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  • Jeffrey Boakye

    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: Jeffrey Boakye
  • City/Place: Hull, Yorkshire
  • Country: United Kingdom

CURATION

  • from this node by: Criador acima/Creator above

Life & Work

  • Bio: Jeffrey, originally from Brixton in London, has taught English to 11- to 18-year-olds since 2007. He began teaching in West London, before moving to East London where he established a successful English department at School 21, and then Yorkshire where he now lives with his wife and two sons.

    Jeffrey started writing his first book, Hold Tight, in 2015 when cradling his first born son in the early hours. Hold Tight was published in 2017 by Influx Press and is recognised as one of the first seminal books on grime music. He started writing his second book, Black, Listed, when cradling his second born son in the early hours. Published in 2019, Black, Listed was praised by David Lammy MP as ‘[a book that] gives a voice to those whose experience is persistently defined, refined and denied by others’. Jeffrey’s third book, What is Masculinity?, a book for children on masculinity, was also published in 2019 and was long-listed for the Information Book Awards. Jeffrey broke with tradition and What is Masculinity was written without a baby in his arms. Jeffrey’s latest book, Musical Truth, was published in hardback in June 2021 while his fifth, I Heard What You Said, is scheduled for June 2022.

    Jeffrey is also a broadcaster and is part of BBC Radio 4’s new arts line-up, presenting Add to Playlist with co-host Cerys Matthews. He has also presented two episodes of BBC Radio 4’s Word of Mouth and appears on numerous other radio shows and podcasts.

    Jeffrey is also a journalist, writing for numerous publications including The Quietus, The Guardian and The Financial Times.

    Jeffrey continues to be an educator. He provides training and talks to school staff and teachers, educational psychologists and university students on a range of topics, focusing on race and education. Jeffrey also provides sessions to school students on modern black British history, race and identity and masculinity.

Contact Information

  • Management/Booking: Jeffrey Boakye Ltd is run by Jeffrey Boakye and Sophie Hostick-Boakye.

    For training, talks, journalism, comment and education-related activities please contact Sophie at [email protected]

    Jeffrey is represented by Sarah Such Literary Agency. For literary, radio and TV enquiries please contact Sarah Such at [email protected]

Media | Markets

  • ▶ Book Purchases: http://www.jeffreyboakye.com/books
  • ▶ Twitter: jeffreykboakye
  • ▶ Instagram: jeffreykboakye
  • ▶ Website: http://www.jeffreyboakye.com
  • ▶ Podcast: http://www.jeffreyboakye.com/radio-and-media
  • ▶ Articles: http://www.jeffreyboakye.com/journalism

Clips (more may be added)

  • 2:34
    Introduction to Musical Truth: A Musical History of Modern Black Britain in 28 songs
    By Jeffrey Boakye
    81 views
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Jeffrey Boakye Curated
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  • 1 England
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  • 1 Writer

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    Introduction to Musical Truth: A Musical History of Modern Black Britain in 28 songs
    Jeffrey Boakye introduces us to the playlist that accompanies his new book, Musical Truth: A Musical History of Modern Black Britain in 28 songs, illustrated by Ngadi Smart. A history book with a twist, structured around a playlist of twenty eight song...
    • April 2, 2022
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    Jeffrey Boakye is matrixed!
    • April 2, 2022
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 


João do Boi, first into the Matrix. João had something priceless to offer the world.
✅—João do Boi
✅—Pardal/Sparrow

 

"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

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 do Boi, primeiro no Matrix. João tinha algo inestimável a oferecer ao mundo.
✅—João do Boi
✅—Pardal

 

"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: Soa assim: O que a música que você ama diz sobre você

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.

 

  • Guilherme Varella Gestor Cultural, Cultural Director
  • Rory Marx Anderson Filmmaker
  • Samuca do Acordeon Bossa Nova
  • Dwandalyn Reece Ethnomusicologist
  • John McWhorter Columbia University Faculty
  • Beth Bahia Cohen Viola
  • Nomcebo Zikode Singer-Songwriter
  • Greg Kurstin Jazz
  • Al Kooper Record Producer
  • Ryuichi Sakamoto Actor
  • Vadinho França Bahia
  • Merima Ključo Author
  • Hank Roberts Cello
  • Liron Meyuhas Singer
  • Marisa Monte Samba
  • Beeple Concert Visuals
  • Gerson Silva Music Director
  • Mike Marshall Violin
  • Paul Mahern Record Producer
  • Paulinho do Reco Songwriter
  • Orquestra Afrosinfônica Brasil, Brazil
  • Alicia Hall Moran Mezzo-Soprano
  • Luiz Antônio Simas Ifá
  • Germán Garmendia Comedian
  • Michael Olatuja New York City
  • Shankar Mahadevan Film Scores
  • Caridad De La Luz Actor
  • Taylor McFerrin Record Producer
  • Marcus Printup New York City
  • Sierra Hull Singer-Songwriter
  • MicroTrio de Ivan Huol Salvador
  • Mandisi Dyantyis Cape Town
  • David Kirby Journalist
  • Gilberto Gil Bahia
  • Gino Banks Drums
  • Lívia Mattos Bahia
  • Maria Bethânia Bahia
  • Dumpstaphunk Funk
  • Andrew Finn Magill Forró
  • Leandro Afonso Film Director
  • Michael W. Twitty Washington, D.C.
  • Ilya Kaminsky Translator
  • Frank London Composer
  • Estrela Brilhante do Recife Recife
  • Beth Bahia Cohen Tanbur
  • MonoNeon Singer-Songwriter
  • D.D. Jackson Television Scores
  • Gavin Marwick Fiddle
  • Fred Hersch Jazz
  • Natan Drubi Violão de Sete, Seven-string Guitar
  • Thiago Trad Bateria, Drums
  • Plamen Karadonev Accordion
  • Derrick Hodge Hip-Hop
  • Leo Genovese Composer
  • Gabriel Policarpo Rio de Janeiro
  • Tshepiso Ledwaba South Africa
  • James Brady Jazz
  • Jas Kayser Composer
  • Peter Slevin Journalist
  • César Orozco Composer
  • NEOJIBA Orquestra de Jovens, Youth Orquestra
  • Natan Drubi São Paulo
  • Gail Ann Dorsey Multi-Instrumentalist
  • Jimmy Dludlu Composer
  • Dónal Lunny Bouzouki
  • Bebê Kramer Composer
  • Jim Hoke Arranger
  • Larissa Luz Music Producer
  • Alex Rawls Music Writer
  • Merima Ključo Composer
  • Oscar Bolão Author
  • Bodek Janke World Music
  • Marcus Miller Singer
  • Simon Brook Writer
  • Fabian Almazan Record Label Owner
  • Joe Chambers Vibraphone
  • Guga Stroeter Brazilian Jazz
  • James Martin Jazz
  • Sameer Gupta Tabla
  • Robert Glasper R&B
  • Itamar Borochov Multi-Cultural
  • Tigran Hamasyan Armenia
  • Brad Mehldau Contemporary Classical Music
  • International Anthem Recording Company
  • Turtle Island Quartet Contemporary Classical Music
  • Marcos Portinari Rio de Janeiro
  • Ivo Perelman Saxophone
  • Walter Ribeiro, Jr. Brazil
  • Caetano Veloso Brasil, Brazil
  • Olodum Samba Reggae
  • Nathan Amaral Salzburg
  • Anthony Coleman Klezmer
  • Wadada Leo Smith Multi-Instrumentalist
  • Flora Gil Salvador
  • Ronaldo do Bandolim Rio de Janeiro
  • Michael Janisch Double Bass
  • Ben Allison Music Writer
  • Miles Okazaki University of Michigan Faculty
  • MonoNeon R&B
  • Brian Lynch Jazz
  • Adam O'Farrill Composer
  • Ron Wyman Documentary Filmmaker
  • Rowney Scott Música Clássica, Classical Music
  • Joyce Moreno Cantora, Singer
  • Les Thompson Singer
  • Ben Wolfe New York City
  • Bodek Janke Percussion
  • Don Byron Film Scores
  • Papa Mali Swamp
  • Mandisi Dyantyis South African Jazz
  • Cory Wong Record Producer
  • Bernardo Aguiar Percussion Instruction
  • Tyshawn Sorey New York City
  • Rolando Herts Delta Blues
  • Christone 'Kingfish' Ingram Guitar
  • Paul Cebar R&B
  • Capitão Corisco Flute
  • Mark Turner Jazz
  • Bonerama Funk
  • Ron Blake Juilliard Faculty
  • Hugues Mbenda Congo
  • Jorge Washington Brazil
  • Ben Harper Blues
  • Alex Conde Flamenco
  • Natalia Contesse Guitar
  • Muireann Nic Amhlaoibh Television Presenter
  • Ibram X. Kendi Historian
  • Dan Moretti Saxophone
  • Andrés Prado Afro-Peruvian Music
  • Raul Midón Songwriter
  • David Chesky Record Label Owner
  • Leandro Afonso Salvador
  • César Camargo Mariano Arranger
  • Adriana L. Dutra Film Festival Director
  • Michael League Brooklyn, NY
  • Avner Dorman Gettysburg College Faculty
  • Airto Moreira Compositor, Composer
  • João Luiz Brazilian Classical Guitar
  • Kiko Freitas Brazil
  • Dave Smith Drums
  • Ricardo Herz Composer
  • Kiya Tabassian كيا طبسيان Composer
  • José James New York City
  • Rogério Caetano Samba
  • Maurício Massunaga Compositor, Composer
  • Armandinho Macêdo Bahia
  • Isaac Butler Podcaster
  • Sérgio Pererê Percussion
  • Meshell Ndegeocello Rapper
  • Gabriel Grossi Composer
  • Abel Selaocoe Cello
  • Matt Ulery Contemporary Classical Music
  • Vincent Valdez Mexican-American Art
  • Tommy Orange Short Stories
  • Tom Piazza Writer
  • David Simon Writer
  • Irma Thomas Gospel
  • Paulo Martelli Brasil, Brazil
  • Mestre Nenel Brazil
  • Las Cafeteras Chicano Music
  • Nabihah Iqbal Singer-Songwriter
  • Chris Cheek Jazz
  • Eliane Elias MPB
  • Luciano Salvador Bahia Brazil
  • Gel Barbosa Salvador
  • Phineas Harper Documentary Filmmaker
  • Trilok Gurtu Tabla
  • Celso de Almeida Drums
  • Robi Botos Film Scores
  • Corey Ledet University of Louisiana at Lafayette Faculty
  • Thundercat Bass
  • Corey Henry Trombone
  • Omari Jazz Composer
  • Vivien Schweitzer Piano
  • Zakir Hussain Indian Classical Music
  • Tomo Fujita Songwriter
  • Colm Tóibín Novelist
  • Thiago Espírito Santo Jazz
  • William Skeen Baroque Cello
  • Corey Harris Blues
  • Nigel Hall Soul
  • Joyce Moreno Jazz Brasileiro, Brazilian Jazz
  • Wayne Escoffery Saxophone
  • Rob Garland Los Angeles
  • Imani Winds New York City
  • Gerson Silva Guitar
  • Julia Alvarez Novelist
  • Joachim Cooder Keyboards
  • John Edwin Mason French Horn
  • Mariene de Castro Singer
  • Greg Osby Jazz
  • Dadi Carvalho Brazil
  • Zé Luíz Nascimento Salvador
  • Joyce Moreno Bossa Nova
  • Dexter Story Ethnomusicologist
  • Antonio Adolfo Piano
  • Tessa Hadley Writer
  • Ronaldo Bastos Rio de Janeiro
  • Nahre Sol Contemporary Classical Music
  • Flora Purim Jazz
  • Luíz Paixão Côco
  • Béla Fleck Bluegrass
  • Rotem Sivan New York City
  • Mono/Poly Glitch
  • Isaac Julien London
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