Hello, Hello Brazil: Popular Music in the Making of Modern Brazil

Hello, Hello Brazil: Popular Music in the Making of Modern Brazil is a book by historian Bryan McCann published by Duke University Press in 2004.[1]

Hello, Hello Brazil: Popular Music in the Making of Modern Brazil
AuthorBryan McCann
CountryThe United States
LanguageEnglish
PublishedMay 2004
PublisherDuke University Press
Pages396

This book discusses the social impacts of Brazilian music in society and culture between the 1920s-1950s. Alongside the social impacts during the time period, the book also analyzes the long term effects of the music in Brazilian culture and how it shaped modern day Brazil.

Synopsis

McCann's thesis in this book is that through the political movement of Getúlio Vargas Estado Novo (Brazil), the growth of Brazilian culture industry and rapid industrialization a new music was formed in conscious effort to help shape Brazil to be a modern country. Because of these three factors, modern Brazil was impacted past the 1930s - 1950s when most of these changes were occurring. This book analyzes the creation of that new popular music and explores its deeper implications.[1] Additionally, McCann looks at how these processes opened a window of opportunity for the creation of enduring cultural tendencies which supports his thesis that music produced during the set time period would help structure Brazilian culture life well into the twenty-first century.

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 does this by analyzing the political effect on radio and music as well as the link between culture and national identity to the music created and produced. Composer Lamartine Babo along with musician Almirante are two of the many credited for helping turn the musical and popular culture tide in Brazil. Their Afro-Brazilian fusion of music as well as performance style for the radio and other audiences cements popular culture for years to come.

McCann makes note of the potential critiques about his research in the introduction about this research. The reader will note that McCann's analysis concentrates overwhelmingly on the music produced in Rio de Janeiro and not in other cities in Brazil. This is where he is able to discuss audience interpretation, and the primary audience is the metropolitan Brazilian. This is unavoidable: through the period, Rio was the bureaucratic and cultural capital of the nation, home to the principal recording studios and the most powerful radio stations.[1]

Critical Reception

Review by Frederick Moehn in the Latin American Music Review 28 (2007): 309-315.[2]

Review by Christopher Dunn in the Luso-Brazilian Review 43 (2006): 156-160.[3]

Review by Sean Stroud in the Journal of Latin American Studies 37 (2005): 398-400.[4]

Awards

References
  1. "Hello, Hello Brazil". Duke University Press. Retrieved 2018-01-24.
  2. Moehn, Frederick (2007-11-07). "Hello, Hello Brazil: Popular Music in the Making of Modern Brazil (review)". Latin American Music Review. 28 (2): 309–315. doi:10.1353/lat.2007.0033. ISSN 1536-0199.
  3. Dunn, Christopher (2006). "Review of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil". Luso-Brazilian Review. 43 (2): 156–160. JSTOR 4490672.
  4. Stroud, Sean (2005). "Bryan McCann, Hello Hello Brazil: Popular Music in the Making of Modern Brazil (Durham, NC, and London: Duke University Press, 2004), pp. ix+296, £17.50, pb. -". Journal of Latin American Studies. 37 (2): 398–400. doi:10.1017/S0022216X0532935X. ISSN 1469-767X.
  5. "The Woody Guthrie Award". IASPM-US.
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