Olé, Amélia do Aragão, Veridiana, Mônica, Perciliana de Santo Amaro and Ciata. A place for meetings around religion, cuisine, dance and music, Tia Ciata's home was frequented both by samba musicians and pais-de-santo as well as by influential intellectuals and politicians from Rio de Janeiro society. Among some of its members regulars were Sinhô, Pixinguinha, Heitor dos Prazeres, João da Baiana, Donga and Caninha, as well as some journalists and intellectuals, such as João do Rio, Manuel Bandeira, Mário de Andrade and Francisco Guimarães (popularly known as Vagalume). It was in this environment that Vagalume, then a columnist for Jornal do Brasil, witnessed the birth of "O Macaco É Outro" in October 1916. According to the journalist, this samba immediately won the support of the popular people who left singing the music in an animated block. Donga registered the work in sheet music and, on 27 November of that year, declared himself as its author in the National Library, where it was registered as "carnival samba" called "Pelo telefone". Shortly after, the score was used in three recordings at Casa Edison record label. One of them interpreted by Baiano with the accompaniment of classical guitar, cavaquinho and clarinet. Released in 78 rpm format on 19 January 1917, "Pelo telefone" became a huge hit in that year's Rio carnival. Two instrumental versions were also released – recorded by Banda Odeon and Banda de 1º Battalion of the Police of Bahia – in 1917 and 1918 respectively. The success of "Pelo telefone" marked the official beginning of samba as a song genre. Its primacy as "the first samba in history" has, however, been questioned by some scholars, on the grounds that the work was only the first samba under this categorization to be successful. Before, "Em casa da baiana" was recorded by Alfredo Carlos Bricio, declared to the National Library as "samba de partido-alto" in 1913, "A viola está magoada", by Catulo da Paixão Cearense, released as "samba" by Baiano and Júlia the following year, and "Moleque vagabundo", "samba" by Lourival de Carvalho, also in 1914. Another debate related to "Pelo telefone" concerns Donga's exclusive authorship, which was soon contested by some of his contemporaries who accused him of appropriating a collective, anonymous creation, registering it as his own. The central part of the song would have been conceived in the traditional improvisations in meetings at Tia Ciata's house. Sinhô claimed the