authorship of the chorus "ai, se rolinha, sinhô, sinhô" and created another song lyrics in response to Donga. However, Sinhô himself, who would consolidate himself in the 1920s as the first important figure of samba, was accused of appropriating other people's songs or verses – to which he justified himself with the famous maxim that samba was "like a bird" in the air, it is "whoever gets it first". This defense is part of a period in which the figure of the popular composer was not that of the individual who composed or organized sounds, but the one who registered and disseminated the songs. In the era of mechanical recordings, musical compositions – under the pretext of ensuring that there was no plagiarism – did not belong to composers, but to publishers and, later, to record labels, a reality modified only with the advent of electrical recordings, when the right to intellectual property of the work became individual and inalienable to the composer. In any case, it was because "Pelo Telefone" that samba gained notoriety as a product in the Brazilian music industry. Gradually, the nascent urban samba was gaining popularity in Rio de Janeiro, especially at the Festa da Penha and Carnival. In October, the Festa da Penha became a great event for composers from Cidade Nova who wanted to publicize their compositions in the expectation that they would be released at the following carnival. Another promoter during this period was the Revue shows, a place that enshrined Aracy Cortes as one of the first successful singers of the new popular song genre. The solidification of the electric recording system made it possible for the recording industry to launch new sambas by singers with less powerful voices, such as Carmen Miranda and Mário Reis, performers who became references when creating a new way of interpreting the most natural and spontaneous samba, without so many ornaments, as opposed to the tradition of belcanto style. These recordings followed an aesthetic pattern characterized by structural similarities to the lundu and, mainly, to the maxixe. Because of this, this type of samba is considered by scholars as "samba-maxixe" or "samba amaxixado". Although the samba practiced in the festivities of Bahian communities in Rio was an urban stylization of the ancestral "samba de roda" in Bahia, characterized by a high party samba with refrains sung to the marked rhythm of the palms and the