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The ‘Cultural Invasion’ Debate Historical Background to the Debate Throughout the twentieth century Brazilian popular music was periodically subjected to the influx of foreign influences, principally emanating from the United States and, to a lesser extent, Europe. In that respect Brazil was no different from most other nations because North American popular music increasingly came to exert a hegemonic global influence as the century wore on. S. financial investment in Brazil after the First World War.

104 Ibid. MUSICAL NATIONALISM AND THE ‘CULTURAL INVASION’ DEBATE 37 intrinsically linked, Wisnik chose to celebrate the positive aspects of transnational cultural interchange rather than regret the ‘dilution’ of the essence of Brazilian culture. He claimed that Tinhorão’s stand against ‘inauthenticity’ in popular music (bossa nova and Tropicália) and the quest for pure, uncontaminated Brazilian popular music was no longer tenable. 105 The debate between Wisnik and Tinhorão in 2001, illustrated that the ideology of musical nationalism is now considered by some, but by no means all, Brazilian writers and researchers in the field of popular music to be an irrelevance.

74 Tinhorão, Música Popular:Um tema em debate, p. 59. ’, Jornal do Metrô, 27/8/84. 76 Caetano Veloso, ‘Ângulos: Primeira feira de balanço’ (1966) in, Alegria, Alegria (Rio de Janeiro, 1977), pp. 1–13. 77 Paiano, ‘O Berimbau’, p. 93. However, it is worth mentioning that Hermano Vianna has demonstrated that in 1965–6, Veloso used nationalist arguments to defend bossa nova and referred to artists such as Johnny Alf and Dick Farney as ‘alienated’. O Mistério do Samba, p. 132. 28 THE DEFENCE OF TRADITION IN BRAZILIAN POPULAR MUSIC Tinhorão’s book defends the preservation of illiteracy as the only salvation for Brazilian popular music .

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