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Hello, hello Brazil : popular music in the making of modern Brazil /

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 Ja...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: McCann, Bryan, 1968-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Durham : Duke University Press, 2004.
Colección:Duke backfile
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a McCann, Bryan,  |d 1968- 
245 1 0 |a Hello, hello Brazil :  |b popular music in the making of modern Brazil /  |c Bryan McCann. 
260 |a Durham :  |b Duke University Press,  |c 2004. 
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504 |a Includes bibliographical references (pages 281-290) and index. 
505 0 |a 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. 
588 0 |a Print version record. 
506 |3 Use copy  |f Restrictions unspecified  |2 star  |5 MiAaHDL 
520 |a 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 of a unified national culture and used it as a tool to probe divisions of race and region. McCann explores the links between the growth of the cultural 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. 
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