CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Dani Deahl
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City/Place:
Chicago, Illinois
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Country:
United States
Life
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Bio:
As a prominent figure in music, Dani Deahl has been at the forefront of artist discovery and meaningful industry change for over a decade. She currently is a DJ, producer, and public speaker. She also covers the intersection of music and technology for The Verge, helms YouTube series The Future of Music, and is Vice President for the Recording Academy Chicago chapter. When performing, she blends trap and house to create bass-forward sets that are technically savvy and high energy.
As an artist herself, Dani has released trap, twerk, and hard-hitting house with labels like Dim Mak, Monstercat, Flamingo, Cr2, and Armada. She has also been the subject of two documentaries, toured extensively across the globe, played festivals like Spring Awakening, Lollapalooza (three times), and EDC, venues like Wrigley Field (with Fall Out Boy), hosted her own terrestrial radio show in Spain and the Canary Islands, and has been an official Red Bull DJ. She has headlined with or been direct support for artists like Alison Wonderland, Valentino Khan, Krewella, Diplo, Steve Aoki, Pegboard Nerds, Baauer, and countless others. As Diplo himself says: "She's awesome." Dani previously held editorial positions with Nylon Magazine and DJ Mag, and she is the host of newly minted YouTube series, The Future of Music, which features stars like Imogen Heap and Oak Felder, producer for Kehlani and Demi Lovato.
Dani has been heralded for her impact in music by MTV, THUMP, Oxygen, Billboard, Nest HQ, Magnetic, Yahoo, Complex, Chicago Tribune, and many others. She's also a prominent expert on the topics of gender equality in music and marketing for musicians, with engagements at TEDx, Oberlin College, Miami Music Week, Movement festival, Macworld, Camp Spin-Off, Ableton Loop, Red Bull Hack The Hits, an official Twitter Music Q&A, and more. She's not only consulted on creating branding initiatives for labels and artists, but has been instrumental in breaking new artists like Crywolf and Louis the Child. In fact, she has a history of doing so, credited with being the first to tap acts to watch such as The Chainsmokers, The Knocks, Dillon Francis, Louis The Child, and Flosstradamus. As of 2018, Dani is also an elected Vice President for the Recording Academy, engaging in outreach and professional development for the dance music community.
My Recordings
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For Audio, Visual:
RECENT
Armin Van Buuren - Ping Pong (Dani Deahl Remix) (Armada)
Pegboard Nerds - BADBOI (Dani Deahl Remix) (Monstercat)
Dani Deahl + Gazzo feat. Crywolf - Control Myself (Flamingo)
Lookas - Loko (Dani Deahl Remix - Official)
Dani Deahl x Animale - Thunderbolt (Dim Mak)
Oliver Heldens - Overdrive (Dani Deahl x Jayceeoh Remix)
Dr. Dre and Snoop Dogg - The Next Episode (Dani Deahl Remix)
Action Jackson feat. Gucci Mane - Kangaroo Money (Dani Deahl Official Remix) (Otodayo)
Dani Deahl ft. Rohan da Great - SMYK (Play Me Records)
RROID DRAZR - Politics As Usual (Dani Deahl remix) (Forthcoming on Otodayo)
Dani Deahl x Hexes - Air It Out (forthcoming)
Dani Deahl x ETC!ETC! feat. Tasha the Amazon - Rebels (forthcoming)
Clips (more may be added)
The Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities 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 — 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.
"Great culture is great power. And in a small world great things are possible."
The Matrix was built to open the world to Bahian musicians by opening the world to all creators.
In the Matrix you curate people (and entities) for what they do and where they do it. And they can curate you. A network is formed.
By the mathematical magic of the small-world phenomenon, everybody in the Matrix (as in human society) tends to within degrees of everybody else.
And by logical extension, the entire planet. All can (potentially) be found by everybody. QED
Recently accessed from:

"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
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).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL