Radio evolution - ICS - Universidade do Minho

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Eduardo Vicentecommunity, politicians, NGOs and a nearby university helped the station recuperate its equipment and starttransmitting again.In 2006, the station was once again shut down by Anatel (National Telecommunications Agency), but onlyfor a short period, and then in October of that same year it was granted a provisional license under which tooperate. Their definite license was granted in March 2008, making it the first official community radio in São Paulo.In June of the next year it was determined that it would change to the frequency it occupies still today, that of87,5 MHz. The sluggishness of the whole licensing process as well as that of the Ministry of Communications ingranting licenses helps illustrate the enormous difficulties encountered by community radio stations when tryingto adapt to all the legal demands made upon them.According to the station’s site, “Radio Heliopolis has two studios: one for the production and recording ofcommercials, jingles, signature tunes, etc. and another in which to transmit their programs. All their computers,printers, microphones, amplifiers, sound tables and other equipment have been acquired through donations orpurchased by the radio itself” 22 .The radiocasters are all local residents. They alternate in putting on two-hour shows from 6:00 am tomidnight, Monday thru Saturday, and from 6:00 am to 11:00 pm on Sunday, with many of the shows beingpresented by two radiocasters. The radio thus has up to 12 different radiocasters on weekdays.Music predominates in the station’s program schedule and they have programs dedicated to specificgenres such as rap, forro, joven gurada, sertanejo, black music (both Brazilian and North American) and pop andtechno, as well as programs playing music from all genres as requested by listeners 23 . Religion is also included inthe station’s programming, as in November 2009 they began to retransmit a program by Father ReginaldoManzotti. 24In his survey on the station’s program schedule, Silva (2010) mentions, among others, the “Catraca Livre”(free turnstile) program, that gives “tips on free or low-cost cultural events, besides discussing theater, cinema andshows with listeners”, as well as programs by doctors from the region’s health center who elucidate doubts thelocal populace may have and, in the case of a specific program on AIDS, even carry out exams and distributecondoms at the station’s facilities. Silva also emphasizes the other services they offer and the messages passed onto the community during their programs, besides mentioning that the radio station has already had specific showsin which to debate issues of common interest to the community, which are no longer part of their programschedule. In this aspect, although some of the participants of The Heliopolis Radio Project interviewed by Silvaaffirm that during the regular musical program schedule social problems may be discussed and debated by theradiocasters with the community, others lament the lack of a more in-depth commitment of the radiocasters withsocial issues and their tendency to reproduce the same program models used by commercial stations andquestion up to what point the radio fulfills its communitarian obligations (Silva, 2010: 38-43).In relation to this last point, there is no doubt that the community radios could be more socially inclined,as there are even indications that some of them – as was mentioned before in this paper – are susceptible tobeing used as an instrument for personal, religious or even commercial gain. But we understand that these issuesshould not prevent the perception that, despite all the difficulties and sidetracking, community radios posses anextraordinary potential for local integration, self-expression, and the strengthening of identity bonds and selfesteem of the populace living on the outskirts of São Paulo. And, as this paper also tries to demonstrate, this iseven more true if we consider the ever increasingly limited profile of the city’s educational and commercial radiostations.22 http://www.heliopolisfm.com.br/23 The “Jovem Guarda’ movement became popular in the 60s and is a romantic music genre based freely on North American and English rockmusic. Its main singer, Roberto Carlos, became the number one record seller in the country. Radio Heliopolis’s program schedule is available onthe station’s site.24 http://www.padrereginaldomanzotti.org.br/index.php/noticias/radios/radios-irmas-novembro474 | ECREA: Radio Evolution: technology, content, audiences – conference 2011
Free, Pirate, Community – the representation of identities on FM radios in São Paulo/BrazilReferencesAmayo, Genny Cemin de (1992). Rádio Público na Cidade de São Paulo. Tese de doutorado não publicada. SãoPaulo: Universidade de São PauloMachado, Arlindo et al (1986). Rádios Livres: a reforma agraria no ar. São Paulo: Ed. BrasilienseNunes Ferreira, Gisele Sayeg (2006) Rádios Comunitárias e Poder Local: estudo de caso das emisoras legalizadas daRegião Noroeste do Estado de São Paulo. Dissertação de Mestrado não publicada. São Paulo:Universidade de São PauloSilva, Sérgio Pinheiro da (2010). Rádio Comunitária, Os Desafios do Ambiente Educativo da Heliópolis FM.Dissertação de Mestrado não publicada. São Paulo: Faculdade Casper LíberoECREA: ‘Radio Evolution: technology, content, audiences – conference 2011 | 475
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The development of the news-informa
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Music as mass consume in the web ra
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media, radio opened channels for di
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Luís BonixeWe analyzed the Faceboo
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Luís BonixeMayfiled, Anthony (2008
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Tiziano Boninibody of the radio med
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Tiziano BoniniCase history #1: RaiT
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Tiziano BoniniPodcasts are easy to
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Tiziano BoniniSocial media Manifest
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Teresa Piñero-Otero & Fernando Ram
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Lawrie Hallettregulatory frameworks
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Susana Herrera Damas & José Luís
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CorporativaFlaix matíInteractuaCor
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Pierre BélangerLeggatt, H. (2010).
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Radio journalists and the Internet:
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Casting doubts on Web Media. Can In
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From Radio to R@dio: broadcasting i
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Live and local no more? Listening c
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Local broadcasters in the convergen
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The ways of participation. The volu
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Influences of Political Economy on
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Euranet: a Case of Study of Pan-Eur
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Part II :ContentChapter 3 | New rad
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Changes in Patterns of contemporary
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The French highway radio: a model f
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Band FM of Journalism of São Paulo
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Radiographing an ‘Expatriate’ S
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Radio today: the risks of the past
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Romeo in love: a community format i
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Creativity: the key to creating suc
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Radio - the forgotten medium or use
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Measuring Community Radio Audiences
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