Cover image for Hello, hello Brazil : popular music in the making of modern Brazil
Hello, hello Brazil : popular music in the making of modern Brazil
McCann, Bryan, 1968-
Personal Author:
Publication Information:
Durham [N.C.] : Duke University Press, [2004]

Physical Description:
ix, 296 pages : illustrations ; 23 cm
Radio and estado novo -- Samba and national identity -- The rise of Northeastern regionalism -- American seduction -- Inventing the old guard of Brazilian popular music -- Fan clubs and auditorium programs -- Advertising and audience fragmentation.

Format :


Call Number
Material Type
Home Location
Item Holds
ML3487.B7 M39 2004 Adult Non-Fiction Non-Fiction Area

On Order



"Hello, hello Brazil" was the standard greeting Brazilian radio announcers of the 1930s used to welcome their audience into an expanding cultural marketplace. New genres like samba and repackaged older ones like choro served as the currency in this marketplace, minted in the capital in Rio de Janeiro and circulated nationally by the burgeoning recording and broadcasting industries. Bryan McCann chronicles the flourishing of Brazilian popular music between the 1920s and the 1950s. Through analysis of the competing projects of composers, producers, bureaucrats, and fans, he shows that Brazilians alternately envisioned popular music as the foundation for a unified national culture and used it as a tool to probe racial and regional divisions.

McCann explores the links between the growth of the culture industry, rapid industrialization, and the rise and fall of Getúlio Vargas's Estado Novo dictatorship. He argues that these processes opened a window of opportunity for the creation of enduring cultural patterns and demonstrates that the understandings of popular music cemented in the mid-twentieth century continue to structure Brazilian cultural life in the early twenty-first.

Author Notes

Bryan McCann is Assistant Professor of Latin American History at Georgetown University

Reviews 2

Library Journal Review

McCann (Latin American history, Georgetown Univ.) clearly did his homework for this scholarly study of popular Brazilian music (including samba, choro, and bossa nova) between the 1920s and 1950s. Of particular interest to the author is how these styles were used to define social classes and national identity. For example, samba was once a marginal entertainment performed mostly in the poor Afro-Brazilian neighborhoods of Rio de Janeiro. As the music rose in popularity, the lyrics of many songs were cited as evidence that there was racial democracy in Brazil. Yet the unpleasant fact of Afro-Brazilian political exclusion could not be denied. As evidenced throughout, the relationship of Brazilian music to the making of modern Brazil is a complex topic, but the author supports his arguments with voluminous details and gives the full historical scope of events. The result is a thorough, fascinating overview as he brings the reader up to the present. Given its great attention to detail and unknown or long-forgotten Brazilian history, this book will appeal mostly to scholars and Brazilian music aficionados. Recommended for all academic collections of Brazilian culture and music. Bill Walker, Stockton-San Joaquin Cty. P.L., CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

This volume is both a serious treatment containing firsthand information sustained by reliable documentation and a pleasantly written presentation couched in subtle humor. McCann (Latin American history, Georgetown Univ.) devotes many pages to the evolution of popular music, sustaining his argument with the lyrics of some of Brazil's well-known popular songs, including "Aquarela do Brasil" (Watercolor of Brazil) and the song that gives its name to the title of this book. McCann traces the evolution of samba, music and dance, from its inception in the 1920s through the various phases of the political period of President Vargas, coinciding with the establishment of the radio and cultural reaction of the tropicalia movement. Including seven chapters, a conclusion, elaborate endnotes, and a comprehensive bibliography, this book is an informative and excellent read. ^BSumming Up: Highly recommended. Upper-division undergraduates through faculty. Kazadi wa Mukuna Kent State University

Table of Contents

Acknowledgmentsp. vii
Introductionp. 1
1 Radio and Estado Novop. 19
2 Samba and National Identityp. 41
3 The Rise of Northeastern Regionalismp. 96
4 American Seductionp. 129
5 Inventing the Old Guard of Brazilian Popular Musicp. 160
6 Fan Clubs and Auditorium Programsp. 181
7 Advertising and Audience Fragmentationp. 215
Conclusionp. 235
Notesp. 247
Bibliographyp. 281
Indexp. 291