in its origin. To avoid police harassment and gain social legitimacy, Estácio's samba musicians decided to link their batucadas to carnival samba and organized themselves in what they christened as samba schools. According to Ismael Silva – also founder of Deixa Falar and the creator of the expression "samba school" – the term was inspired by the Normal school that once existed in Estácio, and therefore the samba schools would form "samba teachers". Although the primacy of the country's first samba school is contested by Portela and Mangueira, Deixa Falar was a pioneer in spreading the term in its quest to establish a different organization from the carnival blocks of that time and also the first carnival association to use the group in the future known as bateria, a unit made up of percussion instruments such as the surdo, tambourines and cuícas, which – when joining the already used pandeiros and shakers – gave a more "marching" characteristic to the samba of the parades. In 1929, the sambista and babalawo Zé Espinguela organized the first contest among the first samba schools in Rio: Deixa Falar, Mangueira and Oswaldo Cruz (later Portela). The dispute did not involve parede, but a competition to choose the best samba theme among these carnival groups – whose winner is the samba "A Tristeza Me Persegue", by Heitor dos Prazeres, one of Oswaldo Cruz's representatives. Deixa Falar was disqualified for the use of a flute and tie by Benedito Lacerda, then representative of the Estácio group. This veto on wind instruments became the rule from then on – including for the first parade between them, organized in 1932 by journalist Mario Filho and sponsored by the daily Mundo Sportivo -, because it differentiated schools from carnival ranchos with the appreciation of batucadas, which would definitely mark the aesthetic bases of samba from then on. Estácio's batucado and syncopated samba represented an aesthetic break with Cidade Nova's maxixe-style samba. In turn, the first generation of samba did not accept the innovations created by the samba musicians of the hill, seen as a misrepresentation of the genre or even designated as "march". For musicians such as Donga and Sinhô, samba was synonymous with maxixe – a kind of the last Brazilian stage of European polka. For the samba musicians from the hills of Rio, samba was the last Brazilian stage of Angolan drumming that they proposed to teach