Bio:
Denise Carrascosa, nascida em Salvador, Bahia, em 1977, é uma figura multifacetada. Possui um doutorado em Crítica Literária e Cultural pela Universidade Federal da Bahia (UFBA) e realizou pós-doutorado em História da África, da Diáspora e dos Povos Indígenas na Universidade Federal do Recôncavo da Bahia. Além disso, é tradutora literária, advogada e professora associada no Instituto de Letras e no Programa de Pós-Graduação em Literatura e Cultura da UFBA.
Sua produção acadêmica e literária é notável. É autora de obras como "Técnicas e políticas de si nas margens: literatura e prisão no Brasil pós-Carandiru" (Appris, 2015) e "Performance AfroRitual 9 Eguns Dançam entre Necro&IkuPolíticas para a Cia. de Teatro da UFBA" (Jandaíra, 2022). Além disso, contribuiu como coautora em "Cartografias da subalternidade: diálogos no eixo Sul-Sul" (EDUFBA, 2014).
Como organizadora, liderou projetos como "Traduzindo no Atlântico Negro: cartas náuticas afrodiaspóricas para travessias literárias" (Ed. Ogum’s Toques Negros, 2017), "Traduzindo no Atlântico Negro: dinâmicas exusíacas em rotas de fuga e performances de religação afroancestral" (Ed. Ogum’s Toques Negros, 2023) e "Firminas em fuga" (Ogum’s Toques Negros, 2023). Destaca-se também por suas habilidades como tradutora, tendo traduzido o livro de poemas "Quilombellas Amefricanas" (Ogum’s Toques Negros, 2021).
Em 2023, lançou "O Pacto de Bocapiu: a cumplicidade silenciosa do feminegricídio de Estado nas prisões" (Ed. Ogum’s Toques Negros), consolidando ainda mais sua presença no cenário intelectual e literário contemporâneo.
English:
Denise Carrascosa, born in Salvador, Bahia, in 1977, is a multifaceted figure. She holds a Ph.D. in Literary and Cultural Criticism from the Federal University of Bahia (UFBA) and completed a postdoctoral program in African History, Diaspora, and Indigenous Peoples at the Federal University of Recôncavo da Bahia. Additionally, she is a literary translator, lawyer, and associate professor at the Institute of Letters and in the Graduate Program in Literature and Culture at UFBA.
Her academic and literary production is remarkable. She is the author of works such as "Techniques and Policies of the Self on the Margins: Literature and Prison in Post-Carandiru Brazil" (Appris, 2015) and "AfroRitual Performance 9 Eguns Dance between Necro&IkuPolíticas for the UFBA Theater Company" (Jandaíra, 2022). Moreover, she has contributed as a co-author to "Cartographies of Subalternity: Dialogues in the South-South Axis" (EDUFBA, 2014).
As an organizer, she has led projects such as "Translating in the Black Atlantic: Afro-Diasporic Nautical Charts for Literary Crossings" (Ed. Ogum’s Toques Negros, 2017), "Translating in the Black Atlantic: Exusian Dynamics in Escape Routes and Afro-Ancestral Reconnection Performances" (Ed. Ogum’s Toques Negros, 2023), and "Firminas on the Run" (Ogum’s Toques Negros, 2023). She is also notable for her skills as a translator, having translated the poetry book "Quilombellas Amefricanas" (Ogum’s Toques Negros, 2021).
In 2023, she released "The Bocapiu Pact: The Silent Complicity of State Feminegricide in Prisons" (Ed. Ogum’s Toques Negros), further solidifying her presence in the contemporary intellectual and literary scene.
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"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; recorded "Purple Rain", "Sign o' the Times", "Around the World in a Day"
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And thus a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
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).
EX TERRA BRASILIS
The Small World Phenomenon
Susan Rogers
Alicia Svigals
Julian Lloyd Webber
Clarice Assad
Sodré
Betão Aguiar
Bule Bule
Caetano Veloso
Darius Mans
Sparrow/Pardal Roberts
RÁDIO MATRIX