Editing Samba (section)

=== Pagode, a new samba renewal ===
[[File:01_jorgearagao.jpg|alt=|thumb|The sambista Jorge Aragão, who was part of Fundo de Quintal first line-up.]]
[[File:Zeca_Pagodinho.jpg|alt=|thumb|The sambista Zeca Pagodinho, one of the main singers of the pagode.]]

Originally designated in the samba universe for the musical meetings of sambistas and, soon, also extending to the sambas sung in them,{{sfn|Lopes|2005|pp=177–178}} the term pagode became popular with the resignification of the "rodas de samba" in Rio de Janeiro, from the 1970s,{{sfn|Lopes|2005|p=178}} with the "pagodes" or "pagodes de mesa" ("pagode circles"), where sambistas gathered around a large table, often located in a residential "backyard", in opposition to the fashionable samba circles made in clubs and the like.{{sfn|Lopes|2019|p=126}}{{sfn|Lopes|Simas|2015|p=207}} Some of the most famous pagodes in the city were the Pagode of Clube do Samba (made at [[João Nogueira]]'s residence in [[Méier]]), Terreirão da Tia Doca (with the rehearsals of the Portela old guard sambists in [[Oswaldo Cruz]]), of Pagode of Arlindinho (organized by [[Arlindo Cruz]] em [[Cascadura, Rio de Janeiro|Cascadura]]) and, mainly, the pagode of the carnival block {{ill|Cacique de Ramos|pt}}, in the suburban area of Leopoldina.{{sfn|Pereira|2003|p=138}}{{sfn|Lopes|Simas|2015|pp=207–208}}{{sfn|Souza|1983}}

In the 1980s, pagodes became a fever throughout Rio de Janeiro.{{sfn|Caballero|1985}}{{sfn|Pereira|2003|p=97}}{{sfn|Lopes|2005|pp=179–180}} And, far beyond simple places of entertainment, they became radiating centers of a new musical language that expressed itself with a new interpretive and totally renewed style of samba that was embedded in the tradition of the [[Partido alto|partido-alto]].{{sfn|Lopes|Simas|2015|p=209}}{{sfn|Lopes|2019|pp=126–127}} Among the innovations of this new samba and marked by refinement in melodies and innovations in harmony and percussion with the accompaniment of instruments such as [[tan-tan]] (in place of the [[surdo]]), the [[hand-repique]] and the [[Banjo|four-string banjo]] with [[cavaquinho]] tuning.{{sfn|Souza|1983}}{{sfn|Lopes|2019|p=127}}{{sfn|Souza|1985}}{{sfn|Lopes|Simas|2015|p=208}}

The debut of this kind of samba in the recording studios occurred in 1980 with [[Fundo de Quintal]],{{sfn|Lopes|2019|p=126}}{{sfn|Trotta|Silva|2015|pp=10–11}} musical group sponsored by [[Beth Carvalho]].{{sfn|Souza|1983}}{{sfn|Araujo|2019}}{{sfn|Baltar|2019}} In its first works, Fundo de Quintal gave visibility not only to this new samba, but also to composers such as [[Almir Guineto]], [[Arlindo Cruz]], [[Jorge Aragão]] – all members of the group – and {{ill|Luiz Carlos da Vila|pt}} – this one linked to the Cacique de Ramos pagodes.{{sfn|Lopes|2019|p=126}}{{sfn|Lopes|Simas|2015|p=208}} On this way opened by Fundo de Quintal, in 1985 the collective studio album called "Raça Brasileira" was released,{{sfn|IMMuB|2020f}} which revealed to the general public singers such as [[Jovelina Pérola Negra]] and [[Zeca Pagodinho]].{{sfn|Souza|Maria|Cezimbra|Aragão|1986}} Especially prioritizing [[Partido alto|partido-alto]] sambas, this LP, as well as the works since 1979 by Beth Carvalho, Almir Guineto and the group Fundo de Quintal, formed the new sub-genre that ended up being called [[pagode]] by the Brazilian music industry.{{sfn|Lopes|Simas|2015|p=208}}{{sfn|Lopes|2005|p=180}}{{sfn|Lopes|2019|p=125}}

The novelty of the pagode in the Brazilian music scene occurred at a time of major reorganization of the music industry in the country, whose investments in the first half of the 1980s had been concentrated mainly on [[Brazilian rock]] and [[children's music]].{{sfn|Lopes|2019|p=126}}{{sfn|Lopes|Simas|2015|p=156}} Although some samba artists had some commercial success in the period, such as [[Bezerra da Silva]], Almir Guineto{{sfn|Vicente|2002|pp=238–239}} and [[Agepê]] – who, in 1984, became the first samba singer to surpass the mark of 1 million copies sold on a single LP{{sfn|Correa Lima|2017}} -, the moment was not promising for samba in the commercial scope. Very popular performers like [[Beth Carvalho]], [[Clara Nunes]], [[João Nogueira]] and [[Roberto Ribeiro]] pulled the drop in sales of records of the genre.{{sfn|Lopes|2019|p=116}} Disgusted by the little recognition and interest in promoting his work, [[Paulinho da Viola]] left the [[Warner Music Group|Warner Music]] label in 1984 and only returned to having an album released at the end of that decade.{{sfn|Roda Viva|1989}}

With the success of the LP "Raça Brasileira", the pagode phenomenon experienced a period of commercial growth in the Brazilian phonographic market.{{sfn|Souza|Maria|Cezimbra|Aragão|1986}} The main artists in this sub-genre reached the top of the success charts and became known nationally thanks to exposure in the mainstream media and the growing investments of record labels stimulated by huge sales since 1986, pulled by both the LPs of the already established Almir Guineto and Fundo de Quintal – the great paradigm of the subgenre – and for the debut works of Zeca Pagodinho, Marquinhos Satã and Jovelina Pérola Negra.{{sfn|Souza|Maria|Cezimbra|Aragão|1986}}{{sfn|Souza|2003|p=247}} Although there was a certain cooling of the interest of record labels and the media even during the second half of the 1980s, pagode established itself as an important subgenre of samba.{{sfn|Lopes|2019|p=126}}{{sfn|Lopes|Simas|2015|p=208}}

In the 1990s, a new generation of artists emerged who shared, to some extent, similar characteristics, such as the incorporation of musical elements traditionally uncommon in the traditional samba, and a repertoire devoted largely to romantic lyrics.{{sfn|Pinto|2013|pp=86–87}} Initially seen by the phonographic industry and by the media as a continuation of the pagode of the previous decade,{{sfn|Lopes|Simas|2015|p=142}} this new wave was later characterized under the label of "pagode romântico" ("romantic pagode") – or also "pagode paulista", due to the large number of artists of this scene that emerged mainly from [[São Paulo (state)|São Paulo state]], although there were also names from [[Minas Gerais]] and [[Rio de Janeiro (state)|Rio de Janeiro]] states.{{sfn|Lopes|Simas|2015|p=157}}{{sfn|Borges|2019}}

This distinction was established precisely because the samba made by these new artists and musical groups – although it maintained some similarities with the standard enshrined in the Fundo de Quintal{{sfn|Lopes|Simas|2015|p=142}} – did not have the samba musicians of the previous decade as a major musical reference nor did it keep traditional and informal aspects of matrixes of urban samba.{{sfn|Pereira|2003|p=165}}{{sfn|Trotta|2006|pp=158–159}} For example, the studio recordings of a large part of these samba bands, such as [[Raça Negra]], gave up the use of instruments common to the 1980s pagode – such as hand-repique, tan-tan and banjo – in exchange for instrumentation characteristic of international pop music from that period, especially the saxophone and the [[electronic keyboard]].{{sfn|Trotta|2006|p=153}} The use of these pop music instruments was less or more common to each group,{{refn|"Of the samba groups that broke out at that time, they all had musical differences. Because when a group started playing, everyone already knew who that group was. Each of these groups had a sound, a characteristic."{{sfn|Pinto|2013|p=87}}|group=nb}} but their purpose was the same, that is, the use of [[Sampler (musical instrument)|samplers]] and keyboards to reproduce the sound of various instruments.{{sfn|Lopes|Simas|2015|p=157}} Despite these dilutions, the "romantic pagode" achieved great commercial success in the Brazilian phonographic market and in the mass media, highlighting samba groups such as {{ill|Art Popular|pt}}, [[Negritude Júnior]], [[Exaltasamba]], [[Katinguelê]], Raça Negra, [[Só Pra Contrariar]], {{ill|Soweto (band)|pt|Soweto (banda)|lt=Soweto}}, among others.{{sfn|Lopes|Simas|2015|p=208}}{{sfn|Souza|2003|p=18}}