Gilberto Gil is many things to many people, which explains why his Nokia Theater audience scanned like a New York City census smeared across a single room: bohemian matrons saddled with large baubles there for the culturally relevant Gil, Brazilian expats there for the patriotic Gil, dog-eared teenagers struggling against heavy lids for the freaky, avant-garde Gil. Unnervingly well-toned men ground against their girlfriends' hips during reggae-lite moments; seniors became dewy-eyed during the samba covers. I observed joy in children and bemusement on the faces of... More >>>