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structure of this corporation called USA. It's not that it's derogatory against the world. Actually, it's the contrary, when these cultures are seen as folklore and not respected for what they are, other voices, other ideas, and other points of view. This is why Evita becomes folklore, becomes a Broadway hit, and became Madonna. The idea became like another item to sell, another product to sell through the big mass communication media that exists in the United States.

Audience: Is Evita different in the minds and the hearts of Argentineans than in the mind and hearts of Americans? Is it more commercial here? Is it not commercial in Argentina?

JD: No, no. First of all, I think that the play Evita, that premiered in London, was not allowed in Argentina. It was shown in the United States where it was a big hit in Broadway. Was not done in Argentina at the time, but much later. An Argentinean actress and singer did the play, Evita, and I don't know if it was successful or not. [[strikethrough]] This, I don't know. [[/strikethrough]] But the image of Evita in Argentina is completely different than the image of Evita here in the United States.

Moderator: I think that is what Jaimie is saying is that it's not an image. They are generations that, say, young people today have an Evita in their head, which our generations didn't have. So it keeps shifting. So there is not one Evita; they are different persons. But this is what is important. And it's not only a different Evita according to generations, it's a different Evita, depends where you come from, which social class you come from, what area of the country you come from. So Evita is like a metaphor for what Argentina is historically, in that sense. The real Evita, we don't know exactly, because now it is history. So what is the real Evita? In that sense,

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