais do país e um de nossos intelectuais mais reconhecidos internacionalmente. Alguns de seus livros como Cultura
brasileira e identidade nacional (1985), A moderna tradição brasileira (1988) e Mundialização e cultura (1994) tornaram-se novos clássicos das ciências sociais do país e referências praticamente obrigatórias em estudos sobre uma ampla gama de temas da área de comunicação. Outros, como Otro territorio: ensayos sobre el mundo contemporáneo (1996), Los artífices de una cultura mundializada (1998) e Mundialización: saberes y creencias (2005), foram publicados inicialmente (ou exclusivamente) em espanhol.
Trata-se de capítulo do e-book Emergências Periféricas em Práticas Midiáticas, organizado por Rosana de Lima Soares Gislene Silva e publicado em 2018 (ISBN 978-85-7205-205-4)
Os doze textos aqui oferecidos, reunindo quinze autores de diferentes formações e instituições, não foram originalmente escritos com a pretensão de se estabelecerem como pontes entre essas áreas ou oferecerem uma abordagem sistemática de suas questões. Ainda assim, sua reunião visa tanto oferecer uma amostra das atividades do MidiaSon – representado por nove dos autores – quanto da diversidade de interesses e abordagens que pode ser encontrada no âmbito de pes- quisas contemporâneas sobre o uso do som e da música.