Editing Samba (section)

=== Traditional samba as "resistance music" ===
[[File:Cartola,_1970.tif|alt=|thumb|The sambista Cartola experienced the resurgence of his musical career in the 1960s and 1970s.]]
[[File:Clementina_de_Jesus_(1966).tif|alt=|thumb|Clementina de Jesus recorded her first LP only at the age of 65.]]
[[File:Paulinho_da_Viola_e_Martinho_da_Vila.tif|alt=|thumb|Paulinho da Viola and Martinho da Vila started their musical careers in the 1960s.]]

In 1962, the "Carta do samba" ("The samba letter") was made public, a document written by the writer [[Edison Carneiro]]{{sfn|Lopes|2019|p=129}} that expressed the need to preserve traditional features of samba, such as the [[Syncopation|syncopa]], without, however, "denying or taking away spontaneity and prospects for progress".{{sfn|Carneiro|2012|p=24}} This letter came to meet a series of circumstances that made traditional urban samba not only revalued in different Brazilian cultural circles, but also started to be considered by them as a kind of "counter-hegemonic" and "resistance music" in the Brazilian music scene.{{sfn|Benzecry|2015|p=111}} In a decade characterized in the Brazilian music industry by the domination of international rock music and its Brazilian variant, [[Jovem Guarda]], the traditional samba would have started to be seen as an expression of the greatest authenticity and purity of the genre,{{sfn|Lopes|Simas|2015|p=203}} which led to the creation of terms such as "samba autêntico" ("authentic samba"), "samba de morro" ("samba of the hill"), "samba de raiz" ("roots samba"), or "samba de verdade" ("real samba").{{sfn|Benzecry|2015|p=111}}

One of the major expressions of this "resistance samba" in the first half of the 1960s was Zicartola, a bar opened by sambista [[Cartola]] and his wife Dona Zica in 1963.{{sfn|Lopes|Simas|2015|pp=301–302}}{{sfn|Castro|2016}} which transformed in a short time at a famous meeting point of veteran sambistas, attracted the attendance of many left-wing intellectuals and students, and became famous for its samba nights that, in addition to revealing new talents, such as [[Paulinho da Viola]], revived the careers of former composers then ostracized from the music industry.{{sfn|Marcondes|1977|pp=160–162}}{{sfn|Lopes|Simas|2015|pp=301–302}} In February 1964, the year of the [[1964 Brazilian coup d'état|Brazilian military coup d'état]], [[Nara Leão]]'s debut album was released, which included sambas by traditional samba composers such as Cartola, {{ill|Elton Medeiros|pt}}, [[Nelson Cavaquinho]] and Zé Keti, as well as samba songs from the bossa nova nationalist branch.{{sfn|Lopes|Simas|2015|p=151}} And at the end of that year, Nara Leão met with Zé Keti and João do Vale for the musical Show Opinião, which became a reference as an artistic manifestation in protest to the authoritarian regime established.{{sfn|Lopes|Simas|2015|p=103}}{{sfn|Garcia|2018|p=10}}{{sfn|Sá|2014}}

The following year, the composer Hermínio Bello de Carvalho produced Rosa de Ouro, a musical that launched the sixty-year-old [[Clementina de Jesus]] to the general public.{{sfn|Nuzzi|2017}}{{sfn|Silva|2011|p=34}} It was the birth of the professional artistic career of one of the most expressive voices in the samba history,{{sfn|Lopes|Simas|2015|p=103}} characterized by a repertoire aimed at the African music matrixes, such as [[jongo]]s, [[Umbanda|curimbas]], [[Lundu (dance)|lundus]] and sambas of the rural tradition.{{sfn|Lopes|Simas|2015|p=33}} The music ensemble to accompany Clementina in this show was composed by Paulinho da Viola, Elton Medeiros, {{ill|Anescarzinho do Salgueiro|pt}}, Jair do Cavaquinho and [[Nelson Sargento]].{{sfn|Nuzzi|2017}}{{sfn|Silva|2011|p=34}} Known at the time as "regional", these musical ensemble based on classical guitar, cavaquinho and pandeiro, and occasionally some wind instrument, were revalued and became associated with the idea of a more authentic and genuine samba.{{sfn|Lopes|Simas|2015|p=203}} From then on, the idea of forming samba vocal-instrumental groups for professional presentations matured and, with the success obtained by groups such as {{ill|A Voz do Morro|pt}} and {{ill|Os Cinco Crioulos|pt}}, boosted the creation of other groups composed only by sambistas with direct or indirect ties with the samba schools in the following years, such as the groups [[Os Originais do Samba]], Nosso Samba, Brazil Ritmo 67, Os Batuqueiros, Exporta-samba, among others.{{sfn|Lopes|Simas|2015|pp=72–75}} Two other significant performances from this moment of aesthetic revaluation of traditional urban samba were "Telecoteco opus N ° 1", with Cyro Monteiro and Dilermando Pinheiro, which was shown at Teatro Opinião,{{sfn|Sanches|2004}} and "O samba pede passagem", which brought together veterans [[Ismael Silva (musician)|Ismael Silva]] and [[Aracy de Almeida]] with the young artists [[Baden Powell (guitarist)|Baden Powell]], {{ill|Sidney Miller (composer)|pt|Sidney Miller|lt=Sidney Miller}} and [[MPB4]], among others.{{sfn|Lopes|Simas|2015|p=103}}{{sfn|Reis|2018}}

In this context of the effervescence of the samba resistance movements, the radio show "Adelzon Alves, o amigo da madrugada" ("Adelzon Alves, the friend of the dawn") has appeared.{{sfn|Benzecry|2015|p=128}} Presented by radio broadcaster Adelzon Alves on [[Rádio Globo]] in Rio de Janeiro, the radio program dedicated a repertoire exclusively dedicated to the samba{{sfn|Benzecry|2015|pp=41–42}} – in a scenario in which radio before the supremacy of television as a major means of communication in Brazil had become a disseminator of music recorded on disc.{{sfn|Benzecry|2015|pp=105–106}} Faced with the hegemony of Anglo-American rock and Jovem Guarda, especially due to the influence of record labels on commercial broadcasters in the country,{{sfn|Benzecry|2015|pp=41–42}} Adelzon Alves' radio show became the main spokesman for samba and sambistas from Rio de Janeiro on the media and a major propagator of terms, which reverberate until today, referring to the legacy of the universe of "samba do morro" as national music "of resistance" and "root".{{sfn|Benzecry|2015|pp=41–42, 111}}{{sfn|Lopes|Simas|2015|p=144}}

In addition to the strength of Jovem Guarda, a movement catapulted by the eponymous program shown by [[RecordTV|TV Record]], Brazilian music at that time experienced the emergence of a new generation of post-bossa-nova artists who, reknowed in the scope of the "Brazilian song festivals" era, became the embryo of the so-called [[Música popular brasileira|MPB]].{{sfn|Dantas|2016|p=12}}{{sfn|Concagh|2017|p=32}} One of those most notable names was the composer [[Chico Buarque]], author of sambas such as "Apesar de Você",{{sfn|Lopes|Simas|2015|p=152}} which became classics of the genre.{{sfn|Lopes|Simas|2015|p=151}} Against the ideological disputes between the acoustic guitar (an instrument traditional in Brazilian music genres and synonymous with national music) and electric guitars (seen as an "Americanized" instrument in Brazilian music) that characterized these Brazilian song festivals,{{sfn|Lopes|2019|p=115}} the beginning sambista [[Martinho da Vila]] entered "Menina moça", a stylized [[Partido alto|samba de partido-alto]], in the third Festival of Brazilian Popular Music in 1967.{{sfn|Lopes|Simas|2015|p=152}}{{sfn|Pimentel|2007a}}{{sfn|Antunes|2012}} Although its early eliminated in this contest, this samba projected Martinho's name on the music scene of that time,{{sfn|Lopes|Simas|2015|p=104}} whose subsequent successes paved the way for the affirmation in the music industry of this type of samba characterized by strong chorus and, normally, three solo parts.{{sfn|Lopes|2005|p=184}}

As the aesthetic orientation towards young music of that time, these "song festivals" practically ignored the samba, which generated criticism from sambistas such as Elton Medeiros, who claimed the inclusion of the "truly Brazilian music" in these musical contests.{{sfn|Lopes|Simas|2015|p=133}} Against this trend, the first Bienal do Samba took place in 1968,{{sfn|Lopes|Simas|2015|p=104}}{{sfn|Santos|2015|p=67}}{{sfn|Napolitano|2018}} a year also characterized by the release of Paulinho da Viola's first solo album and also of another studio album by this composer in a duet with Elton Medeiros.{{sfn|Lopes|Simas|2015|p=152}}{{sfn|Ferreira|2018b}} At the beginning of the following decade, Paulinho consolidated his prestige with the commercial success of the samba "Foi um rio que passou na minha vida" and also as a producer of the first studio album of the {{ill|Velha Guarda da Portela|pt}} samba group.{{sfn|Lopes|2019|p=115}}{{sfn|Lopes|Simas|2015|p=152}}{{sfn|França|2007}}