Curation & Recommendations ...of and for musicians, writers, academics, painters, choreographers, filmmakers, theater directors, sound and set designers, chefs...
CURATION
from this page:
by Matrix
Network Node
Name:
Glaucia Nasser
City/Place:
São Paulo & Minas Gerais
Country:
Brazil
Hometown:
Patos de Minas, Mina Gerais
Life & Work
Bio:
Glaucia divide sua vida entre São Paulo, Minas Gerais e viagens pelo Brasil ministrando conferências, atuando em espetáculos, gravando documentários, videoclipes, entre outras atividades artístico-educacionais. Seu lado social também tem grande ressonância na sua personalidade. Fundou com amigos e presidiu a entidade Amparo Maternal Eurípedes Novelino, onde ainda colabora no conselho da instituição. É relações institucionais da Fundação Brasil Meu Amor. Atua em diversos projetos da Fundação no resgate do patrimônio cultural do Brasil e no fomento a novas artes.
A grande força motriz desta mulher é o respeito por todos e o amor incondicional pelo Brasil. A música é seu veículo de expressão, e o empreendedorismo, um talento herdado de gerações é um tributo à ancestralidade. Seu doce olhar para a terra são as fontes de sua poesia na música e de suas atitudes como empresária.
Formada em comércio exterior, atuou em empresas nacionais e internacionais. Sempre dedicada a instituições ligadas ao fomento e profissionalização do comércio e indústria, foi a primeira mulher presidente da Associação Comercial e Industrial de Patos de Minas. Atualmente, também preside o conselho da Terrena, é membro do conselho da Nooa, ambas empresas sediadas em Patos de Minas.
Artista que utiliza de sua arte e irreverência para despertar nos ouvintes o desejo de descobrirem um olhar diferente daquele que normalmente se vê a respeito do Brasil e sua gente. Sua interpretação e presença nos revela a grandiosidade da nossa arte e cultura.
Em 2004 estreia profissionalmente como cantora, lançando diversos álbuns de músicas autorais e releituras. Participou de coletâneas como no “Acústico Brasil” do selo “Putumayo” com a canção “Lábios de Cetim”, escolhida para fazer parte da trilha do filme “The Visitor”, cujo ator principal foi indicado ao Oscar.
Em 2015, lançou o CD “Em Casa” dedicado aos seus conterrâneos e grandes compositores mineiros, com canções ao som da viola, que representam a sua história e origem. Em 2014, grava no Brasil e lança o CD “Talisman” com o percussionista Sammy Figueroa nos Estados Unidos, CD esse recebido com excelentes críticas.
Em 2016, lançou o CD “Vambora” com composições suas com parceiros. Lançou também o CD “Um Lugar”, que contém algumas das canções do espetáculo “Um Reencontro com o Brasil”, um projeto da Fundação Brasil meu Amor, no qual, é solista.
De lá pra cá tem lançado vários CDs e singles do cancioneiro brasileiro como intérprete. O estilo musical de Glaucia Nasser permeia o universo da Música Popular Brasileira e toda a sua poética e ancestralidade como representação potente de arte e cultura. Com um estilo musical genuinamente brasileiro, experimenta toda a diversidade musical desse país de Norte a Sul, redescobrindo nuances de sons e cores, cheiros e aromas dessa arte tão ampla, vibrante e única na sua diversidade.
“Estudei ouvindo Elis, Gal, Bethânia, Clara Nunes e algumas cantoras internacionais como Edith Piaf e Barbra Streisand. O que sempre me chamou atenção foi a forma como elas nos revelam sentimentos no cantar”, explica a artista.
English:
Glaucia divides her life between São Paulo, Minas Gerais, and travels throughout Brazil giving lectures, performing in shows, recording documentaries, music videos, among other artistic and educational activities. Her social side also resonates strongly in her personality. She founded and chaired the Amparo Maternal Eurípedes Novelino organization with friends, where she still collaborates on the board. She is the institutional relations officer of the Brasil Meu Amor Foundation, working on various projects aimed at rescuing Brazil's cultural heritage and promoting new arts.
The driving force behind this woman is her respect for all and her unconditional love for Brazil. Music is her vehicle of expression, and entrepreneurship, a talent inherited from generations, is a tribute to her ancestry. Her tender gaze upon the land is the source of her poetry in music and her actions as a businesswoman.
With a degree in international trade, she worked for both national and international companies. Always dedicated to institutions linked to the promotion and professionalization of trade and industry, she was the first female president of the Commercial and Industrial Association of Patos de Minas. Currently, she also chairs the board of Terrena and is a member of the board of Nooa, both companies based in Patos de Minas.
As an artist, she uses her art and irreverence to awaken in listeners the desire to discover a different view of Brazil and its people. Her interpretation and presence reveal the greatness of our art and culture.
In 2004, she debuted professionally as a singer, releasing several albums of original songs and covers. She participated in compilations such as "Acústico Brasil" by the "Putumayo" label with the song "Lábios de Cetim," chosen to be part of the soundtrack of the film "The Visitor," whose lead actor was Oscar-nominated.
In 2015, she released the album "Em Casa" dedicated to her fellow countrymen and great composers from Minas Gerais, with songs accompanied by the sound of the viola, representing her history and origins. In 2014, she recorded in Brazil and released the album "Talisman" with percussionist Sammy Figueroa in the United States, which received excellent reviews.
In 2016, she released the album "Vambora" with her own compositions with partners. She also released the album "Um Lugar," which contains some of the songs from the show "Um Reencontro com o Brasil," a project of the Brasil Meu Amor Foundation, in which she is a soloist.
Since then, she has released several CDs and singles of Brazilian songs as an interpreter. Glaucia Nasser's musical style permeates the universe of Brazilian Popular Music and all its poetic and ancestral richness as a powerful representation of art and culture. With a genuinely Brazilian musical style, she explores the musical diversity of this country from North to South, rediscovering nuances of sounds and colors, scents and flavors of this art so vast, vibrant, and unique in its diversity.
"I studied listening to Elis, Gal, Bethânia, Clara Nunes, and some international singers like Edith Piaf and Barbra Streisand. What always caught my attention was the way they reveal feelings through singing," explains the artist.
Recommend Glaucia Nasser in order to appear here. Click on the grey crosses visible when logged in. Your photo will appear, with a link back to your page:
Bahia, Brazil, limned in prosody and cadenced song, stoked and steamed and sensual in the broadest sense of the word, bewitching and bewitched, is where the magic (mathematical and otherwise) and enchantment upon which this matrix is based, begins...
A matrix wherein it's not which pill you take, it's what pathways you take, pathways originating in the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian... Matrix Ground Zero the Recôncavo, contouring the Bay of All Saints, Earth's absolute center of gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's inffable Black Rome: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
The Matrix is a small world network in which creators may recommend other creators and be recommended by other creators. And where, like stars coalescing into a galaxy, creators in the Matrix mathematically gravitate to proximity to all other creators in the Matrix, no matter how far apart in location, fame or society. This gravity is called "the small world phenomenon".
While the Matrix's utilization of small world gravity is unprecedented (position everybody in the creative universe within discoverable range of everybody else in the creative universe), small world networks are all around us, even inside us: our brains contain small world networks. Humanity itself is a small world network, wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
Conceived in conversation with Raymundo Sodré (now 75 years old ~ born among the trod-upon folk of the Brazilian hinterlands ~ rocket-like career smashed under Brazil's dictatorship) — during a discourse connecting the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago, to the sidewalks of Harlem to the villages of Ireland to the Roma camps of France and Belgium, to the Vienna of Beethoven to the shtetls of Eastern Europe — and wherein Sodré opined for the ages something now inscribed on the wall of Plato's cave: "Where there's misery, there's music!"
I built the Matrix in the place below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira, with Mateus Aleluia... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter; designed by Walter Mariano of the Federal University of the Recôncavo of Bahia).
Developed here in the Historic Center of Salvador ↓
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).