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  • Frank Beacham

    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: Frank Beacham
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: FRANK BEACHAM is a New York City-based independent writer, director and producer who works in print, radio, television, film and theatre.

    A former staff reporter for United Press International, the Miami Herald, Gannett Newspapers and Post-Newsweek, Beacham’s articles and stories have appeared in dozens of magazines and newspapers, including the Los Angeles Times, Washington Post and Village Voice. Two stories from his non-fiction book, "Whitewash: A Southern Journey through Music, Mayhem and Murder," are being developed into feature films.

    "Maverick," his play (written with George Demas) was produced off-Broadway in 2019. It was the story of his work with Orson Welles.

    Beacham co-wrote the Harvey Brooks memoir "View from the Bottom," and has written three non-fiction books on video for the American Society of Cinematographers. He is a contributor to "Toward the Meeting of the Waters," an anthology on the civil rights movement published by the University of South Carolina Press.

    Beacham has conceived and written projects for companies that include Warner Music Group, NBC, Sony, Panasonic, Mindport Communications, Snell & Wilcox, Authentium, Next Level Communications, Ameritech, Pixelmetrix, AMG Media and General Instrument.

    Beacham was executive producer of Tim Robbins’ Touchstone feature film, "Cradle Will Rock," which was released nationally in 1999 and is currently available on home video.

    Beacham wrote and directed the American Public Radio drama, "The Orangeburg Massacre," starring David Carradine, Blair Underwood and James Whitmore. It won the 1991 Gold Medal for Best History and the Silver Medal for Best Social Issues programs in international radio competition among 26 nations at the New York Festivals.

    Beacham produced, with the late Richard Wilson, the six-hour retrospective, "Theatre of the Imagination: Radio Stories by Orson Welles & the Mercury Theatre" and wrote, directed and produced the documentary, "The Mercury Company Remembers" with Leonard Maltin. Previously, he has written for "Riverwalk: Live From the Landing," a weekly jazz broadcast from American Public Radio.

    During the 1970s and 80s, Beacham was owner of Television Matrix, a film/TV production company that developed and produced a wide range of programming for broadcast, cable, syndication and home video markets. The company also supplied video news crews and freelance news reporting teams to the networks and other broadcasters.

    Beacham’s clients included ABC, CBS, NBC, PBS, BBC, NHK, Canadian Broadcasting and many individual television stations. He provided all west coast production and post-production services for "Lifestyles of the Rich and Famous," "The Start of Something Big" with Steve Allen and the Emmy award-winning "Mr. Previn Comes to Town." His company also provided southeast production services for NBC’s "TODAY" show and Paramount’s "Entertainment Tonight."

    In 1985, he teamed with Orson Welles over a six-month period to develop a one-man television special. "Orson Welles Solo" was canceled after Mr. Welles died on the day production was set to begin. Beacham’s other credits include "A Tribute to John Huston," hosted by Jack Nicholson and Richard Brooks; "Ronald Neame on the Director;" "Hollywood Chronicles: The Great Movie Clowns," hosted by Jackie Cooper; "Private Lives, Public People," and "A Day in the Life of Hawaii," directed by Gordon Parks.

    As a writer/reporter, Beacham was a member of a joint investigative reporting team for New York Times/Post-Newsweek/Miami Herald that spent one year investigating U.S. Sen. Edward Gurney (R-Florida). Gurney was indicted and left office. At UPI, he was assigned to cover the civil rights movement in Mississippi in early 1970s. He was a documentary cameraman at 1968 Democratic Convention in Chicago. He provided multi-station radio coverage of flights of Apollo 11 and 13 from the Kennedy Space Center.

    In 1977, Beacham provided television coverage of the Begin-Sadat peace talks in Egypt and President Carter’s 1978 trip to France for ABC News. He worked for CBS News in Nicaragua during 1979 when Sandinista guerrillas overthrew President Anastasio Somoza. He covered the exile of Shah of Iran in Panama for NBC News. He also provided television coverage of President Reagan’s 1982 European trip to 25 television stations (working in five countries in ten days).

    Frank Beacham has a B.A. in Journalism, 1969, from the University of South Carolina. He did post graduate studies at UCLA, the University of Southern California, and the American Film Institute.

Contact Information

  • Email: [email protected]
  • Telephone: 212-873-9349
  • Address: 141 West 73rd St. #7S
    New York, NY 10023

Media | Markets

  • ▶ Book Purchases: http://tangiblepress.net/Whitewash.html
  • ▶ Twitter: fbeacham
  • ▶ Website: http://www.beachamjournal.com
  • ▶ Website 2: http://frankbeacham.picfair.com
  • ▶ YouTube Channel: http://www.youtube.com/user/fbeacham

My Writing

  • Publications: WHITEWASH: A Southern Journey through Music, Mayhem & Murder
    Lost stories from the Modern South

    Discover the hip young black and white dancers that defied segregation after World War II and gave birth to Carolina “beach music” and the shag. Visit Charlie’s Place, the defiant interracial nightclub in Myrtle Beach where jazz met race music, and gutsy clubgoers risked their lives to take the dance floor. Witness the Ku Klux Klan’s violent attempt in 1950 to stop the rise of the “forbidden” music that would soon become known as rhythm & blues.

    Revisit the Orangeburg Massacre and find out why, after more than half a century, an aggressive effort continues to distort the role of former Gov. Robert McNair and his police forces in the 1968 killing of three black college students in Orangeburg, South Carolina.

    Join the author’s surprising journey to his South Carolina hometown of Honea Path when he discovers that his own grandfather organized a group of gunmen that killed seven men and wounded 30 others at the local cotton mill in 1934.

Frank Beacham Curated
pathways in

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  • 0 Journalist
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  • 0 Playwright
  • 0 Storyteller
  • 0 Videographer
  • 0 Writer

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

ENGLISH (pra Portuguese →)

 


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

✅—Pardal/Sparrow
Royalty work in NYC for
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
I've been screamed at by Aretha Franklin,
and harangued by Allen Klein over
royalties for the estate of Sam Cooke.
I built this matrix beginning with João do Boi.
Please link to, tell others about, join us!
[email protected]
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per the bottom of this section) & 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



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.

 

 

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.

 

PORTUGUÊS (to English →)

 


João tinha algo inestimável a oferecer ao mundo.
Mas ele era impossível pro mundo encontrar.
✅—João do Boi

✅—Pardal/Sparrow
Trabalho de royalties para
Aretha Franklin, Gilberto Gil
Mongo Santamaria, Airto Moreira
Astrud Gilberto, Barbra Streisand
Led Zeppelin, Philip Glass
Carlinhos Brown, Richie Havens
Jim Hall, Cat Stevens (Yusuf Islam)
Ray Barretto, Wah Wah Watson
The Cadillacs, The Flamingos...
Fui gritado por Aretha Franklin,
e arengado por Allen Klein sobre
royalties para o patrimônio de Sam Cooke.
Eu construi este matrix a partir de João do Boi.
Por favor, faça um link para, conte aos outros, junte-se a nós!
[email protected]
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme o final desta seção) 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.

"Fico muitíssimo feliz em receber seu e-mail! 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


A 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.

 

 

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.

 

  • Quatuor Ebène Classical Music
  • Anthony Hervey Composer
  • Marc-André Hamelin Boston
  • Egberto Gismonti Composer
  • Irmandade da Boa Morte Bahia
  • Ben Cox Filmmaker
  • Joachim Cooder Percussion
  • Lula Gazineu Violão, Guitar
  • Joshue Ashby Timba
  • Tom Wilcox Music & Arts Consultant
  • Bobby Fouther Portland, Oregon
  • Silas Farley Choreographer
  • Echezonachukwu Nduka Nigeria
  • Bill Pearis Writer
  • Jamel Brinkley Novelist
  • Dan Tyminski Mandolin
  • Bhi Bhiman Singer-Songwriter
  • Lolis Eric Elie Journalist
  • Kim Hill Entrepreneur
  • Chris Dingman Vibraphone Instruction
  • Derrick Hodge Record Producer
  • Eddie Palmieri Ropeadope
  • Lucas Santtana MPB
  • Doca 1 Bahia
  • Zakir Hussain Indian Classical Music
  • Jonathan Griffin Manchester
  • Ronell Johnson Sousaphone
  • Ken Dossar Philadelphia
  • Christopher James Composer
  • Les Thompson Recording Studio Owner
  • Teddy Swims R&B
  • Chris Acquavella Germany
  • Vincent Herring William Paterson University Faculty
  • Luizinho Assis Salvador
  • Paulinho do Reco Bahia
  • Cristovão Bastos MPB
  • Questlove Songwriter
  • David Bragger Banjo
  • Paulão 7 Cordas Guitar
  • Sam Yahel Piano Instruction
  • César Camargo Mariano Composer
  • Ben Monder New York City
  • Maria Marighella Salvador
  • Arson Fahim Piano
  • Atlantic Brass Quintet Jazz
  • David Fiuczynski Composer
  • Sam Dagher Author
  • Thiago Espírito Santo MPB
  • Vadinho França Bahia
  • Johnny Lorenz Translator
  • Gerald Cleaver Drums
  • Gavin Marwick Fiddle
  • Raul Midón Guitar
  • Chubby Carrier Zydeco
  • Bill Pearis Journalist
  • Olodum Bloco Afro
  • Gringo Cardia Architect
  • Shannon Ali Liner Notes
  • Martyn Techno
  • Rahim AlHaj Iraq
  • Imanuel Marcus Journalist
  • Arturo O'Farrill Bandleader
  • Sara Gazarek Singer
  • Tray Chaney Songwriter
  • Lakecia Benjamin Composer
  • Sérgio Pererê Percussion
  • Marcus Strickland Record Producer
  • Jorge Washington Chef
  • Paul Cebar Singer-Songwriter
  • Masao Fukuda Japan
  • Kimberlé Crenshaw Civil Rights Advocate
  • Alita Moses Singer-Songwriter
  • Rodrigo Amarante Multi-Instrumentalist
  • Egberto Gismonti Piano
  • Brett Orrison Record Label Owner
  • Jeremy Pelt Jazz
  • Chris Thile Americana
  • Kim André Arnesen Oslo
  • Maria Bethânia Bahia
  • Taylor Eigsti Piano
  • Tom Green Guitar
  • Nabih Bulos Beirut, Lebanon
  • Gian Correa Composer
  • Guinha Ramires Guitar
  • Stefan Grossman Singer
  • Scott Kettner Second Line
  • Gregory Hutchinson R&B
  • Tom Bergeron Choro
  • John Zorn Multi-Instrumentalist
  • Mauro Refosco Brooklyn, NY
  • Michael Sarian Trumpet Instruction
  • David Fiuczynski Microtonal
  • Munir Hossn Multi-Cultural
  • Siphiwe Mhlambi South Africa
  • Errollyn Wallen Royal Conservatoire of Scotland
  • Pedro Martins Jazz
  • Brad Ogbonna Filmmaker
  • J. Pierre New Orleans
  • Jau Salvador
  • Joanna Majoko Singer-Songwriter
  • John Medeski Funk
  • Márcio Bahia Rio de Janeiro
  • Yayá Massemba Brasil, Brazil
  • Maurício Massunaga Multi-Instrumentista, Multi-Instrumentalist
  • Michael League Multi-Instrumentalist
  • Mateus Aleluia Filho Cachoeira
  • Lucas Santtana Cantor-Compositor, Singer-Songwriter
  • Victor Wooten Record Label Owner
  • Dwayne Dopsie Zydeco
  • Marília Sodré Chula
  • Alana Gabriela Brasil, Brazil
  • Natalia Contesse Chile
  • Asa Branca Guitar
  • Miguel Zenón Composer
  • Joana Choumali Abidjan
  • William Parker Multi-Instrumentalist
  • Peter Evans Experimental Music
  • Monty's Good Burger Fries, Tots & Shakes
  • Ronaldo Bastos Composer
  • Mona Lisa Saloy Dillard University Faculty
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