the first Brazilian song that was very successful abroad and one of the most popular works of the Brazilian popular songbook. In the midst of the good neighborhood policy, the animator Walt Disney visited Portela samba school during his visit to Brazil in 1941, from which he hypothesized that Zé Carioca, a character created by the cartoonist to express the Brazilian way, would have been inspired by the figure of the sambista Paulo da Portela. The rise of samba as a popular musical genre in Brazil also relied on its dissemination in Brazilian cinema, especially in musical comedies, being an integral part of the soundtrack, the plot or even the main theme of the cinematographic work. The good public acceptance of the short film "A Voz do Carnaval" (by Adhemar Gonzaga) paved the way for several other cinematographic works related to rhythm, many of which had a strong presence of radio idol singers in the cast, such as "Alô, Alô, Brasil! ", which had sisters Carmen and Aurora Miranda, Francisco Alves, Mário Reis, Dircinha Batista, Bando da Lua, Almirante, Lamartine Babo, among others. The advent of the popular chanchada films made Brazilian cinema one of the biggest promoters of carnival music. In one of the rare moments when sambistas from the hill starred in radio programs, Paulo da Portela, Heitor dos Prazeres and Cartola led the program "A Voz do Morro", at Rádio Cruzeiro do Sul, in 1941. There, they presented unpublished sambas whose titles were given by listeners. However, over the course of the decade, the samba made by these genuine sambistas was losing space on Brazilian radio to new sub-genres that were being formed, while figures such as Cartola and Ismael Silva were ostracized until they left the music scene in the late 1940s. New sub-genres of samba Thanks to its economic exploitation through the radio and the records, samba not only became professional, but also diversified into new sub-genres, many of which were different from the hues originating in the hills of Rio de Janeiro and established by the interests of the Brazilian music industry. The period of Brazilian music between 1929 and 1945 marked by the arrival of radio and electromagnetic recording of sound in the country and by the notability of major composers and singers, – the so-called "golden age" registered several styles of samba, some with greater and others with less solidity. Publications devoted