These formal Gilbertian experiences were consolidated in the studio album Chega de Saudade, released in 1959, and triggered the emergence of an artistic movement around Gilberto and others professional artists such as Antonio Carlos Jobim, Vinicius de Moraes, Baden Powell, Alaide Costa, Sylvia Telles, among others, which attracted young amateur musicians from the South Zone of Rio – almost all from the middle class and with university degrees – such as Carlos Lyra, Roberto Menescal, Ronaldo Boscoli and Nara Leão. Consolidated in the following years as a type of concert samba, non-dancing, and comparable to American cool jazz, bossa nova has become a sambistic sub-genre of great reputation on the Brazilian music scene and, with its rhythm, more assimilable abroad than traditional samba, became known worldwide. After being released on the American market in a series of concerts in New York City in late 1962, Brazilian bossa nova albums were reissued in several countries, while new songs and albums were recorded, including with foreign artists. Several of these works – with the samba "The Girl from Ipanema", by Antonio Carlos Jobim and Vinicius de Moraes, at the frontline – became major international successes. However, in the midst of the turbulence that marked the Brazilian political scene at the time, the movement suffered a dissent, which resulted in the so-called "nationalist current". With the intention of carrying out a work more engaged and aligned with the social context of the period, the nationalist bossa-novistas formed around Nara Leão, Carlos Lyra, Sérgio Ricardo, Edu Lobo, and the partnership between Vinicius de Moraes and Baden Powell, the latter two signing a fertile partnership that resulted in the studio album "Os Afro-sambas", with positive international impact. In addition to bossa nova, other new samba sub-genres emerged in this period between the late 1950s and early 1960s. The rise of nightclubs as the main nightlife venues in Rio disseminated variety shows with the participation of sambistas and samba dancers, mainly performed by instrumental musical ensemble with keyboard, electric guitar, acoustic bass guitar, drums and percussion, and performed by crooners. A trend in the 1960s live music in Brazil, this format of "samba to dance" resulted in styles such as the sambalanço – a very lively and dancing type of samba, from which musicians such as Ed Lincoln and performers such as Silvio Cesar, Pedrinho Rodrigues, Orlandivo, Miltinho and Elza Soares stood out. In this same