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  • Grant Rindner

    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: Grant Rindner
  • City/Place: New York City
  • Country: United States
  • Hometown: Chappaqua, New York

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Grant Rindner is a writer primarily focused on music, culture, and men's fashion. He has written for Dazed, Vox, NYLON, i-D, Brooklyn Magazine, and Complex.

    He is also a regular contributor to Pigeons & Planes, and currently works as an assistant editor for Airbnb Magazine.

Contact Information

  • Email: [email protected]
  • Telephone: 914.417.8697

Media | Markets

  • ▶ Twitter: grantrindner
  • ▶ Instagram: gruntrundnur
  • ▶ Website: http://grantrindner.com
  • ▶ YouTube Channel: http://www.youtube.com/user/ThePaulsaunders
  • ▶ Article: http://www.complex.com/music/sheff-g-interview-brooklyn-drill
  • ▶ Articles: http://grantrindner.com/profiles1#profiles
  • ▶ Articles 2: http://grantrindner.com/essays
  • ▶ Articles 3: http://grantrindner.com/reviews

Grant Rindner Curated
pathways in

  • 1 Journalist
  • 1 New York City
  • 1 Writer

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  • Grant Rindner
    A category was added to Grant Rindner:
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    • April 19, 2020
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    • April 19, 2020
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    Grant Rindner is matrixed!
    • April 19, 2020
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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.

 

 

  • James Grime YouTuber
  • Sandra de Sá Samba
  • Becca Stevens Singer-Songwriter
  • The Umoza Music Project African Music
  • Savoy Family Cajun Band Cajun Music
  • Ahmad Sarmast Afghan Music
  • Gian Correa São Paulo
  • NEOJIBA Orquestra Sinfônica, Symphony Orquestra
  • Thalma de Freitas Produtora de Vídeo, Video Producer
  • Martin Koenig Liner Notes
  • Turtle Island Quartet Jazz
  • João Rabello Composer
  • Lizz Wright Jazz
  • Teresa Cristina Brasil, Brazil
  • Missy Mazolli New York City
  • Antônio Pereira Manaus
  • Mingus Big Band Big Band
  • Guga Stroeter Record Producer
  • Bebel Gilberto Rio de Janeiro
  • Christopher James Piano
  • Dorothy Berry Museum Curator
  • Estação Primeira de Mangueira Escola de Samba, Samba School
  • Bombino Blues
  • Luciano Salvador Bahia Bahia
  • Fred Hersch Classical Music
  • Ron Mader Photographer
  • Sombrinha Cavaquinho
  • Greg Spero App Developer
  • Brandon J. Acker Chicago
  • John Waters Ireland
  • Obed Calvaire Jazz
  • Leo Nocentelli Songwriter
  • Jonga Cunha Percussion
  • Bright Red Dog Improvising Collective
  • Monty's Good Burger Fries, Tots & Shakes
  • Melanie Charles Jazz
  • As Ganhadeiras de Itapuã Folk & Traditional
  • Mark Lettieri Record Producer
  • June Yamagishi New Orleans
  • John Donohue New York City
  • Casey Benjamin DJ
  • Cainã Cavalcante Composer
  • Nabaté Isles Sports Talkshow Host
  • Alfredo Rodriguez Composer
  • Anat Cohen Tel Aviv
  • Lynn Nottage Playwright
  • Sophia Deboick Writer
  • Tiganá Santana Violão, Guitar
  • Guiga de Ogum Salvador
  • Dale Farmer Old-Time Music
  • Tshepiso Ledwaba Steinway Piano Technician
  • Cécile McLorin Salvant New York City
  • Rudy Royston Jazz
  • Maria Struduth Bahia
  • Darol Anger Bluegrass
  • Spider Stacy New Orleans
  • Jon Madof Educator
  • Ronell Johnson Sousaphone
  • Stephen Guerra Author
  • Gui Duvignau Contemporary Classical Music
  • Sátyra Carvalho Brasil, Brazil
  • Onisajé Diretora Teatral, Theater Director
  • Elza Soares Brazil
  • Larry McCray Arkansas
  • Linda Sikhakhane Composer
  • Martin Fondse Contemporary Music
  • Joatan Nascimento Federal University of Bahia Faculty
  • Nublu Record Label
  • Romero Lubambo Choro
  • Askia Davis Sr. Writer
  • Matt Parker YouTuber
  • Peter Mulvey Milwaukee, Wisconsin
  • Abderrahmane Sissako Film Director
  • Ênio Bernardes Cantor-Compositor, Singer-Songwriter
  • Justin Kauflin New York City
  • Jorge Aragão Samba
  • Marco Pereira Rio de Janeiro
  • Scott Kettner Second Line
  • Jane Cornwell London
  • Nguyên Lê Composer
  • Frank Negrão Brazil
  • Yelaine Rodriguez Site-Specific Installations
  • Philip Glass Piano
  • Felipe Guedes Brazilian Jazz
  • Nicole Mitchell Jazz
  • Paulo Paulelli Bass
  • Flying Lotus DJ
  • Cacá Diegues Diretor de Filmes, Film Director
  • Gilson Peranzzetta Piano
  • Bruno Monteiro Jornalista, Journalist
  • Las Cafeteras Son Jarocho
  • Les Thompson Folk & Traditional
  • Casa PretaHub Cachoeira Espaço de Coworking, Coworking Space
  • Omari Jazz Electronic Futurism
  • Questlove Multi-Instrumentalist
  • Guinha Ramires Multi-Instrumentalist
  • Alan Williams Found & Recycled
  • Ben Cox Director of Photography
  • Jan Ramsey Creole Music
  • Nara Couto Diretora, Director
  • Welson Tremura Guitar
  • Jared Jackson Writer
  • Jorge Washington AFROBIZ Salvador
  • Chris Potter Saxophone
  • Afrocidade Bahia
  • Rudy Royston Drums
  • Las Cafeteras East Los Angeles
  • Joe Fiedler Composer
  • Paulinha Cavalcanti Rio de Janeiro
  • Steve Lehman Composer
  • Tero Saarinen Dancer
  • Stephanie Soileau Louisiana
  • Ahmad Sarmast Classical Music
  • Sebastian Notini Brasil, Brazil
  • Benoit Fader Keita Senegal
  • Sharita Towne Portland, Oregon
  • A-KILL Street Artist
  • Fábio Zanon São Paulo
  • Zeca Freitas Compositor, Composer
  • David Castillo Voiceovers
  • Paulo Costa Lima Bahia
  • James Sullivan Journalist
  • John Donohue Journalist
  • Toninho Ferragutti Accordion
  • Michael Sarian Buenos Aires
  • Alberto Pitta Estampas Afrobaianas, Afro-Bahian Patterns
  • Kehinde Wiley New York City
  • Liam Farrell 'Dr L' Ireland
  • André Mehmari Composer
  • Edward P. Jones Washington, D.C.
  • Jen Shyu Vocalist
  • Raelis Vasquez Chicago
  • João Luiz MPB
  • Ricardo Markis Choro
  • Kiko Horta Brazil
  • Egberto Gismonti Brasil, Brazil
  • Jason Parham Editor
  • Parker Ighile Rapper
  • Richard Bona Bass
  • Maria Calú Capoeira
  • Marilda Santanna Atriz, Actor
  • Ferenc Nemeth Composer
  • Yunior Terry Violin
  • Flying Lotus Rapper
  • Jess Gillam Radio Presenter
  • Milton Nascimento Minas Gerais
  • Milad Yousufi Conductor
  • Linda Sikhakhane Ropeadope
  • Carlos Malta Brazil
  • Manassés de Souza Composer
  • Marcos Portinari Rio de Janeiro
  • Ken Avis Guitar
  • Estação Primeira de Mangueira Rio de Janeiro
  • André Becker MPB
  • Turíbio Santos Guitar
  • Gringo Cardia Video Director
  • Caroline Shaw NYU Faculty
  • Marvin Dunn Historian
  • Sérgio Pererê Multi-Instrumentalist
  • Questlove Author
  • Rosângela Silvestre Choreographer
  • Tonynho dos Santos Cantor-Compositor, Singer-Songwriter
  • Choronas Choro
  • Kenny Barron Composer
  • Kenny Barron Piano
  • Manuel Alejandro Rangel Venezuela
  • Rayendra Sunito Jazz
  • J. Pierre New Orleans
  • Mauro Refosco Compositor de Televisão, Television Scores
  • Daedelus Los Angeles
  • Nublu Turkish Music
  • Jorge Washington Brazil
  • Angel Deradoorian Singer-Songwriter
  • Jason Moran Film Scores
  • Marquis Hill Composer
  • Jamael Dean Piano
  • Charlie Bolden Composer
  • Omari Jazz Brainfeeder
  • David Binney Saxophone
  • Bill Charlap New York City
  • Tomo Fujita Songwriter
  • Leon Bridges Record Producer
  • Stephen Guerra Choro
  • Sarz Multi-Instrumentalist
  • Armen Donelian Composer
  • Ben Paris Writer
  • Rhiannon Giddens Banjo
  • Gamelan Sekar Jaya Bali
  • Glenn Patscha Film Scores
  • David Bruce Multi-Cultural
  • Brian Stoltz New Orleans
  • Flora Gil Salvador
  • Tomo Fujita Jazz
  • Swami Jr. São Paulo
  • Nelson Latif Viola Caipira
  • Jussara Silveira Samba
  • Joel Guzmán Austin, Texas
  • Robi Botos Hungary
  • Jon Otis Percussion
  • Jean-Paul Bourelly Multi-Cultural
  • Arany Santana Bahia
  • Tom Green Writer
  • Wolfgang Muthspiel Contemporary Classical Music
  • 9Bach Wales
  • Evgeny Kissin Contemporary Classical Music
  • Linda May Han Oh Composer
  • David Hepworth London
  • Júlio Lemos Guitar
  • Dani Deahl Public Speaker
  • John Edward Hasse Music Historian
  • Ivan Huol Salvador
  • Egberto Gismonti Piano
  • Luiz Antônio Simas Professor
  • Rahim AlHaj Oud
  • Jupiter Bokondji Kinshasa
  • Mateus Alves Bass
  • Magda Giannikou Greece
  • Muri Assunção LGBTQ
  • Vânia Oliveira Candomblé
  • Stanton Moore Second Line
  • Walter Smith III Jazz
  • Marisa Monte Record Producer
  • Casey Driessen Bluegrass
  • Neo Muyanga South Africa
  • Maria Rita MPB
  • Leyla McCalla Cello
  • Rose Aféfé Artista Plástico, Artist
  • Eric Alper Public Relations
  • Jen Shyu Composer
  • Sunna Gunnlaugs Reykjavik
  • Bobby Vega San Francisco, California
  • Onisajé Dramaturga, Playwright
  • Lívia Mattos Singer-Songwriter
  • Angel Bat Dawid Chicago
  • Perumal Murugan Poet
  • Oded Lev-Ari Piano
  • João Luiz Choro
  • Marco Pereira Classical Guitar
  • Susan Rogers Berklee Faculty
  • Peter Dasent Piano
  • José Antonio Escobar Spain
  • Béco Dranoff Brazilian Music
  • John Santos Record Label Owner
  • George Porter Jr. Bass
  • Kotringo Singer-Songwriter
  • Hercules Gomes Choro
  • Tom Schnabel DJ
  • Kurt Rosenwinkel Guitar
  • Nicholas Payton Trumpet
  • Joey Baron Composer
  • Milton Primo Brazil
  • Rahim AlHaj Iraq
  • Wilson Simoninha Samba
  • Nicholas Gill Writer
  • Tony Austin Drums
  • Gabi Guedes Salvador
  • Tonho Matéria Bahia
  • Elodie Bouny Composer
  • Bai Kamara Jr. Brussels, Belgium
  • Muhsinah Soul
  • Archie Shepp Jazz
  • Darren Barrett Record Producer
  • Cara Stacey North-West University Faculty
  • Darol Anger Fiddle
  • Brandon Seabrook Banjo
  • Ron Blake Juilliard Faculty
  • Richard Rothstein Historian
  • Gaby Moreno Multi-Cultural
  • Sam Harris Jazz
  • David Greely University of Louisiana at Lafayette Faculty
  • Negrizu Salvador
  • Liron Meyuhas Percussion
  • Soweto Kinch Hip-Hop
  • Sarz Record Producer
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