The exact origin of the term “bossa nova” remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term “bossa” was used to refer to any new “trend” or “fashionable wave”. In his book Bossa Nova, Brazilian author Ruy Castro asserts that “bossa” was already in use in the 1950s by musicians as a word to characterize someone’s knack for playing or singing idiosyncratically. Castro claims that the term “bossa nova” might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (Hebrew University Group of Brazil). The authorship of the term “bossa nova” is attributed to the then-young journalist Moyses Fuks, who was promoting the event. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr. Fuks’s description, fully supported by most of the bossa nova members, simply read “HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA” (“Today. Sylvia Telles and a ‘Bossa Nova’ group”), since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. These include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues (later a prominent Cinema Novo film director), a law student whom Leão ultimately married.