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In the 50s, the effects of the import of records and the influence of cinema began to manifest themselves in samba from the second half of the 1940s, notably in 1946, when Dick Farney recorded Copacabana. Romantic samba-canção, more melodic and with lyrics generally dedicated to lost or unrequited loves, began to predominate throughout the 1950s. Although traditional samba resisted, it was relegated mainly to carnival, quickly being eclipsed by samba-canção . The latter enters into direct competition with the bolero and the fox in the various dances that proliferate in clubs, dance halls and homes. Figures such as beach singer Dorival Caymmi and waltz composer José Maria de Abreu adhere to this trend, while critics raise objections to the direction taken by samba-canção. Some consider it overly Americanized, especially due to the elaborate orchestral arrangements.
