confidence and exuberance of one who is comfortable in his own skin", particularly in its exploration of Afro-Brazilian perspectives. "Crioula" () portrays a black street-market worker who transcends her social status when she performs as a Carnival Queen during Brazilian Carnivals; she is described as "a child of African nobles / who by geographic mistake / was born in Brazil on carnival day." Its final verse quotes text from the back cover of Gil's 1968 self-titled album praising black female beauty: "And as the poet Gil once said / black is the sum of all the colors / you black woman are colorful by nature." Jorge Ben is strongly informed by African-American soul music's "ethos of racial pride, self-determination, and collective struggle", according to Brazilian culture scholar Christopher Dunn, who cited "Take It Easy My Brother Charles" as a prime example. Ben offers partly English-language words of caution to his "brother of color" in the song, which Caz said expresses a contemporary ethos in an unconventional manner. According to one translation of its Portuguese-language verse, Ben sings: The character of "Charles" is revisited on "Charles Anjo 45", one of several songs on the album that make allusions to the favelas of Brazil's poor non-white population. In the song, he is depicted as an underworld criminal figure from a Rio favela ("Robin Hood of the ghetto"). The narrative follows his melancholic departure for prison and his celebrated return to the neighborhood. Packaging The album cover was designed by Brazilian artist Guido Alberi. It is a cartoon illustration of Ben surrounded by a psychedelic collage of tropical plants, samba musicians, superhuman women, and the flag of Brazil. Ben is pictured with broken manacles around his wrists, a toucan resting on his bare shoulder, and an acoustic guitar in hand. The guitar is decorated with the logo of Clube de Regatas do Flamengo, Ben's favorite football team. Caz has described Alberi's artwork as "an iconic psychedelic Tropicalia-style cover painting", while art designer Pablo Yglesias said it "remains the favorite cover" for many listeners of música popular brasileira (MPB). According to Yglesias, either Ben or Alberi had drawn inspiration from Rio de Janeiro's Neorealist art scene (Neorealismo Carioca), which abandoned the high art values of modernism in favor of a focus on ordinary urban life and experimentation with popular, mass-produced mediums such as newspaper photography, graphic design, and comics. As a "magical realist portrait",