| Abstract: | This paper will argue that jazz emerges as samba’s kindred foil in Brazilian popular music discourse of the 1940s and 1950s. Eager to underscore “blood” ties between idealized samba do morro and early blues and jazz, contributors to journals such as Diretrizes and Revista da Música Popular nonetheless tended to equate postwar bebop and big band with the menacing venality of the US music industry and the “vulgar” fandom to which it was associated. It was amidst such critical ambivalence toward jazz that bossa nova arrived on the scene, acutely vulnerable to accusations not just of appropriation but also servile imitation and therefore second-hand “decadence.” |
