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  • Brian Cross aka B+

    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: Brian Cross aka B+
  • City/Place: Los Angeles, California
  • Country: United States
  • Hometown: Limerick, Ireland

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: B+ (aka Brian Cross) was born and raised in Limerick, Ireland. He attended the National College of Art and Design in Dublin graduating in 1989 with a degree in painting. In 1990 he came to Los Angeles to study photography at the California Institute of the Arts. While at Cal Arts he began work on a project entitled, Its Not about a Salary: Rap Race and Resistance in Los Angeles, which was subsequently published by Verso Books in 1993. It was nominated as a Rolling Stone Music Book of the Year and made the NME critics best music book of the year list.

    Since the publication of the book B+ has continued to work in the L.A. hiphop community. His first album cover work was for the Freestyle Fellowship (Inner City Griots). Since then he has done an estimated one hundred more for artists from Mos Def, Rza, Cappadonna, Q-Tip, Eazy E, Los Super Seven, Long Beach Dub All-Stars, Ozomatli, Jurrassic 5, Dialated Peoples, DJ Shadow, Company Flow, Blackalicious, Money Mark, David Axelrod, South Central Cartel, Warren G, Yusef Lateef, Madlib, J Dilla, Build an Ark, Cut Chemist, Damian Marley and Yesterday's New Quintet.

    He was the photo-editor of Larry Flint’s ill fated highly influential Rappages from 1993 to 1997.

    He has directed several music videos for DJ Shadow and ones for Nitro Microphone Underground (from Japan) and Control Machete (from Mexico). His latest venture puts old school drummers together with new school DJs and is entitled Keepintime: Talking Drums and Whispering Vinyl. The DVD of the project was released by Mochilla which is Cross’s production company with partner Eric Coleman and was a big success – subsequently the Sundance Channel bought the TV rights to the film and Ninja Tune released it in Europe and Australia.

    The sequel Brasilintime: Batucada com Discos has just recently been finished and has premiered in Sao Paulo Brasil and is currently doing the film festival circuit.

    B+ still lives in LA, answers his own phone, photo edits for Wax Poetics Magazine, still digs like crazy and DJs from time to time and is currently working on a book of photographs.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.mochilla.com/shop
  • ▶ Buy My Merch: http://www.mochilla.com/shop
  • ▶ Twitter: Mochilla
  • ▶ Website: http://www.mochilla.com

Clips (more may be added)

  • 1:39:29
    Brian Cross - B+ and Global Music Culture
    By Brian Cross aka B+
    107 views
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Brian Cross aka B+ Curated
pathways in

  • 3 Album Covers
  • 3 Brazilian Music
  • 3 Essayist
  • 3 Filmmaker
  • 3 Hip-Hop
  • 3 Los Angeles, California
  • 3 Photographer

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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

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.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

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  • Jon Batiste Classical Music
  • Alana Gabriela Educadora, Educator
  • John Schaefer Writer
  • Lenna Bahule São Paulo
  • Richie Stearns Bluegrass
  • Magda Giannikou Singer
  • Tiganá Santana Salvador
  • Ben Street New York City
  • Richard Bona Jazz
  • Mohamed Diab Screenwriter
  • Scott Yanow Liner Notes
  • Tia Fuller Saxophone
  • Angelique Kidjo Multi-Cultural
  • Gilsons Salvador
  • Karim Ziad Paris, France
  • Hanif Abdurraqib Music Critic
  • Sandra de Sá Samba
  • Keshav Batish Composer
  • Barney McAll Jazz
  • Nardis Jazz Club Turkey
  • Rebeca Omordia Piano
  • Hilary Hahn Contemporary Classical Music
  • Richard Bona New York City
  • Robb Royer Pop
  • Roque Ferreira Bahia
  • Towa Tei テイ・トウワ DJ
  • John Francis Flynn Singer-Songwriter
  • Varijashree Venugopal Brazilian Music
  • Paul Cebar Milwaukee
  • Maria de Xindó Cantigas de Lavadeira
  • Barney McAll Composer
  • Casa PretaHub Cachoeira Estúdio de Fotografía, Photography Studio
  • Léo Brasileiro Salvador
  • Lula Moreira Percussion
  • Ron Blake Composer
  • Dan Weiss New York City
  • Pallett Tehran
  • Sombrinha Singer-Songwriter
  • Seu Jorge Samba
  • Tom Wilcox London
  • Jean-Paul Bourelly Record Producer
  • Scotty Barnhart Trumpet
  • Gerald Cleaver Jazz
  • Huey Morgan BBC
  • Ronald Bruner Jr. Los Angeles
  • Geraldo Azevedo Guitar
  • Walter Pinheiro Flute
  • Chief Xian aTunde Adjuah Jazz
  • Gel Barbosa Luthier
  • Jan Ramsey Jazz
  • Renell Medrano Dominican Republic
  • Jamberê Cerqueira Tuba
  • Lula Moreira Pernambuco
  • Chris Potter New York City
  • Ivan Sacerdote Bahia
  • Jimmy Dludlu Mozambique
  • Joel Guzmán Austin, Texas
  • Nicolas Krassik Forró
  • Yunior Terry Havana
  • Anoushka Shankar Sitar
  • Jimmy Greene Gospel
  • Margaret Renkl Journalist
  • Thomas Àdes Conductor
  • Carlos Henriquez Composer
  • Varijashree Venugopal Singer
  • Adriano Giffoni Brazil
  • Lolis Eric Elie Writer
  • Shankar Mahadevan Playback Singer
  • Ben Wolfe Double Bass
  • Seckou Keita Composer
  • Oswaldo Amorim Brasília
  • Rob Garland Guitar
  • Stephen Kurczy The King's College Faculty
  • Afel Bocoum Mali
  • Quatuor Ebène Classicalized Crossover
  • Susan Rogers Psychologist
  • Moreno Veloso Brazil
  • Eddie Kadi Pan-African Culture
  • Peter Slevin Northwestern University Faculty
  • Edil Pacheco Brazil
  • Bill Charlap Composer
  • Harvey G. Cohen King's College London Faculty
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  • Shana Redmond Columbia University Faculty
  • Edil Pacheco Singer
  • Isaac Butler Actor
  • Joe Lovano Flute
  • Ryuichi Sakamoto Singer-Songwriter
  • Wolfgang Muthspiel Guitar
  • Paulinho do Reco Songwriter
  • Guinha Ramires Florianópolis
  • Wayne Escoffery Yale Faculty
  • Oswaldo Amorim Bass
  • Guilherme Kastrup Drums
  • Tim Hittle Writer
  • Dan Nimmer New York City
  • Paul Mahern Singer-Songwriter
  • Awadagin Pratt University of Cincinnati College-Conservatory of Music Faculty
  • John McEuen Mandolin
  • Marcus Miller Clarinet
  • Shirazee New York City
  • Riley Baugus Old-Time Music
  • Jill Scott Poet
  • Christopher Seneca Drums
  • Matt Glaser Fiddle
  • Dieu-Nalio Chery New York City
  • Steve McKeever Entertainment Lawyer
  • Herbie Hancock Jazz
  • André Becker Salvador
  • LaTasha Lee Soul
  • Vinson Cunningham Sarah Lawrence College Faculty
  • Sebastian Notini Bahia
  • Rudy Royston Drums
  • Itamar Vieira Júnior Novelist
  • Daniil Trifonov Classical Music
  • Gêge Nagô Brazil
  • Shamarr Allen Funk
  • Meklit Hadero San Francisco
  • Larry McCray Guitar
  • Wouter Kellerman Bass Flute
  • Ryan Keberle R&B
  • Logan Richardson Classical Music
  • Michael League Bass
  • Léo Rodrigues Samba
  • Eric Roberson Neo Soul
  • Babau Santana São Braz
  • Avishai Cohen אבישי כה Israel
  • THE ROOM Shibuya Cocktail Bar
  • Jane Ira Bloom New York City
  • Sharita Towne Stereo Photography
  • Guto Wirtti Choro
  • Mark Markham Jazz
  • Jamel Brinkley Short Stories
  • Jonga Lima Radialista, Radio Presenter
  • Casey Benjamin Keyboards
  • Ahmad Sarmast Lisbon
  • Mike Compton Old-Time Music
  • Maria Marighella Gestor Público, Public Servant
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  • David Bragger Mandolin
  • Jussara Silveira Singer
  • Ceumar Coelho Minas Gerais
  • Steve Earle Radio Presenter
  • Paulo Aragão Composer
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  • James Grime Mathematics
  • Ronaldo do Bandolim Mandolin
  • Cainã Cavalcante Guitar
  • Tonynho dos Santos Teclado, Keyboards
  • Isaak Bransah Dancer
  • Jason Reynolds Young People's Literature
  • Leon Bridges Record Producer
  • Léo Rodrigues São Paulo
  • David Binney Composer
  • Toninho Nascimento Singer-Songwriter
  • Léo Rugero Accordion
  • Jill Scott Spoken Word
  • George Cables New York City
  • Congahead African Music
  • Alicia Keys New York City
  • Maria Drell Brasil, Brazil
  • Tommy Peoples Irish Traditional Music
  • Nelson Latif Brazil
  • John Patrick Murphy Saxophone
  • Django Bates Vocalist
  • Mestre Nelito Samba de Roda
  • Clarice Assad Composer
  • Ibrahim Maalouf Multi-Cultural
  • John Edwin Mason Historian
  • Márcio Bahia Brazil
  • Ali Jackson Percussion
  • Stomu Takeishi Bass
  • Meena Karimi Classical Music
  • Darcy James Argue Arranger
  • Antonio García Composer
  • Nicholas Payton Writer
  • Nikole Hannah -Jones Brooklyn, NY
  • Tommy Orange Short Stories
  • Gabriel Geszti Brasil, Brazil
  • Maurício Massunaga Compositor, Composer
  • Stephanie Soileau Short Stories
  • Phakama Mbonambi Johannesburg
  • Oriente Lopez Productor Musical, Music Producer
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  • Yoron Israel Berklee College of Music Faculty
  • Bob Bernotas Rutgers Faculty
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  • George Garzone Author
  • Marquis Hill Chicago
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  • Martín Sued Composer
  • Tommy Peoples Ireland
  • Yoko Miwa Composer
  • Shuya Okino Kyoto
  • Jim Farber Music Critic
  • NEOJIBA Orquestra de Jovens, Youth Orquestra
  • Irmandade da Boa Morte Brasil, Brazil
  • Caridad De La Luz Playwright
  • Orrin Evans Composer
  • Matias Traut Argentina
  • Tommy Peoples Donegal Fiddle
  • Juca Ferreira Brasil, Brazil
  • Tonho Matéria Bahia
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