mainly from São Paulo state, although there were also names from Minas Gerais and Rio de Janeiro states. This distinction was established precisely because the samba made by these new artists and musical groups – although it maintained some similarities with the standard enshrined in the Fundo de Quintal – did not have the samba musicians of the previous decade as a major musical reference nor did it keep traditional and informal aspects of matrixes of urban samba. For example, the studio recordings of a large part of these samba bands, such as Raça Negra, gave up the use of instruments common to the 1980s pagode – such as hand-repique, tan-tan and banjo – in exchange for instrumentation characteristic of international pop music from that period, especially the saxophone and the electronic keyboard. The use of these pop music instruments was less or more common to each group, but their purpose was the same, that is, the use of samplers and keyboards to reproduce the sound of various instruments. Despite these dilutions, the "romantic pagode" achieved great commercial success in the Brazilian phonographic market and in the mass media, highlighting samba groups such as Art Popular, Negritude Jr, Exaltasamba, Katinguelê, Raça Negra, Só Pra Contrariar, Soweto, among others. Samba in the 21st century During the second half of the 1990s, the increase in the illegal sale of cassette tapes and, mainly, compact discs caused a deep crisis in the music industry in Brazil, which worsened, from the 2000s, with the possibility of digital download, often free of charge, of musical works via the internet. In this context, there was a sharp drop in the commercialization of official samba records and their sub-genres, especially pagode. Samba groups of huge commercial success in the 1990s, such as Raça Negra and Só Pra Contrariar, saw their sales drop substantially at the turn of the 21st century. In addition, in a space of a few decades, samba songs played in the media have declined, with the genre it is almost always represented by the sub-genre pagode in the Brazilian charts. Of the 100 most heard artists on Brazilian radio between 2010 and 2019 on the Crowley Official Broadcast Chart, only 11 were from samba – and all from pagode. In another survey, carried out jointly between Kantar Ibope Media and Crowley Broadcast Analysis, the pagode corresponded to only 9% of the radio audience in