Instruct: Given a question, retrieve relevant documents that answer the question.
Query: When did the Samba first develop?
The modern samba that emerged at the beginning of the 20th century is predominantly in a 2/4 time signature varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.[7]
This took place outside the front of the church on Sunday 1 April 1984, when the first samba school in the UK, the London School of Samba (LSS) did their first concert. Its second concert (on Saturday 7 April 1984) was also outside the church. The site directly outside the church was where the then Greater London Council would showcase bands as part of its "Street Performers" policy for using its public spaces (as it then administered the Covent Garden Piazza). The LSS were formed on 31 January 1984 and are considered to be the Madrinha ("godmother") of samba in the UK. The LSS were also the first school of samba to parade in the Notting Hill Carnival in 1984.
Originated in Bahia, but developed in Rio de Janeiro between the end of the 19th century and the first years of the 20th century, the samba is still one of the most popular music styles of Brazil. From intimate samba-canções (samba songs) sung in bars to explosive drum parades performed during carnival, samba always evokes a warm and vibrant mood. In the 1930s, a group of musicians led by Ismael Silva founded in the neighborhood of Estácio de Sá the first samba school, Deixa Falar. They transformed the musical genre to make it fit better the carnival parade. In this decade, the radio spread the genre's popularity all around the country, and with the support of the nationalist dictatorship of Getúlio Vargas, samba became Brazil's "official music."
Samba rock reached mainstream audiences in the late 1960s. It became more popular during the 1970s and 1980s, especially in discotheques. This gave more exposure to Ben, Trio Mocotó, and other acts from São Paulo's black music scene, although none of them declared themselves samba-rock artists. Ben's songs in particular became enduring favorites at traditional samba-rock parties. In subsequent years, samba rock developed from a dance phenomenon and music style into a complex cultural movement, involving musicians, producers, DJs, dancers, visual artists, and scholars. The party events eventually came to include big bands and hip hop, alongside samba music.
In the early 2000s, the genre reemerged in a more modernized form featuring electronic samples, departing from the traditional set-up of Ben and Trio Mocotó's 1970s music. This newer form was typified by the bands Sandália de Prata and Clube do Balanço, who first played middle-class areas of São Paulo. In 2001, Universal Music Brasil capitalized on this resurgence of samba rock with the "Samba Soul" reissue series, re-releasing albums by Ben and other 1970s performers of the style. Ben, who still performed at this time, was recognized by "Time Out" as an "aging maestro of favela samba rock", representative of this contingent in the contemporary MPB scene.
During the first decade of the 20th century, some songs under the name of samba were recorded, but these recordings did not achieve great popularity. However, in 1917, "Pelo Telefone" ("By Telephone") was recorded,[13] and it is considered the first true samba. The song was claimed to be authored by Ernesto dos Santos, best known as Donga (musician), with co-composition attributed to Mauro de Almeida, a well-known Carnival columnist. Actually, "Pelo Telefone" was created by a collective of musicians who participated in celebrations at the house of Tia Ciata (Aunt Ciata). It was eventually registered by Donga and the Almeida National Library.[5]
Following the death of Ratu Sapundak, the throne of Sambas was succeeded by Pengiran Prabu Kenchana who appointed Radin Sulaiman as one of his advisers. Historical records narrated that Ratu Sapundak had desired to appoint Sultan Tengah as his successor due to his expertise in governance and administration, although his request was highly objected by the members of Sambas aristocrats due to their religious differences, with the members of the then-Sambas nobility was predominantly of Hindu faith. However, this would change in 1631, when Radin Sulaiman rise to the crown of Sambas, bearing the regal name of Sri Paduka al-Sultan Tuanku Muhammad Safiuddin I, the first muslim ruler of the Sambas Kingdom.
Samba-reggae arose in the context of the black pride movement that occurred in the city of Salvador de Bahia, around the 69, and it still carries connotations of ethnic identity and pride for Afro-Brazilians today. Bahia's population has a large proportion of dark-skinned Brazilians who are descendants of African slaves who were brought to Brazil by the Portuguese in the 17th and 18th centuries. These Afro-Brazilians played a major role in the early development of samba, which first took form in a Bahian style of dance and music called "samba de roda", probably in the late 19th century. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Through the middle of the 20th century this new Rio-style samba spread throughout Brazil. Of note, the low pitch bass that was heard on beats 1 and 3, and the higher pitched surdo on beats 2 and 4 in Bahia, brought by the slaves, was changed in Samba-the low pitch was moved to beats 2 and 4. 
The paradoxical result was that samba was brought back to Bahia from Rio, but now in a highly altered form, and no longer associated with Afro-Brazilians. Thus, in the mid-20th century, the city of Salvador had many samba schools that were modeled on the samba schools of Rio, as well as blocos (informal street percussion groups), both of which performed Rio-style samba in Carnival parades every year. Yet, ironically, black Brazilians did not participate in these Carnival parades or in the blocos. They were not allowed to participate. 
Samba is the national dance of Brazil. The rhythm of samba and its name originated from the language and culture of West African slaves. In 1905, samba became known to other countries during an exhibition in Paris. In the 1940s, samba was introduced in America through Carmen Miranda. The international version of Ballroom Samba has been based on an early version of Brazilian Samba called Maxixe, but has since developed away and differs strongly from Brazilian Ballroom Samba, which is called Samba de Gafieira. International Ballroom Samba is danced with a slight bounce which is created through the bending and straightening the knee. It is performed as an International Latin dance, although most of its modern development has occurred outside Latin America.
Although samba exists throughout Brazil – especially in the states of Bahia, Maranhão, Minas Gerais, and São Paulo – in the form of various popular rhythms and dances that originated from the regional batuque of the eastern Brazilian state of Bahia, a music form from Cape Verde, samba is frequently identified as a musical expression of urban Rio de Janeiro, where it developed during the first years of the 20th century. Early styles of samba - and specifically samba de roda - are traced back to the Recôncavo region of Bahia during the 17th century, and the informal dancing following a candomblé ceremony. It was in Rio de Janeiro that the dance practiced by former slaves who migrated from Bahia came into contact with and incorporated other genres played in the city (such as the polka, the maxixe, the lundu, and the xote), acquiring a completely unique character and creating the samba carioca urbana (samba school) and carnavalesco (Carnaval school director).[5] Samba schools are large organizations of up to 5,000 people which compete annually in the Carnival with thematic floats, elaborate costumes, and original music.
The samba-rock genre developed during the 1960s with popular Brazilian recording musicians who fused samba with American rock, soul, and funk influences. This development occurred alongside the Tropicália artistic movement within mid-1960s música popular brasileira (MPB), which itself had modernized traditional bossa nova rhythms with influences from other Brazilian and international pop rock sounds. Originators of samba rock included Trio Mocotó, Tim Maia, and Jorge Ben, who has been considered the "father of samba rock".
Samba TV (formerly "Flingo") is a content recommendation engine and viewer tracking application designed for Smart TVs. The developer, San Francisco, California-based Samba, was co-founded in 2008 by early employees of BitTorrent (company), including Samba’s current CEO, Ashwin Navin. Samba TV develops software for televisions, set-top boxes, smart phones and tablets to enable interactive television through personalization. Through its portfolio of applications and TV platform technologies, Samba TV is built directly into the TV or set-top box and will recognize onscreen content—live or time-shifted—and make relevant information available to users at their request. The software will identify what a viewer is watching, and use that information to deliver targeted advertising throughout the household. Through APIs and SDKs for mobile application software developers, Samba TV is usable on a second screen or the TV itself. Samba TV applications are currently available on over 30 million screens in 118 countries.
The denomination "Vai como Pode" was used until 1935, when, after the Carnaval, on March 1 of 1935, on the occasion of the renovation of the licence of the school in the police, the officer Dulcídio Gonçalves refused to renovate the license with this name, considering it as vulgar and not dignified for a samba school. The same officer suggested a new name, "Grêmio Recreativo e Escola de Samba Portela", in homage to the street in Madureira where "sambistas" had gathered. The change pleased the community; many had already been referring to the school as the "folks from Portela".
In 1939, the samba of Paulo da Portela, "Teste ao Samba" (Test for the samba), is considered the first samba-enredo. In the same year, Portela renovated things by bringing to the parade costumes totally framed to the enredo.
Thus, the samba and musical genre was born in the houses of Tias Baianas (Bahian aunts) in the beginning of the 20th century, as a descendant of the style lundu of the candomblé de terreiro parties between umbigada (Samba) and capoeira's pernadas, marked in pandeiro, prato-e-faca (plate-and-knife) and in the palmas, hand claps. There are some controversies about the word samba-raiado, one of the first appointments to the samba. It is known that the samba-raiado is marked by the sound and accent sertanejos / rural brought by "Tias Baianas" to Rio de Janeiro. According to João da Baiana, the samba-raiado was the same as chula raiada or samba de partido-alto. For the sambist Caninha, this was the first name would have heard at the home of Tia Dadá. At the same time, there were the samba-corrido, a line that had more work together with the rural Bahian accent, and the samba-chulado, a more rhyming and melodic style that characterized the urban samba carioca.[3]
One day in the temple Srimannarayana happens to see Samba Murthy and his devotion to God. He gets impressed with Samba Murthy's happy go life attitude and approaches him for a help. He requests Samba Murthy to light his pyre and perform his funeral rituals post his death. Samba Murthy gets shocked and furious with Srimannarayana's request. He tells him that he will think about it and leaves angrily from there. Next day morning, Srimannarayana directly comes to Samba Murthy's home for answer. Samba Murthy asks Saraswathi to lie that he is not home and manages to send Srimannarayana back. From then, Srimannarayana starts following and persuading Samba Murthy everywhere. Saraswathi convinces Samba Murthy that it is another chance given to him by God to fulfill the old man's wish because he failed to light the pyre of his own father. She reminds the incident when Samba's father died and he couldn't obey a son's responsibilities because he was stuck in Mumbai Bomb attacks.Samba Murthy finally accepts Srimannarayana's wish and Srimannarayana gives rupees two lakhs for his funeral expenses including flight fare to Kasi for immersing his ashes in Ganga river. He tells Samba and Saraswathi that he will visit them every morning and if he did not arrive any day, it means he is no more.
Denílson is fond of Brazilian music and the samba—he can even be found on YouTube singing and dancing with his former Brazilian Arsenal teammates Gilberto Silva and Júlio Baptista. He typically celebrates his goals by going to the corner flag and dancing a samba in front of fans, which he did when he scored his first Premier League goal for Arsenal.
Samba-Reggae is a music genre born in Bahia, Brazil. As the name suggests, it was originally derived from a blend of Brazilian Samba with Caribbean Reggae. It arose in the context of the black pride movement that occurred in the city of Salvador de Bahia, around the 1970s, and it still carries connotations of ethnic identity and pride for Afro-Brazilians today. Bahia's population has a large proportion of dark-skinned Brazilians who are descendants of African slaves who were brought to Brazil by the Portuguese in the 18th and 19th centuries. These Afro-Brazilians played a major role in the early development of samba, which first took form in a Bahian style of dance and music called "samba de roda”. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Samba-reggae represents an effort by black Brazilians to develop a Carnival parade music that they could call their own, and to form all-black or mostly-black blocos with which they could parade during Carnival. The afro bloco music was very different because they aimed to recreate and strengthen their community through their music. Olodum is undoubtedly the most famous musical act performing samba-reggae in Brazil.
"Note: It is shown that Lione did Samba dancing for the first time at the annual Samba party the 32nd episode."
"Note: It is shown that Lione was using a special stone/gem to see how Bo Dragon was feeling in the 3rd episode."
A samba school () is a dancing club or school. They practice and often perform in huge square-compounds ("quadras de samba") devoted to practising and exhibiting samba, an African-Brazilian dance. The schools (which are structured more like a guild than a school in the usual sense) have a strong community basis and are traditionally associated with a particular neighborhood. They are often seen to affirm the cultural validity of the Afro-Brazilian heritage in contrast to the mainstream education system. and have evolved often in contrast to authoritarian development. The phrase "escola de samba" is popularly held to derive from the schoolyard location of the first group's early rehearsals. In Rio de Janeiro especially, they are mostly associated with particular shanty towns ("favela"). Samba and the samba school can be deeply interwoven with the daily lives of the shanty-town dwellers. Throughout the year the samba schools have various happenings and events, most important of which are rehearsals for the main event which is the yearly carnival parade. Each of the main schools spend many months each year designing the theme, holding a competition for their song, building the floats and rehearsing. It is overseen by a "carnavalesco" or carnival director. From 2005, some fourteen of the top samba schools in Rio have used a specially designed warehouse complex, the size of ten football pitches, called Samba City (Cidade do Samba) to build and house the elaborate floats. Each school's parade may consist of about 3,000 performers or more, and the preparations, especially producing the many different costumes, provide work for thousands of the poorest in Brazilian society. The resulting competition is a major economic and media event, with tens of thousands in the live audience and screened live to millions across South America.
The "Mahabharata" and the "Devi Bhagavata Purana" narrate the story of the birth of Samba. Jambavati was unhappy when she realized that only she had not borne any children to Krishna while all other wives were blessed with many children. She approached Krishna to find a solution and to be blessed with a son like the handsome Pradyumna, Krishna's first-born son. Then Krishna went to the hermitage of the sage Upamanyu in the Himalayas and as advised by the sage, he started to pray to the god Shiva. He did penance for six months in various postures; once holding a skull and a rod, then standing on one leg only in the next month and surviving on water only, during the third month he did penance standing on his toes and living on air only. Pleased with the austerities, Shiva finally appeared before Krishna as Samba, (Ardhanarishvara) the half-female, half-male form of the god, asked him to ask a boon. Krishna then sought a son from Jambavati, which was granted. A son was born soon thereafter who was named as Samba, the form Shiva had appeared before Krishna. Krishna wanted his son to be exactly like Shiva. Shiva's main function is to destroy creation. For his son to be like Shiva meant that the boy would be the cause of the destruction of his entire race. This was what Krishna precisely wanted because the Yadus could not be defeated by anybody. Immortality for humans is out of question therefore at the end of the Yuga the Yadus would destroy each other. Later Samba played an instrumental role in this. 
According to "Bhagavata Purana", Jambavati was the mother of Samba, Sumitra, Purujit, Shatajit, Sahasrajit, Vijaya, Chitraketu, Vasuman, Dravida and Kratu. The "Vishnu Purana" says that she has many sons headed by Samba.
Since the project started, development has been minimal, due to a lack of developers. As such the Samba TNG team frequently recommends to people who are unsure of which program to use, instead try Samba as they have more developers and are able to support more platforms and situations.
Despite the long period between the last album, "Novo som", and "Samba Jazz!!", Meirelles tried to keep the same music conception he had when he was 20 years old. He tried to create simple songs, influenced by jazz, but at the same time which remind Brazilian music. In fact, this album evocates the samba-jazz rhythm exactly as in 1964, when Meirelles e Os Copa 5 recorded their first album, "O som".
Andrew Tridgell developed the first version of Samba Unix in December 1991 and January 1992, as a PhD student at the Australian National University, using a packet sniffer to do of the protocol used by DEC Pathworks server software. At the time of the first releases, versions 0.1, 0.5 and 1.0, all from the first half of January 1992, it did not have a proper name, and Tridgell just called it "a Unix file server for Dos Pathworks". At the time of version 1.0, he realized that he "had in fact implemented the netbios protocol" and that "this software could be used with other PC clients".
The Mocidade was founded on 10 November 1955, by eight people: Silvio Trindade, Renato da Silva, Djalma Rosa, Olímpio Bonifácio (Bronquinha), Garibaldi F. Lima, Felipe de Souza (Pavão), Altamiro Menezes (Cambalhota) e Alfredo Briggs. The first flag of the school was offered by Mrs. Gilda Faria Lima. The first queen of the school was Mrs. Neuza de Oliveira. The samba school participated for the first time, in an official parade, with the plot "O Baile das Rosas" ( "The Ball of Roses" ), when it got 5th place. In 1958, it was the champion of Group 2 with the plot "Apoteose ao Samba" ( "Apotheosis to the Samba" ). From 1959 forth, it took on Group 1 and did not anymore any relegation to the lower divisions.
The winning school was Mangueira, while the second group had the "Conjunto Osvaldo Cruz", or Portela. The officials assured the success of the contest remained up in Praca XI Square in 1941. Over time, the samba schools took many elements brought by ranches, such as the plot, the pair of mestre-sala cortsy and flag holder and the opening committee, elements with which Ismael Silva disagreed.
With the rise of populist dictator Getúlio Vargas and the foundation of the General Union of Samba Schools in 1934, the marginalization of samba persisted for some time. Then, it regained power and began to expand and gain importance in the Rio carnival, supplanting the ranches carnival. It did not take long for the samba schools to expand to other states, with the foundation in 1935 of the "Primeira São Paulo" (First of São Paulo), the first school of samba de São Paulo. The official competitions of the samba schools in São Paulo only started in 1950 with the victory of Lavapés, but before that there were other minor tournaments at the municipal and state levels. In the early 1960s some organized soccer support fan groups, like the Vai-Vai (Go-Go) and the Camisa Verde e Branco (Green and White Jersey) became samba schools.