the groups Originais do Samba, Nosso Samba, Brazil Ritmo 67, Os Batuqueiros, Exporta-samba, among others. Two other significant performances from this moment of aesthetic revaluation of traditional urban samba were "Telecoteco opus N ° 1", with Cyro Monteiro and Dilermando Pinheiro, which was shown at Teatro Opinião, and "O samba pede passagem", which brought together veterans Ismael Silva and Aracy de Almeida with the young artists Baden Powell, Sidney Miller and MPB4, among others. In this context of the effervescence of the samba resistance movements, the radio show "Adelzon Alves, o amigo da madrugada" ("Adelzon Alves, the friend of the dawn") has appeared. Presented by radio broadcaster Adelzon Alves on Rádio Globo in Rio de Janeiro, the radio program dedicated a repertoire exclusively dedicated to the samba – in a scenario in which radio before the supremacy of television as a major means of communication in Brazil had become a disseminator of music recorded on disc. Faced with the hegemony of Anglo-American rock and Jovem Guarda, especially due to the influence of record labels on commercial broadcasters in the country, Adelzon Alves' radio show became the main spokesman for samba and sambistas from Rio de Janeiro on the media and a major propagator of terms, which reverberate until today, referring to the legacy of the universe of "samba do morro" as national music "of resistance" and "root". In addition to the strength of Jovem Guarda, a movement catapulted by the eponymous program shown by TV Record, Brazilian music at that time experienced the emergence of a new generation of post-bossa-nova artists who, reknowed in the scope of the "Brazilian song festivals" era, became the embryo of the so-called MPB. One of those most notable names was the composer Chico Buarque, author of sambas such as "Apesar de Você", which became classics of the genre. Against the ideological disputes between the acoustic guitar (an instrument traditional in Brazilian music genres and synonymous with national music) and electric guitars (seen as an "Americanized" instrument in Brazilian music) that characterized these Brazilian song festivals, the beginning sambista Martinho da Vila entered "Menina moça", a stylized samba de partido-alto, in the third Festival of Brazilian Popular Music in 1967. Although its early eliminated in this contest, this samba projected Martinho's name on the music scene of that time, whose subsequent successes paved the way for the affirmation in the music industry of this type