environment, samba-jazz also emerged, consolidated with the success of bossa nova that brought samba and bebop closer together, initially based on the piano-bass-drums musical emsemble and later broader formations. Also under this context, the composer Jorge Ben emerged with his peculiar and hybrid way of playing samba, mixing elements of bossa nova and American blues and rock'n'roll that would even take samba songs such as "Mas que Nada" and "Chove Chuva", released by Sérgio Mendes & Brazil '66, to the Billboard charts. And at the end of the 1960s, samba-funk emerged, led by pianist Dom Salvador, which mixed the two beats to the bar of samba and the four beats to the bar of American funk that had just arrived in the Brazilian music market at that time. The period was also characterized by the profusion of some partner dance samba styles. These were the cases of Samba de Gafieira, a dance style developed in the ballroom dance of suburban clubs in Rio de Janeiro frequented by people with low purchasing power throughout the 1940s and 1950s and which also became a fad among upper-middle-class people in the 1960s, and the samba rock, a dance style born in the São Paulo suburban parties in the 1960s, mixing steps from samba, rock and Caribbean rhythms such as rumba and salsa. The "bailes blacks" ("black balls") experienced their peak notably in Rio and São Paulo in the 1970s, a time of great diffusion of the American black music in Brazil, which were frequently disseminated at these "bailes blacks". This also generated a new debate among the Brazilian music critic about the foreign influence on Brazilian music and also on samba itself. Traditional samba as "resistance music" In 1962, the "Carta do samba" ("The samba letter") was made public, a document written by the writer Édison Carneiro that expressed the need to preserve traditional features of samba, such as the syncopa, without, however, "denying or taking away spontaneity and prospects for progress". This letter came to meet a series of circumstances that made traditional urban samba not only revalued in different Brazilian cultural circles, but also started to be considered by them as a kind of "counter-hegemonic" and "resistance music" in the Brazilian music scene. In a decade characterized in the Brazilian music industry by the domination of international rock music and its Brazilian variant, Jovem Guarda, the traditional samba would have started