Abstract
In the 2010 carnival, samba school Unidos de Vila Isabel used as theme the centennial of samba singer and composer Noel Rosa, and represented in Sapucaí an episode starred by that samba man in the 1930s. The polemic started after Rosa, having listening to the song “ Lenço no Pescoço” by Wilson Batista, answered back with the song “Rapaz Folgado”. The dispute generated a series of compositions, going to extremes when Wilson Batista offended Rosa by calling him the Frankenstein of the Vila, alluding to a congenital malformation in the chin of the composer. By gathering signs which combine and interact among themselves, in 2010 carnival man Alex de Souza added one more chapter to this story. This intricate dialog of languages is analyzed in this article, under the light of the genetic criticism, whose research focuses on the process of artistic creation.
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