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  • Monk Boudreaux

    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: Monk Boudreaux
  • City/Place: New Orleans, Louisiana
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: The New Orleans Mardi Gras Indian phenomenon is part music, part heritage, part ancestry, part revelry, part fashion, and oft misunderstood. Chief Monk Boudreaux is one of the most famous and enduring leaders of that culture and head of the Golden Eagle Mardi Gras Indian tribe. He admitted that he shared those feelings of confusion related to those traditions that he embraced long before he fully grasped them.

    “My dad used to mask as an Indian,” he recalled. “We would get up at 4 o’clock in the morning, help him make his dress, watch him when he’d leave, stay out there, and wait for him to come back. As I got older, I started wondering why he was doing that. I never asked, but I knew there had to be a reason.

    “Then I started building up my own Indian suit. I was 12 years old. My dad had stopped, so I went with another tribe. I was chief scout the first year. The second year I was spyboy. It’s a feeling you can’t explain, because it’s something deep inside of you.”

    Boudreaux noted that his elders never spoke of the history of their traditions. “The older people didn’t talk about it. They were scared that if someone found out they were Indians, they would send them off to the reservations. Mardi Gras day was the only day that you could come out and be who you really were. My grandmother—my mother’s mom—she was on her dying bed. She called mom and said, ‘Tell Joseph not to leave until I get there.’ That’s when she told me we were Choctaw Indians. I was 27 or 28 years old at that time. Then I knew why I was doing it.”

    Indeed, the history of the Mardi Gras Indian culture in New Orleans is complex, and accounts of its origins are sometimes inconsistent. An affinity shared between Native American and African American people, both of whom were enslaved and persecuted at various times in the city’s history, was clearly a driving force in those origins and the mixing of their cultures. Both ethnic groups also share an appreciation of tradition, and the unique New Orleans Mardi Gras Indian music, costumes, and rituals are a melding of influences from both cultures.

    The costumes provide a spectacular visual backdrop that comes from the detailed and devoted efforts of the participants. Boudreaux explained the effort involved in preparing those costumes.

    “You start off with a piece of canvas,” he explained. “You find a picture that you really like or you can draw something out of your imagination. You draw it on the canvas, and then you start beading. Just as if you were coloring something, you outline it. After you outline it you start filling in the colors. Then you go around it with rhinestones and start filling it out.

    “You cut a jacket out of canvas, then you cover it with velvet. You line it with satin. You start putting your patches on. Then you make ruffles out of velvet, and start going around your patches with velvet ruffles. And that’s it!”

    Boudreaux confided that the costumes take about eight or nine months to complete. One of the greatest concerns regarding the continuity of the Mardi Gras Indian tradition is whether subsequent generations will have the patience and devotion required to preserve it.

    As for the music, Boudreaux was at first influenced by his elders in the neighborhood.

    “All lot of the older men in the neighborhood used to sing every day,” said Boudreaux. “Ernie Benson, the blues singer, used to live in the neighborhood. His dad used to sing every day. I would come home from school, sit on the step, and listen to him sing. Another old man would sing everywhere he went. I would just walk behind him and listen.”

    In terms of celebrities, one memorable star sparked his interest in pursuing music in a more dedicated manner. “When I was a kid, the first person that I heard that really inspired me about music was Al Jolson. I was real young then—about seven or eight years old. I used to just love to hear that man sing.”

    As he became involved with the Indians, one of his mentors taught him a number of songs with the realization that he would one day be the chief. Soon thereafter, Boudreaux realized that he had a gift in terms of both performance and creativity.

    “I started off singing Indian songs,” he said. “Later on I realized that I could sing just about anything that I wanted to. I could create my own music, and lyrics just come to me. If something stays on my mind, I can make a song out of it.”

    Boudreaux is known for his long-time collaboration with Big Chief Bo Dollis and the Wild Magnolia group, though he left the group nearly a decade ago to form the Golden Eagle Mardi Gras Indians. His latest album Rising Sun is a collaboration with Reverend Goat Carson, a professed “Renegade Cherokee.”

    As one might expect, the musical influences are diverse. “It’s like a gumbo,” said Boudreaux. “There’s a little bit of everything in it.”

    Like so much of New Orleans music, an essential element is the appropriate rhythm that evokes participation from the audience.

    “I have them hoppin’ and jumpin’ and havin’ a good time,” Boudreaux laughed. “Because they love the music and they love what I do. You can tell how they’re feeling by their reaction.”

    He has found that great music can induce such emotions even with reluctant participants. “If you sit down and listen to Indian music and it’s got the right beat, it does something to you,” he added. “One time I was performing at a club in New York. A guy told me, ‘Monk, do you realize what you’ve done? You’ve got people dancing that don’t dance.’”

    The New Orleans Jazz & Heritage Festival has increased the visibility of the music of the Mardi Gras Indians, a fitting reward, given their integral role in the festival during its infancy.

    “We started Jazz Fest from day one,” said Boudreaux. “Quint (Davis, the Director of Jazz Fest) had us going out in the French Quarter to get people to come back to Jazz Fest. There are a lot of people at Jazz Fest looking for talent, and I’ve gotten a lot of gigs from that. It’s been happening for a long time.”

    Like many artists, Boudreaux finds music to be a cathartic tool and a vehicle of expression in post-Katrina New Orleans. “The music now is more powerful. A lot of guys came back to be here where they were born into this music. And they’re putting everything they have into it. You can play your music somewhere else, but you won’t have that feeling that you have in New Orleans. Because this is where the music was born.”

    Music has also become a vehicle for raising awareness of the plight of coastal erosion, a dynamic that contributed to the devastation caused by Hurricane Katrina, accelerated in its aftermath. Boudreaux joined forces with blues guitarist and singer/songwriter Tab Benoit and an all-star band of musicians in the project “Voice of the Wetlands.” The group recorded and performed songs aimed at raising awareness of this issue that is central to the viability of the region.

    “Reuben Williams, my manager, is Tab’s manager also. When I start singing, Tab gets up there and starts playing guitar like he’s been doing this music all of his life. We did two albums for Voice of the Wetlands to let people know what’s happening down here.”

    Boudreaux closed by passing on a message to Jazz Fest visitors regarding the never-ending access to music and celebration during the festival period.

    “If you’re looking for a good time, then New Orleans is the place to be. And Jazz Fest is really the place to be. When Jazz Fest is over, you can go to any club and they’ll be getting’ down. There’s no ending.”

Contact Information

  • Management/Booking: MANAGEMENT
    Reuben Williams
    Thunderbird Management Group
    [email protected]

Media | Markets

  • ▶ YouTube Music: http://music.youtube.com/channel/UCxqeGrKSOgx2QnCPpm_JISQ
  • ▶ Spotify: http://open.spotify.com/album/5H5loW7aKraS3pVG4BnSLP
  • ▶ Spotify 2: http://open.spotify.com/album/6J8WTd0tZUHBZWnKTFRRn2
  • ▶ Spotify 3: http://open.spotify.com/album/5yVWOrBY9qtaB5IpPs9tjX
  • ▶ Spotify 4: http://open.spotify.com/album/1MQfSpM3fygYVpZwl1iXAe

Clips (more may be added)

  • 0:06:17
    Big Chief Monk Boudreaux: "Rising Sun" - Congo Square Rhythms Festival (2016)
    By Monk Boudreaux
    230 views
  • 0:12:39
    42 Tribes Week 5: Big Chief Monk Boudreaux
    By Monk Boudreaux
    330 views
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Monk Boudreaux Curated
pathways in

  • 3 Funk
  • 3 Louisiana
  • 3 Mardi Gras Indian
  • 3 New Orleans
  • 3 Percussion
  • 3 R&B
  • 3 Singer

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  • Monk Boudreaux
    Martin Shore → New Orleans has been recommended via Monk Boudreaux.
    • Mar 4
  • Monk Boudreaux
    Martin Shore → Music Producer has been recommended via Monk Boudreaux.
    • Mar 4
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    Martin Shore → Memphis, Tennessee has been recommended via Monk Boudreaux.
    • Mar 4
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    Martin Shore → Guitar has been recommended via Monk Boudreaux.
    • Mar 4
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    Martin Shore → Filmmaker has been recommended via Monk Boudreaux.
    • Mar 4
  • Monk Boudreaux
    Martin Shore → Film Director has been recommended via Monk Boudreaux.
    • Mar 4
  • Monk Boudreaux
    Martin Shore → Educator has been recommended via Monk Boudreaux.
    • Mar 4
  • Monk Boudreaux
    A video was posted re Monk Boudreaux:
    Big Chief Monk Boudreaux: "Rising Sun" - Congo Square Rhythms Festival (2016)
    • September 29, 2020
  • Monk Boudreaux
    A video was posted re Monk Boudreaux:
    42 Tribes Week 5: Big Chief Monk Boudreaux
    Big Chief Joseph “Monk” Boudreaux Golden Eagles Tribe
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    Percussion
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    Singer
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    Funk
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    R&B
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    Louisiana
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    New Orleans
    • September 29, 2020
  • Monk Boudreaux
    A category was added to Monk Boudreaux:
    Mardi Gras Indian
    • September 29, 2020
  • Monk Boudreaux
    Monk Boudreaux is matrixed!
    • September 29, 2020
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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

THE MATRIX BEGAN IN AFRICAN BRAZIL BUT NOW ENCOMPASSES THE WORLD

Explore above a complete (and vast) list of artists and other members of the global creative economy interconnected by matrix. If you fit, join them (from the top of any page) and create your own matrix page.


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 below — 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 →)

 

O MATRIX COMEÇOU NO BRASIL AFRICANO MAS AGORA ENGLOBA O MUNDO

Explore acima uma lista completa (e vasta) de artistas e outros membros da economia criativa global interconectados por matrix. Se você se encaixar, junte-se a nós (do topo de qualquer página) e cria sua própria página matrix.


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.

 

 

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  • Nonesuch Records Record Label
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  • Derron Ellies Composer
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  • Michel Camilo Dominican Republic
  • Marco Lobo Percussão, Percussion
  • Jerry Douglas Americana
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  • Congahead Photographer
  • Stuart Duncan Banjo
  • Andrew Gilbert Berkeley, California
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  • Dave Jordan Singer-Songwriter
  • Guiga de Ogum Poeta, Poet
  • Arifan Junior Portela
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  • Anthony Coleman New School Faculty
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  • Inon Barnatan Classical Music
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  • Sergio Krakowski Experimental Music
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