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The Arch Linux package also maintains an additional system-wide operation mode for smbnetfs. See Autofs for information on the kernel-based automounter for Linux. KDE has the ability to browse Samba shares built in. If you get a "Time Out" Error when navigating with Dolphin, you should uncomment and edit the following line in smb.

There are a number of useful programs, but they may need to have packages created for them. This can be done with the Arch package build system. The good thing about these others is that they do not require a particular environment to be installed to support them, and so they bring along less baggage. If nothing is known about other systems on the local network, and automated tools such as smbnetfs are not available, the following methods allow one to manually probe for Samba shares.

First, install the nmap and smbclient packages. In this case, a scan on the The first result is another system; the second happens to be the client from where this scan was performed. If prompted for a password, pressing enter should still display the list:. Samba offers a set of tools for communication with Windows. These can be handy if access to a Windows computer through remote desktop is not an option, as shown by some examples.

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A forced shutdown instead can be invoked by changing -C with comment to a single -f. For a restart, only add -r, followed by a -C or -f. See Restrict protocols for better security for more information. The factual accuracy of this article or section is disputed. A known Windows 7 bug that causes "mount error 12 : cannot allocate memory" on an otherwise perfect cifs share on the Linux end can be fixed by setting a few registry keys on the Windows box as follows:. Original article.

This error affects some machines running Windows 10 version and later.

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It is not related to SMB1 being disabled in this version but to the fact that Microsoft disabled insecure logons for guests on this version for some, but not others. To fix, open Group Policy Editor gpedit. Alternatively,change the following value in the registry:. If you are a home user and using samba purely for file sharing from a server or NAS, you are probably not interested in sharing printers through it. Restart the samba service, smb. It means that while you are sharing a folder from Dolphin file manager and everything seems ok at first, after restarting Dolphin the share icon is gone from the shared folder, and also some output like this in terminal Konsole output:.

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And you are using a firewall iptables because you do not trust your local school, university, hotel network. This may be due to the following: When the smbclient is browsing the local network it sends out a broadcast request on udp port A possible solution is to add:. The client probably does not have access to shares.

Another problem could be, that the client uses an invalid protocol version. To check this try to connect with the smbclient where you specify the maximum protocol version manually:. You are probably passing a wrong server name to smbclient. To find out the server name, run hostnamectl on the server and look at "Transient hostname" line. Probably the server is configured not to accept protocol SMB1. Or just pass argument -m SMB2 to smbclient. Samba 4. It is recommend to install the latest available upgrades on clients and deny access for unsupported clients.

If you still need support for very old clients without NTLMv2 support e. This change also affects samba shares mounted with mount. If after upgrade to Samba 4. See the mount. The default in mainline kernel versions prior to v3. In v3. Starting with kernel 3. The latter approach using catia or fruit has the drawback of filtering files with unprintable characters. This error might be seen when mounting shares of Synology NAS servers. Belkin routers. Tip: Whenever you modify the smb. A different guest account may be used instead of the default provided nobody. Note: In samba 4.

Grupo Revelação + Grupo Clareou - É Samba que Fala, né

Note: This is an optional feature. Skip this section if you do not need it. Warning: By default, Samba versions prior to 4. In Samba 4. Tip: When mounting a share, specify the seal mount option to force usage of encryption. Note: Setting this parameter will affect the performance of Samba, as it will be forced to check all files and directories for a match as they are scanned. Note: Network-interface adjustments may be needed for some options to work, see Sysctl Networking. After installing cifs-utils or smbclient , load the cifs kernel module or reboot to prevent mount fails.

Note: If the uid and gid being used does not match the user of the server, the forceuid and forcegid options may be helpful. However note permissions assigned to a file when forceuid or forcegid are in effect may not reflect the the real server permissions. To allow users to mount it as long as the mount point resides in a directory controllable by the user; i.

The option is user s plural. For other filesystem types handled by mount, this option is usually user ; sans the " s ". If having timeouts on a mounted network share with cifs on a shutdown, see WPA supplicant Problem with mounted network shares cifs and shutdown. Note: You may need to enable systemd-networkd-wait-online. Tip: Use x-systemd. See Fstab Remote filesystem for details.

Note: Make sure the filename corresponds to the mountpoint you want to use. Otherwise the following error might occur: systemd[1]: mnt-myshare. Note: Network mount units automatically acquire After dependencies on remote-fs-pre. Towards the latter a Wants unit is added as well. Append noauto to Options preventing automatically mount during boot unless it is pulled in by some other unit. If you want to use a hostname for the server you want to share instead of an IP address , add nss-lookup.

This might avoid mount errors at boot time that do not arise when testing the unit. Samba significantly benefited from these political efforts to create a homogeneous national culture. While certain types of music suggested different racial or class origins, samba dissipated social antagonisms and helped unify a society that varied in its origins, appearance, and ways of living and thinking.

Samba's triumph over the airwaves allowed it to penetrate all sectors of Brazilian society. According to anthropologist Hermano Vianna, configuring Samba as a symbol of Brazilianness was possible thanks to the cultural exchange between the working classes and intellectual elite. The urban carioca samba is the anchor of 20th century "Brazilian samba" par excellence. The rural Bahia samba acquired additional names as choreographic variations — for example, the "samba-de-chave" , where the soloist dancer faking looking roda in the middle of a key, and when found, was replaced.

With no chorus, the samba is called samba-corrido , which is an uncommon variant. The chants were taken by one singer, one of the musicians, or soloist dancer.

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Another peculiarity of Bahian samba was a form of competition that dances sometimes presented: it was a dispute between participants to see who performed better. Besides the umbigada , common to all the bahianian samba, the Bahia presented three basic steps: corta-a-jaca , separa-o-visgo , and apanha-o-bag.

The instruments of the Bahian samba were pandeiros , shakers , guitars, and sometimes the castanets and berimbaus. In rural areas, samba can occur without the traditional umbigada. There are also other choreographic variations—the dancers may be placed in rows with men on one side and women on another. The instruments of the samba paulista were violas and pandeiros. The group is still active, but with a different lineup. Tia Ciata, grandmother of the composer Bucy Moreira , was responsible for the sedimentation of samba carioca.

According to the folklore of that time, for a samba musician to achieve success, he would have to pass the house of Tia Ciata and be approved on the rodas de samba. Many compositions were created and sung in improvisation, where the samba Pelo Telefone from Donga and Mauro de Almeida , samba for which there were also many other versions, but to come to the history of samba, Pelo Telefone was the first recorded Samba, in Still, the song is written and discussed, and its proximity to the maxixe made it finally be designated samba-maxixe.

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  8. The growing shantytowns favelas in the hills of suburban Rio would become the home of new musical talents. Almost simultaneously, the samba carioca , which was born in the city center, would climb the slopes of the hills and spread outside the periphery, to the point that, over time, it came to be identified as samba de morro samba from the hills.

    It was a slow and rhythmic samba music and had an emphasis on melody and generally easy acceptance. This aspect was later influenced by the rhythms of foreigners, first by foxtrot in the s and then bolero the s. This kind of samba was characterized by extensive compositions of melody and patriotic verses.

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    Carmen Miranda popularized samba internationally through her Hollywood films. A movement was born in the southern area of Rio de Janeiro, strongly influenced by jazz , marking the history of samba and Brazilian popular music in the s. The bossa nova emerged at the end of that decade, with an original rhythmic accent which divided the phrasing of the samba and added influences of impressionist music and jazz and a different style of singing which was both intimate and gentle.

    It was a branch of the popular bossa nova most appreciated by the middle class which also mingled samba rhythms and American jazz. In the s, Brazil became politically divided with the arrival of a military dictatorship , and the leftist musicians of bossa nova started to gather attention to the music made in the favelas. Many popular artists were discovered at this time. In the s, samba returned strongly to the air waves with composers and singers like Paulinho da Viola , Martinho da Vila , Clara Nunes , and Beth Carvalho dominating the hit parade.

    With bossa nova, samba is further away from its popular roots. The influence of jazz deepened, and techniques have been incorporated from classical music. From a festival in Carnegie Hall of New York, in , the bossa nova reached worldwide success.

    Strictly star Kelvin Fletcher’s sizzling bum-shaking samba makes viewers sweat

    But over the s and s, many artists who emerged—like Chico Buarque , Billy Blanco, Martinho da Vila , and Paulinho da Viola —advocated the return of the samba beat in its traditional form. During the s, some samba groups appeared and were formed by previous experiences with the world of samba and songs recorded by great names of Brazilian music.

    Outside the main scene of the Brazilian Popular Music festivals, the sambists founded the Bienal do Samba in the late s, and it became the space for the big names of the genre and followers. Also in the s came the samba funk. The samba-funk emerged at the end of the s with pianist Dom Salvador and his group, which merged the samba with American funk , which was then newly arrived in the Brazil.

    The new group has deepened the work of Don Salvador in the double mixture of the bar with the Brazilian samba funk of the American Quaternary, based on the dynamics of implementation, driven by drums and bass. Even after the Banda Black Rio in the s, British disc jockeys began to play the group's work. It was rediscovered throughout Europe, but mainly in UK and Germany. At the turn of the s to the s, the young Martinho da Vila would give a new face to the traditional sambas-enredo established by authors such as Silas de Oliveira and Mano Decio da Viola, compressing them and expanding its potential in the music market.

    Although the term partido alto originally arose at the beginning of the s to describe instrumental music, the term came to be used to signify a type of samba which is characterized by a highly percussive beat of pandeiro , using the palm of the hand in the center of the instrument in place. Also in that decade, some popular singers and composers appeared in the samba, including Alcione , Beth Carvalho , and Clara Nunes. In the early s, after having been eclipsed by the popularity of disco and Brazilian rock , Samba reappeared in the media with a musical movement created in the suburbs of Rio de Janeiro.

    It was the pagode , a renewed samba, with new instruments like the banjo and the tan-tan. Samba, as a result, morphed during this period, embracing types of music that were growing popular in the Caribbean such as rap , reggae , and rock.

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    Examples of Samba fusions with popular Caribbean music is samba-rap, samba-rock , and samba-reggae , all of which were efforts to not only entertain, but also to unify all Blacks throughout the Americas culturally and politically via song. In other words, samba-rap and the like often carried lyrics that encouraged Black pride, and spoke out against social injustice. Light-skinned "upper-class" Brazilians often associated Samba with dark-skinned blacks because of its arrival from West Africa.

    As a result, there are some light-skinned Brazilians who claim that samba is the music of low-class, dark-skinned Brazilians and, therefore, is a "thing of bums and bandits". Samba continued to act as a unifying agent during the s, when Rio stood as a national Brazilian symbol. Even though it was not the capital city, Rio acted as a Brazilian unifier, and the fact that samba originated in Rio helped the unification process. Samba is thought to be able to unify because individuals participate in it regardless of social or ethnic group.

    Today, samba is viewed as perhaps the only uniting factor in a country fragmented by political division. The Afro-Brazilians played a significant role in the development of the samba over time. This change in the samba was an integral part of Brazilian nationalism, which was referred to as "Brazilianism". But this acknowledgment does not imply mere imitation of the foreign models or, for that matter, passive consumption by national audiences. From the year onwards, there were some artists who were looking to reconnect the most popular traditions of samba. The cases of Marquinhos of Oswaldo Cruz and Teresa Cristina, were, among others, the ones that contributed to the revitalization of the region of Lapa in Rio de Janeiro.

    These all helped to attract many artists from Rio de Janeiro, which has established residence in neighborhoods of the capital paulistana. Samba was also mixed with drum and bass leading to the foundation of Sambass. Despite the evolution during the decades, Samba still remains a traditional dance, and cannot be considered a sport. The Samba is often performed on different dance shows, such as Strictly Come Dancing.

    From Wikipedia, the free encyclopedia. For the Brazilian dance, see Samba Brazilian dance. For other uses, see Samba disambiguation. Not to be confused with Sambo or Zamba. Batuque fandango purace music. Samba-maxixe samba rock samba-reggae kizomba sambass. Brazilian Carnival samba Brazilian dance samba schools.

    Composed by Assis Valente, recorded by Carmen Miranda in Na Pavuna. Primeira Linha. Benedito Lacerda e grupo Gente do Morro, released in Samba de fato. Brazil portal Dance portal Culture portal. Archived from the original PDF on 13 March