[9] The day after he released the third single "Cuba", which clip was recorded in the Greater Recife area (more specifically in Ilha de Itamaracá[10]) with a local team,[11] Hooker suggested in a social media post that we would quit the music business due to both the poor immediate commercial performance of the song and the post-pandemic music scene in Brazil, which he saw as dominated by sertanejo.

[1][2][3][4][5][6][7][9][10][11][12][13][14][15] The singer compares Carella's sexual experiences in the city before being arrested and deported back to his country right before its dictatorship began; with his own journey of moving to São Paulo and delighting himself with "the possibilities of desire that it offers" albeit feeling that "the cloud of authoritarianism, fascism and militarism was also approaching".

[3] during the album recordings, Hooker also carried around a copy of Devassos no Paraíso: A Homossexualidade no Brasil da Colônia à Atualidade, by João Silvério Trevisan.

"[13] The opening song (not counting the introduction "Cap 1 A Cidade do Desejo"), "Amante de Aluguel", was released as the first single and speaks about "a prostitute which gets romantically involved with a man full of prejudices and shackles of society.

"[6] The second single, "Larga Esse Boy", features Jáder and received a video inspired by "Telephone” (Lady Gaga feat.

[7] "Nos Braços de um Estranho" features backing vocals by his mother and sister, with whom he briefly lived in Florianópolis during part of the pandemic.