Bio:
Marcus J. Moore is an award-winning music journalist, senior editor, curator, pundit, budding music supervisor and author of The Butterfly Effect: How Kendrick Lamar Ignited the Soul of Black America. The book is out via Atria Books, an imprint of Simon & Schuster.
Mr. Moore is a contributing writer with The Nation and a contributing editor with Bandcamp Daily. His coverage of soul, jazz, hip-hop, and rock can be found at The New York Times, Pitchfork, Entertainment Weekly, The Washington Post, NPR, Rolling Stone, and The Atlantic, among many other outlets.
Mr. Moore has created globally syndicated playlists for Google and guest-hosted live radio shows for Red Bull Radio. He discusses new music and trends on FM radio, and writes extensive liner notes and bios for indie and mainstream musicians.
In 2017, Mr. Moore was invited to Moogfest in North Carolina to interview Dr. Dre collaborator Colin Wolfe as part of its program. A year later, he was approached by the New York City Mayor's Office of Media & Entertainment to interview revered hip-hop producer Just Blaze at NYU for the city's New York Music Month. Ever the cratedigger, he compiles playlists for local restaurants, bars, coworking spaces, and cafes, and has been known to deejay in Brooklyn, East Africa, and the Washington, D.C. area.
During his career, Mr. Moore has covered business, politics, and education for the Gazette newspapers in the D.C. suburbs. He’s been an editor at WTOP-FM, the region’s top-rated station for news, traffic, and weather. In 2009, he created the website DMV Spectrum, through which he covered music in the nation's capital, Maryland, and northern Virginia.
Contact Information
Management/Booking:
Literary Agent
William LoTurco
LoTurco Literary [email protected]
Written by veteran journalist and music critic Marcus J. Moore, this is the first biography of Kendrick Lamar. It's the definitive account of his coming-of-age as an artist, his resurrection of jazz, his profound impact on a racially fraught America, and his emergence as the bona fide King of Rap.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
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.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).