Brazilian Carnaval in New York City, Saturday, March 3

Sending Love from Brazil

I'm holding up in Brazil for a little while escaping the not-so-blustery New York winter. While it's great to get away from the cold and dark, it's less wonderful to be away from the people I love on Valentines day. 

February 14th is not Valentines Day is Brazil, but I still found a way to add a little Brazilian flavor to my romantic routine.

MOZIK Release Party: Brazilian flavored jazz

MOZIK release party at Drom

Saturday, January 21, 2012

Doors: 9pm, Show: 9:30

Tickets: $10-$15

Event and ticket info

MOZIK is:
Gilson Schachnik / piano,keys
Mauricio Zottarelli / drums, percussion   
Fernando Huergo / bass
Yulia Musayelyan / flute 
Gustavo assis Brasil / guitar 

Bebel's Blooper at the Highline Ballroom

Photo credit: sidewalkshoes

To kick off its 2012 season, SummerStage brought a killer line up to the Highline Ballroom this past Thursday, including nu bossa sweetheart Bebel Gilberto. 

Bebel began her headlining act with a disclaimer that she was nursing a broken pinky toe, so it was no surprise when she kicked of one of her red high heels during "Sun is Shining." The crowd even cheered as the shoe came off Bebel's foot and landed beside her. The second slipper didn't come off as gracefully, however. It flew off the stage and landed in the audience.

Brazilian bum bum at New York City's Annual No Pants Subway Ride

Photograph: Thomas Donley for Time Out New York

 From Time Out New York:

For the eleventh year, thousands of subway riders stripped to their skivvies for Improv Everywhere's annual wintertime prank. Bare-legged participants in three boroughs journeyed to Union Square, all the while acting as normal as possible to bemuse their fellow passengers. For the first time, there was an official after-party, hosted by Winkel & Balktick at the Greenwich Village Country Club. The strictly no-pants event featured a pants check, minigolf, No Pants Dance Squad and underwear-themed decor.

See more photos from the No Pants Subway ride and after party at: http://newyork.timeout.com/things-to-do/own-this-city-blog/2459359/photos-no-pants-subway-ride-2012?cmpid=twit

Brazilian Music Showcase at Le Poisson Rouge January 9

If you are a lover or student of Brazilian Music, this event is your one-stop-shop! 

I've seen drummer, composer Maurício Zottarelli play at a number of venues around New York City, including the critically acclaimed Blue Note jazz club. I'm far less familiar with the other names in line-up but am eager to experience their music for the first time. 

Here's a full description of the event from the organizers:

Beneath and beyond the stylish Bossa Nova, the iconic Tropicalia and the contagious Batucadas that make up the collective wisdom on Brazilian music, there pulsates a vigorous ecosystem of creators, stemming from different regions of the country, drawing from off the beaten track roots and plunging into the universe of awe inspiring masters from past (Jobim, Caymmi, Villa Lobos) and present (Hermeto Paschoal, Guinga, Chico Buarque, Egberto Gismonti) while fully exploring the freedom of digital age. 

The official Brazilian APAP-NYC 2012 showcase is dedicated to this scene. Starting at 10pm on the 9th of January at the Le Poisson Rouge, audiences will be presented to composers such as Pedro Moraes and Mauricio Zottarelli, instrumentalists and arrangers, such as Sergio Krakowski and interpreters such as Mariana Baltar and Paula Santoro. It´s a new scene indeed, in which the familiar seductive beauty and rhythms of Brazil walk hand in hand with explorative musicianship and risk taking. 

One of such musicians, who´s also the curator of the showcase, is 32 year old singer/songwriter/guitarist Pedro Moraes, from Rio de Janeiro – an “Electro-samba adventurer” (NPR.ORG) whose CD Claroescuro was deemed “one of the top 10 world music CDs of 2010” (Boston Globe). Moraes has been touring extensively to the US, Europe and Asia since 2007 and, with his mastery of Brazilian, Latin and self-created rhythms, and deceptively organic melodies which hide “unexpected rip-tides and strong undertows” (Evangeline Kim, writer for NatGEO), has been establishing himself as an ambassador of this generation. 

This is a general admission event. Seating is limited and available on a first come, first seated basis. There is a two item minimum per person at all tables. Standing room is also available. We recommend arriving early.

Artists

Mauricio Zottarelli Quintet Critically acclaimed and award-winning drummer and composer. Brazilian Contemporary Jazz. “Outstanding – Much more than drums, cymbals, and drumsticks. 4 stars.”
(O Estado de São Paulo”, Brazil) 

Paula Santoro Jazzy, passionate and daring, the Minas Gerais born singer has become one of the most acclaimed Brazilian singers of last decade, both in Brazil and in the European jazz scenario 

Pedro Moraes Electro-Samba adventurer (NPR.ORG) 

Mariana Baltar Embraced as one of the leading, most sophisticated names of samba and Brazilian Popular Music, “strolls resourcefulness along the melodic and lyric spring that marks the paths of a new generation of composers.” (Jornal do Brasil)  

Sergio Krakowski w/ Choro Funk 32 year old Sergio Krakowski, one of the best Pandeiro players in the world, with his self-developed real time Pandeiro/laptop interaction software, in the ChoroFunk project.

Explorative Brazilian Music at Le Poisson Rouge

Doors: 9:30 PM, Show: 10:00 PM

Advance tickets: $15 ($20 at the door)

Event and ticket information: http://lepoissonrouge.com/events/view/2919

Diogo Nogueira at S.O.B's January 7

I last wrote about Diogo Nogueira when he performed in New York in July at Lincoln Center's Midsummer Night Swing. Now, the soccer pro turned samba star is back in the Big Apple, this time at S.O.B.'s in Soho. 

So what's new with Diogo since he last graced the New York stage? 

In November, he kicked of the third season of "Samba na Gamboa," his weekly television program dedicated to samba music and samba masters. Diogo further expanded his TV presence with guest performances on two top Brazilian TV shows,  telenovela Fina Estampa and teen series Malhação. For the reality sports show Nas Ondas de Itacaré, Diogo took to the waves of southern Bahia with pro surfers Guilherme Tripa and Pedro Scooby and helped the teams competing in the show compose songs that best represent the spirit of the waves of Itacaré. 

On Saturday, January 7, Diogo Nogueira brings a bit of Brazilian sunshine to New York, heating up the stage at S.O.B's with his award-wining samba/pagode. 

Diogo Nogueira at S.O.B.'s

Saturday, January 7

10pm (9pm doors)

Tickets and event information available online

Read the preview I wrote for this show for Sounds and Colours Magazine. 

Bebel Gilberto Headlines First Show of SummerStage 2012 Season

Photo by: Nilton Silva

New York’s Summer Stage is kicking off its 2012 season with an evening of performances by Nu-bossa bombshell, Bebel Gilberto, Grammy-nominated jazz singer Gregory Porter and other acclaimed artists at Highline Ballroom in New York City on January 5th.

Daughter of Brazilian bossa nova icon, João Gilberto, and singer, Miúcha, Bebel Gilberto gracefully ushers the music of her parent’s generation into the 21st century. Her blend of traditional sounds from Bahia with contemporary pop and electronic beats has become a staple at clubs and lounges around the world, and her love-centric lyrics have won the hearts and minds of international audiences.

A performer since age nine, Bebel is at home on the stage. Her sweet and energetic style is delightful to experience, and even more fun, is watching this star perform with others. During her summer residency at City Winery, Bebel performed each of her shows with a different special guest, including Brazilian rapper, Marcelo D2. This past October at the famed Rock in Rio music festival, Bebel shared the stage (and a kiss) with singer/composer Sandra de Sá.

If a duet with Gregory porter is in store, I’m excited to see it!

Bebel Gilberto, Gregory Porter and More @ Highline Ballroom
Thursday 5th January
Doors: 6pm, Show: 7pm
Tickets: $20

Event and tickets: highlineballroom.com/bio.php?id=2230

This post was written for Sounds and Colours. See the original text here.

Ring in the New Year Rio Style at S.O.B's

Flights to Rio are mostly sold out this season, but don't worry. You can experience the best of Réveillon right here in New York City. Take it from someone who counts herself among the 2 million revelers who crowded onto Copacabana Beach last December 31st. 

At S.O.B.'s this New Year's Eve, ring in the New Year Rio style. And there won't be any sand in your caipirinhas!

Pick from three packages that include varying levels of dinner, drinks and dancing. Live performances by Brasil Live and La Excelencia will keep you on your feet all night long. Then again, you might have to take a break to study the steps of the professional samba dancers with whom you share the dance floor. They'll be more than happy to show you how to shake it. (Many of them are professional samba instructors, too).

This will be a festa to remember, depending, of course, on how much champagne you toast at midnight. 

Tickets available for purchase online.

Criolo Was Here

Criolo performing at Nublu, December 7, 2011

Within hours of stepping off an international flight last week, Brazilian rapper/singer, Criolo, dropped a new music video whose name was trending on Twitter in Brazil in no time. As I write this, he is performing in front of a packed house at one of São Paulo's most acclaimed venues. The show sold out in 30 minutes. And he's booked for three more shows before the year's end. Such is the day-to-day of Brazil's 2011 New Artist of the Year... except when he's performing in New York. 

I found out about Criolo's New York debut five days before the show in a cryptic tweet by the artist. After some searching, I uncovered more details. On the Nublu Jazz Festival flyer, in tiny lettering, was "Criolo," crowded on a page with the names and showtimes of some 100 other artists. I felt like I had just unearthed a treasure. 

At Nublu's unassuming club on Avenue C, Criolo serenaded and agitated a mostly Brazilian crowd already familiar with his music and excited to see a national star perform in such an intimate setting. 

Criolo's music is similar to that of other acclaimed Brazilian rappers in that it mixes many styles of music: axê, reggae, funk, samba, hip hop and more. What sets Criolo apart from contemporaries, like Emicida and Marcelo D2, is his singing voice. Where other rappers need to collaborate with trained singers, Criolo has it covered. He is free to experiment with his own voice instead of depending on the repertoire of another vocal artist. 

Criolo brings an intensity to performing I've never seen before. On stage, he seems to channel all the sadness and suffering many of his lyrics describe. During "Não Existe Amor em SP" (There is no love in São Paulo), he stood still, his head cocked to one side, his eyes focused in the distance. I wanted to know what he was seeing. Criolo was standing on the stage before me, but his spirit was elsewhere, only loosely attached to the man with the microphone. 
Não Existe Amor em SP by criolo_oficial

Other times, Criolo's movements were agitated, his face contorting with thoughts of the often unpleasant reality of life in São Paulo, the muscles in his neck bulging as he belted out the notes. Criolo is a vessel for stories of neglect and injustice he knows intimately from a career as a counselor to kids living in the street. 

Still, he maintains a positive outlook. After the show, I had the chance to chat briefly with him about his New York debut. We had to move away from the stage, so I could better hear his quiet speaking voice. 

He told me that at age 35, this was his first trip outside Brazil, his first invitation to perform in the United States, and that it was all very exciting for him. He'd never foreseen this happening in this life time. It had been a far off dream, if that. He's celebrated so many milestones in the last year- winning three titles at the Video Music Brasil awards, performing in cities across Brazil, and traveling abraod. None of it had sunk in yet.

I almost asked if he needed me to pinch him to convince him it was all really happening. But it is. I overheard talk of invitations to play in London and performances at the Olympics (2012 or 2016, I'm not sure).

I asked Criolo about his album, Nó na Orelha, which he is distributing freely. "So many people helped me to get to this point for free. I couldn't have done it without them. I wanted to give back and share result with as many people as possible," he explained.

Fame can get to one's head, but as long as Criolo continues to make life's harsh realities and his personal hope for a better future the focus of his music, I'm confident he'll remain the grateful, down-to-earth guy I once had the pleasure of meeting. 

In a cover story of the Brazilian magazine, Trip, Criolo is quoted as saying “Legal esse momento que estou vivendo. Mas legal mesmo seria não precisar cantar o que canto. Sentir essa dor no peito." Translation: This moment I'm living is great, but just as great would be to not have to sing what I sing. Feeling this pain in my heart. I think that says it all. 

Brazil's Criolo at Nublu JazzFest, December 7

Leave it to the humble, music visionaries at Nublu to bring together a Brazilian rapper, international DJs, ethnic folk bands, new age rockers and representatives of countless other music genres for a week-long celebration of sound. 

The name Nublu Jazzfest is deceivingly homogeneous. A more accurate name might be Crazy-Awesome-Like-You've-Never-Imagined-Up-Close-Music-Week.

The third annual Nublu Jazzfest begins December 7th and is hosting shows at three locations in the East Village through December 18th. There is something for everyone in this mind-blowing line-up, so don't miss out. 

I am personally pumped to see Criolo, the soul spitting, jungle-beat mixing, sensual, Brazilian singer/rapper kick off the festival this Wednesday at 9pm at Nublu, 62 Avenue C.

Criolo was nominated in five categories of this year's MTV Video Music Brasil awards. He won in three of those categories: Album of the Year, Song of the Year, and New Artist of the Year. 

If you aren't convinced, you should go see Criolo's live at Nublu, download his award-winning album, Nó na Orelha, and give a listen. It's FREE!

Berimbau: The best açaí I've never had

Hash de Bacalhau (front), caipirinha, feijão and arroz (middle), omelet (top).

I'm pretty sure I've found the best açaí in New York City. I'm only pretty sure, because I haven't tried it.

A Berimbau
 Joel "Pica Pau" Zimmer
for Raízes do Brasil 

This past Saturday, my roommate and I enjoyed a boozey Brazilian brunch at Berimbau in the West Village. Named after a stringed percussion instrument you've probably seen and heard in capoeira circles, Berimbau, is a wonderful place to begin, or end, your weekend. I imagine it's a great dinner spot as well.

Berimbau menu has a mix of traditional Brazilian dishes as well as Brazilian inspired American dishes. I have a personal rule of sticking with traditional plates, like feijoada, a stew of black beens and mystery meats which has risen from its peasant origins to become the national dish or moqueca, a seafood stew made with palm oil and coconut milk. On this morning, however, I was craving breakfast, so I selected a scramble of eggs and bacalhau, salted cod fish that is a popular Portuguese import to Brazil. And to drink, a caipirinha, of course! I can never go to a Brazilian joint and not order cachaça, even if it's only a few minutes past noon. My lingering headache from the previous evening's activities quickly subsided after a few sips. Berimbau's caipirinhas are strong and not overly sweet, just the way I like them. 

Note that I haven't yet mentioned açaí, the Amazonian wonder-fruit. Although açaí was the first thing I ordered, well, second after the caipirinha, I was politely denied it. That's right. Our friendly waitress, Marietta, patiently explained that there was no acaí that Saturday. The batch that had been delivered was not fit to be served. Upon hearing this, I was at first disappointed, but after a moment of reflection, I realized this was a good sign. 

You see, there is so much horrible açaí in this country, polluting the supermarket shelves and juice bars menus nation wide. And the worst part is, American consumers don't even know it. They've never tasted the real thing, unadulterated by other fruit flavors and the preservatives often required for this "miracle fruit" to survive its long trip from the Amazon rainforest. Despite not knowing what they are paying for, women's-magazine-reading, weigh-wathcing, Oprah Winfrey and Dr. Oz fans are willing to cough up cash for all sorts of food products and supplements claiming açai as an ingredient. Even when the açai "flavor" comes through, these consumers can't judge it as good or bad. It's just new or different to them, and companies take advantage of their ignorance.

For these reasons, I was highly impressed by Berimbau's honesty and commitment to quality. Bermibau isn't trying to fool anyone or take advantage of the US "miracle fruit" marketing schemes. I will surely return to Berimbau for açaí na tigela com granola, and am confident it will be the most authentic, delicious açaí I will have tasted outside of Brazil. 

In case you find yourself craving açaí before you can get to Berimbau, I leave you with a few tips on finding good acaí in New York City and outside of Brazil.

• NO JUICE. I have never come across acaí juice in Brazil. In Belém, the capitol of Pará state and one of the largest exporter's of açaí, the amazonian berries are mashed, and the liquid pulp is served a bowl. Paranaenses will add manioc flour or toasted tapioca for crunch. When I lived in Belém, I ate açaí líquido every Sunday with my lunch of fried fish. In southern Brazil, acaí pulp is blended with ice and guaraná syrup to make thick smoothies or served in a bowl and topped with granola, bananas and strawberries for a healthy, post-gym power snack. 

• NO POWDER. Before you order that smoothie from your local juice bar, ask about the acaí. If the answer is powder, just say no! Do you drink powdered milk? Yeah, I didn't think so. (Please ignore the fact that powered milk is widely consumed in Brazil). I also steer clear of flavored syrups as well. If the answer is frozen concentrate, however, you may proceed. It's the closest thing you'll get to the real deal.

• EVEN IF IT'S TASTEY, IT MIGHT NOT TASTE LIKE AÇAI. I bet this cereal is actually quite good, but there's no way in green hell that it tastes like açaí. This product would never sell in Brazil, and the flavor combination would be considered quite strange. Though they can be bought in grocery stores everywhere, apples grow only in the southern most part of Brazil. In northern Brazil, a bowl of açaí a day keeps the doctor away. 

Diogo Nogueira and the Phenomenon of Relative Stardom

I had the ideal concert experience when I saw Diogo Nogueira perform live at Lincoln Center as part of its MidsummerNight Swing series. I stood front row, center, got an autographed CD and took a picture with Diogo! If you are wondering who Diogo Nogueira is, you are part of the reason why I was able to get so close. 


Over the last four years Diogo Nogueira has climbed the ranks of the Brazilian Samaba scene to become a national icon. Admittedly, he had an advantage as the son of Samba artist João Nogeuria, but performing was not part of his original career path. He trained as a professional soccer player, playing two seasons for Cruzeiro, before an knee injury forced him to consider a career change. There is no doubt that his early exposure to music and performing through his father was invaluable to his recent success, but Diogo has been recognized for his talent and accomplishments independent of his dad. 

Diogo Nogueira at Lincoln Center
July, 1 2011

Diogo released his first album, Cidade de Samba, in 2007. In 2008, he composed a Samba enredo for Portela's Carnaval procession that placed the school in the top 5 for the first time in 10 years. His second album, Tô Fazendo a Minha Parte, was awarded a Latin Grammy in 2010 in the category of Best Samba/Pagode. Today, in addition to composing music and touring, Diogo hosts a weekly TV show, Samba na Gamboa, where he interviews and performs with some of the most famous living Samba composers in Brazil. 

If this hasn't convinced you of Diogo's celebrity status, just take my word for it. Diogo Nogeuira is kind of a big deal... in Brazil. Understandably, he hasn't achieved the same widespread recognition in the States as he has in his country of origin. One reason for this could be that, unlike other Latin artists, none of his songs are in English. And there just aren't that enough Portuguese speaking New Yorkers to fill Madison Square Garden's 15,000 seats when Diogo comes to town. The exception is Ivete Sangalo, who last September filled MSG with Brazilians who came to New York from all over the North East and even from Brazil to see her show and attend the Brazilian Day Festival that same weekend. I would love to see Diogo gather a North American following that more closely matches his the size of his Brazilian fan-base, but I admit I'm reluctant to give up my affordable, front row tickets and photo opps with the artist. 



Call me selfish. But you have to admit it's a great feeling to see one of your favorite artists perform 10 feet away from you and to be able to tell him in person after the show that you love his music and that studying his lyrics helped you learn Portuguese. Sitting in the nose bleed section of a stadium and watching the performance on the JumboTron just doesn't compare. 


Lucky for us, two more big name performers are coming to New York this summer. On July 24th, hip hop artist Marcelo D2 and rocker Pitty are playing a FREE show on Central Park's SummerStage. The show will kick off Brasil SummerFest, a full week of Brazilian musical performances all around Manhattan. Even if you aren't so familiar with the music, I suggest you don't pass up this opportunity. Next time these artists come to New York, they could be playing at the Garden.  

Culture Clash: TeatroStageFest 2011 conference

(Left to Right) Danilo Santos de Miranda, Larry Rohter, Margaret Ayers

Although Brazil was not cast for any performance role in the production of the 5th annual TeatroStageFest, it was chosen as the star of TSF's conference which took place at the Americas Society on June 13th.

TeatroStageFest, hosted by The Latino International Theater Festival of New York, is a two-week event of non-stop performances from New York, Latin America, the Caribbean, and Spain. I haven't yet been to a TSF performance, but I will definitely try to make it to one after attending last night's conference. (Shows are running through June 18th).

According to TSF's program, the objective of yesterday evening's conference was to discuss:
"the need to develop new arts funding mechanisms... that will further international exchange amongst artists and audiences of all backgrounds. It will also provide an introduction to the unique and successful practices of the Social Service of Commerce (SESC) model which incentives and democratizes access to a thriving arts and culture movement that is enjoyed by millions of Brazilians annually."

I would not have know about TeatroStageFest's conference, let alone the two-week long festival, had it not been for a Tweet by The Brazil Foundation. They were likely interested in the event because one of the two panelists was Danilo Santos de Miranda, Regional Director of SESC-São Paulo. The other panelist was Margaret Ayers, President of the Robert Sterling Clark Foundation, which is providing a grant to the International Cultural Engagement Partnership between SESC-SP and the Latino International Theater Festival of New York. Both of the panelists' names were new to me, but I recognized the moderator, Larry Rohter, culture reporter for the New York Times and author of Brazil on the Rise. For me, Rohter was the main attraction, but soon into the conference, I new I'd take away from the event much more than his autograph in my copy of his book.

As soon as I entered the room in which the conference was to take place, I guessed I was the youngest member of the audience. The event was public, but I had a hunch I was the only person in attendance who was not associated with TSF, SESC, or a diplomatic mission from Latin America or Spain. I was hopeful that my interest in Brazil and in the subject matter at hand would help me to blend into the crowd. 

A woman in her sixties sat next to me in the second row. After she commented on the good looks of a Brazilian Consulate official who was introduced during the opening remarks, I thought we would become fast friends. I smiled back at her and nodded in genuine agreement. But after the first panelist finished her overview of the current state of International Cultural Exchanges coming out of the United States, I quickly learned that despite our shared appreciation for attractive, middle-aged diplomats, my seat-mate and I came from different cultures. I had been live-tweeting throughout Margaret Ayers' presentation. Truthfully, I hadn't thought much about the implications of my actions and was just doing what I thought any one of my Twitter role models do on a daily basis when they live-tweet a Bernanke, Obama, or Netanyahu address. Apparently, I had deeply offended my silver-haired friend.

"Were you texting during the whole thing?" she asked me disdainfully.

"Actually, I was tweeting," I replied kindly. "It's great publicity for the organizations involved in this event."

"Well it's very rude and distracting," she scolded.

I apologized, explaining that my intentions were not to distract her or anyone else and added in vain, "It's a type of reporting."

I felt horrible and desperately wanted to reverse the bad impression I had just made on this woman, so I tried to redeem myself with small talk while the organizers were setting up for the next panelist.

"Do you work with one of the organizations involved in the partnership?" I asked innocently. When she said she didn't, I quickly responded that I also wasn't professionally involved but was simply interested in the Brazil-US exchange. She then immediately justified her attendance by mentioning her 14 years working in International Cultural Exchange and added, "But I can't imagine how you could have been paying attention to anything the panelist said, anyhow." She was referring to my "texting." At that point, I gave up.

I realize how the combination of my bowed head and the bright screen of my of iPhone could have been interpreted as disinterest and disrespect, and I didn't want to further irritate my seat-mate. For those reasons I put my phone away for the rest of the discussion. Still, my intentions had been pure. I was doing only what I thought journalists do when they tweet live events. 

Soon, it was Danilo Santos de Miranda's turn to speak. For 27 years, Danilo has overseen the SESC-SP's cultural initiatives that have touched the lives of over 15 million residents of São Paulo State. SESC stands for Servício Social de Comércio, or Social Service of Commerce. To give you a thorough understanding of SESC, I will again quote directly from TeatroStageFest's program.

"Brazil's unique arts funding model was institutionalized in 1946 when a mandatory tax law was passed, which dictated that every company pay 1.5% of its total payroll into the SESC Fund, in order to develop cultural centers across the nation. Today SESC- São Paulo has an annual operation budget of, approximately US$598 million and there are over 500 SESC centers and mobile unites throughout Brazil that provide arts and culture, sports, education, and recreational programming."

I was smitten with Danilo five minutes into his presentation. He could easily be mistaken for Santa Claus. His smile, which peaks through a short white beard, is contagious, and his eyes light up when he speaks about his work. Instead of giving children presents one day a year, Danilo gives the gifts life long learning and development through free or subsidized arts and entertainment, physical activity and other informal education programs. When Danilo described SESC's emphasis on programming for "idosos" or elders, including computer literacy courses and digital media presentations, I thought of the woman sitting next to me. Maybe she would have appreciated my use of New Media had she participated in one of Danilo's workshops. 

After Danilo finished his presentation, Larry Rohter entered center stage as moderater. His provocative questions pointed out key cultural differences between Brazil and the United States. You may have trouble believing the numbers in the TSF's description of SESC above, because it's hard to imagine American firms paying such a significant portion of their profits into any public service program, let a program focused on the Arts. 

Rohter asked Margart Ayers if she thought Brazil's hugely successful public-private partnership in the form of SESC could ever be copied in the United States. Her short answer was NO. Her long answer included mentions of Republican law makers from Wisconsin and the general negative attitudes of certain growing conservative movements towards public programing of any kind. Danilo also pointed out that the Brazilian business sector is able to recognize the connection between cultural programming and a growing a consumer base. Healthier and happier citizens are more likely to already have, if not work towards, the means to buy products and services from the private sector. This holistic and socially-minded perspective is most definitely not yet shared by institutionalized American business interests.

When Mr. Rohter opened up the discussion to questions and comments from the audience, half a dozen hands shot up in the air. The one reaction I remember most vividly came from a cultural minister from Spain. He prefaced his question with a statement to the tune of  "I first just want to say..." and thanked all the Wall Street executives for their self serving financial dealings that have left the global economy reeling. He also instructed everyone in the room to see the documentary, Inside Job, if they hadn't already. Most people in the audience, including myself, broke into applause before the diplomat could continue. He then transitioned to a question for the panelists about the lack of U.S. funding for North American performers to take their art abroad to countries like that form which he came. It was a good question, but his opening remarks that so rawly expressed the sentiments of many foreign governments towards North America are what stayed with me. 

I had gone into the evening with few expectations other than to hear some Portuguese and shake hands with Larry Rohter, a feat which I accomplished during the post panel reception. Soon into the event, however, I was overcome with a profound sense of being in the presence of something much bigger than myself and my obsession with Brazil. The theme of the evening's discussion was cross-cultural arts exchange, yet there were so many other politics being played out at the feet of the featured panelists. Among the thirty or so people in attendance, some of the most contentious themes surfaced and stormed: young vs. old, mobile communication vs. print media, socialism vs. capitalism. And I, unexpectedly and luckily, found myself in the middle of it all.