even more popular media in Brazil. In search of easier communication with the listener, the programming standard became more sensational, melodramatic and appealing. One of the best expressions of this new format and the new popular audience was the auditorium programs and the "kings" and "radio queen" contests. Although they played a role in legitimizing samba as a cultural product and national symbol music and also transforming popular musical culture with the circulation of new musical genres and more extroverted performances, auditorium programs such as the paradigmatic "Programa César de Alencar" and "Programa Manoel Barcelos" – both on Radio Nacional, leader in audience and main media of communication in Brazil – stimulated the cult of personality and the private life of artists, whose apex was the collective frenzy generated around the fan clubs of popular music stars during the concourses of kings and queens of the radio. For the samba more linked to the traditions of Estácio and the hills, the 1950s was characterized by the vitalizing presence of old and new composers who led the renewal of the genre for the next years. This renewal was present in the sambas of well-known authors from the general public, such as Geraldo Pereira and Wilson Batista, of lesser-known sambistas but active in their communities, such as Zé Kéti and Nelson Cavaquinho – a composer who would establish a great partnership with Guilherme de Brito – and also of new composers, such as Monsueto. The samba de breque by Jorge Veiga also stood out and, in São Paulo, the Demônios da Garoa enshrined the sambas by Adoniran Barbosa. Missing for many years, samba composer Cartola was found washing cars in Ipanema by journalist Sérgio Porto, who took him to sing on Rádio Mayrink Veiga and got him a job at a newspaper. As part of the celebrations of the Fourth Centenary of the city of São Paulo, the composer Almirante organized the "Festival da Velha Guarda" ("Old Guard Festival"), which brought together great names of Brazilian popular music then forgotten, such as Donga, Ismael Silva, and Pixinguinha. However, the period between the second half of the 1940s and the end of the 1950s – well known as post-war – was deeply characterized by the prestige and dominance of samba-canção in the Brazilian music scene. Although in its time of appearance there were not so many releases characteristic of this aspect, many achieved