Samba, Agepê, Beth Carvalho, Clara Nunes, Alcione, Jair Rodrigues and Benito de Paula, among others, and of sambas-enredo of Rio samba schools. In the stronghold of traditional samba, the first LPs of veteran composers Donga, Cartola and Nelson Cavaquinho were released. Two other composers already established in this environment, Candeia and Dona Ivone Lara also debuted with solo works in the phonographic market. The same happened in São Paulo with the releases of the first Adoniran Barbosa and Paulo Vanzolini studio albums. Revealed in the previous decade, the sambistas Paulinho da Viola and Martinho da Vila consolidated themselves as two of the great names of success in the samba in the 1970s, which also saw the emergence of singers-songwriters Roberto Ribeiro and João Nogueira. Among the singers of the new generation, the names of Clara Nunes, Beth Carvalho and Alcione emerged as the great female samba singers in the Brazilian music industry, whose good record sales – marked by the appreciation of songs by the composers of the Rio de Janeiro samba schools – contributed greatly for the popularity of samba. In addition to this triad of singers were also added Leci Brandão, who was already a member of the composer wing of Estação Primeira de Mangueira, and Cristina Buarque (sister of Chico Buarque), with a rescue effort for samba and sambistas from samba schools. Among the new composers, Paulo Cesar Pinheiro, Nei Lopes, Wilson Moreira stood out, in addition to the duo Aldir Blanc and João Bosco. Under this same context of the expansion of samba in the Brazilian phonographic market of the 1970s, the music industry invested in a less traditional and more sentimental line of samba, whose simplified rhythmic structure left percussion – the main feature of samba – a little sideways. Rejected as tacky and kitsch by both the most respected musicians in the country and by critics, this formula was stigmatized under the derogatory term of "sambão-joia". Despite this, this most romantic samba has become a great commercial success in the repertoire of singers such as Luiz Ayrão, Luiz Américo, Gilson de Souza, Benito Di Paula and Agepê, as well as the duo Antonio Carlos & Jocafi, authors of the world famous samba "Você abusou". Another bet of the phonographic industry of the time was partido-alto collective records, a traditional form of samba that is often sung in the terreiros (the samba school headquarters) in