Curiosities about Samba & Pagode
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Curiosities, games, challenges and quiz about At the beginning
At the beginning, there is samba. Or semba. Or whatever the name given to the singing and dancing parties of the Bahians of Cidade Nova. Later, samba evolves into a distinct musical genre. Whether sung, like the one by the group that created "Pelo Telephone", or danced in the front rooms, including Ciata, among other Bahian "aunts" and their descendants. In backyards, Afro cults are celebrated with the tacit connivance of the police. Samba, now as a genre, is born from umbigada, batuque, lundu, polka and several other influences, with its graceful movements and captivating nuances, often intertwining with maxixe, the "excommunicated dance". It is this amaxixado samba, exemplified by artists such as Sinhô, nicknamed the King of Samba, and "Pelo Telephone" himself, which rocked Rio de Janeiro, including during Carnival, in the first three decades of the 20th century.
publicityCuriosities, games, challenges and quiz about Pagode and samba
Pagode and samba, although they share roots, have marked differences. Samba has a slower rhythm and focuses on social themes, using string instruments. In contrast, pagode is more fast-paced, with everyday lyrics, and may include wind instruments. Both are enjoyed in Brazil, with samba being a deep-rooted cultural expression, while pagode evolved as a contemporary variant of samba, gaining recent popularity. Recognizing this musical diversity is fundamental to appreciating the richness of Brazilian music.
Curiosities, games, challenges and quiz about Pagode
Pagode emerged as an offshoot of samba at the end of the 1970s in Rio de Janeiro, at backyard parties. Beth Carvalho played a crucial role in promoting the genre, when she met the group Fundo de Quintal. Pagoda innovation included the creation of percussion instruments. Beth Carvalho invited Fundo de Quintal for the album "De Pé no Chão" (1978), launching artists such as Jorge Aragão and Zeca Pagodinho. In the 90s, pagode gained prominence with romantic lyrics and the success of groups such as Raça Negra and Art Popular.
Curiosities, games, challenges and quiz about Samba
Samba was born in Bahia in the 19th century, influenced by African culture and slave festivals. In 1910, it gained prominence in Rio de Janeiro, mixing with other rhythms. Despite the first registration in 1917, samba grew in the 1930s with samba schools and radio. Singers such as Noel Rosa, Cartola and others marked its history. Over time, styles such as party alto, samba-enredo and Samba-Rock emerged, the latter becoming a popular ballroom dance.
publicityCuriosities, games, challenges and quiz about Ismael
Ismael Silva was an important Brazilian samba player, born in Niterói, Rio de Janeiro, on September 14, 1905, and died on March 14, 1978. He played a fundamental role in the development of Rio de Janeiro samba and is considered one of the pioneers of the genre . Ismael Silva was one of the founders of the famous samba school Estação Primeira de Mangueira, in 1928, and is credited with having composed, in partnership with other musicians, the first song considered samba, entitled "Pelo Telephone". This composition, from 1916, is often recognized as the starting point for samba as a musical genre. In addition to his contribution to music, Ismael Silva was also known for his skill as an instrumentalist and composer. He actively participated in the Rio music scene in the 1920s and 1930s, being one of the main representatives of roots samba.
Curiosities, games, challenges and quiz about In the 1930s
In the 1930s, a period known as the Golden Age of popular song, samba consolidated itself as Brazil's national music. While it is adopted by white middle-class composers, it also gives deserved recognition to the black people who gave rise to this musical genre. Meaningful interracial partnerships emerge. Getúlio Vargas' decree, allowing radio stations to broadcast advertisements during their programs, marks the beginning of fees and drives the professionalization of the musical class. The innovation of electrical recording opens space for singers with softer voices, such as Mário Reis and Carmen Miranda, to enter the phonographic universe, moving samba away from operatic excesses. Quickly, Reis, Carmen and others became radio idols. The official parade of the samba schools is established, and samba shares the preference of Rio revelers with the march.
Curiosities, games, challenges and quiz about In the 40s
In the 40s, samba-exaltação, full of patriotism and national exaltation, accompanied for some time the success of Aquarela do Brasil by Ary Barroso, released in 1939 and internationally acclaimed. However, it is carnival samba that is at its peak during the Second World War and in subsequent years. This rise is largely attributed to lively dances and street blocks, which sing the hits of the year instead of original compositions. Although samba schools are gradually growing, it is carnival music, previously performed on Sundays in October during the Penha festival, that gains prominence on the microphones of Rádio Nacional. In this scenario, every singer, regardless of their fame, is forced to record at least one album for Carnival, with marches on one side and sambas on the other.
publicityCuriosities, games, challenges and quiz about In the 50s
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.
Curiosities, games, challenges and quiz about In the 60s
In the 60s, the decade was marked by the rise of bossa nova and the rediscovery and revaluation of samba. Bossa nova, influenced by João Gilberto's distinctive guitar beat, which accompanies his small but technically perfect voice, provokes the most radical transformation in the genre in its first 40 years of existence. This new style, more than a movement, attracts university youth from the South Zone of Rio. With its rhythm more accessible to foreign audiences compared to traditional samba, bossa nova transcends borders, leading several of its songs, notably Garota de Ipanema, to become worldwide hits. At the same time, traditional samba resurfaces at events that have no direct connection with bossa nova. The first highlight is Zicartola, a house that, for three years, lit up a townhouse on Rua da Carioca with samba.
Curiosities, games, challenges and quiz about In the 70s
In the 70s, we witnessed the rise of samba schools, transforming a popular festival into a true "street opera" - a reality that even the most traditionalist samba artists can no longer ignore. The initial resistance of figures such as Candeia, Nei Lopes and Wilson Moreira, who founded the Quilombo group in a fight to preserve traditions, eventually gave way. With this, the samba-enredo adapts to the new times. In this scenario, veterans like Nelson Cavaquinho and Cartola finally arrive on the music scene, while the post-bossa nova generation - represented by Chico Buarque, Caetano Veloso, Gilberto Gil - survives the festivals to create definitive works, including sambas.
publicityCuriosities, games, challenges and quiz about In the 1980s
In the 1980s, the term "pagode" - initially associated with samba parties in suburban backyards - underwent a transformation in meaning. Throughout this decade, the Cacique de Ramos block not only introduced new accompaniment elements, such as the banjo, the tantã instead of the surdo, and the hand repique, but also reconfigured the sound, giving rise to a new generation of samba players, with emphasis on Almir Guineto and Zeca Pagodinho. The Fundo de Quintal group emerges as a prominent representative of this movement. Many Cacique samba players go on to successful solo careers. Beth Carvalho, eventually honored as godmother of the block, draws the attention of record companies to the quality of what is being produced there. These record companies release albums known as "pau-de-sebo", distributing the tracks among several artists to, in the end, select those who deserve an exclusive album.
Curiosities, games, challenges and quiz about In the 90s
In the 90s, Lapa emerged as one of the most vibrant samba strongholds in Rio de Janeiro in the early days of the 21st century. Its revitalization, transforming the old and semi-abandoned "neighborhood of sin" into an urbanized area, bright and full of bars and restaurants with live music, presents the city with a treasure. Young singers and composers, mostly from the middle class, were already involved in a fascinating research into ancient samba, gradually occupying the spaces between the neighborhood's tables. Veterans, or almost so, share the stage alongside the younger ones. Furthermore, these young people renew and create new sambas. In this context, names like Teresa Cristina, Moyseis Marques and the Casuarina group emerge as representatives of the new sound of Lapa. At the same time, pagode groups remain active, releasing albums and performing shows.
Curiosities, games, challenges and quiz about In the 2000s
In the 2000s, the samba artists who stood out at Cacique de Ramos, such as Arlindo Cruz, Jorge Aragão and, especially, Zeca Pagodinho, consolidated their careers, maintaining a more notable presence than artists from previous generations. Martinho da Vila, despite recording more and traveling a lot, remains active. However, this does not mean that the pagoda, which boosted these three talented artists, will have a decade without competitors. In the musical scene, the romantic pagode appears, a subgenre that incorporates pop elements, such as guitar, bass and electronic keyboard, presenting lyrics that address love in a simple and direct way. Notable representatives include Raça Negra and other groups with similar shows and costumes. The São Paulo pagoda also stands out. Meanwhile, Cacique de Ramos' group gets moving and, to avoid confusion, abandons the label "pagode" in favor of terms like "samba de festa alto"
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Check out games, quiz, duels and challenges about Samba & PagodeCuriosities, games, challenges and quiz about At the beginning
At the beginning, there is samba. Or semba. Or whatever the name given to the singing and dancing parties of the Bahians of Cidade Nova. Later, samba evolves into a distinct musical genre. Whether sung, like the one by the group that created "Pelo Telephone", or danced in the front rooms, including Ciata, among other Bahian "aunts" and their descendants. In backyards, Afro cults are celebrated with the tacit connivance of the police. Samba, now as a genre, is born from umbigada, batuque, lundu, polka and several other influences, with its graceful movements and captivating nuances, often intertwining with maxixe, the "excommunicated dance". It is this amaxixado samba, exemplified by artists such as Sinhô, nicknamed the King of Samba, and "Pelo Telephone" himself, which rocked Rio de Janeiro, including during Carnival, in the first three decades of the 20th century.publicity
Curiosities, games, challenges and quiz about Pagode and samba
Pagode and samba, although they share roots, have marked differences. Samba has a slower rhythm and focuses on social themes, using string instruments. In contrast, pagode is more fast-paced, with everyday lyrics, and may include wind instruments. Both are enjoyed in Brazil, with samba being a deep-rooted cultural expression, while pagode evolved as a contemporary variant of samba, gaining recent popularity. Recognizing this musical diversity is fundamental to appreciating the richness of Brazilian music.Curiosities, games, challenges and quiz about Pagode
Pagode emerged as an offshoot of samba at the end of the 1970s in Rio de Janeiro, at backyard parties. Beth Carvalho played a crucial role in promoting the genre, when she met the group Fundo de Quintal. Pagoda innovation included the creation of percussion instruments. Beth Carvalho invited Fundo de Quintal for the album "De Pé no Chão" (1978), launching artists such as Jorge Aragão and Zeca Pagodinho. In the 90s, pagode gained prominence with romantic lyrics and the success of groups such as Raça Negra and Art Popular.Curiosities, games, challenges and quiz about Samba
Samba was born in Bahia in the 19th century, influenced by African culture and slave festivals. In 1910, it gained prominence in Rio de Janeiro, mixing with other rhythms. Despite the first registration in 1917, samba grew in the 1930s with samba schools and radio. Singers such as Noel Rosa, Cartola and others marked its history. Over time, styles such as party alto, samba-enredo and Samba-Rock emerged, the latter becoming a popular ballroom dance.publicity
Curiosities, games, challenges and quiz about Ismael
Ismael Silva was an important Brazilian samba player, born in Niterói, Rio de Janeiro, on September 14, 1905, and died on March 14, 1978. He played a fundamental role in the development of Rio de Janeiro samba and is considered one of the pioneers of the genre . Ismael Silva was one of the founders of the famous samba school Estação Primeira de Mangueira, in 1928, and is credited with having composed, in partnership with other musicians, the first song considered samba, entitled "Pelo Telephone". This composition, from 1916, is often recognized as the starting point for samba as a musical genre. In addition to his contribution to music, Ismael Silva was also known for his skill as an instrumentalist and composer. He actively participated in the Rio music scene in the 1920s and 1930s, being one of the main representatives of roots samba.Curiosities, games, challenges and quiz about In the 1930s
In the 1930s, a period known as the Golden Age of popular song, samba consolidated itself as Brazil's national music. While it is adopted by white middle-class composers, it also gives deserved recognition to the black people who gave rise to this musical genre. Meaningful interracial partnerships emerge. Getúlio Vargas' decree, allowing radio stations to broadcast advertisements during their programs, marks the beginning of fees and drives the professionalization of the musical class. The innovation of electrical recording opens space for singers with softer voices, such as Mário Reis and Carmen Miranda, to enter the phonographic universe, moving samba away from operatic excesses. Quickly, Reis, Carmen and others became radio idols. The official parade of the samba schools is established, and samba shares the preference of Rio revelers with the march.Curiosities, games, challenges and quiz about In the 40s
In the 40s, samba-exaltação, full of patriotism and national exaltation, accompanied for some time the success of Aquarela do Brasil by Ary Barroso, released in 1939 and internationally acclaimed. However, it is carnival samba that is at its peak during the Second World War and in subsequent years. This rise is largely attributed to lively dances and street blocks, which sing the hits of the year instead of original compositions. Although samba schools are gradually growing, it is carnival music, previously performed on Sundays in October during the Penha festival, that gains prominence on the microphones of Rádio Nacional. In this scenario, every singer, regardless of their fame, is forced to record at least one album for Carnival, with marches on one side and sambas on the other.publicity
Curiosities, games, challenges and quiz about In the 50s
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.Curiosities, games, challenges and quiz about In the 60s
In the 60s, the decade was marked by the rise of bossa nova and the rediscovery and revaluation of samba. Bossa nova, influenced by João Gilberto's distinctive guitar beat, which accompanies his small but technically perfect voice, provokes the most radical transformation in the genre in its first 40 years of existence. This new style, more than a movement, attracts university youth from the South Zone of Rio. With its rhythm more accessible to foreign audiences compared to traditional samba, bossa nova transcends borders, leading several of its songs, notably Garota de Ipanema, to become worldwide hits. At the same time, traditional samba resurfaces at events that have no direct connection with bossa nova. The first highlight is Zicartola, a house that, for three years, lit up a townhouse on Rua da Carioca with samba.Curiosities, games, challenges and quiz about In the 70s
In the 70s, we witnessed the rise of samba schools, transforming a popular festival into a true "street opera" - a reality that even the most traditionalist samba artists can no longer ignore. The initial resistance of figures such as Candeia, Nei Lopes and Wilson Moreira, who founded the Quilombo group in a fight to preserve traditions, eventually gave way. With this, the samba-enredo adapts to the new times. In this scenario, veterans like Nelson Cavaquinho and Cartola finally arrive on the music scene, while the post-bossa nova generation - represented by Chico Buarque, Caetano Veloso, Gilberto Gil - survives the festivals to create definitive works, including sambas.publicity
Curiosities, games, challenges and quiz about In the 1980s
In the 1980s, the term "pagode" - initially associated with samba parties in suburban backyards - underwent a transformation in meaning. Throughout this decade, the Cacique de Ramos block not only introduced new accompaniment elements, such as the banjo, the tantã instead of the surdo, and the hand repique, but also reconfigured the sound, giving rise to a new generation of samba players, with emphasis on Almir Guineto and Zeca Pagodinho. The Fundo de Quintal group emerges as a prominent representative of this movement. Many Cacique samba players go on to successful solo careers. Beth Carvalho, eventually honored as godmother of the block, draws the attention of record companies to the quality of what is being produced there. These record companies release albums known as "pau-de-sebo", distributing the tracks among several artists to, in the end, select those who deserve an exclusive album.Curiosities, games, challenges and quiz about In the 90s
In the 90s, Lapa emerged as one of the most vibrant samba strongholds in Rio de Janeiro in the early days of the 21st century. Its revitalization, transforming the old and semi-abandoned "neighborhood of sin" into an urbanized area, bright and full of bars and restaurants with live music, presents the city with a treasure. Young singers and composers, mostly from the middle class, were already involved in a fascinating research into ancient samba, gradually occupying the spaces between the neighborhood's tables. Veterans, or almost so, share the stage alongside the younger ones. Furthermore, these young people renew and create new sambas. In this context, names like Teresa Cristina, Moyseis Marques and the Casuarina group emerge as representatives of the new sound of Lapa. At the same time, pagode groups remain active, releasing albums and performing shows.Curiosities, games, challenges and quiz about In the 2000s
In the 2000s, the samba artists who stood out at Cacique de Ramos, such as Arlindo Cruz, Jorge Aragão and, especially, Zeca Pagodinho, consolidated their careers, maintaining a more notable presence than artists from previous generations. Martinho da Vila, despite recording more and traveling a lot, remains active. However, this does not mean that the pagoda, which boosted these three talented artists, will have a decade without competitors. In the musical scene, the romantic pagode appears, a subgenre that incorporates pop elements, such as guitar, bass and electronic keyboard, presenting lyrics that address love in a simple and direct way. Notable representatives include Raça Negra and other groups with similar shows and costumes. The São Paulo pagoda also stands out. Meanwhile, Cacique de Ramos' group gets moving and, to avoid confusion, abandons the label "pagode" in favor of terms like "samba de festa alto"publicity
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