both from top-down and bottom-up simultaneously driving this process. So in 1930 Brazil has a brief civil war, one of the few moments of full scale violence in Brazilian politics.  The political figure who comes to power is Getulio Vargas, who will dominate Brazilian politics for the next quarter-century.  He's sort of Franklin Roosevelt, Harry Truman, Eisenhower all rolled into one.  So what you get is the state explicitly, in the 1930s and 1940s, wants to forge a sense of Brazilian identity, wants to define what it is.  So in a sense what they attempt to do is create rituals, create holidays, create all sorts of things that are part of this identity and some of them fail miserably.  They created a thing called the Hour of Brazil on radio which is broadcast every evening and it's known as the hour that everyone turns off their radio.  But on the other hand, Vargas looks at Rio and he says, look at this Carnaval thing, this is an incredible opportunity, let's standardise this, let's make this a showcase.  So in this sense, Carnaval - in that moment, samba is just emerging as Brazilian music. ERIC VAN BEMMEL These had grass roots origins, of course. MARSHALL EAKIN Samba, basically, is a grass roots music that comes out of the slums of Rio, it's not a national music in Brazil.  So both as people begin to play this, buy it, like it, listening to it on the radio, it becomes essential to Carnaval.