huge commercial success and, in the mid-1940s, this sub-genre began to dominate Brazilian radio programming and be the most played style outside the carnival era. This rise of samba-canção as a hegemonic musical style was also accompanied mainly by the avalanche of foreign musical genres – imported to Brazil under the political-cultural context of World War II – that began to compete in the country's market with the samba-canção itself. Tango and, especially, bolero, which occupied a significant part of radio programming, proliferated in clubs and dance halls in Rio de Janeiro and São Paulo. Music from the United States has also come to occupy a large part of the programming of Brazilian radio stations. With big bands in evidence, some radio stations made great publicity about jazz, a genre that was gaining more and more appreciation among some musicians from Rio de Janeiro, especially those who worked in nightclubs. In a samba-canção rhythm, many boleros, foxtrots and French songs were also part of the repertoire of nightclub pianists. Under the influence of the strong penetration of these imported genres, the post-war samba-canção itself was influenced by these rhythms. In certain cases, the change occurred through a musical treatment based on the cool jazz tones and more restrained vocal performances, and more complex melodic-harmonic structures, distinct, therefore, from the rhythmic-bodily sensuality of traditional samba. In other cases, it was due to the strong passionate exercised by bolero and foreign sentimental ballads. Both influences displeased the more traditionalist critics: in the first, they accused the samba-canção of having "jazzed up", especially for the sophisticated orchestra arrangements; in the second, the slower and more romantic progress of the slope led to pejorative labels such as "sambolero" or "sambalada". In fact, the orchestral accompaniments of the samba-canção at that time were marked by arrangements containing woodwinds and strings that replaced the traditional regional musical ensemble and made it possible to dramatize the arrangements in accordance with the theme of the songs and the expressiveness of the singers. If, for some critics, these orchestral and melodic-harmonic attributes of modern 1950s samba-canção came from post-war American culture, for others this influence was much more Latin American than North American. Another aesthetic mark of the period was the vocal performance of the singers of this style of samba, sometimes more inclined to the lyrical power and expressiveness, sometimes more supported by an intonation and close to