Faroeste Caboclo de Legião Urbana: detailed analysis and interpretation

Integrated no album What Country Is This 1978/1987, to music Faroeste Caboclo It was written by Renato Russo in 1979. Or album, third of the band Legião Urbana, brought together old music, written since 1978.

O theme face part of the chamada "solitary troubadour phase" of the author, narrating a story for approximately nine minutes. Russo tells the story of João Santo Cristo, passing high and low hairs in his career without crime and culminating with his death in public praça.

Due to its controversial content, the song was submitted to federal censorship, in order to be released.

I summarize

"Faroeste Caboclo" narrates the course of João Santo Cristo, from the moment that he leaves from the farm, not northeast, I tied his death to an armed duel, in Brasília. Solitary, living in the capital, he began to work as a carpenter more to his ambition sem measure or lead or path of drug trafficking.

He ends up being imprisoned in a cadeia with numerous rapes and truly becomes a bandit, occupying an increasingly larger role not in traffic denial. You mute when he meets Maria Lúcia, a woman because he loses his head. He will return to work as a carpenter and plans to marry and establish a family.

Contudo, no slips, he lost or undertook and returned to crime, abandoning his beloved to smuggle weapons with Pablo. Jeremias, a rival dealer, emerges, who ends up marrying with Maria Lúcia, who engraves him. João challenges or inimigo for a duel that has been announced on TV. Surrounded by a multitude, Jeremias shoots off the shores of João. Maria hands a gun to Santo Cristo, who goes off and shoots Jeremias. Os três morrem.

Analyze gives music

As the title indicates, a song faces a direct reference to far-west films, where cowboys kill and fight in duels for their honor. Or protagonist, contudo, face part of Brazilian reality.

He is identified as "caboclo", ou seja, a homem do sertão and also some gerado through racial miscigenação. These information are assumed to be quite relevant, since João suffers discrimination due to these factors.

O seu nome of him also seems to carry a very strong symbolism. On the one hand, é "João", a very common one in the Portuguese language; I could be a Brazilian qualquer. However, he is "of Holy Christ", ou seja, it seems to have a divine protection, to be "sponsored" by the filho of Deus.

Or nome Santo Cristo, with an evident religious burden, approaches João de Jesus, a comparison that is confirmed at the moment of his death.

With 150 verses and nenhum refrão, we tell or the story of the ascension, remains, death and sanctification of João Santo Cristo.

Introduction

Não tinha medo or such João de Santo Cristo
It was or that everyone said when he was lost
Deixou pra behind everything or marasmo da fazenda
Só pra feel no seu sangue or hate that Jesus lhe deu

The first time we approached the protagonist and affirmed his courage, through the words of two others, we learned about his little things: “No one has been medo or such João de Santo Cristo”.

He was not at his expense, perhaps he was not abandoned "or marasmo da fazenda" and was lost in the world, ready to cause all or kinds of problems. João wanted to "feel that Jesus is not hated or hated", as he was born condemned to evil, as he is going to carry and or walk that escolhe fossem vontade divina.
This is the premise that begins the narration. When João left the northeast, he rumored for adventure and disorder, everyone commented to his audience about him, or that he became a figure that was established in the region.

Childhood, youth and departure of João

When he grew up he only thought of being a bandit
Ainda mais quando com a soldier shot or pai morreu
It was or near terror where he morava
At the school I ate or professor with the learn
He is pra igreja só pra roubar or dinheiro
That as velhinhas we will place our caixinha do altar

Na second verse, it began to be counted or passed from him, em flashback. There is a kind of confirmation that was born before, or the protagonist would be born to be mau. From childhood he was a rebel, he wanted to be a bandit. Essa vontade increased when her father was assassinated by a police officer, fueling her riot.

We see a behavior and a strong, a malandragem do garoto. Despite being his name, there is no faith or belief in Deus nas suas ações from him, leaving behind the accumulation of roubar dinheiro da Igreja.

He felt the same that he was very different
He felt that here was not or was his place
He wanted to see or sea
These things that I posted on television
He joined dinheiro to be able to travel
From private escort, he escorted to solidão

A repetition no verse "I felt the same that it was the same different" marks the intensity and reinforces the idea that For João it was evident that he was not similar in anything like those around me, not belonging to that place.

A poor boy, from the Northeast, I give up criou or desire to overcome his condition, cultivating his ambition and dreaming about it via TV. João “wanted to see or see or sea” that, for someone born and raised, could not be seen as a symbol of freedom, but it is vast, the rest of the world to discover.

Before leaving on his adventure, he had to work and gather money to go embora. His fight does not come on the road, João lutou to be able to go embora, you have to fight from cede to be able to decide or your future.

Not the last verse of the stanza, we fear a repetition of "escolha" and "escolheu" - sublinhando that it was a matter of a decision of the protagonist, that I prefer to play sozinho and risk everything for a better life or different day conhecia.

He ate all the menininhas da cidade
From so much jumping as a doctor for twelve years he was a professor
Years fifteen he was sent to reform
Where did you grow hateful from so much terror
I didn't understand how life worked
Discrimination for cause of his class and his cor
Ficou tired of tempting achar answer
The purchase of a passage was directed to Salvador

A passagem hair reform, fifteen years, just "increased seu ódio", waking up to his awareness for lack of justice and or negative impact two preconceptions "for cause of his class of him and sua cor ". So he decides to go to Salvador.

Chegada to Brasília: trabalho, lazer and ganância

While he was going to have a cafezinho
And I found um boiadeiro com quem he foi falar
E o boiadeiro tinha uma passagem
He was to lose Viagem plus João foi lhe save
Dizia ele '' Estou indo pra Brasília
Nesse country place melhor não ha
Tô needing to visit minha filha
Eufico here and you are not my place ''

By mere chance, or perhaps because he is predestined, he finds a home that he has delivered a passage to Brasília, saying that "a place is not right." Assim, João Santo Cristo is going to stop in the capital.

E João aceitou sua proposta
On the bus he entered the Central Planalto
Ele ficou bestified as a city
Saindo da rodoviária viu as luzes de natal
Meu Deus, more than a beautiful city!
No Ano Novo eu started to work
Cut madeira apprentice carpinteiro
Ganhava cem thousand per month in Taguatinga

A greatness of the city enchants João, who is "bestified". A presença das luzes de natal em Brasília tell us that the protagonist was born during the birth time. A date reveals a symbolic charge, once it is about the birth of Christ.

As a second chance was won, Santo Cristo metaphorically reborn into the metropolis, as his life began to come. Seu first trabalho, as a carpenter's apprentice, also approximates the religious narrative, pois is about the profissão de José, pai de Jesus.

Na sexta-feira he ia pra zona da cidade
Spend all or seu dinheiro de rapaz trabalhador
And he knew many interesting people
I ate a net bastard do seu bisavô

A Peruvian who lived in Bolivia
E muitas coisas trazia de la
Seu nome of him was Pablo and ele dizia
What a business to start
E Santo Cristo tied a morte trabalhava
More or dinheiro não dava to be fed
E he ouvia for seven hours or news
That he always said that he was his minister to help

Sozinho is born in the city, he spends his money and his free time in places of prostitution and nighttime fun, where he crosses paths with various people. Assim, Pablo knows, who commanded a business of obstructive people in Bolivia.

A escort does not seem to be random, but a reference to Pablo Escobar, only more aware of drug trafficking in Latin America. Or criminal it also became a symbol of success for those who wanted to enrich their margens da lei.

A nova amizade, combined with the dissatisfaction of Santo Cristo, who continues to be poor despite working a lot, contributes to his entry into the world of crime.

Drug trafficking, crime and prison

But I didn't want more talk
And he decided that, like Pablo, he would turn
I elaborated more once on your holy plan
I am being crucified at plantação foi começar
Logo, logo os maluco da cidade
Souberam da novidade
'' Tem bagulho bom aí! ''

The previous stanza refers to the minister's lies to us in the news, promising that two poor people would come to life. Revolt, tired of demagoguery, "I did not want more talk." To ambição, allied to descrença nas leis e no governo, led João to plant and sell drugs.

E o João de Santo Cristo ficou rico
And he ended up with all the Dali traffickers
He fez friends, he frequented Asa Norte
He goes to the rock festival to be liberated

Quickly, the business of the successor and the dealer enriches his life considerably. João becomes powerful and popular, due to his occupation and the year he wins.

More suddenly
On a more influential two boyzinhos da cidade
He began to roubar
Já no primeiro roubo ele dançou
E pro inferno ele foi pela first time
Violence and rape of the body
'' You are going to see, you are going to hit you! ''

After entering no traffic due to Pablo's influence, he resolves to fazer um roubo, convinced by more companies. Na prisoner, he meets two inmates in subhuman conditions as grotesque realities, suffering from "violence and rape of their copo".

Ao compare passagem pela prisão to a descida aos infernos, or narrator (ou troubadour) shows or definitive character of the experience, which increases the ood of João and or seu desejo de vingança.

Love as an attempt at salvation

Agora Santo Cristo was a bandit
Feared and feared in the Federal District
Não tinha nenhum medo de polcia
Captain ou trafficker, playboy ou general
Foi when he met uma menina
And of all his sins, he repented
Maria Lúcia was a pretty menina
E o coração del pra ela o Santo Cristo prometeu

Once again in freedom, or protagonist, hardened temporary hair in prison, he becomes a true criminal. As the verse "Agora Santo Cristo was a bandit", we might inevitably raise a religious figure, raising ourselves to question whether or not Jesus himself had been corrupted in the Brazilian prison system.

This path, apparently half turned, and suddenly interrupted by Maria Lúcia's chegada. Além do nome Maria and her Christian symbolism, the feminine figure emerges as the salvation of João, fazendo as that he repents two serious sins.

He said he wanted to get married
The carpenter turned to be
Maria Lúcia will always love you
E um filho com você eu quero ter

He decides to change his life for love. In order to marry as a loved one and establish a family, he returns to work as a carpenter (returns to the side of the bem, gives light).

O tempo passes
E um dia vem na porta um senhor de alta classe
Com dinheiro na mão
On the face of an unseemly proposition
I say you are waiting for a reply, a reply from João
'' No boto bomb in the wage bank
Nem in school of criança
Isso eu não faço não
In general protection of dez stars
What is behind the table like cu na mão
E é melhor o senhor sair da minha casa
And never jump with a peixes of ascending scorpio ''

A tentação chega, in the form of a rich homemaker who intends to lure him into crime. On purpose it seems to be to forge attacks in public places to blame the militants of the Brazilian school. João destrates and refuses the offer, showing that the bandits themselves can uphold ethical principles.

But before sair com ódio no olhar
Or velho disse:
You lose your life, meu irmão!
You lose your life, meu irmão!
You lose your life, meu irmão!
Those words are going to enter not heart
Eu vou sofrer as consequences as um cão

Not so, or homem, also "like no olhar", or ameaça, throwing a specie of curse. João confirms that he knows that he will save the consequences, announcing his own conviction.

I don't know what or Holy Christ was certain
His future was uncertain
I have not been working
It is soaked and does not give me bebedeira
I find out that you have another working in your place

Falou com Pablo who wanted a partner
That also tinha dinheiro and wanted to arm
Pablo trazia or contraband from Bolívia
E Santo Cristo resold in Planaltina

From this episode on, he loses the redeas of his life. As "his future was uncertain", he was not going to work, he was imbibed and replaced. Assim, just a little slide to leave or walk back to crime.

Or the smuggling of arms with Pablo, who attacked João two arms of Maria Lúcia and gave her attempt to live seconds to read two Homens and Deus.

Or rival Jeremias and or public duel

But it happens that one of Jeremias
Rendezvous smuggler appeared on the
Ficou knowing two plans of Santo Cristo
And I decided what to do with João to finish

Mas Pablo trouxe uma Winchester 22
And Holy Christ, he knew how to pull
And he decided to use a weapon only
Let Jeremias come to brig

Jeremias maconheiro sem vergonha
He organized Rockonha and everyone danced
Devirginava innocent mocinhas
And he said he was a believer, but he didn't know how to pray
E Santo Cristo is very close to home
E a saudade começou a apertar

Nesta passagem arises Jeremias, or rival bandit who will lead Santo Cristo à morte. He is presented or his character is doubtful, abusive as women, hypocritical and false religious. João, on the other hand, hardly felt lacking in life that he left behind.

Eu vou embora me, eu vou see Maria Lúcia
Já is in the tempo of people getting married
Chegando at home in the chorou
E pro inferno ele foi pela second time
With Maria Lúcia Jeremias got married
E um filho nela ele fez

Holy Christ was sodium inside
E então o Jeremias for a duel ele chamou
Amanhã for two hours in Ceilândia
In front of lot fourteen and for what you are
And you can escort your weapons
That I ended up just like you, you swine traitor
I also kill Maria Lúcia
Aquela menina boçal pra quem jurei o meu amor

When he returns, he discovers that his beloved has married Jeremias and was pregnant with him. Like the prisoner, this point of the João phase is described as a descendant of Inferno. Embora she chores, in notorious distress, and mastered her ration, which was gradually increasing. e seems to be exploding at the moment.

Nessa disposition destrutiva, he insults Maria Lúcia and Jeremias, bringing to life two dois and challenging or inimigo for a duel até à morte.

E Santo Cristo did not know what to do
When I saw or reported on television
What news of the duel on TV
Saying by time, or local by reason

No Saturday, then two hours
All or little delay
For us to assist
Um homem that atirava pelas coasts
E acertou or Holy Christ
E começou a sorrir

Or duel virou news, becoming entertainment for or povo. Diante of all, João is attracted by Jeremias, who does not respect the rules of a duel and reaches or rival for the coasts, of sorriso us lips.

Death of Santo Cristo and the crucifixion of Jesus

Feeling or bleeding from my throat
João olhou pras bandeirinhas
I could applaud
E he olhou pro sorveteiro
E pras cameras e a people da Tv filmava tudo ali

And he knew when he was a child
E of you or that I will live até ali
And he decided to enter from time to time naquela dance
Be a Via-Crucis virou circus, you are here

Brought by Jeremias, who could be Judas, or the death of João são public, viram show to quem assiste em volta. Nesse sense, there is an approximation between the dinner described by Renato Russo and the crucifixion of Jesus.

Bleeding, he thought of his childhood and it was not a difficult course, in all the ration that he had accumulated for two years and decided to revive.

The last verse of the stanza confirms the relationship between the death of the protagonist and a biblical passage. "Via-Crucis" is the path that Jesus faces, carrying him across the coasts, in the direction of his death. Ha that he was there, dying before everyone, ha that his crucifixion "virou circus", he resolved to agitate too.

In nisso o sol cegou seus olhos
E então Maria Lúcia ele reconheceu
Ela Trazia to Winchester 22
A weapon that seu cousin Pablo lhe deu

Jeremias, eu sou homem
Coisa que você não é
I did not shoot for the coasts, I did not
Olha prá cá filho-da-puta sem vergonha
Dá uma olhada no meu sangue
E see me feel or lose you

While safe at the weapon that Maria is holding, João turns to the traitor, regretting his covardia to hit the coasts.

João is newly compared to Jesus during his fala of him: “da uma olhada no meu sangue” would be to his version of him he gives the famous phrase “bebei: este é o meu sangue”. However, here João will not transform or sangue into wine to give something to drink, as soon as he shows his sauce, his imminent death.

Assim, or verse "See you feel or forgive you" assume um tom irônico. Contrary to Jesus, João does not give another face, does not lose. Contrary hair, se vinga, pay na same moeda.

E Santo Cristo com a Winchester 22
She deu five shots no treacherous bandit
Maria Lúcia regrets depois
And she morreu together with João, seu protetor

Or discarded of the tragic confrontation, like three mortos na rua, before all the curious olhares. Na hora derradeira, Maria demonstrates her love for João, sleeping next to him.

Sanctification of João Santo Cristo hair povo

Or povo declared that João de Santo Cristo
He was holy because he knew how to die
The upper bourgeoisie of the city does not prove its history
That eles viram da Tv

Or at the time of João at the time of his death it impresses those who attend. For o povo, he "was holy because he knew how to die", because he left to life fighting até or final, with honor, despite his many faults.

A high bourgeoisie, who did not know the reality of misery and unruly, incredulous, could not understand or why João was a kind of hero or saint for those people.

Conclusion

And João didn't get what he wanted
When he saw Brasília as diabo ter
He wanted to be falar as president
To help all those people who only face
Sofrer

At the last stanza I saw him reveal the true intentions of the protagonist, his illusions of social change that were totally frustrated. When he refers that João "saw Brasília as Diabo ter", he appoints the capital as the place where he is unhappy. However he wanted to help or help, he was totally corrupted in the city of crime and politics.

Meaning / interpretation of music

We can say that João Santo Cristo is a Brazilian anti-hero, from the Northeast, of humble origins, who leaves his land and part for Brasília in search of a better life. Chegando à cidade, he was corrupted in few years: traffic, roubos. He is imprisoned and becomes a great bandit.

Divided between his life as a bandit and the love he felt for Maria, he ends up losing his lover to his rival. When he was shot on the shores he did not duel with Jeremias, he was compared to Jesus, attracted and crucified.

João, not therefore, do not implore Deus for forgiveness for him or her. Contrary hair, he justiça pelas own mine. For this reason, he turns a kind of saint to or because he is dressed in his soup and also in his raiva, in his headquarters in Vingança.

Despite his behavior, of all the escorts that he fez and condemned, as well as Jesus, João wanted to liberate and help him or her. Embora Brasília is the world of crime or tenham "engulfed", or his true desire was for social transformation.

Faroeste Caboclo: 2013 film

In 2013, René Sampaio directed the Brazilian film "Faroeste Caboclo", inspired by the music of Legião Urbana. The film portrays the adventures and misadventures of João Santo Cristo (Fabrício Boliveira) and his love triangle with Maria Lúcia (Ísis Valverde) and Jeremias (Felipe Abib).

The film was received by criticism and a succession of bilheterias.

Renato Russo, author of "Faroeste Caboclo"

Renato Russo, leader, vocalist and composer of the band Legião Urbana, born on March 20, 1960 and born on October 11, 1996. Despite his short time in life, Russo is considered one of the two greatest composers and singers of Brazilian rock, leaving a musical legacy with many successes.

Among them is "Faroeste Caboclo", which Russo compared to "Hurricane" by Bob Dylan, a song that narrates the misadventures of a homem condemned for a crime that he did not commit. When asked about his creative process, or author, he said that he wrote the letter inside my impulse, wanting to give voice to the story of a bandit, a "rebel sem causa", in the style of James Dean.

Cool Culture no Spotify

Conheça also

• Music Perfeição de Legião Urbana
• Tempo Perdido Music by Legião Urbana
• Music Que País É Este, by Legião Urbana
• To be or not to be, you are asking