The Department of Press and Propaganda, the official censorship body of the regime, wanted to censor the verse 'terra do samba e do pandeiro' ('land of samba and the pandeiro'), which was seen as being 'derogatory' for Brazil's image. Vargas, although not a fascist himself, was as sympathetic to such regimes in the early years of his presidency as the European governments of the time. The Barroso family, however, strongly denies these claims, pointing out that he also wrote an anti- Nazi song named 'Salada Mista' (Mixed salad), recorded by Carmen Miranda in October 1938. This musical movement, with its extremely patriotic nature, was seen by many as being favorable to the dictatorship of Getúlio Vargas, generating criticism towards Barroso and his work, which was perceived as Barroso's prostration to the regime.

This song, because of its exaltation of Brazil's great qualities, marked the creation of a new genre within samba, known as samba-exaltação (exaltation samba). It was voted by the Brazilian edition of Rolling Stone as the 12th greatest Brazilian song. Due to the huge popularity achieved in the United States, it received an English version by songwriter Bob Russell. After that, the song became known not only in Brazil, but worldwide, becoming the first Brazilian song to be played over a million times on American radio. The song only became famous after it was included in Walt Disney's 1942 animated film Saludos Amigos, sung by Aloísio de Oliveira. The two men would only speak to each other again fifteen years later, when both received the National Order of Merit. The president of the jury was Heitor Villa-Lobos, and Barroso, offended that his masterpiece was not on the list, ended his relationship with him. In 1940, it was not among the top three songs of that year's Carnival in Rio. 'Aquarela do Brasil' took a while to succeed. It was also recorded by Araci Cortes, but despite the singer's huge popularity at the time, the song was not a success, perhaps because the song was not adjusted to her tenor voice. It was then recorded by Francisco de Morais Alves, arranged by Radamés Gnattali and his orchestra, and released by Odeon Records in August 1939.

Release and reception īefore being recorded, 'Aquarela do Brasil', initially named 'Aquarela brasileira', was performed by the baritone Cândido Botelho on Joujoux e Balangandans, a benefit concert sponsored by Darci Vargas, then the First Lady of Brazil. He declared to have felt like another person after writing the song. According to him, 'the rest came naturally, music and lyrics at once'. The original beat 'sang on imagination, highlighting the sound of the rain, on syncope beats of fantastic tambourins'. Initially, he wrote the first chords, which he defined as 'vibrant', and a 'plangent of emotions'. According to the composer, he 'felt all the greatness, the value and the wealth of our land', reliving 'the tradition of the national panels'. ĭescribing the song in an interview to Marisa Lira, of the newspaper Diário de Notícias, Barroso said that he wanted to 'free the samba away from the tragedies of life, of the sensual scenario already so explored'. He also wrote 'Três lágrimas' (Three Teardrops) on that same night, before the rain ended. Its title, a reference to watercolor painting, is a clear reference to the rain.

Ary Barroso wrote 'Aquarela do Brasil' in early 1939, when he was prevented from leaving his home one rainy night due to a heavy storm.

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