Editing Samba (section)

=== Samba and the expansion of the Brazilian music industry ===
[[File:Nelson_Cavaquinho_(1973).tif|alt=|thumb|Guilherme de Brito and Nelson Cavaquinho formed one of the great partnerships of samba.]]
[[File:Clara_Nunes_no_Zicartola.tif|alt=|thumb|Clara Nunes, the first Brazilian female singer to surpass the mark of 100 thousand copies sold for a single LP.]]
[[File:Beth_Carvalho,_1970.tif|alt=|thumb|Beth Carvalho, the singer who gave visibility to the "backyard pagodes" in Rio's suburbs.]]

Between 1968 and 1979, Brazil experienced a huge growth in the production and consumption of cultural goods.{{sfn|Dias|1997|p=40}}{{sfn|Machado|2006|pp=2–8}} During this period, there was a strong expansion of the music industry in the country, which consolidated itself as one of the largest world markets.{{refn|According to the Brazilian Association of Record Producers, an official representative body of the record labels in the Brazilian phonographic market, the total record sales jumped from 9.5&nbsp;million sold in 1968 to 25.45&nbsp;million in 1975 and reached 52.6&nbsp;million in 1979.{{sfn|Dias|1997|p=44}}|group=nb}} Among the main factors for the expansion of the Brazilian market were: the consolidation of [[Música popular brasileira|MPB production]] stimulated by artists such as [[Elis Regina]], [[Chico Buarque]], [[Caetano Veloso]], [[Gilberto Gil]], [[Gal Costa]], [[Maria Bethânia|Maria Bethania]],{{refn|According to the journalist Nelson Motta, the Philips label was, at the end of 1972, "TV Globo for record labels", holding in its cast all the "great" names of Brazilian music of the time, with the exception of Roberto Carlos, who was at Som Livre.{{sfn|Motta|2000|p=256}}|group=nb}} and also in the segment of sentimental songs, drawn sales champion [[Roberto Carlos (singer)|Roberto Carlos]];{{sfn|Dias|1997|p=45}} the establishment of [[LP record|LP]] as a dominant medium format, where it was possible to insert several compositions on the same record, and also made the artist more important than his songs individually;{{sfn|Dias|1997|pp=45–46}} the significant participation of foreign music in the Brazilian market, with the predominance of young music on the country charts, and the growth of the international repertoire on the soap opera soundtracks, mainly on [[TV Globo]].{{sfn|Dias|1997|pp=47–51}}

Another important aspect in the phonographic sector of the period was technological, with a modernization of recording studios in Brazil that approached international technical standards,{{sfn|Machado|2006|pp=2–8}} and the consolidation of foreign record labels in the country, such as [[EMI]] and the [[Warner Music Group|WEA]].{{sfn|Lopes|Simas|2015|p=153}} This Brazilian entry in the scope of the global cultural industry also profoundly affected the samba universe,{{sfn|Lopes|Simas|2015|p=154}} which became one of the mass phenomena of the national music market of that decade represented by the appearance, on the list of best selling records of the period, of studio albums by artists such as [[Martinho da Vila]], Originals of Samba, [[Agepê]], [[Beth Carvalho]], [[Clara Nunes]], [[Alcione Nazareth|Alcione]], [[Jair Rodrigues]] and [[Benito di Paula|Benito de Paula]], among others, and of [[Samba-enredo|sambas-enredo]] of Rio samba schools.{{sfn|Vicente|2002|p=76}}

In the stronghold of traditional samba, the first LPs of veteran composers [[Donga (musician)|Donga]], [[Cartola]] and [[Nelson Cavaquinho]] were released.{{sfn|Aragão|2019}}{{sfn|Ferreira|2020c}} Two other composers already established in this environment, [[Candeia]] and [[Dona Ivone Lara]] also debuted with solo works in the phonographic market.{{sfn|Marcondes|1977|p=137}}{{sfn|Moutinho|2018}} The same happened in [[São Paulo]] with the releases of the first [[Adoniran Barbosa]] and [[Paulo Vanzolini]] studio albums.{{sfn|Marcondes|1977|p=67}}{{sfn|Aragão|2019}} Revealed in the previous decade, the sambistas [[Paulinho da Viola]] and Martinho da Vila consolidated themselves as two of the great names of success in the samba in the 1970s, which also saw the emergence of singers-songwriters [[Roberto Ribeiro]] and [[João Nogueira]].{{sfn|Lopes|Simas|2015|p=153}} Among the singers of the new generation, the names of Clara Nunes, Beth Carvalho and Alcione emerged as the great female samba singers in the Brazilian music industry, whose good record sales – marked by the appreciation of songs by the composers of the Rio de Janeiro samba schools – contributed greatly for the popularity of samba.{{sfn|Mello|Severiano|2015|p=209}}{{sfn|Rechetnicou|2018|pp=33, 47}} In addition to this triad of singers were also added [[Leci Brandão]], who was already a member of the composer wing of [[Estação Primeira de Mangueira]],{{sfn|Sousa|2016|pp=91–92}} and [[Cristina Buarque]] (sister of Chico Buarque), with a rescue effort for samba and sambistas from samba schools.{{sfn|Lopes|Simas|2015|p=155}} Among the new composers, [[Paulo César Pinheiro|Paulo Cesar Pinheiro]], [[Nei Lopes]], [[Wilson Moreira]] stood out,{{sfn|Mello|Severiano|2015|p=209}} in addition to the duo [[Aldir Blanc]] and [[João Bosco]].{{sfn|Lopes|Simas|2015|p=155}}

Under this same context of the expansion of samba in the Brazilian phonographic market of the 1970s, the music industry invested in a less traditional and more sentimental line of samba, whose simplified rhythmic structure left percussion – the main feature of samba – a little sideways.{{sfn|Lopes|Simas|2015|p=271}}{{sfn|Vianna|2016}} Rejected as tacky and kitsch by both the most respected musicians in the country and by critics, this formula was stigmatized under the derogatory term of "sambão-joia".{{sfn|Lopes|Simas|2015|p=271}}{{sfn|Correa Lima|2017}}{{sfn|Alice Cruz|2011|p=12}} Despite this, this most romantic samba has become a great commercial success in the repertoire of singers such as {{ill|Luiz Ayrão|pt}}, {{ill|Luiz Américo|pt}}, {{ill|Gilson de Souza|pt}}, Benito Di Paula and Agepê,{{sfn|Lopes|Simas|2015|p=271}}{{sfn|Alice Cruz|2011|p=12}} as well as the duo {{ill|Antônio Carlos e Jocáfi|pt}}, authors of the world famous samba "Você abusou".{{sfn|Lopes|2019|p=116}}{{sfn|Paixão|2011}}

Another bet of the phonographic industry of the time was [[Partido alto|partido-alto]] collective records,{{sfn|Saboia|Martini|2016b}} a traditional form of samba that is often sung in the terreiros (the samba school headquarters) in Rio de Janeiro and in the usual "pagodes" – festive gatherings, with music, food and drink – since the first decades of the 20th century.{{refn|"Partido-alto was born from the batucadas' circles, where the group kept the beat, hitting it with the palm of their hands and repeated the surrounding verse. The chorus served as a stimulus for one of the participants to dance samba to the center of the circle and with a gesture or body swing they invited one of the components of the circle to stand upright (a term used to mean the individual who stood with their feet up together waiting for the kick that was the attempt to bring down those who were standing up with their feet). These elements were considered "batuqueiros", that is, good in making batucada, good "kicking" (passing the leg over the partner trying to make him fall)."{{sfn|Candeia|Isnard|1978|p=50}}|group=nb}} With remote African roots, this sub-genre is characterized by a highly percussive [[pandeiro]] beat (using the palm of the hand in the center of the instrument for snapping), a greater tone harmony (usually played by a set of percussion instruments normally [[surdo]], pandeiro and [[tamborim]] and accompanied by a [[cavaquinho]] and/or classical guitar){{sfn|Lopes|2005}} and the art of singing and creating improvised verses, almost always in the character of challenge or contest.{{sfn|Lopes|Simas|2015|pp=211–214}} This essence based on improvisation was taken to the record studios, where partido-alto became a style with more musicality and made with more concise verses and written solos, instead of improvised and spontaneous singing according to traditional canons.{{sfn|Lopes|2005|p=184}}{{sfn|Albin|2003|pp=251–252}} This stylized partido-alto was released on several collective LPs, released during the 1970s, whose titles included the subgenre's own name, such as "Bambas do Partido Alto",{{sfn|IMMuB|2020c}} "A Fina Flor do Partido Alto"{{sfn|IMMuB|2020d}} and "Isto Que É Partido Alto",{{sfn|IMMuB|2020e}} which included samba composers such as Anézio, Aniceto, Candeia, Casquinha, Joãozinho da Pecadora, Luiz Grande and Wilson Moreira, although not all were versed in the art of improvisation.{{sfn|Lopes|2005|p=184}} Another artist who stood out as a ''partideiro'' was [[Bezerra da Silva]], a singer who would be noteworthy in the following decade with sambas similar to the partido-alto and themed in the world and in the underworld of Rio's favelas.{{sfn|Garcez|1999}}{{sfn|Matos|2011|p=104}}

The 1970s were also a time of major changes in Rio de Janeiro samba schools, and the music industry began to invest in the annual production of LPs of the [[Samba-enredo|sambas de enredo]] presented at the carnival parades.{{sfn|Lopes|Simas|2015|p=152}} In the early years, it was common to release up to two albums, the first containing the sambas-enredo of the parades and the second with sambas depicting the history of each samba school.{{sfn|Lopes|Simas|2015|p=152}} Beginning in 1974, the annual release began to focus on a single LP for each first and second division of Rio carnival parades{{sfn|Ferreira|2018a}}

Even during this period, "rodas de samba" ("samba circles") began to spread as a fever throughout Rio de Janeiro and other Brazilian cities.{{sfn|Lopes|2019|p=115}}{{sfn|Rocha Lima|2020}} Originally restricted to the backyards of sambistas' residences and the samba school headquarters, these informal meetings have taken on a new meaning in clubs, theaters, steakhouses, among others, with the promotion of "rodas de samba" with stage and microphones and the participation of sambistas linked to samba schools.{{sfn|Rocha Lima|2020}} Meanwhile, new "rodas de samba" were formed informally in the suburbs of Rio de Janeiro, the result of which would lead to the germ, in the late 1970s, of a new and successful sub-genre of modern samba in the 1980s.{{sfn|Lopes|Simas|2015|pp=243–244}}