The speaker discusses their past support for the Workers' Party (PT) in Brazil, particularly for Lula, and how they helped with his campaign. However, they express disappointment with the party's actions, particularly in regards to the Rouanet Law, which they believe benefits large corporations and artists, rather than smaller artists and show business in general.
The speaker also talks about the cultural totalitarianism in Brazil, where a small group of powerful people control the cultural industry, and how this leads to a lack of diversity and creativity. They mention how the Rouanet Law allows companies to deduct taxes by sponsoring cultural events, but this leads to a situation where only large and well-known artists are able to get sponsorship, while smaller artists are left out.
The speaker also mentions the bureaucracy and restrictions imposed by institutions such as SESC, which they believe stifle creativity and make it difficult for artists to perform. They express their frustration with the current state of the cultural industry in Brazil and the lack of support for smaller artists.
Overall, the speaker is critical of the PT and the cultural industry in Brazil, which they believe is controlled by a small elite and lacks diversity and creativity.
Here are the key facts extracted from the text:
1. The speaker mentions that they were one of the first artists to support PT (Partido dos Trabalhadores) in 1989.
2. The speaker claims that they were never a leftist, despite being a member of PT.
3. The speaker mentions that they voted for Roberto Freire in the past.
4. The speaker talks about meeting Lula (Luiz Inácio Lula da Silva) and supporting his campaign in 2002.
5. The speaker mentions that they visited Gilberto Gil, the Minister of Culture, to discuss a project.
6. The speaker criticizes the Rouanet Law, which they claim benefits large corporations and well-known artists.
7. The speaker mentions that they had a difficult relationship with the SESC (Serviço Social do Comércio) organization in Rio de Janeiro.
8. The speaker talks about the bureaucratic process of obtaining a license to perform at the SESC.
9. The speaker mentions that they had to abide by a decibel limit of 90 decibels when performing at the SESC.
10. The speaker claims that the SESC's rules and regulations stifled the creativity of artists and made it difficult for them to perform.