A study of the foundation of Brazilian popular music and its effect on the formation of national identity and cultural expression
Acknowledgments
vii
Introduction 1
1. Radio and Estado Novo 19
2. Samba and National Identity
41
3. The Rise of Northeastern Regionalism 96
4. American Seduction
129
5. Inventing the Old Guard of Brazilian Popular Music 160
6. Fan Clubs and Auditoriam Programs
181
7. Advertising and Audience Fragmentation 215
Conclusion 235
Notes
Notes
247
Bibliography 281
Index 291
Bryan McCann is Assistant Professor of Latin American History at Georgetown University.
"Hello, Hello Brazil is a fascinating discussion of Brazilian popular culture based on a set of documents virtually unmentioned in English-language scholarship. The topics covered--music, the music market, advertising, and fans and fan clubs--are crucial to understandings of Brazil."--Jeffrey Lesser, author of Negotiating National Identity: Immigrants, Minorities, and the Struggle for Ethnicity in Brazil "No Latin American country offers more for the study of popular culture through music than Brazil. Bryan McCann's revelation of this neglected source will delight both Brazilian and non-Brazilian readers."--Thomas Skidmore, author of Black into White: Race and Nationality in Brazilian Thought Bryan McCann was recently reviewed in, which called it "a thorough, fascinating overview" of the history of Brazilian music. Library Journal "Well researched and presented in plain, non-academic language, Hello, Hello Brazil is a fascinating study of popular music as both chronicler and instrument of change." Fernando Gonzalez of Jazziz " ... a good story ... [that] Bryan McCann tells with scrupulous care. This is an academic book, but academic in this case means closely argued and meticulously researched ... Whether the reader is enamoured of Brazilian music or not, McCann offers food for thought about any country where popular music is concerned with its integrity under American influence, which I guess is just about everywhere."--THE WIRE, November 2004 excerpted in the online magazine Brazzil/Brasil.
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