A Note about Brazilian Terminology, Currency, and Orthography  ix

Abbreviations  xi

Acknowledgments  xiii

Introduction  1

1. Between Fascination and Fear: Musicians' Worlds in Nineteenth-Century Rio de Janeiro  17

2. Beyond the Punishment Paradigm: Popular Entertainment and Social Control after Abolition  31

3. Musicians Outside the Circle: Race, Wealth, and Property in Fred Figner's Music Market  66

4. "Our Music": "Pelo telefone," the Oito Batutas, and the Rise of "Samba"  94

5. Mediators and Competitors: Musicians, Journalists, and the Roda do Samba  116

6. Bodies and Minds: Mapping Africa and Brazil during the Golden Age  146

7. Alliances and Limits: The SBAT and the Rise of the Entertainment Class  169

8. Everywhere and Nowhere: The UBC and the Consolidation of Racial and Gendered Difference  194

9. After the Golden Age: Reinvention and Political Change  227

Conclusion  244

Notes  253

Bibliography  299

Index  335

A photo gallery  

“Hertzman skillfully navigates this history, tracing it through the 20th century and taking previous accounts to task for overgeneralization and reliance on outmoded paradigms. . . . This is a fresh, and refreshing, perspective on these topics. For music historians, researchers in Afro-Brazilian music, and serious samba aficionados.”—Genevieve Williams, Library Journal

“Hertzman skillfully navigates this history, tracing it through the 20th century and taking previous accounts to task for overgeneralization and reliance on outmoded paradigms. . . . This is a fresh, and refreshing, perspective on these topics. For music historians, researchers in Afro-Brazilian music, and serious samba aficionados.”—Genevieve Williams, Library Journal

"Making Samba is revisionist history at its best. Marc A. Hertzman takes on cherished myths of Brazilian popular culture and carefully debunks them, demonstrating through pioneering research and painstaking analysis where, how, and why they were created. In addition, he illuminates the links between popular music, race, labor, and intellectual property. This should attract considerable attention; no other study of Brazil has done similar work."—Bryan McCann, author of Hello, Hello Brazil: Popular Music in the Making of Modern Brazil

"Samba, the quintessential 'Brazilian' musical genre, has been at the center of controversies and myths about national identity, racial democracy, and cultural authenticity for nearly a century, with each generation going over more or less the same ground. What these debates desperately needed was a fresh perspective, grounded in new and significant evidence, and that is just what Marc A. Hertzman provides in this deeply researched and cogently argued historical study. Making Samba takes the discussion of music, race, and authority to a whole new level of sophistication. Hertzman explores the changing contours of the music 'business' in Brazil, the spaces that black performers could carve out for themselves, and the costs musicians incurred when they sought to challenge existing racial, intellectual, and economic hierarchies. The result is a social and cultural history of samba that is by turns fascinating and sobering, and a book that anyone interested in questions of race, music, and nation will want to read."—Barbara Weinstein, author of For Social Peace in Brazil: Industrialists and the Remaking of the Working Class in São Paulo, 1920–1964

"In Making Samba, Marc A. Hertzman narrates with great skill and clarity the complex history of Brazil's foundational musical genre. In doing so, he reveals how this celebrated, often romanticized Afro-Brazilian form emerged out of an acutely material set of social conditions and in close relation to Brazil's modern struggles over race, artistic ownership, and popular culture. By focusing in large part on the actual laboring lives of the musicians who negotiated Brazil's commercial/legal structures and technologies of circulation/dissemination, Hertzman brings alive samba's modern story while also telling a powerful tale about the music's generative cultural power. A remarkable contribution to popular music studies, suggesting compelling parallels with musical traditions to the north."—Ronald Radano, Professor of Ethnomusicology, University of Wisconsin–Madison

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