Esparadrapos translates to "adhesive bandages" or "plasters". It's a somewhat uncommon and specific word that paints a vivid, almost gritty picture.
In the context of "Música Urbana 2", the word appears in the line "Nas ruas os mendigos com esparadrapos podres" (In the streets the beggars with rotten bandages). This imagery immediately evokes a sense of urban decay and hardship, making it a memorable and impactful word that captures the song's raw portrayal of city life.
Legião Urbana keep repeating one phrase until it starts to sound like a diagnosis: música urbana, urban music, and by the end of the song it means everything wrong with the city at once. Renato Russo walks past "os mendigos com esparadrapos podres" (beggars with rotten bandages), past motorcycles that gun their engines "às três da manhã" (at three in the morning), then straight into "Os PMs armados e as tropas de choque" (the armed police and riot squads) who "vomitam música urbana" (vomit urban music).
The second half zooms out to a list: uniforms, posters, cinemas, favelas, penthouses, almost everywhere. A child gets born into all of it. The final lines drop the metaphor entirely: "Não há mais mentiras nem verdades aqui, Só há música urbana" (There are no more lies nor truths here, there's only urban music). No conclusion, no comfort, just the refrain closing the loop one more time.
Legião Urbana was a rock band that emerged from Brasília, Brazil, in the early 1980s. The group quickly became a significant voice in Brazilian music, led by its vocalist and songwriter, Renato Russo.
They are remembered for their thoughtful lyrics and powerful rock sound. The band created many songs that became anthems for a generation, like "Eduardo e Mônica," "Faroeste Caboclo," and "Pais e Filhos." Albums such as Dois and As Quatro Estações are key parts of their discography.