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  • Philip Glass

    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: Philip Glass
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.

    The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.

    He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.

    The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

    There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty five operas, large and small; twelve symphonies; three piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

Media | Markets

  • ▶ Twitter: philipglass
  • ▶ Instagram: philipglassmusic
  • ▶ Website: http://philipglass.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCO3bNCq4DwEsaUReJ9Ro3zw
  • ▶ YouTube Music: http://music.youtube.com/channel/UCEBgE26BBZk7jnXKzcmVs0A
  • ▶ Spotify: http://open.spotify.com/album/5O2nQMDT5UlLbBJeLnkzYF
  • ▶ Spotify 2: http://open.spotify.com/album/0pto9IZl9X4FFN5yT3RATO
  • ▶ Spotify 3: http://open.spotify.com/album/58YSzjJK7WcPGKicQpsofb
  • ▶ Spotify 4: http://open.spotify.com/album/5Ya7ft5JteI5pIS4eCMKOC

My Writing

  • Publications: Dunvagen Music Publishers
    40 Exchange Place
    Suite 1906
    New York, NY 10005
    (212) 979-2080
    [email protected]

Clips (more may be added)

  • Mad Rush
    By Philip Glass
    656 views
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Philip Glass Curated
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  • 8 Composer
  • 8 Contemporary Classical Music
  • 8 Film Scores
  • 8 New York City
  • 8 Piano

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  • Philip Glass
    Deborah Colker → Rio de Janeiro has been recommended via Philip Glass.
    • September 21, 2021
  • Philip Glass
    Deborah Colker → Dancer has been recommended via Philip Glass.
    • September 21, 2021
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    Deborah Colker → Choreographer has been recommended via Philip Glass.
    • September 21, 2021
  • Philip Glass
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    • September 21, 2021
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    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Sitar has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Singer has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Piano has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Multi-Cultural has been recommended via Philip Glass.
    • September 15, 2021
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    Anoushka Shankar → Journalist has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Indian Classical Music has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Film Scores has been recommended via Philip Glass.
    • September 15, 2021
  • Philip Glass
    Anoushka Shankar → Composer has been recommended via Philip Glass.
    • September 15, 2021
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    Anoushka Shankar → Author has been recommended via Philip Glass.
    • September 15, 2021
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    • April 20, 2021
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    • April 20, 2021
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    • April 20, 2021
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    Angelique Kidjo → Singer-Songwriter has been recommended via Philip Glass.
    • February 27, 2020
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    Angelique Kidjo → New York City has been recommended via Philip Glass.
    • February 27, 2020
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    Angelique Kidjo → Multi-Cultural has been recommended via Philip Glass.
    • February 27, 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.

 

 

  • Merima Ključo Los Angeles
  • Carlinhos Pandeiro de Ouro Pandeiro
  • Duane Benjamin Trombone
  • Robb Royer R&B
  • Sarah Jarosz Texas
  • Alexandre Vieira Jazz Brasileiro, Brazilian Jazz
  • Danilo Brito Brazil
  • Dave Jordan Americana
  • Tshepiso Ledwaba South Africa
  • Philip Ó Ceallaigh Ireland
  • João Callado Choro
  • Turíbio Santos Classical Music
  • Mandisi Dyantyis Singer
  • Nublu Club
  • Gustavo Caribé Compositor, Composer
  • Uli Geissendoerfer Composer
  • Don Byron Avant-Garde Jazz
  • Cláudio Jorge Record Producer
  • Michael Janisch Avant-Garde Jazz
  • Daniel Bennett Woodwinds
  • Wayne Escoffery New York City
  • Lynn Nottage Playwright
  • Damon Krukowski Writer
  • Lynn Nottage Screenwriter
  • Stephen Guerra Composer
  • Ubiratan Marques Brasil, Brazil
  • Mohamed Diab Cairo
  • Maria Calú Chapada Diamantina
  • Tonynho dos Santos Jazz
  • Molly Tuttle Singer-Songwriter
  • Instituto Oyá Salvador
  • Myron Walden Recorder
  • Susheela Raman Multi-Cultural
  • Chris Dingman Vibraphone Instruction
  • Richie Stearns Tenor Guitar
  • Jeff Parker Jazz
  • Tom Green Contemporary Classical Music
  • Kiko Loureiro Heavy Metal
  • Cláudio Jorge Brazil
  • Caoimhín Ó Raghallaigh Ireland
  • Sean Jones Johns Hopkins Peabody Institute Faculty
  • Luê Soares Carimbó
  • Ivan Sacerdote Clarinet
  • Kurt Rosenwinkel Guitar
  • Dave Douglas Multi-Cultural
  • Isaiah J. Thompson Artistic Director
  • Obed Calvaire Jazz
  • Joan Chamorro Barcelona
  • Maurício Massunaga Compositor, Composer
  • Peter Erskine Author
  • Bhi Bhiman R&B
  • Jen Shyu Composer
  • Mandla Buthelezi South Africa
  • Pururu Mão no Couro Compositor, Songwriter
  • Leci Brandão Brazil
  • Stephan Crump Composer
  • 9th Wonder Rapper
  • Mino Cinélu Composer
  • Jeremy Danneman Multi-Cultural
  • Carlinhos Brown Painter
  • Gabriel Grossi Forró
  • Rose Aféfé Ibicoara
  • DJ Sankofa Bahia
  • Cassie Osei Historian of Latin America & African Diaspora
  • J. Period DJ
  • Felipe Guedes Salvador
  • Lynn Nottage Brooklyn, NY
  • Marcus Strickland Composer
  • Rowney Scott Música Clássica, Classical Music
  • Joshue Ashby Composer
  • Marcelinho Oliveira Keyboards
  • Immanuel Wilkins Jazz
  • Oded Lev-Ari New York City
  • Andrew Gilbert Jazz
  • Donald Vega Piano
  • Shuya Okino Kyoto
  • Mick Goodrick Berklee College of Music Faculty
  • Carl Joe Williams Painter
  • Iara Rennó Produtora Musical, Music Producer
  • Musa Okwonga Rapper
  • Woody Mann Writer
  • Caridad De La Luz Puerto Rico
  • Hot Dougie's Porto da Barra
  • Choronas Brasil, Brazil
  • Sandi Bachom Press Photographer
  • Molly Jong-Fast Podcaster
  • Asanda Mqiki South Africa
  • Rez Abbasi Guitar
  • Marko Djordjevic Drums
  • Wilson Café Percussão, Percussion
  • Jason Parham Publisher
  • Lauren Martin Music Journalist
  • Nora Fischer Contemporary Classical Music
  • Serwah Attafuah Singer
  • Peter Mulvey Milwaukee, Wisconsin
  • Vijay Gupta Social Justice Advocate
  • Alicia Svigals Writer
  • David Ritz Los Angeles
  • Kareem Abdul-Jabbar Writer
  • Corey Henry Trombone
  • Yacoce Simões Bahia
  • Joan Chamorro Jazz
  • Caroline Shaw Record Producer
  • Brett Kern West Virginia
  • Milford Graves New York City
  • Yo La Tengo Hoboken, New Jersey
  • Magda Giannikou Film Scores
  • James Martin Saxophone
  • Victor Wooten Singer
  • Barney McAll Jazz
  • Bill Hinchberger Writer
  • Serginho Meriti Samba
  • Zebrinha Salvador
  • Pururu Mão no Couro Samba
  • Samba de Lata Brazil
  • Alicia Hall Moran Jazz
  • Simon Shaheen Composer
  • José Antonio Escobar Santiago de Chile
  • Pururu Mão no Couro Sambalanço
  • Nêgah Santos Pandeiro
  • Antônio Pereira Singer-Songwriter
  • Frank Negrão Music Director
  • Luedji Luna Brazil
  • Timothy Jones Contemporary Classical Music
  • Billy O'Shea Denmark
  • Léo Rodrigues São Paulo
  • Johnny Lorenz Poet
  • François Zalacain New York City
  • Eddie Kadi Congo
  • Leandro Afonso Bahia
  • Johnny Lorenz Literary Critic
  • Yunior Terry NYU Faculty
  • Nação Zumbi Pernambuco
  • The Bayou Mosquitos Netherlands
  • Carlos Prazeres Brasil, Brazil
  • Jonathon Grasse Writer
  • Benjamin Grosvenor United Kingdom
  • Júlio Lemos Choro
  • Sarah Hanahan Saxophone
  • Brandee Younger New School Faculty
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