António Zambujo via Matrix

António Zambujo

THE INTEGRATED GLOBAL
CREATIVE ECONOMY

promulgated by
The Brazilian Ministry of Culture

fomented by
The Bahian Secretary of Culture

fomented by
The Palmares Foundation
for the promotion of Afro-Brazilian Culture

fomented by
The National Foundation of Indigenous Peoples

I CURATE/pathways out

Network Node

Name: António Zambujo
City/Place: Lisbon
Country: Portugal
Hometown: Beja, Portugal

CURATION

from this node by: Matrix

Life & Work

Bio: There is right side and there is a flip side. Heads and tails. The Yin and the Yang. Then, happily for all of us, there are those who, through talent and conviction, merit and hard work, succeed in showing us that the world is not all black and white but is, in fact, many-coloured, multiply shaded and diversely hued and that bridges and syntheses are both possible and desirable. António Zambujo has earned a special place amongst this group of architects, always refusing – by dint of instinct, belief and artistic necessity – to remain confined to a single style, a school, a genre. At his own pace, he has crafted a sweeping heritage that is all his own; one that, like Do Avesso, reaffirms in full, works in open space, without narrow compartments, and with total, natural communication between all corners of the house. Just note, for example, the new songs that have led the singer to bring in an orchestra, the Lisbon Sinfonietta, and those others where he is accompanied by a single instrument, be it the piano or the acoustic guitar. One of the healthily distinctive features of this path, which is only superficially paradoxical, is thus revealed – the more he diversifies his targets of interest, the more he erases the boundaries of stereotypes and of formats, the more António Zambujo establishes his musical personality, which is so much more than just his voice, itself unmistakeable.

To see this, just consider some of the details of the record that once again brings us directly into the orbit of António Zambujo. Let's begin with the choice of repertoire, a sure indicator of the transversality of interests and motivations: if the singer brings his composer “side” to the fore on three of the tracks, one feels like saying that the companion songwriters that he called in are, as they might say across the water, a “pure luxury”. In alphabetical order and just from Portugal: Aldina Duarte, João Monge, Jorge Benvinda, Luísa Sobral, Márcia, Mário Laginha, Miguel Araújo, Paulo Abreu Lima and Pedro Silva Martins. At the very least, this looks like a list of nominees for a kind of “Portuguese national team”. Some are working with António Zambujo for the first time whilst others are riding long-term collaborations and partnerships. Some of these figures should, without exaggeration, be considered seminal shapers of various “regions” of the music being made in Portugal. It is certainly worth thinking about how they have come together, without being forced or hurried to do so. And there is more: the singer’s passion for Brazil – also evident in a record entirely dedicated to Chico Barque, Até Pensei Que Fosse Minha (I Even Thought It Was Mine) – is quite clear on three fronts, each of which involves different generations and approaches: Rodrigo Maranhão, who is back again, and the duos Arnaldo Antunes/Cézar Mendes and Fernando Brant/Milton Nascimento. This is by no means the only “classic” presence, as a new lease of life has been given to a timeless near century-old track from José Maria Lacalle, (a Spaniard from Cadiz, who later settled in the United States): Amapola. The song, here sounding completely different from the instrumental version immortalised in the Ennio Morricone soundtrack to the film Once Upon A Time In America, was first released in 1920. Lastly, there is one more reunion, in the form of a tune written by the Uruguayan Jorge Drexler and the first song in Spanish to earn a Hollywood Oscar. With his usual “generosity”, which touches all 14 of the songs on the album, António Zambujo has wrought a mosaic in which the surprises and “acknowledgements” unfold smoothly into a construction of the highest harmony.

Another “external” indication that he has sought out the new (sustained, if you wish to use a word in vogue) is his choice of producers and musicians. In the first case, there is a troika that dispenses with austerities but that never derails into excess: Nuno Rafael, Filipe Melo and João Moreira, all of whom have already left their “fingerprints”. It could be a coincidence, but is likely not, that the singer has brought each of these into a “section” of instruments. The first is also particularly noticeable in the guitars. Or in the strings, if you prefer. The second excels as a pianist, with the instrument embedding itself in the percussion or, more strictly speaking, the percussive strings. The third dazzles as a trumpet player: that is, he is of the wind. As if this total “representativity” were not enough, António Zambujo has also taken on another challenge, by involving the Lisbon Sinfonietta, conducted by Vasco Pearce de Azevedo. With all these contributions, plus those of such musicians as Bernardo Couto, Ricardo Cruz, Emilie Flop, José Miguel Conde and Ana Cláudia Serrão, and the distinctive sounds of the Hammond organ, the clavinet, the EBow, the lap steel, the marimba, the clarinets and the violoncello, in addition to the piano, guitars and percussion, the whole album is fine-tuned to avoid overload, superfluity, any hint of exhibitionism: what is important, essential, continues to be driven by the melodies, the words, the voice, the songs.

There is yet one further reason for us to be impressed and fascinated by this pilgrimage made by António Zambujo, who has never been out of sight or out of mind for very long. We can applaud him at all sorts of concerts, whether his own, those he does for charity (he will be playing at one of these at the Casa da Música, in Oporto, before the end of November), those he shares (on 15 December next he will in Estarreja, with Rancho de Cantadores da Aldeia Nova de São Bento), those with or without orchestral accompaniment (on 23 February 2019, he returns to Coliseu do Porto, on 2 March he moves on to Coliseu dos Recreios, in Lisbon, and on 24 May he will be at Convento de São Francisco, in Coimbra) or at one of his myriad performances abroad (in February of next year, he will also be appearing in Paris and Luxembourg). Two documents make his liking for live performance quite clear: Lisbon 22:38 – Live at the Coliseu, from 2013, and 28 Nights Live at the Coliseus, from this year, which spotlights his “partnership” with Miguel Araújo and resoundingly testifies to one of the most impressive “seasons” for Portuguese musicians performing at major venues (a record, it would seem), with zero signs of ennui or lack of appetite on the part of audience. Quite the opposite, in fact. No less important or significant is António Zambujo’s willingness to lend a hand – or a voice, to be more precise – to those who request it. It would be overly punctilious to reproduce the full honour roll of his participations on other artists’ albums. Half a dozen examples are more than enough to evince his interest in such adventures: Carlão and Jorge Fernando, Dengaz and Júlio Pereira, Samuel Úria and Luísa Sobral. What is quite clear, in this regard, is the ease and fluidity with which António Zambujo ignores boundaries and removes any presumptive obstacles. This makes him of inestimable worth in all the projects to which he sets his hand.

The rest is what we already know and what this unique path has allowed us to determine: that António Zambujo was born in Beja, in Portugal’s Alentejo region, on 19 September 1975. That he had an auspicious and grounded musical childhood – learning the clarinet from the age of eight – and an adolescence much focused on what was to become his professional craft. That he ended up moving to Lisbon, where he split his time between a daily dose of fado and laying siege to musicals, immediately making the mark that would lead him to the place, as difficult as it is uninteresting to actually “locate”, in which he finds himself in today. His first album was launched in 2002 and opened the way for an impressive run of awards and other distinctions, most notably the Order of Prince Henry, with which he was invested by the President of the Republic in 2015. There is plenty of evidence for his natural, and non-strategic, inclination to avoid choosing a “single way” (or a fast one) in his musical work. While, on the one hand, he has recorded with a group (Angelite) of Bulgarian Voices, he has never concealed his passion for Brazilian music. His voice has prompted Caetano Veloso to raptures: “I want to hear more, more times, deeper (...) It gives me goose bumps and makes me cry”. With the international release of his albums, he has begun scaling the rich and infinite heights of world music, a melting pot in which the right to difference is all. However, he never really veers very far from planet Portugal, where – as we have seen – he neither establishes nor practises academic distinctions of genre. Ever more cherished by his audiences and increasingly acclaimed by critics, not rushingly so but at a pace with which the singer himself is comfortable, he takes to the stage for concerts and festivals in Portugal and elsewhere, particularly in Brazil but also in such unlikely spots as Denmark, Norway, Azerbaijan, Israel and Bulgaria. This internationalisation forms the backdrop for the further enrichment of António Zambujo’s “menu” – as plainly shown by the nomination of Até Pensei Que Fosse Minha at the 2017 Latin Grammies, for Best Album... in the Brazilian Popular music category.

Another chapter has now been added to António Zambujo’s multifaceted, stimulating songbook, so tranquil in form yet so restless in content. It argues convincingly that it is not necessary to tear down in order to innovate, following to the letter the urgings of a singer and songwriter who has grown in stature with every single step, perhaps because he has not let himself be tied too much to the obvious but limiting roots of his talent and will. Rather, he has always sought to bear the juiciest of fruits but with an unexpected tartness. This is António Zambujo’s eighth studio album and, given that the number eight is lucky for the Chinese, it is quite clear, in this case, that this “great luck” is far more global, as it touches all of us. But: in an age in which we are learning to value and defend our rights, we have another objective before us – to put our foot down about our right to be (Do) Avesso [(Of the) Flip Side].

João Gobern
October 2018

Contact Information

Management/Booking: Booking:
+351 234 425 610
[email protected]
https://www.sonsemtransito.com

Publisher:
+351 217 710 410
[email protected]
http://www.universalmusic.pt

Media | Markets

▶ Twitter: zambujoantonio
▶ Instagram: antonio.zambujo
▶ Website: http://www.antoniozambujo.com
▶ YouTube Channel: http://www.youtube.com/channel/UCPh50PP9dqy8iCpOuYsQgKQ
▶ YouTube Music: http://music.youtube.com/channel/UCPh50PP9dqy8iCpOuYsQgKQ
▶ Spotify: http://open.spotify.com/album/1m1Yh4X1bNG8ce87J5T4ZL
▶ Spotify 2: http://open.spotify.com/album/0z6QFDpvR9qAaQwSpszwNL
▶ Spotify 3: http://open.spotify.com/album/4b4DDB5JBlZCaapvL08dlv
▶ Spotify 4: http://open.spotify.com/album/1oVQvRhkQMa35xjfrjQYd8
▶ Spotify 5: http://open.spotify.com/album/4fFYeq5JxRv3JFJAtfQDSR
▶ Spotify 6: http://open.spotify.com/album/4fFmMHQN0ywBxEQxrpzyV7

Clips (more may be added)

Roberta Sá, António Zambujo e Yamandu Costa | "Eu Já Não Sei"
By António Zambujo

926 views
António Zambujo - "Flagrante"
By António Zambujo

410 views

António Zambujo Curated
pathways in

What's Been Happening?

A video was posted re António Zambujo:

Roberta Sá, António Zambujo e Yamandu Costa | "Eu Já Não Sei"
Lançado em 2009, o DVD Pra Se Ter Alegria contou com participações muito especiais. Neste vídeo, Roberta Sá, António Zambujo, Yamandú Costa e Ricardo Cruz ...
- December 15, 2019
A video was posted re António Zambujo:

António Zambujo - "Flagrante"
"Flagrante" de António Zambujo | álbum "Quinto" (C) 2012 Universal Music Portugal, S.A.
- December 15, 2019
A category was added to António Zambujo:

Cante Alentejano
- December 15, 2019
A category was added to António Zambujo:

Fado
- December 15, 2019
A category was added to António Zambujo:

Portugal
- December 15, 2019
A category was added to António Zambujo:

Lisbon
- December 15, 2019
A category was added to António Zambujo:

Singer
- December 15, 2019
António Zambujo is matrixed!
- December 15, 2019

ENGLISH (pra Portuguese →)

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.

WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

Nowhere else but here. Brazil itself is a matrix.

✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow

PATHWAYS
from Brazil, with love

THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil

The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington

RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

PORTUGUÊS (to English →)

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.

POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow

CAMINHOS
do Brasil, com amor

A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington

RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.