A network of creators, creative entities, and creative professionals.
In this matrix it's not which pill you take, it's which pathways you take, pathways originating in the sprawling cultural matrix of Brazil: Indigenous, African, Sephardic and then Ashkenazic, European, Asian... Ground Zero is the Recôncavo, delineated by the Bay of All Saints, earthly center of gravity for the disembarkation of enslaved human beings — and the sublimity they created — presided over by the ineffable Black Rome of Brazil: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
What's Up?
Nikole Hannah-Jones is a Pulitzer Prize-winning reporter covering racial injustice for The New York Times Magazine and creator of the landmark 1619 Project.
The New York Times's 1619 Project commemorates the 400th anniversary of the beginning of slavery in what would become the United States by examining slavery's modern legacy and reframing the way we understand this history and the contributions of black Americans to the nation. Nikole's lead essay, "Our Democracy's founding ideals were false when they were written. Black Americans have fought to make them true," was awarded the 2020 Pulitzer Prize.
Nikole also has written extensively about school resegregation across the country and chronicled the decades-long failure of the federal government to enforce the landmark 1968 Fair Housing Act.
In 2016, Nikole Hannah-Jones co-founded the Ida B. Wells Society for Investigative Reporting, a training and mentorship organization dedicated to increasing the ranks of investigative reporters of color.
Life & Work
Bio:
Nikole Hannah-Jones is an award-winning investigative reporter who covers civil rights and racial injustice for The New York Times Magazine. Nikole got hooked on journalism when she joined her high school newspaper and began writing about students like her, who were bused across town as part of a voluntary school desegregation program.
Her heroes are the race beat reporters, such as Ida B. Wells, Ethel Payne, Simeon Booker and Claude Sitton, whose fearless coverage helped move this nation closer to its promise.
Prior to joining The New York Times, Nikole worked as an investigative reporter at ProPublica in New York City, where she spent three years chronicling the way official policy created and maintains segregation in housing and schools. Before that, she reported for the largest daily newspaper in the Pacific Northwest, The Oregonian in Portland, Ore., where she covered numerous beats, including demographics, the census and county government.
Nikole started her journalism career covering the majority-black Durham Public Schools for The News & Observer in Raleigh, N.C. During her three years there, she wrote extensively on issues of race, class, school resegregation and equity.
Nikole is a native Iowan, a child produced by the hopes of both the Great Migration and those who migrated from foreign shores. She has also lived in Indiana, Georgia, North Carolina and Oregon. Now she is Bed-Stuy fly in Brooklyn.
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"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
I built the Matrix below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) 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. 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).