Despite the vibrant spectacle of Rio de Janeiro's Carnival, many samba professionals find themselves in precarious financial situations. As noted by journalist Fábio Fabato, the samba schools mix elements from affluent areas and the city's favelas, generating significant revenue every year. However, this bustling industry does not guarantee financial stability for the majority of its workers. Pedro Migão, an economist, points out that only a select few professionals earn good salaries, underscoring the financial struggles faced by the many involved in the samba scene.

The stark reality for many samba performers is that they must seek alternative forms of income during the rest of the year. For instance, well-known figures in the samba community, such as Emerson Dias and Marcos Casagrande, have taken on jobs outside their Carnival roles to support themselves. Dias, a singer with Acadêmicos de Niterói, works in cell tower maintenance, while Casagrande, the master of drums for Unidos da Tijuca, drives a taxi. This pattern highlights the sacrifices made by these artists, who must juggle multiple professions just to sustain their livelihoods.

The narrative is further complicated by the recognition that Carnival's prestige often does not extend financial benefits to those most involved in its execution. With a small number of professionals profiting significantly, the majority look towards traditional employment to ensure their survival. This scenario not only raises concerns about the sustainability of artistic careers within Brazilian Carnival but also calls attention to broader societal issues regarding job security in the arts sector. As such, the Carnival might symbolize glamour to many, but for its performers, it often translates to financial struggle and the need for diverse sources of income.