to be seen as an expression of the greatest authenticity and purity of the genre, which led to the creation of terms such as "samba autêntico" ("authentic samba"), "samba de morro" ("samba of the hill"), "samba de raiz" ("roots samba"), or "samba de verdade" ("real samba"). One of the major expressions of this "resistance samba" in the first half of the 1960s was Zicartola, a bar opened by sambista Cartola and his wife Dona Zica in 1963. which transformed in a short time at a famous meeting point of veteran sambistas, attracted the attendance of many left-wing intellectuals and students, and became famous for its samba nights that, in addition to revealing new talents, such as Paulinho da Viola, revived the careers of former composers then ostracized from the music industry. In February 1964, the year of the Brazilian military coup d'état, it was released the Nara Leão's debut album, which included sambas by traditional samba composers such as Cartola, Elton Medeiros, Nelson Cavaquinho and Zê Kéti, as well as samba songs from the bossa nova nationalist branch. And at the end of that year, Nara Leão met with Zé Kéti and João do Vale for the musical Show Opinião, which became a reference as an artistic manifestation in protest to the authoritarian regime established. The following year, the composer Hermínio Bello de Carvalho produced Rosa de Ouro, a musical that launched the sixty-year-old Clementina de Jesus to the general public. It was the birth of the professional artistic career of one of the most expressive voices in the samba history, characterized by a repertoire aimed at the African music matrixes, such as jongos, curimbas, lundus and sambas of the rural tradition. The music ensemble to accompany Clementina in this show was composed by Paulinho da Viola, Elton Medeiros, Anescarzinho do Salgueiro, Jair do Cavaquinho and Nelson Sargento. Known at the time as "regional", these musical ensemble based on classical guitar, cavaquinho and pandeiro, and occasionally some wind instrument, were revalued and became associated with the idea of a more authentic and genuine samba. From then on, the idea of forming samba vocal-instrumental groups for professional presentations matured and, with the success obtained by groups such as A Voz do Morro and Os Cinco Crioulos, boosted the creation of other groups composed only by sambistas with direct or indirect ties with the samba schools in the following years, such as