When did the Samba first develop?
Samba
Although samba exists throughout Brazil – especially in the states of Bahia, Maranhão, Minas Gerais, and São Paulo – in the form of various popular rhythms and dances that originated from the regional batuque of the eastern Brazilian state of Bahia, a music form from Cape Verde, samba is frequently identified as a musical expression of urban Rio de Janeiro, where it developed during the first years of the 20th century. Early styles of samba - and specifically samba de roda - are traced back to the Recôncavo region of Bahia during the 17th century, and the informal dancing following a candomblé ceremony. It was in Rio de Janeiro that the dance practiced by former slaves who migrated from Bahia came into contact with and incorporated other genres played in the city (such as the polka, the maxixe, the lundu, and the xote), acquiring a completely unique character and creating the "samba carioca urbana" (samba school) and "carnavalesco" (Carnaval school director). Samba schools are large organizations of up to 5,000 people which compete annually in the Carnival with thematic floats, elaborate costumes, and original music.
Samba de Gafieira
The style originated from samba dancing in cabarets and "gafieiras" (hence the name, literally meaning "Samba of gafieira"), primarily in districts of Botafogo, Catete and Centro of Rio de Janeiro. The term gained recognition in 1940s. Over time the style significantly evolved away from the style 1940s under significant influence of Argentine Tango and incorporating many acrobatic elements. In modern codification of the dance, acrobatic elements and the ones not characteristic to Brazilian culture are excluded from the syllabus. They cannot be used in dance competitions, but still can be used as embellishments in the show version of the dance ("Samba de Gafieira de show").
Samba (ballroom dance)
As a ballroom dance, the samba is a partner dance. Ballroom samba, even more than other ballroom dances, is very disconnected from the origins and evolution of the music and dance that gives it its name.
World Sambo Championships
In 1984, an assembly of the Fédération Internationale des Luttes Associées (FILA), now known as the United World Wrestling, chose to create an independent federation for sambo, the Fédération Internationale de Sambo (FIAS). On 13 June 1984, a constitutive General Assembly of the FIAS was held in Madrid, in which delegates from 56 countries took part. Fernando Compte was elected the first president of FIAS.
Samba
The etymology of samba is uncertain. Possibilites include:
Talbot Samba
To sustain interest in the Samba towards the end of its life, PSA launched a few concept and special versions of the model. The Copacabana was a Samba-based concept car, featuring body elements painted in garish colors. It was followed by the 1984 Samba Sympa production model, targeted at "young buyers", which came in silver metallic paint, with a choice of yellow, red or blue highlights and either a radio or a sunroof. In 1985, the sunroof became standard and only yellow highlights were available. The Samba Bahia (marketed as the Samba Trio in the UK) was a 1985 model, also targeted at younger customers. It came with the 1.1 litre engine, denim-covered seats, and a sunroof, and was painted in metallic blue. The Samba Style model was launched with both radio and sunroof as standard, but not the colorful highlights, essentially to facilitate the sales of the last Samba series.
Sámi people
"Sámi soga lávlla" ("Song of the Sami People", lit. "Song of the Sami Family") was originally a poem written by Isak Saba that was published in the newspaper "Sagai Muittalægje" for the first time on 1 April 1906. In August 1986, it became the national anthem of the Sami. Arne Sørli set the poem to music, which was then approved at the 15th Sami Conference in Helsinki in 1992. "Sámi soga lávlla" has been translated into all of the Sami languages.
Summer Samba
The song was first popularized by the Walter Wanderley Trio in 1966 — the album "Rain Forest" on which it was issued reached platinum status in 1970 — also reaching the U.S. "Easy Listening" chart in versions by Johnny Mathis, Vikki Carr, and Connie Francis during that same year. In fact, at least one source claims that three different versions were on the Billboard charts at the same time in 1966. Allmusic has said of Wanderley's version, "His recording ... is regarded as perhaps a more definitive bossa tune than "Girl From Ipanema." Wanderley's version was the biggest seller in the U.S., reaching #26 on the "Billboard" Hot 100 in 1966, (#3 on the Easy Listening chart) , and is still a favourite on Adult Standards radio stations.
Conjunto
Conjunto music was crucial in the early development of salsa. In the late 1950s and early 1960s, the Puerto Rican music scene in New York City revolved around charangas such as Charlie Palmieri's Duboney Orchestra. Their music was largely based on Cuban styles such as mambo, chachachá and, most importantly, pachanga. Key charanga flautist, bandleader and entrepreneur Johnny Pacheco switched from the charanga configuration to the conjunto in 1964. However, the first New York-based conjunto was Eddie Palmieri's "La Perfecta", which had its debut in 1962. These conjuntos would be crucial in the early development of the most successful Latin American music genre to date, salsa. Notably, the introduction of Puerto Rican music styles such as bomba and plena within the conjunto and Cuban music in general resulted in what is known today as salsa.
LeBrón Brothers
In 1970, Jose Lebron composed '"SALSA Y CONTROL," a song that is credited with helping to give a broad category of Latin music the name "salsa." Up until then the mambo, son montuno, guaracha, guaguanco, cha cha cha etc. had no genre. "SALSA Y CONTROL" helped give this music the name that is now known and acknowledged worldwide. While this may sound good for salsa, it is not completely correct, the first group to use the name salsa was Cheo Marquetti y los salseros, a Cuban group in the late 1950s but the term salsa was mainly adopted to represent a new combination of sounds and instruments in the late 1960s... largely in connection with Fania and where a TERM was needed to be able to market the new sounds.
Samba (Brazilian dance)
Samba de roda ("Samba of roda") is a traditional Afro-Brazilian dance performed originally as informal fun after a Candomblé ceremony, using the same percussion instruments used during the religious ceremony. The typical drum is the atabaque; drummers improvise variations and elaborations on common patterns, accompanied typically by singing and clapping as well as dancing.
Chéri Samba
In 1975 Samba opened his own studio. At the same time he also became an illustrator for the entertainment magazine "Bilenge Info". Working both as a billboard painter and a comic-strip artist, he used the styles of both genres when he began making his paintings on sacking cloth. He borrowed the use of "word bubbles" from comic-strip art, which allowed him to add not only narrative but also commentary to his compositions, thus giving him his signature style of combining painting with text. His work earned him some local fame. In 1979 Samba participated in the exhibition "Moderne Kunst aus Afrika", organized in West Berlin. The exhibition was part of the program of the first festival Horizonte - Festival der Weltkulturen.
Samba
At the end of the 1920s, the carnival samba of blocks of the districts Estácio de Sá and Oswaldo Cruz was born, and in the hills of Mangueira, Salgueiro, and São Carlos, there were innovations in rhythmic samba that persist until the present day. This group, the "Turma do Estácio", from which would arise "Deixa Falar", was the first samba school in Brazil. Formed by some composers in the neighborhood of Estácio, including Alcebíades Barcellos (aka Bide) Armando Marçal, Ismael Silva, Nilton Bastos and the more "malandros" such as Baiaco, Brancura, Mano Edgar, Mano Rubem, the ""Turma do Estácio"" marked the history of the Brazilian samba by injecting more pace to the genre one performed, which has the endorsement of the youth's middle class, as the ex-student of law Ary Barroso and former student of medicine Noel Rosa.
Samba band
A Samba band or samba is a musical ensemble that plays samba music. Samba styled music originates from Brazil.
Timba
Los Van Van developed what came to be known as the ‘songo’ genre, making countless innovations to traditional son, both in style and orchestration. In Latin music, genres are commonly attributed to rhythms (though of course not every rhythm is a genre), and whether or not timba is a genre of its own is debatable. Songo, however, can be considered to be a genre and is in all likelihood the only genre in the world played by only one orchestra, Los Van Van. The songo rhythm was created by percussionist José Luís Quintana ("Changuito"), at the behest of Van Van bandleader Juan Formell. Since the band's creation in 1969, Los Van Van has been the most popular band in Cuba, and are themselves considered to be one of the major timba bands.
Samba
The ideology of Getúlio Vargas's Estado Novo changed the scene of the samba. With "Aquarela do Brasil", composed by Ary Barroso and recorded by Francisco Alves in 1939, the "samba-exaltação" become the first success abroad. This kind of samba was characterized by extensive compositions of melody and patriotic verses. Carmen Miranda popularized samba internationally through her Hollywood films.
Cuban Marimba Band
The Cuban Marimba Band (previously known as La Paloma) was an influential Tanzanian big band from the city of Morogoro. It was founded in 1948 by Salim Abdullah, who had previously created another band called Morogoro Jazz Band (which, somewhat ironically, later became Cuban Marimba's main rival).Salum Abdallah was a prolific songwriter and musician. He was a "chotara" i.e. a person of mixed races. His band's name speaks volumes on the influence of Cuban music in the 40s and 50s in East Africa. He played guitar and mandolin. The main themes of his music were, the joy and pain of love, life wisdom, the good and evil of man kind and even politics. For about twenty years, until Abdullah's sudden death in a car accident in 1965, Cuban Marimba was one of the most popular muziki wa dansi (dance music) bands in Tanzania. One of his popular tunes is Mkono wa Idd, which is usually played in the radio during Idd festivities. Just before his death, he released a twist tune, a departure from his suave rumba style," Hapo zamani sana" about the horrible colonial days in South Africa. Then in another, he paid tribute to Tanzanian women, "Wanawake wa Tanzania wazuri sana." Abdullah was replaced by Juma Kilaza, but the band declined.
Samba do Avião
The first recording of the song was released in October 1962 by Elza Laranjeira. Os Cariocas had a hit with their rendition in 1963. The first English-language version was by Tony Bennett for his 1965 album "".
Samba rock
Samba rock's origins lie in the predominantly black favelas of São Paulo during the late 1950s, when Brazilian radio and dance halls were reached by the global spread of American rock and roll and related African-American music such as blues and jazz. Its first incarnation was as a dance phenomenon at community block parties that began to play these styles alongside traditional samba and bolero music. These parties eventually moved to larger venues hosted by disc jockeys.
Samba
One of the oldest records of the word samba appeared in Pernambuco magazine's "O Carapuceiro", dated February 1838, when Father Miguel Lopes Gama of Sacramento wrote against what he called "the samba d'almocreve" – not referring to the future musical genre, but a kind of merriment (dance drama) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries, the festival of dances of slaves in Bahia were called samba.
Samba
The growing shantytowns (favelas) in the hills of suburban Rio would become the home of new musical talents. Almost simultaneously, the "samba carioca", which was born in the city center, would climb the slopes of the hills and spread outside the periphery, to the point that, over time, it came to be identified as "samba de morro" (samba from the hills).
4-string banjo
In Brazil it is an important instrument also known as "Samba-banjo" or banjo-cavaco, derived from the cavaco, and is especially associated with Samba and its variants. The Brazilian 4-string banjo was first introduced by musician Almir Guineto in the late 1970s and early 1980s, attending on one hand the necessity for a louder instrument similar to the cavaco, and on the other, the drive for innovation.
Jazz Samba
Jazz Samba is a bossa nova album by Stan Getz and Charlie Byrd released by Verve Records in 1962. "Jazz Samba" signaled the beginning of the bossa nova craze in America. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd, who had first heard bossa nova during a tour of Brazil in 1961.
Sampi
Among the earliest known uses of sampi in this function is an abecedarium from Samos dated to the mid-7th century BC. This early attestation already bears witness to its alphabetic position behind omega (i.e. not the position of san), and it shows that its invention cannot have been much later than that of omega itself.
Culture of Brazil
Samba is among the most popular music genres in Brazil and is widely regarded as the country's national musical style. It developed from the mixture of European and African music, brought by slaves in the colonial period and originated in the state of Bahia. In the early 20th century, modern samba emerged and was popularized in Rio de Janeiro behind composers such as Noel Rosa, Cartola and Nelson Cavaquinho among others. The movement later spread and gained notoriety in other regions, particularly in Bahia and São Paulo. Contemporary artists include Martinho da Vila, Zeca Pagodinho and Paulinho da Viola.
Samba
A movement was born in the southern area of Rio de Janeiro, strongly influenced by jazz, marking the history of samba and Brazilian popular music in the 1950s. The bossa nova emerged at the end of that decade, with an original rhythmic accent which divided the phrasing of the samba and added influences of impressionist music and jazz and a different style of singing which was both intimate and gentle. After precursors such as Johnny Alf, João Donato, and musicians like Luis Bonfá and Garoto, this subgenre was inaugurated by João Gilberto, Tom Jobim, and Vinicius de Moraes. It then had a generation of disciples and followers including Carlos Lyra, Roberto Menescal, Durval Ferreira, and groups like Tamba Trio, Bossa 3, Zimbo Trio, and The Cariocas.
Samba (software)
Midway through the 1.5-series, the name was changed to "smbserver". However, Tridgell got a trademark notice from the company "Syntax", who sold a product named "TotalNet Advanced Server" and owned the trademark for "SMBserver". The name "Samba" was derived by running the Unix command grep through the system dictionary looking for words that contained the letters S, M, and B, in that order (i.e. ).
Samba (Brazilian dance)
"Samba no pé" (literally, "samba in the foot") is a solo dance that is commonly danced impromptu when samba music is played. The basic movement involves a straight body and a bending of one knee at a time. The feet move very slightly - only a few inches at a time. The rhythm is 2/4, with 3 steps per measure. It can be thought of as a step-ball-change. It can be described calling it and-a-one, and-a-two, then back to one. The basic movement is the same to either side, where one foot moves to the outside lifting up just before the first beat (i.e. the right leg moves slightly to the right) and leg is kept as straight as a pole. The other foot moves slightly towards the front, and closer to the first foot. The second leg bends lightly at the knee so that the left side of the hip lowers and the right side appears to move higher. The weight is shifted to this inside foot briefly for the next "and-a", then shifted back to the outside foot on the "two", and the same series of actions is repeated towards the other side.
Reggae
Musically, it was the bloco afro Olodum and its lead percussionist, Neguinho do Samba, that began to combine the basic samba beat of the blocos with merengue, salsa, and reggae rhythms and debuted their experimentations in the carnival of 1986. The new toques (drumming patterns) were labeled "samba-reggae" and consisted basically of a pattern in which the surdo bass drums (four of them at the minimum) divided themselves into four or five interlocking parts.
Samba do Avião
The first performance of the song was by Jobim and Os Cariocas in August 1962 at the Au Bon Gourmet restaurant in Copacabana, Rio, at what music historian Ruy Castro calls "the bossa nova show to end all bossa nova shows", as it featured Jobim, João Gilberto, Vinícius de Moraes and Os Cariocas on stage together for the only time.
Music of Cuba
As opposed to salsa, whose roots are strictly from Son and the Cuban "conjunto" bands of the 1940s and 1950s, Timba represents a synthesis of many folkloric (rumba, guaguancó, batá drumming and the sacred songs of santería.), and popular sources (even taking inspiration from non Afro Cuban musical genres such as rock, jazz and funk). According to Vincenzo Perna, author of "Timba: The Sound of the Cuban Crisis", timba needs to be spoken of because of its musical, cultural, social, and political reasons; its sheer popularity in Cuba, its novelty and originality as a musical style, the skill of its practitioners, its relationship with both local traditions and the culture of the black Diaspora, its meanings, and the way its style brings to light the tension points within society. In addition to timbales, timba drummers make use of the drum-set, further distinguishing the sound from that of mainland salsa. The use of synthesised keyboard is also common. Timba songs tend to sound more innovative, experimental and frequently more virtuosic than salsa pieces; horn parts are usually fast, at times even bebop influenced, and stretch to the extreme ranges of all instruments. Bass and percussion patterns are similarly unconventional. Improvisation is commonplace.
Samba school
The winning school was Mangueira, while the second group had the "Conjunto Osvaldo Cruz", or Portela. The officials assured the success of the contest remained up in Praca XI Square in 1941. Over time, the samba schools took many elements brought by ranches, such as the plot, the pair of mestre-sala cortsy and flag holder and the opening committee, elements with which Ismael Silva disagreed.
With the rise of populist dictator Getúlio Vargas and the foundation of the General Union of Samba Schools in 1934, the marginalization of samba persisted for some time. Then, it regained power and began to expand and gain importance in the Rio carnival, supplanting the ranches carnival. It did not take long for the samba schools to expand to other states, with the foundation in 1935 of the "Primeira São Paulo" (First of São Paulo), the first school of samba de São Paulo. The official competitions of the samba schools in São Paulo only started in 1950 with the victory of Lavapés, but before that there were other minor tournaments at the municipal and state levels. In the early 1960s some organized soccer support fan groups, like the Vai-Vai (Go-Go) and the Camisa Verde e Branco (Green and White Jersey) became samba schools.
Music of New York (state)
This popular dance music came about during the early 1960s in New York City. The first salsa bands originally consisted of Puerto Rican and Cuban immigrants who arrived in the early 1920s. This well known Latin fusion arose through the hybridization of rhythms deriving from areas such as Puerto Rico and Cuba. Salsa began as an informal product of various preexisting popular Latin American styles of music such as son montuno, guaracha, cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. Famous American percussionist and bandleader Tito Puente is credited for taking this newfound Afro-Cuban mix and developing it into a more defined genre. Other popular American Salsa singers from New York who popularized the genre were Mario Bauza, Mongo Santamaria and Perez Prado. Growth persisted in the genre due to its close relationship with another well known New York genre referred to as Latin jazz. This Afro-Cuban rhythmic form later branched out from New York to various Latin American countries to form regional variants.
Samba
In 2004, the minister of culture Gilberto Gil submitted to Unesco an application for declaring samba as a Cultural Heritage of Humanity in the category "Intangible Goods" by the Institute of National Historical and Artistic Heritage. In 2005 the samba-de-roda of Baiano Recôncavo was proclaimed part of the Heritage of Humanity by Unesco, in the category of "Oral and intangible expressions". The Samba is often performed on different dance shows, such as Strictly Come Dancing.
Samba
From the 1930s, the popularization of radio in Brazil helped to spread the samba across the country, mainly the subgenres "samba-canção" and "samba-exaltação". The "samba-canção" was released in 1928 with the recording "Ai, yo-yo" by Aracy Cortes. Also known as "samba half of the year", the "samba-canção" became established in the next decade. It was a slow and rhythmic samba music and had an emphasis on melody and generally easy acceptance. This aspect was later influenced by the rhythms of foreigners, first by foxtrot in the 1940s and then bolero the 1950s. The most famous composers were Noel Rosa, Ary Barroso, Lamartine Babo, Braguinha (also known as João de Barro), and Ataulfo Alves. Other practitioners of this style were Antonio Maria, Custódio Mesquita, Dolores Duran, Fernando Lobo, Ismael Neto, Lupicínio Rodrigues, Batatinha, and Adoniran Barbosa (this latter by sharply satirical doses).
Samba school
The origins of samba schools are linked to the history of carnival in Rio itself, as well as the creation of the modern samba. The first parades, or "cortumes", as Luso-Brazilians called them, were more exclusive events and used to have white revelers, rather than mostly African-Brazilians like nowadays. The rhythms were often the "marchinhas", with a more Portuguese or European flair. Samba players from a group called Estácio were the pioneers of present-day samba schools, with the founding of "Deixa Falar", or Let Me Speak in 1928. Ismael Silva seems to have been the first to have come up with idea of creating "blocos de Carnaval" in which groups could dance and move to the samba rhythms and sounds.
Samba rock
The samba-rock genre developed during the 1960s with popular Brazilian recording musicians who fused samba with American rock, soul, and funk influences. This development occurred alongside the Tropicália artistic movement within mid-1960s música popular brasileira (MPB), which itself had modernized traditional bossa nova rhythms with influences from other Brazilian and international pop rock sounds. Originators of samba rock included Trio Mocotó, Tim Maia, and Jorge Ben, who has been considered the "father of samba rock".
Batá drum
The drum dates back roughly 500 years, and is believed to have been introduced by a Yoruba king named Shangó el rey del tambor. Despite the previous long history, awareness of the instrument didn't spread until the 1800s slave-trade in which close to 300,000 Africans were brought to Cuba. The religion and beliefs the Yorùbá brought with them eventually became the basis for what is known as Lukumí (or Santería in Cuba). This religion spawned the creation of the first "sacred" Batá in Cuba around 1830 by a Yorùbá named Añabi.
One Note Samba
"Samba de uma Nota Só" ("One-Note Samba") is a bossa nova song composed by Antônio Carlos Jobim with Portuguese lyrics by Newton Mendonça. The English lyrics were written by Jobim. It was first recorded by João Gilberto in 1960 for his album "O Amor, o Sorriso e a Flor".
Lambada
In 1988, French entrepreneur, Olivier Lamotte d'Incamps, visited Porto Seguro in Brazil and discovered locals dancing the tightly syncopated lambada to a melody that turned out to be Bolivian. D'Incamps became involved in the lambada dance craze, largely by promoting a European tour of Kaoma, a band formed with several musicians from the Senegalese group Touré Kunda. To display the dance in Europe, he chose a team of the best dancers at the Boca Da Barra (a dance cabana on the beach in Porto Seguro where lambada dancers refined and developed the style and form of the dance). Most notable among these young dancers chosen for the Kaoma company was Braz Dos Santos, who has become the most celebrated lambada dancer in the world today [Los Angeles Zouk Congress 2016 lifetime Achievement Award World's Best Lambazouk Dancer], and his brother Didi Dos Santos. After Olivier Lamotte d'Incamps bought the musical rights of about 300 lambada songs, he took the dancers back to France, and created the Kaoma band. They were part of lambada's worldwide known style, reaching all the way to Japan and Vietnam, where the dance is still popular.
Music of Brazil
In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called "radio era" began spreading songs – especially the novelty Samba in its current format – to larger masses. This period was dominated by few male interpreters – notably Almirante, Braguinha, Mário Reis, Sílvio Caldas, Francisco Alves and singer/composer Noel Rosa and even fewer chanteuses such as Aracy de Almeida and sisters Aurora Miranda and Carmen Miranda, who eventually came to Hollywood becoming a movie star.
Samba
During the first decade of the 20th century, some songs under the name of samba were recorded, but these recordings did not achieve great popularity. However, in 1917, ""Pelo Telefone"" ("By Telephone") was recorded, and it is considered the first true samba. The song was claimed to be authored by Ernesto dos Santos, best known as , with co-composition attributed to Mauro de Almeida, a well-known Carnival columnist. Actually, "Pelo Telefone" was created by a collective of musicians who participated in celebrations at the house of Tia Ciata (Aunt Ciata). It was eventually registered by Donga and the Almeida National Library.
Samba (software)
Samba TNG (The Next Generation) was forked in late 1999, after disagreements between the Samba Team leaders and Luke Leighton about the directions of the Samba project. They failed to come to an agreement on a development transition path which allowed the research version of Samba he was developing (known at the time as Samba-NTDOM) to slowly be integrated into Samba.
Samba
Samba was also mixed with drum and bass leading to the foundation of Sambass. Despite the evolution during the decades, Samba still remains a traditional dance, and cannot be considered a sport.
Samba (Brazilian dance)
The dance derived from the Maxixe and followed the arrival of the Choro (another samba musical style). It left most of the Maxixe's Polka elements behind but maintained the entwined leg movements of the Argentine tango, although adopting a more relaxed posture than the latter. Many see this form of Samba as a combination of Waltz and Tango. Several Brazilian dance studios use elements and techniques from these two dances to teach Samba de Gafieira steps and dance routines.
Samba reggae
In the 1990s, the samba-reggae genre continued to evolve with the group Timbalada, which, under the musical direction of Carlinhos Brown, revived the nearly-extinct folk drum timbal (a tall, high-pitched hand drum) and begin to use it in stage shows. Timbalada also developed a rack of 3 surdos and 1 repinique that could be mounted on a stage and played by a single player. This device is known as a "bateria de surdo", a drumset of surdos. (The 3rd and 4th surdo parts were combined in a single drum.) Timbalada is a stage band and not exactly a Carnival street bloco, though they first appeared in the Carnival of 1992. Their music is considered to be a blend of samba-reggae with African elements. Many afro blocos now use the timbal, as well the rack of 3 surdos for stage situations that do not involve parades.
Salsa music
Salsa music is a popular dance music genre that initially arose in New York City during the 1960s. Salsa is the product of various musical genres including the Cuban son montuno, guaracha, cha cha chá, mambo, and to a certain extent bolero, and the Puerto Rican bomba and plena. Latin jazz, which was also developed in New York City, has had a significant influence on salsa arrangers, piano guajeos, and instrumental soloists.
Samba
One of the most noticeable groups of São Paulo's samba, Demônios da Garoa (Drizzle's Demons), had a strong link with Adoniran Barbosa, who composed their songs. Songs like "Samba do Arnesto" and "Saudosa Maloca" became legendary, recognized as "the real Samba Paulistano". The group is still active, but with a different lineup. In 2000, one of their most famous songs, "Trem das Onze", was elected as an official symbol of the city of São Paulo.
Samba
The contours of the modern samba came only at the end of the 1920s, from the innovations of a group of composers of carnival "blocks" (groups) in the neighborhoods of Estácio de Sá and Osvaldo Cruz, and the hills of Mangueira, Salgueiro, and São Carlos. Since then, there have been many great names in samba, such as Ismael Silva, Cartola, Ary Barroso, Noel Rosa, Ataulfo Alves, Wilson Batista, Geraldo Pereira, Zé Kéti, Candeia, Ciro Monteiro, Nelson Cavaquinho, Elton Medeiros, Paulinho da Viola, Martinho da Vila, and many others.
Samba do Avião
"Samba do Avião" (a.k.a. "Song of the Jet", translated literally as "Airplane Samba") is a Brazilian song composed in 1962 by Antônio Carlos Jobim, who also wrote the original Portuguese lyrics. The English-language lyrics are by Gene Lees.
Estudando o Samba
Released in 1976, the album didn't receive much attention from the Brazilian press. "Estudando o Samba" surveys Brazilian music's largest genre, the samba, while approaching the music with the same creativity Zé had shown with his previous album, "Todos os Olhos".
Samba (1965 film)
Samba is a 1965 Brazilian-Spanish musical film directed by Rafael Gil and starring Sara Montiel, Marc Michel and Fosco Giachetti.
Son cubano
The international presence of the son can be traced back to the 1930s when many bands toured Europe and North America, leading to ballroom adaptations of the genre such as the American rhumba. Similarly, radio broadcasts of son became popular in West Africa and the Congos, leading to the development of hybrid genres such as Congolese rumba. In the 1960s, New York's music scene prompted the rapid success of salsa, a combination of son and other Latin American styles primarily recorded by Puerto Ricans. While salsa achieved international popularity during the second half of the 20th century, in Cuba son evolved into other styles such as songo and timba, the latter of which is sometimes known as "Cuban salsa".
Ballroom dance
Samba is the national dance of Brazil. The rhythm of samba and its name originated from the language and culture of West African slaves. In 1905, samba became known to other countries during an exhibition in Paris. In the 1940s, samba was introduced in America through Carmen Miranda. The international version of Ballroom Samba has been based on an early version of Brazilian Samba called Maxixe, but has since developed away and differs strongly from Brazilian Ballroom Samba, which is called Samba de Gafieira. International Ballroom Samba is danced with a slight bounce which is created through the bending and straightening the knee. It is performed as an International Latin dance, although most of its modern development has occurred outside Latin America.
Ribeirão Preto
Ribeirão Preto is the birthplace of one of the oldest samba schools in Brazil: in 1927 founded the "Bambas" However, as a string carnival, becoming samba schools later. Besides this pioneering school are the Ambassadors of Elysian Fields, Tradition of Ipiranga, Golden Falcon, 12 Corinthian Shirt Emperors and Samba.
Samba (2004 film)
Samba is a 2004 Telugu action masala film directed by V.V. Vinayak. The movie stars Jr. NTR, Bhumika Chawla, Genelia D'Souza, and Prakash Raj. The movie deals with how important education is to kids. Kannada film "Mandya", with Darshan (2006) starring Darshan had sequences lifted from this film.
Rhumba
The kind of rhumba introduced into dance salons in America and Europe in the 1930s was characterized by variable tempo, sometimes nearly twice as fast as the modern ballroom rumba, which was developed as a dance in the 1940s and '50s, when the original music movement had died down. Nonetheless, the rhumba craze would be the first of three Latin music crazes in the first half of the 20th century, together with the mambo craze and the cha-cha-cha craze.
Lagbaja
Though the concept was developed long before that, his first album (entitled "Lagbaja") was released to national acclaim in 1993. Over the years and more albums later, the music continues to fascinate with its unique focus on a core of African drums. His music is a product of various influences ranging from traditional Yoruba music to Jazz. Often the music is purely instrumental- an interplay between traditional Yoruba percussion, drums, chants, western instruments, and especially the saxophone. When there are lyrics, they are primarily sung in Yoruba, English, or a blend of the two as is colloquially spoken in Yoruba cities. Many of his songs dwell on serious social issues, while others simply entertain. Some compositions are introduced with a simple "time to dance", informing the audience of lengthy dance numbers, while other songs address complex social issues through biting wit made palatable by disarming parables, irony, and multilingual puns.
Music of Brazil
Samba has become the best known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released.
Samba
Samba is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity.
The Bahian Samba de Roda (dance circle), was added to the UNESCO Intangible Cultural Heritage List in 2005. It is the main root of the "samba carioca", the samba that is played and danced in Rio de Janeiro.
Samba Italiano
"Samba Italiano" (Italian Samba) is a popular samba song composed in 1965 by Adoniran Barbosa (1912-1982), who was a son of Italian immigrants of the city of Valinhos, Brazil, and knew well the pidgin Italian-Portuguese dialect spoken in the streets of São Paulo, mostly in the sections of Mooca, Brás and Bexiga.
Ethno jazz
As mentioned before, Brazilian music had an important influence in Latin-jazz. This began with the style called "samba", which comes from a combination of African dances and march rhythms from the 19th century. The samba rhythm is characterized by an emphasis on the second beat of each measure. Unlike Cuban music, this style does not have a clave pattern, resulting in a more relaxed sensation and less tension. Brazilian music was introduced to the United States around the 1930s by Hollywood, with songs like “Tico Tico” and “Brazil,” but lost popularity over the coming years until its revival in 1940, when saxophonist Stan Getz and guitarist Charlie Byrd recorded the album "Jazz Samba" with Verve Records; the track "Desafinado" reached #1 status in the pop charts and won the Grammy for Best Solo Performance.
Samba (Brazilian dance)
Samba de Gafieira is a partner dance considerably different from the Ballroom Samba. It appeared in the 1940s and it gets its name from the "gafieira", popular urban nightclubs of Rio de Janeiro at that time.
St Paul's, Covent Garden
This took place outside the front of the church on Sunday 1 April 1984, when the first samba school in the UK, the London School of Samba (LSS) did their first concert. Its second concert (on Saturday 7 April 1984) was also outside the church. The site directly outside the church was where the then Greater London Council would showcase bands as part of its "Street Performers" policy for using its public spaces (as it then administered the Covent Garden Piazza). The LSS were formed on 31 January 1984 and are considered to be the Madrinha ("godmother") of samba in the UK. The LSS were also the first school of samba to parade in the Notting Hill Carnival in 1984.
Samba (Brazilian dance)
Samba music contains many influences from Angolan music genres; it is thought that the word Samba was adopted into Brazilian culture during the early nineteenth century from the Angolan word Semba.
Rio Carnival
The Samba school parades were held in the Praça Onze was known the birthplace of samba carioca called Pequena Africa. Future Estácio de Sá, together with Portela and Estação Primeira de Mangueira paraded for the first time in the city in 1929. In 1930, five schools were already parading. With the works of in Avenida Presidente Vargas the parade moved there, from 1942 to 1945 the parade was held in São Januário. From 1952 temporary stands for the public to watch the parades were built, and in 1961 paid tickets made their debut to take advantage of the rising international and national interest and the increasing tourist arrivals. In 1974, due to the works of the subway, that year's parade was held and broadcast on the first time on color television from Avenida Presidente Antônio Carlos. In 1978, the parade was transferred to the Marquês de Sapucaí Avenue, where it remains up to this day. In 1983, the then governor Leonel Brizola, commissioned the architect Oscar Niemeyer the project of a permanent local stadium for the parades in that area, because until then the bleachers were assembled at the time of the carnival and then removed.
Samba reggae
During the carnival of 1986, this new style of music, known as samba-reggae, made its debut. Olodum had combined the traditional samba with sounds from a number of other Caribbean music genres, including: merengue, salsa, and reggae. The toques, or "drumming patterns", that categorized the samba-reggae beat was composed of "a pattern in which the surdo bass drums divided themselves into four or five interlocking parts. Against this, the high-pitched repiques and caixes filled out the pattern with fixed and repeated rhythms in a slow tempo, imitating the shuffle feel of reggae." In 1986, the phrase "samba-reggae" was used for the first time to describe the music of Olodum, and, by extension, of the other afro blocos as well. Olodum became progressively more well known, and recorded with Paul Simon, Michael Jackson, and many prominent Brazilian musicians. Over time, most afro blocos converted to Olodum's style of playing the repinique. In the 1990s, Ilê Aiyê finally converted to the Olodum two-rod style.
Samba
Although the term "partido alto" originally arose at the beginning of the 1900s to describe instrumental music, the term came to be used to signify a type of samba which is characterized by a highly percussive beat of pandeiro, using the palm of the hand in the center of the instrument in place. The harmony of Partido alto is always higher in pitch, usually played by a set of percussion instruments (usually surdo, pandeiro, and tambourine) and accompanied by a cavaquinho and/or a guitar.
Sambal language
Sambal is also termed "Tina" in some references. However, the term is considered offensive to the language's speakers. The pejorative term was first used in around the period 1976 to 1979 by researchers from the Summer Institute of Linguistics (now SIL International).
Samba
According to anthropologist Hermano Vianna, configuring Samba as a symbol of Brazilianness was possible thanks to the cultural exchange between the working classes and intellectual elite. He cites a guitar meeting between anthropologist Gilberto Freyre, the historian Sérgio Buarque de Holanda, promoter and journalist Prudente de Moraes Neto, the classical composer Villa Lobos and pianist Lucio Gallet, all representative of the intellectual and cultural elite of white origin on the one hand; and Pixinguinha musician and composers / samba Donga and Patrick Teixeira, from the popular and crossbred layers on the other, saying how the occasion marked the meeting of two different or even opposing groups of Brazilian society.
Samba (Brazilian dance)
Samba is a lively, rhythmical dance of Afro-Brazilian origin in 2/4(2 by 4) time danced to Samba music whose origins include the Maxixe.
Samba rock
As a development of 1960s música popular brasileira, the genre was pioneered by recording acts such as Jorge Ben, Tim Maia, and Trio Mocotó. It gained a wider popularity in the following decades after breaking through into discotheques. By the 2000s, samba rock had grown into a broader cultural movement involving dancers, disc jockeys, scholars, and musicians, who reinvented the genre in a modernized form.
Rhumba
Although the term "rhumba" began to be used by American record companies to label all kinds of Latin music between 1913 and 1915, the history of rhumba as a specific form of ballroom music can be traced back to May 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" (The Peanut Vendor) in New York City. This single, released four months later by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a son-pregón arranged, in this case, for Azpiazú's big band featuring 3 saxophones, 2 cornets, banjo, guitar, piano, violin, bass, and trap drums. With vocals by Antonio Machín and a trumpet solo (the first one in the recorded history of Cuban music) by Remberto Lara, the recording (arranged by saxophonist Alfredo Brito) attempted to adapt the Cuban son to the style of ballroom music prevalent at the time in the East Coast.
Samba rock
Samba rock (also known as samba soul, samba funk, and sambalanço) is a Brazilian dance culture and music genre that fuses samba with soul, rock, and funk. It emerged from the dance parties of São Paulo's lower-class black communities after they had been exposed to rock and roll and African-American music in the late 1950s.
World Sambo Championships
The first World Sambo Cup took place in 1977 in Oviedo, Spain. Two years later, the first Youth World Championships were held in Madrid, Spain.
Samba (software)
Samba is a free software re-implementation of the SMB networking protocol, and was originally developed by Andrew Tridgell. Samba provides file and print services for various Microsoft Windows clients and can integrate with a Microsoft Windows Server domain, either as a Domain Controller (DC) or as a domain member. As of version 4, it supports Active Directory and Microsoft Windows NT domains.
Samba rebellion
The Samba rebellion was a purported slave rebellion, described by the French historian Antoine-Simon Le Page du Pratz in his "Histoire de la Louisiane". The revolt is said to have taken place in 1731, in what was then French Louisiana. Contemporary with the Natchez revolt, it was personified to its alleged leader, a slave called Samba Bambara (a member of the Bambara people from West Africa). While Le Page du Pratz gives a brief recollection of the events, which was more a conspiracy to revolt rather than an actual revolt, his information is not verified by any existent official documents.
Cuban rumba
Even after slavery was abolished in Cuba, there still remained social and racial inequality, which Afro-Cubans dealt with by using rumba's music and dancing as an outlet of frustration. Because Afro-Cubans had fewer economic opportunities and the majority lived in poverty, the style of dance and music did not gain national popularity and recognition until the 1950s, and especially after the effects of the 1959 Cuban Revolution, which institutionalized it. The first commercial studio recordings of Cuban rumba were made in 1947 in New York by Carlos Vidal Bolado and Chano Pozo for SMC Pro-Arte, and in 1948 in Havana by Filiberto Sánchez for Panart. The first commercial ensemble recordings of rumba were made in the mid 1950s by Alberto Zayas and his Conjunto Afrocubano Lulú Yonkori, yielding the 1956 hit "El vive bien". The success of this song prompted the promotion of another rumba group, Los Muñequitos de Matanzas, which became extremely popular. Together with Los Muñequitos, Los Papines were the first band to popularize rumba in Cuba and abroad. Their very stylized version of the genre has been considered a "unique" and "innovative" approach.
Cuban rumba
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based "coros de clave". According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba (yambú, guaguancó and columbia), as well as their contemporary derivatives and other minor styles.
Estácio de Sá (samba school)
Founded in 1928 with name of Deixa Falar, coming from the same neighborhood and is considered by some researchers of samba as a single block, was in fact the first school of samba, because its components taught and difundiam samba, the school marched up to 1933. however twenty years later came the Unidos de São Carlos.
Samba (Brazilian dance)
Samba-reggae is a mix of reggae beats created by Samba drums. It is found in popular songs by the artist Daniela Mercury, who introduced the rhythm to the world with songs like "Sol da Liberdade" "O Reggae E O Mar" and "Perola Negra". Samba Reggae is a popular samba style in Bahia, with many followers in various parts of Brazil.
Rumba
"Rumba" entered the English lexicon in the early 20th century, at least as early as 1919, and by 1932 it was used a verb to denote the ballroom dance. In this sense, the anglicised spelling "rhumba" became prevalent and is now recommended to distinguish it from traditional Cuban rumba. Also in the first third of the 20th century, "rumba" entered the Spanish flamenco world as a fast-paced "palo" (style) inspired in the Cuban guaracha, and which gave rise to other forms of urban music now known as "rumba". Throughout Latin America, "rumba" acquired different connotations, mostly referring to Cubanized, danceable, local styles, such as Colombian "rumba criolla" (creole rumba). At the same time, "rumba" began to be used a catch-all term for Afro-Cuban music in most African countries, later giving rise to re-Africanized Cuban-based styles such as Congolese rumba.
Samba (ballroom dance)
The ballroom samba is danced to music in 2/4 or 4/4 time. It uses several different rhythmic patterns in its figures, with cross-rhythms being a common feature. Thus, for three-step patterns, common step values (in beats) are:
Drumagick
In 1996, they created Drumagick, who have, over the years, witnessed the transformation and development of the jungle and drum'n'bass scene as keenly as the British who invented the sound. Drumagick similarly re-invented the samba, with a twist of heavy bass, dancefloor funk, jazzy tunes and energetic melody. They are also known for DJing together at the same time with two sets of turntables, and more recently, a 5-piece live band has joined the gig.
Samba rebellion
The African-born Samba is reported to have participated in a number of revolts back in Africa, and during transit to Louisiana. He is also presented by Le Page du Pratz as having served the French as an interpreter, and a slave overseer. The insurrection was due to take place in June 1731, but is said to have been revealed to the colonial authorities after an argument between an angry slave woman and a drunken French marine. Le Page du Pratz, according to himself, participated in arresting the involved slaves. While Samba refused to reveal any information even under torture, eight other slaves did not. All involved individuals were publicly executed on "Place d'Armes", Jackson Square in New Orleans. The sole woman involved was hanged, while the men were killed by use of the breaking wheel.
Samba (software)
Version 3.1 was used only for development.
Rueda de Casino
Casino was developed in Havana, Cuba in the early 1950s. Casino traces its origin as a partner dance from Cuban Urban Son and Cuban Cha Cha Cha, fused with partner figures and turns adopted from the Cuban Mambo, Rumba Guaguancó and North American Jive. Casino is different than other types of Salsa dance styles because of its spontaneous use of the rich Afro-Cuban dance vocabulary within a Casino dance; a Casino dancer frequently improvises references to other dances, integrating movements, gestures and extended passages from the folkloric and popular heritage. This is particularly true of African descended Cubans. Such improvisations might include extracts of rumba, dances for African deities (Orishas), the older popular dances such as Cha Cha Cha and Danzón as well as anything the dancer may feel.
Rumba
In the late 1950s, popular artists such as Peret ("El Rey de la Rumba") and El Pescaílla developed an uptempo style that combined elements from rumba flamenca, Spanish gypsy music and pop. This became known as Catalan rumba ("rumba catalana"). In the 1980s, the style gained international popularity thanks to French ensemble Gipsy Kings.
Samba reggae
Samba-reggae is a music genre from Bahia, Brazil. Samba reggae, as its name suggests, was originally derived as a blend of Brazilian samba with Jamaican reggae as typified by Bob Marley.
Samba
With the support of the Brazilian president Getúlio Vargas, the samba won status as the "official music" of Brazil. With this status of national identity came the recognition of the intellectual and classical composer Heitor Villa-Lobos, who arranged a recording with the maestro Leopold Stokowski in 1940, which involved Cartola, Donga, João da Baiana, Pixinguinha, and Zé da Zilda.
Sambo (martial art)
Sambo (; ) is a Russian martial art and combat sport. It originated in the Russian SFSR in Soviet Union. The word "SAMBO" is a portmanteau for "samozashchita bez oruzhiya", which literally translates as "self-defence without weapons". Sambo is relatively modern, since its development began in the early 1920s by the Soviet Red Army to improve their hand-to-hand combat abilities. It was intended to be a merger of the most effective techniques of other martial arts.
Wrestling
Sambo is a martial art that originated in the Soviet Union (specifically Russia) in the 20th century. It is an acronym for "self-defence without weapons" in Russian and had its origins in the Soviet armed forces. Its influences are varied, with techniques borrowed from sports ranging from the two international wrestling styles of Greco-Roman and freestyle to judo, jujitsu, European styles of folk wrestling, and even fencing. The rules for sport sambo are similar to those in competitive judo, with a variety of leg locks and defense holds from the various national wrestling styles in the Soviet Union, while not allowing chokeholds.
Samba
Also in the 1960s came the samba funk. The samba-funk emerged at the end of the 1960s with pianist Dom Salvador and his group, which merged the samba with American funk, which was then newly arrived in the Brazil. With the departure of Dom Salvador to the United States, the band broke up, but at the beginning of the 1970s, some ex-members, including Luiz Carlos, José Carlos Barroso, and Oberdan joined Christovao Bastos, Jamil Joanes, Cláudio Stevenson and Lúcio da Silva to form Banda Black Rio. The new group has deepened the work of Don Salvador in the double mixture of the bar with the Brazilian samba funk of the American Quaternary, based on the dynamics of implementation, driven by drums and bass. Even after the Banda Black Rio in the 1980s, British disc jockeys began to play the group's work. It was rediscovered throughout Europe, but mainly in UK and Germany.
Samba
The urban carioca samba is the anchor of 20th century ""Brazilian samba"" par excellence. However, before this type of samba was to consolidate as the ""national samba"" in Brazil, there were traditional forms of sambas in Bahia and São Paulo.
Samba (Brazilian dance)
During the mid-19th century, the word samba referred to several different types of music made by African slaves. The Samba further developed specific characteristics in each Brazilian state, not only due to the diversity of various tribes for slaves, but also because of the distinctive cultures each region embodied. Some of these popular dances were known as Baião, Bochinche, Candombe (Candomblé), Catêrêtê, Caxambú, Choradinho, Côco-inchádo, Cocumbí, Córta-jáca, Cururú, Furrundú, Jongo, Lundú, Maracatú, Maxíxe, Quimbête, São-Gonçalo, Saramba; not to mention the many varieties of the Portuguese Fandango, and the Indio dance Puracé.
Salsa (dance)
Salsa is a popular form of social dance originating from Cuban folk dances. The movements of Salsa are a combination of Afro-Cuban dance, Son, cha-cha-cha, mambo and other dance forms. The dance, along with salsa music, saw major development in the mid-1970s in New York. Different regions of Latin America and the United States have distinct salsa styles of their own, such as Cuban, Puerto Rican, Cali Colombia, L.A. and New York styles. Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially when part of an outdoor festival.
Samba
In the early 1980s, after having been eclipsed by the popularity of disco and Brazilian rock, Samba reappeared in the media with a musical movement created in the suburbs of Rio de Janeiro. It was the "pagode", a renewed samba, with new instruments like the banjo and the tan-tan. It also had a new language that reflected the way that many people actually spoke by including heavy "gíria", or slang. The most popular artists were Zeca Pagodinho, Almir Guineto, Grupo Fundo de Quintal, Jorge Aragão, and Jovelina Pérola Negra. (
Samba
Thus, the samba and musical genre was born in the houses of "Tias Baianas" (Bahian aunts) in the beginning of the 20th century, as a descendant of the style lundu of the candomblé de terreiro parties between umbigada (Samba) and capoeira's pernadas, marked in pandeiro, prato-e-faca (plate-and-knife) and in the "palmas", hand claps. There are some controversies about the word "samba-raiado", one of the first appointments to the samba. It is known that the "samba-raiado" is marked by the sound and accent sertanejos / rural brought by ""Tias Baianas"" to Rio de Janeiro. According to João da Baiana, the "samba-raiado" was the same as "chula raiada" or samba de partido-alto. For the sambist Caninha, this was the first name would have heard at the home of Tia Dadá. At the same time, there were the "samba-corrido", a line that had more work together with the rural Bahian accent, and the samba-chulado, a more rhyming and melodic style that characterized the urban samba carioca.
Neguinho do Samba
Neguinho do Samba ( – October 31, 2009), born Antonio Luis Alves de Souza, was a Brazilian percussionist and musician. Samba was the founder of Olodum, an internationally known cultural group based in Salvador, Brazil. Samba, a resident of Pelourinho, was considered to be the "father" of samba reggae in Bahia.
Brazilian Carnival
Originated in Bahia, but developed in Rio de Janeiro between the end of the 19th century and the first years of the 20th century, the samba is still one of the most popular music styles of Brazil. From intimate samba-canções (samba songs) sung in bars to explosive drum parades performed during carnival, samba always evokes a warm and vibrant mood. In the 1930s, a group of musicians led by Ismael Silva founded in the neighborhood of Estácio de Sá the first samba school, Deixa Falar. They transformed the musical genre to make it fit better the carnival parade. In this decade, the radio spread the genre's popularity all around the country, and with the support of the nationalist dictatorship of Getúlio Vargas, samba became Brazil's "official music."
Rumba
In the US, the term "rhumba" (anglicised version of rumba), began to be used during the 1920s to refer to ballroom music with Afro-Cuban music themes, particularly in the context of big band music. This music was mostly inspired by son cubano, while being rhythmically and instrumentally unrelated to Cuban rumba. By the 1930s, with the release of "The Peanut Vendor", the genre had become highly-successful and well-defined. The rhumba dance that developed on the East Coast of the United States was based on the bolero-son. The first rumba competition took place in the Savoy Ballroom in 1930. Nowadays, two different styles of ballroom rumba coexist: American-style and International-style.
During the 1940s and 1950s, the Mexican and American film industry expanded the use of the term rumba as rumbera films became popular. In this context, "rumberas" were Cuban and Mexican divas, singers and actresses who sang boleros and canciones, but rarely rumbas. Notable "rumberas" include Rita Montaner, Rosa Carmina, María Antonieta Pons and Ninón Sevilla.