Editing Samba (section)

=== Samba-canção hegemony and influences of foreign music ===
[[File:Lupicínio Rodrigues (1968).tif|thumb|The composer Lupicínio Rodrigues, author of some of the great classics of the samba-canção style.]]

After the end of the [[World War II]] and the consequent growth in the production of consumer goods, radio sets spread in the Brazilian market in different models and at affordable prices to the different social class of the Brazilian population.{{sfn|Calabre|2002|p=12}} Within this context, Brazilian radio broadcasting also went through a moment of change in language and audience{{sfn|Napolitano|2010|p=64}} that made radio an even more popular media in Brazil.{{sfn|Calabre|2002|p=12}} In search of easier communication with the listener, the programming standard became more sensational, melodramatic and appealing.{{sfn|Napolitano|2010|p=65}} One of the best expressions of this new format and the new popular audience was the auditorium programs and the "kings" and "radio queen" contests.{{sfn|Calabre|2002|p=12}}{{sfn|Napolitano|2010|p=65}} Although they played a role in legitimizing samba as a cultural product and national symbol music{{sfn|Benzecry|2015|pp=46, 75–79}} and also transforming popular musical culture with the circulation of new musical genres and more extroverted performances,{{sfn|Napolitano|2010|p=65}} auditorium programs such as the paradigmatic "Programa César de Alencar" and "Programa Manoel Barcelos"{{sfn|Rádios EBC|2015b}} – both on [[Rádio Nacional|Radio Nacional]], leader in audience and main media of communication in Brazil{{sfn|Benzecry|2015|pp=11, 81}} – stimulated the cult of personality and the private life of artists,{{sfn|Napolitano|2010|p=65}} whose apex was the collective frenzy generated around the fan clubs of popular music stars during the concourses of kings and queens of the radio.{{sfn|Napolitano|Wasserman|2000|pp=167–189}}{{sfn|Benzecry|2015|p=94}}

For the samba more linked to the traditions of Estácio and the hills, the 1950s was characterized by the vitalizing presence of old and new composers who led the renewal of the genre for the next years.{{sfn|Napolitano|2010|p=67}}{{sfn|Máximo|2016}} This renewal was present in the sambas of well-known authors from the general public, such as Geraldo Pereira{{sfn|Marcondes|1977|pp=85–89}} and {{ill|Wilson Batista|pt}},{{sfn|Marcondes|1977|pp=602–603}} of lesser-known sambistas but active in their communities, such as {{ill|Zé Keti|pt}}{{sfn|Marcondes|1977|pp=822–823}} and [[Nelson Cavaquinho]]{{sfn|Marcondes|1977|pp=524–526}} – a composer who would establish a great partnership with [[Guilherme de Brito]]{{sfn|Napolitano|2010|p=67}} – and also of new composers, such as [[Monsueto]].{{sfn|Lopes|2019|p=115}} The samba de breque by {{ill|Jorge Veiga|pt}} also stood out{{sfn|Marcondes|1977|pp=785–786}} and, in [[São Paulo]], the [[Demônios da Garoa]] enshrined the sambas by [[Adoniran Barbosa]].{{sfn|Napolitano|2010|p=67}} Missing for many years, samba composer [[Cartola]] was found washing cars in [[Ipanema]] by journalist [[Sérgio Porto]], who took him to sing on [[Rádio Mayrink Veiga]] and got him a job at a newspaper.{{sfn|Marcondes|1977|pp=160–162}} As part of the celebrations of the Fourth Centenary of the city of São Paulo, the composer Almirante organized the "Festival da Velha Guarda" ("Old Guard Festival"),{{sfn|Napolitano|2010|p=66}} which brought together great names of Brazilian popular music then forgotten, such as [[Donga (musician)|Donga]], [[Ismael Silva (musician)|Ismael Silva]], and [[Pixinguinha]].{{sfn|Marcondes|1977|pp=20–21}}

However, the period between the second half of the 1940s and the end of the 1950s – well known as [[post-war]] – was deeply characterized by the prestige and dominance of samba-canção in the Brazilian music scene.{{sfn|Matos|2013|p=130}}{{sfn|Severiano|2009|p=273}} Although in its time of appearance there were not so many releases characteristic of this aspect, many achieved huge commercial success and,{{sfn|Gonzalez|2017|p=56}} in the mid-1940s,{{sfn|Gonzalez|2017|p=56}} this sub-genre began to dominate Brazilian radio programming{{sfn|Matos|2013|p=130}} and be the most played style outside the carnival era.{{sfn|Castro|2015|p=72}} This rise of samba-canção as a hegemonic musical style was also accompanied mainly by the avalanche of foreign musical genres{{sfn|Albin|2003|p=142}}{{sfn|Marcondes|1977|p=685}} – imported to Brazil under the political-cultural context of World War II{{sfn|Tinhorão|1997|p=60}}{{sfn|Cabral|1996b|p=85}} – that began to compete in the country's market with the samba-canção itself.{{sfn|Napolitano|Wasserman|2000|pp=167–189}}{{sfn|Máximo|2016}} [[Tango]] and, especially, [[bolero]], which occupied a significant part of radio programming, proliferated in clubs and dance halls in Rio de Janeiro and São Paulo.{{sfn|Gonzalez|2017|p=57}} [[Music of the United States|Music from the United States]] has also come to occupy a large part of the programming of Brazilian radio stations.{{sfn|Cabral|1996b|p=92}} With [[big band]]s in evidence, some radio stations made great publicity about [[jazz]], a genre that was gaining more and more appreciation among some musicians from Rio de Janeiro, especially those who worked in [[nightclub]]s.{{sfn|Napolitano|Wasserman|2000|pp=167–189}} In a samba-canção rhythm, many boleros, [[foxtrot]]s and [[Music of France|French songs]] were also part of the repertoire of nightclub pianists.{{sfn|Castro|2015|pp=72–73}}

Under the influence of the strong penetration of these imported genres, the post-war samba-canção itself was influenced by these rhythms.{{sfn|Matos|2013|p=130}} In certain cases, the change occurred through a musical treatment based on the [[cool jazz]] tones and more restrained vocal performances, and more complex melodic-harmonic structures,{{sfn|Garcia|1999|p=40}} distinct, therefore, from the rhythmic-bodily sensuality of traditional samba.{{sfn|Napolitano|2010|p=67}}{{sfn|Vargas|Bruck|2017|p=234}} In other cases, it was due to the strong passionate exercised by bolero{{sfn|Lopes|Simas|2015|p=150}}{{sfn|Garcia|1999|p=40}} and foreign [[sentimental ballad]]s.{{sfn|Napolitano|Wasserman|2000|pp=167–189}} Both influences displeased the more traditionalist critics: in the first, they accused the samba-canção of having "jazzed up",{{sfn|Napolitano|2010|p=66}} especially for the sophisticated orchestra arrangements;{{sfn|Máximo|2016}} in the second, the slower and more romantic progress of the slope led to pejorative labels such as "sambolero" or "sambalada".{{sfn|Lopes|Simas|2015|p=269}}{{sfn|Marcondes|1977|p=685}} In fact, the orchestral accompaniments of the samba-canção at that time were marked by arrangements containing woodwinds and strings that replaced the traditional regional musical ensemble{{refn|The regional is a kind of musical ensemble in Brazil generally formed by one or more instruments with a melodic function, such as flute and mandolin; cavaquinho, with an important rhythmic role and can also assume part of the harmony; one or more guitars, forming the harmonic basis of the ensemble; and the pandeiro acting in the marking of the base rhythm.{{sfn|Gonzalez|2017|p=61}}|group=nb}} and made it possible to dramatize the arrangements in accordance with the theme of the songs and the expressiveness of the singers.{{sfn|Naves|2004|p=10}} If, for some critics, these orchestral and melodic-harmonic attributes of modern 1950s samba-canção came from post-war [[American imperialism|American culture]],{{sfn|Tinhorão|1997|p=53}} for others this influence was much more Latin American than North American.{{sfn|Albin|2003|p=153}} Another aesthetic mark of the period was the vocal performance of the singers of this style of samba,{{sfn|Naves|2004|p=11}} sometimes more inclined to the lyrical power and expressiveness, sometimes more supported by an intonation and close to the colloquial dynamics.{{sfn|Gonzalez|2017|p=63}}

With a new generation of performers that emerged in the post-war period, the Brazilian music scene was taken over by emotional and painful samba-canção songs in the 1950s.{{sfn|Gonzalez|2017|p=60}}{{sfn|Cabral|1996b|p=97}}{{sfn|Severiano|2009|p=292}}{{sfn|Naves|2004|p=12}} This sub-genre was divided between a more traditional and a more modern generation.{{sfn|Mello|Severiano|1997|p=241}}{{sfn|Gonzalez|2017|p=64}} If in the first group there were composers such as [[Lupicínio Rodrigues]] and [[Herivelto Martins]] and interpreters such as [[Nelson Gonçalves]], [[Dalva de Oliveira]], [[Angela Maria]], [[Jamelão]], [[Cauby Peixoto]] and [[Elizete Cardoso|Elizeth Cardoso]], the second group had as main exponents [[Dick Farney]], Lúcio Alves, [[Tito Madi]], [[Nora Ney]], [[Dolores Duran]], [[Maysa Matarazzo|Maysa]] and [[Sylvia Telles]], among others.{{sfn|Gonzalez|2017|p=64}}{{sfn|Severiano|2009|p=291}} The modern samba-canção was also part of a phase of [[Dorival Caymmi]]'s career{{sfn|Máximo|2018}}{{sfn|Ferreira|2020b}} and the beginning of the musical work of [[Antônio Carlos Jobim|Antonio Carlos Jobim]],{{sfn|Matos|2013|p=130}}{{sfn|Castro|2015|p=358}} one of the great names of the new style of samba that would stylistically mark the genre and Brazilian music in the coming years.{{sfn|Napolitano|2010|p=67}}