Editing Samba (section)

=== Samba in the 21st century ===
[[File:26_Prêmio_da_Música_Brasileira_(18525382718).jpg|alt=|thumb|[[Xande de Pilares]], a sambista who emerged as the [[Grupo Revelação]] singer-songwriter and leader.]]

During the second half of the 1990s, the increase in the illegal sale of [[cassette tape]]s and, mainly, compact discs caused a deep crisis in the music industry in Brazil,{{sfn|Rangel dos Santos|2010|p=20}}{{sfn|Floriano do Nascimento|2005|p=80}} which worsened, from the 2000s, with the possibility of digital download, often free of charge, of musical works via the internet.{{sfn|Floriano do Nascimento|2005|pp=159–160}} In this context, there was a sharp drop in the commercialization of official samba records and their sub-genres, especially [[pagode]].{{sfn|Perez|2000}} Samba groups of huge commercial success in the 1990s, such as [[Raça Negra]] and [[Só Pra Contrariar]], saw their sales drop substantially at the turn of the 21st century.{{sfn|Perez|2000}}{{sfn|Pereira|2001}} In addition, in a space of a few decades, samba songs played in the media have declined, with the genre it is almost always represented by the sub-genre pagode in the Brazilian charts.{{sfn|Baltar|Bryan|2016}} Of the 100 most heard artists on Brazilian radio between 2010 and 2019 on the [[Crowley Broadcast Analysis|Crowley Official Broadcast Chart]], only 11 were from samba – and all from pagode.{{sfn|Xavier|2020}} In another survey, carried out jointly between [[Brazilian Institute of Public Opinion and Statistics|Kantar Ibope Media]] and Crowley Broadcast Analysis, the pagode corresponded to only 9% of the radio audience in Brazil in 2019, too far from the dominant [[Sertanejo music|sertanejo]] (Brazilian country music genre), whose slice represented about one third of the radio audience in the country.{{sfn|Brêda|2020}}
[[File:HK TST night 柏麗購物大道 Park Lane Shopper's Boulevard 巴西 Brasil 森巴舞娘 Samba female dancers Nov-2010 02.JPG|thumb|Samba female dancers]]
Even so, the first two decades of the 21st century confirmed the pagode as the hegemonic reference of samba in the Brazilian music industry.{{sfn|Trotta|Silva|2015|p=2}} In the first decade of this century, new artists emerged commercially, such as the samba bands [[Grupo Revelação]], [[Sorriso Maroto]] and {{ill|Turma do Pagode|pt}}, and some singers who left their original samba groups to launch a solo career, such as [[Péricles (singer)|Péricles]] (former [[Exaltasamba]]), {{ill|Belo (singer)|pt|Belo (cantor)|lt=Belo}} (former Soweto) and [[Alexandre Pires]] (formerly of Só Pra Contrariar). In the following decade, it was the turn of [[Xande de Pilares]] and [[Thiaguinho (singer)|Thiaguinho]], former vocalists of Revelação and Exaltasamba respectively, and of singers {{ill|Mumuzinho|pt}}, [[Ferrugem (singer)|Ferrugem]] and [[Dilsinho]].{{sfn|Brêda|2019a}}{{sfn|Nobile|2013}} A characteristic common to all these artists was the significant amount of live album releases instead of traditional studio albums.{{sfn|Brêda|2019b}}{{sfn|Brêda|Mariani|2019}} This gained even more strength with the development of [[streaming media]], a platform for [[Digital audio|digital music]] that became popular in the 2010s.{{sfn|Dias|2020}}

Outside the hegemonic commercial scope of the subgenre pagode, the late 1990s was also a period of great visibility and notoriety for the most traditional samba in Rio de Janeiro.{{sfn|Pontes|2011|p=8}} A new generation of musicians emerged in "rodas de samba" that spread through several neighborhoods in the city, especially in [[Lapa, Rio de Janeiro|Lapa]], the central region of the city that started to concentrate several bars and restaurants with live music.{{sfn|Pimentel|2011}} For having identified with the bohemian neighborhood, this movement became known informally as "samba da Lapa".{{sfn|Lopes|Simas|2015|pp=169–170}} With a repertoire composed of classics sambas and without concessions to more modern sub-genres,{{sfn|Lopes|Simas|2015|pp=169–170}} this new circuit promoted the meeting between beginning and veteran musicians from several generations of sambistas, all identified with the traditional elements that make up the urban Carioca samba.{{sfn|Pontes|2011|p=8}} Among some artists who acted in the scope of samba circles in this neighborhood, were [[Teresa Cristina (singer)|Teresa Cristina]] and Semente group, {{ill|Nilze Carvalho|pt}} and Sururu na Roda group, Luciane Menezes and Dobrando a Esquina group, Eduardo Gallotti and Anjos da Lua group, among others, besides veterans such as Áurea Martins.{{sfn|Lopes|Simas|2015|pp=169–170}}{{sfn|Pimentel|2007b}} And later, Edu Krieger and Moyseis Marques has appeared.{{sfn|Pimentel|2011}}{{sfn|Pimentel|2010}} Other new artists linked to the samba traditions, but without direct ties to the Lapa carioca movement, emerged such as [[Dudu Nobre]]{{sfn|Trotta|2006|pp=227–232}} and [[Diogo Nogueira]],{{sfn|Pontes|2011|p=97}} in addition to [[Fabiana Cozza]] in São Paulo.{{sfn|Pimentel|2006}}

In the institutional field, the Brazilian [[National Institute of Historic and Artistic Heritage]] declared in 2007 the modern Carioca samba and its matrixes samba de terreiro, partido-alto and samba-enredo as Intangible Cultural Heritage in Brazil.{{sfn|Iphan|2014|p=23}}{{sfn|Uchôa|2007}}{{sfn|Figueiredo|2007}}