Read Part 3 of the Brazil series on Truth and Rocket Science. It's pretty brilliant and enlightening stuff written by John Guidry.

Brazil is a country of inspired appropriation.  Its peoples,
cultures, sounds, and visions grind against each other.  They rise up
and smash together like tectonic plates.  In the collision of Brazil
and Brasília, the city of candangos gave the country Renato Russo.

No “torso of steel,” no “[w]inged elbows and eyeholes,” but like
Zweig and Plath a literary mind and poet, Russo’s voice became his
generation’s.  In his epic song, “Faroeste Caboclo,” Russo
tells the story of a poor kid’s migration to Brasília across 159 lines
of free verse, punk sensibilities, and an affecting melody that calls
to mind the traditional country music of Brazil’s Northeast.  Faroeste is what they call a “Western movie” in Brazil, and caboclo refers to the Brazilian mestiço everyman, a mixture of races and cultures, poor, seeking his or her fortune in some faraway place.  Faroeste Caboclo is Walt Whitman, rogue-Gary Cooper and Joe Strummer together in Niemeyer’s white palace.