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  • Simon Singh

    VIA THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    inspired by
    THE GRAPEVINE TELEGRAPH
    of Pre-Civil War African-Americans

    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

Network Node

  • Name: Simon Singh
  • City/Place: London
  • Country: United Kingdom

CURATION

  • from this node by: Matrix

Life & Work

  • Bio: My family have been farmers for generations in Punjab, India. In 1938, my grandfather left his village of Thakarki and settled in Somerset in the southwest of England, and in 1950 my parents emigrated to Taunton. A few years later they moved to Wellington, and that is where I was born.

    Although I did not know it at the time, Somerset is a fertile ground for budding scientists. Just 5 miles from where I was born is the town of Milverton, the birthplace of Thomas Young, the polymath who made breakthroughs in a wide range of subjects. Most important of all, he advocated the wave theory of light. He studied at Emmanuel College Cambridge, and in due I course I attended the same college, but I failed to make any significant contributions to the foundations of physics.

    My mum always emphasised the importance of education, my dad got me interested in how things work and my big sister made sure I did my homework. It was not long before I was doing well at St John’s Primary School and at the age of nine I declared that I wanted to be a nuclear physicist. Bizarrely, I actually remember this moment with clarity.

    Although I considered being a glam rocker and a footballer, I stuck to my scientific ambitions, largely inspired by TV boffins. I have always loved watching TV, and the early 1970s was great for scientists on the box. This was post-Apollo era, so Patrick Moore and James Burke had become prime time TV stars. Alongside them, Carl Sagan, Magnus Pyke and Heinz Wolff became my role models.

    I think that it is great to have some idea of what you want to do with your life. I was lucky that I realised that my future lay in science, so I knew where to concentrate my efforts. I studied A levels in mathematics, physics and chemistry, and thanks to my great teachers I managed to get the grades I needed to study physics at Imperial College, part of the University of London. I had originally applied to Cambridge University, but they rejected me. In hindsight, it was probably one of the best things that ever happened to me.

    Before starting my physics degree at Imperial College, London, I spent a year at GEC Hirst Research Centre, Wembley, working on gallium arsenide monolithic microwave integrated circuits. GEC were sponsoring me during my studies. It was an interesting year and I grew up a bit, but the main lesson I learned was that my future did not rest in industrial research and development.

    Instead, I knuckled down, studied hard and aimed for a career in academia. However, while working for my degree, I did a few things that in hindsight helped to set me on the course that I am currently on. My first adventures in writing involved occasional articles for student newspapers and helping to edit a couple of newsletters, namely Schrodinger’s Cat for the physics department and Otto for my hall of residence. I did not write for college newspapers with the intention of being a journalist, but it turned out to be my stepping stone to journalism when my career path took a dog leg.

    It is often strange how an experience at one point in your life unintentionally turns out to be exactly what you need a few years down the line. Another example of this occurred after my second year of studying physics. I spent the summer at the University of Delaware on the American East Coast, as part of a student exchange programme. This was one my happiest summers and it would not have happened if I had not previously worked at GEC. My year at GEC gave me the perfect qualification for the position at Delaware, because they both involved gallium arsenide. However, I had not gone to GEC in order to get a job in Delaware.

    Between leaving Imperial College and starting my PhD, I spent a couple of months teaching at Doon School in Dehra Dun, one of the best schools in India. Once again, this is an illustration of how an experience paid off in an unexpected way. I taught in order to travel and live in India for a while, but the teaching experience that I picked up would become invaluable when I became a journalist, as I learned how to explain scientific concepts in a vivid and clear way.

    My PhD in experimental particle physics was based at Cambridge University, but I spent most of my three years working at the European Centre for Particle Physics (CERN) in Geneva. I worked as part of the UA2 collaboration, which had previously won the Nobel Prize for discovering the W and Z bosons. It was a wonderful three years.

    CERN has a network of so-called accelerators. These accelerators smash particles together, often matter and antimatter travelling almost at the speed of light. In the case of my experiment, we were colliding protons and antiprotons, in the hope that the intense energy of the impact would create other particles.

    Theory suggests that there is a particle called the top quark, and we hoped that the collisions would create some of these hitherto unseen particles. We ran our experiment for a couple of years, smashing billions of particles in the accelerator, but there was no sign of the top quark. Nevertheless, by its absence, I could deduce something about the top quark, so I was still able to complete my thesis.

    The top quark was eventually discovered at America’s Fermi Laboratory in the early 1990s, just a couple years after I finished my PhD. It turned out that the top quark was surprisingly massive, and our accelerator at CERN had simply not been powerful enough.

    Particle physics was great fun. My three years at Cambridge and CERN were challenging and stimulating. However, I could see that there were people around me who were on a different planet when it came to understanding and researching physics, and it would be they who would go on to make their names as pioneers. As for me, it was time to change career. I had always enjoyed talking about and explaining science, so I took the decision to move towards a career in journalism and science communication. In particular, I have always loved television and felt that this was the most influential medium, so I started applying for a job at the BBC.

    In 1990 I joined the BBC’s Science Department, where I was a producer and director in programmes such as Tomorrow’s World and Horizon. In 1996 I directed Fermat’s Last Theorem, a BAFTA award winning documentary about the world’s most notorious mathematical problem. The documentary was also aired in America as part of the NOVA series. The Proof, as it was re-titled, was nominated for an Emmy.

    The story of this notorious mathematical problem was also the subject of my first book, imaginatively entitled Fermat’s Last Theorem. This was the first book about mathematics to become a No.1 bestseller in the UK. In America the book was called “Fermat’s Enigma”.

    In 1997 I began working on my second book, The Code Book, a history of codes and codebreaking. As well as explaining the science of codes and describing the impact of codebreaking on history, the book also shows that cryptography is more important today than ever before. After all, we live in the Information Age, and one of the best ways to protect information is to encrypt it.

    The Code Book has resulted in a return to television for me. I presented The Science of Secrecy, a 5-part series for Channel 4. The stories in the series range from the cipher that sealed the fate of Mary Queen of Scots to the coded Zimmermann Telegram that changed the course of the First World War. Other programmes discuss how two great nineteenth century geniuses raced to decipher Egyptian hieroglyphs and how modern encryption can guarantee privacy on the Internet.

    My other books include “Big Bang” and “Trick or Treatment?“. After publishing an article about chiropractic in April 2008, I was sued by the British Chiropractic Association in a libel case that last two years, which I eventually won. Along the way, I became closely involved with the Libel Reform Campaign, and I continue to lobby for a fairer libel law.

    My latest book (2013) is The Simpsons and Their Mathematical Secrets, which explores the vast amount of mathematics smuggled into the world’s most successful sitcom by its highly numerate writing team.

    As well as solo lectures, which I enjoy, I have taken part in several bigger shows, including Theatre of Science with Professor Richard Wiseman, Nine Lessons… with Robin Ince and the 2011 Uncaged Monkey Tour with Brian Cox, Ben Goldacre and Robin Ince.

    The skeptic movement has taken up more of my time in recent years, and I have been delighted to talk at various Skeptics in the Pub events, take part in James Randi’s international TAM events and support efforts such at the 10:23 homeopathic overdose challenge.

    I have also helped to start education projects. UAS encourages university science departments to work more closely with schools, while the Enigma project conducts maths/cryptography workshops in schools with a genuine Enigma cipher machine.

    CASE, Sense About Science and the Science Media Centre are three excellent organizations, and I have been working closely with all of them over the last few years. In particular, Sense About Science has been at the forefront of the Libel Reform Campaign.

Contact Information

  • Contact by Webpage: http://simonsingh.net/contact/

Media | Markets

  • ▶ Book Purchases: http://simonsingh.net/books/simons-bookstore/
  • ▶ Website: http://simonsingh.net
  • ▶ Blog: http://simonsingh.net/category/blog/
  • ▶ Articles: http://simonsingh.net/media/articles/

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  • Simon Singh
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    Author and campaigner Simon Singh talks about his fascinating career, a famous legal case, and his attempts to change the way mathematics is taught in UK sch...
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  • English (Portuguese →)
  • (← Inglês) Português

English (Portuguese →)

 

Pathways from Brazil

THROUGH THE INTEGRATED GLOBAL CREATIVE ECONOMY

(all is closer than we imagine)

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

 

The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among magisterial colleagues for whom this matrix was originally built, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Created because 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...

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

Thus something new under the tropical sun: A means by which those above, those below, and EVERYBODY ELSE in the creative economy can be divulged EVERYWHERE.

Quincy Jones can curate Gilberto Gil, for example. And Gil can curate, writers, dancers, filmmakers, painters, record producers, set designers...Luê Soares of Belém do Pará behind the mic above. You get to Quincy, you can get to Luê. Direct line.

And by the mathematics of the small world phenomenon, everybody in the matrix will tend to proximity to everybody else, in the same way that most human beings are within some six or so steps of most 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. Laroyê!
"Matrixado!"

✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix is the ultimate evolution of a pathway which began in New York City decades ago per the "rescue" of unpaid royalties for Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd of Kingston's Studio One (Bob Marley's producer), and others. A long and winding road that led inexorably to the necessity of a truly open arts universe, for there is more in Heaven and Earth...

"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

Tap people, tap categories, tap curations... The matrix is a maze of tunnels within King Solomon's creative mines.

(← Inglês) Português

 

Caminhos do Brasil

ATRAVÉS DA ECONOMIA CRIATIVA GLOBAL INTEGRADA

(tudo está mais perto do que imaginamos)

"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
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

 

O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule abaixo, entre colegas magisteriais para quem este matrix foi originalmente construído, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Criado porque 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 de fora de regiões circunscritas, incluido o próprio Brasil...

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

Assim algo novo sob o sol tropical: Um meio pelo qual os acima, os abaixo e TODOS OS OUTROS na economia criativa podem ser divulgados em TODOS OS LUGARES.

Quincy Jones pode indicar Gilberto Gil, por exemplo. Gil pode indicar escritores, dançarinos, cineastas, pintores, produtores de discos...Luê Soares de Belém do Pará atrás do microfone acima. Você chega em Quincy, pode chegar em Luê. Linha direta.

E pela matemática do fenômeno de mundo pequeno, todos no matrix tenderão a se aproximar de todos, da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros.

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. Laroyê!
"Matrixado!"

✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix é a evolução definitiva de um caminho que começou em Nova York há décadas atrás pelo "resgate" dos direitos autorais não pagos para Aretha Franklin, Barbra Streisand, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Led Zeppelin, Philip Glass, Clement "Coxsone" Dodd do Studio One de Kingston (o produtor de Bob Marley), e outros. Um longo e sinuoso caminho que levou inexoravelmente à necessidade de um universo de artes verdadeiramente abertom pois há mais no Céu e na Terra...

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Estamos tocados também Sr. 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

Toque em pessoas, toque em categorias, toque em curadoria... O matrix é um labirinto de túneis dentro das minas criativas do Rei Salomão.

  • Ramita Navai Iran
  • Nicolas Krassik MPB
  • Adam O'Farrill Multi-Cultural
  • Awadagin Pratt Piano
  • Tierra Whack Hip-Hop
  • Pedrão Abib Salvador
  • Bodek Janke Germany
  • Capinam Diretor de Museu, Museum Director
  • Arturo Sandoval Composer
  • Jay Mazza Writer
  • Flor Jorge MPB
  • Tony Austin Jazz
  • Joey Baron New York City
  • Etan Thomas Poet
  • Arturo O'Farrill Brooklyn College Conservatory of Music Faculty
  • Alan Brain Writer
  • Béla Fleck Bluegrass
  • Carlinhos Pandeiro de Ouro Rio de Janeiro
  • Frank Negrão Blues
  • Lorna Simpson Photographer
  • Adriano Souza Choro
  • John Edwin Mason University of Virgina Faculty
  • Pedro Aznar Argentina
  • Brian Stoltz Songwriter
  • Taj Mahal Blues
  • Siphiwe Mhlambi Visual Story Teller
  • Devin Naar Sephardic Studies
  • Papa Mali Swamp
  • Mario Caldato Jr. Record Producer
  • Beeple Concert Visuals
  • Tommy Orange Novelist
  • Maria Bethânia Samba de Roda
  • Gerson Silva Music Director
  • Missy Mazolli Mannes School of Music Faculty
  • Bobby Sanabria New York City
  • Kevin Hays Piano
  • Bonerama Funk
  • Magda Giannikou Singer
  • Edgar Meyer Double Bass
  • Walter Ribeiro, Jr. Forró
  • Mestre Nenel Brazil
  • Ron Blake Juilliard Faculty
  • Andrés Prado Guitar
  • Cinho Damatta Salvador
  • Lenna Bahule São Paulo
  • Otto Recife
  • Rosa Passos Salvador
  • Brian Q. Torff Fairfield University Faculty
  • Academia de Música do Sertão Música Nordestina
  • Bing Futch Americana
  • Diosmar Filho Cineasta Documentarista, Documentary Filmmaker
  • Eliane Elias Brazil
  • Robi Botos Film Scores
  • Marc Johnson Composer
  • Bill Frisell Americana
  • Gabriel Grossi Samba
  • Super Chikan Delta Blues
  • Nicholas Daniel Conductor
  • Missy Mazolli Composer
  • Mateus Alves Pernambuco
  • Flavio Sala Italy
  • Ricky (Dirty Red) Gordon Zydeco
  • Howard Levy Harmonica Instruction
  • Henry Cole Drums
  • Yazhi Guo 郭雅志 Suona
  • Jen Shyu Multi-Cultural
  • H.L. Thompson Brazilian Funk
  • Carlinhos 7 Cordas Rio de Janeiro
  • Burhan Öçal Singer
  • David Virelles Jazz
  • Fábio Peron Multi-Cultural
  • Stanton Moore Funk
  • Lula Moreira Brazil
  • Joyce Moreno Rio de Janeiro
  • Howard Levy Keyboards
  • Carlos Henriquez Composer
  • Molly Jong-Fast Editor
  • André Brock Author
  • Robi Botos Ropeadope
  • Wynton Marsalis New York City
  • Marko Djordjevic Berklee College of Music Faculty
  • Howard Levy Composer
  • Diana Fuentes Cuba
  • Oleg Fateev Composer
  • Cécile Fromont Writer
  • Shankar Mahadevan Playback Singer
  • Bianca Gismonti Piano
  • Inon Barnatan Classical Music
  • Dee Spencer San Francisco State University Faculty
  • Jussara Silveira Bahia
  • Brooklyn Rider Brooklyn, NY
  • Ambrose Akinmusire Trumpet
  • Martin Koenig Liner Notes
  • Alyn Shipton Radio Presenter
  • Moses Boyd Record Producer
  • Thiago Espírito Santo MPB
  • Ayrson Heráclito Brazil
  • Ajurinã Zwarg Choro
  • Sergio Krakowski Brazil
  • Paolo Fresu Theater Scores
  • Jovino Santos Neto Brazil
  • Henrique Araújo Mandolin
  • Flor Jorge Singer-Songwriter
  • Robertinho Silva MPB
  • Jane Cornwell London
  • Hugues Mbenda Chef
  • Léo Brasileiro Violão Clássico, Classical Guitar
  • Fernando Brandão Author
  • Kurt Andersen Radio Presenter
  • Edmar Colón Saxophone
  • Daniel Owoseni Ajala Dance Instructor
  • Richard Bona Africa
  • Richie Barshay Afro-Latin Percussion
  • Kiko Loureiro Author
  • Tia Surica Samba
  • Cláudia Leitão Consultora em Economia Criativa, Creative Economy Consultant
  • Luques Curtis Jazz
  • John Patrick Murphy Sanfona
  • Kathy Chiavola Folk & Traditional
  • Howard Levy Multi-Cultural
  • Arturo O'Farrill Piano
  • Rolando Herts Delta Blues
  • Tiganá Santana Violão, Guitar
  • Jamie Dupuis Canada
  • Armen Donelian Jazz
  • Celso de Almeida MPB
  • Carlos Malta Flute
  • Elza Soares Samba
  • Francisco Mela Drums
  • Luizinho Assis Produtor Musical, Music Producer
  • Zeca Baleiro Brasil, Brazil
  • Arismar do Espírito Santo São Paulo
  • J. Pierre Painter
  • Magary Lord AFROBIZ Salvador
  • Pururu Mão no Couro Chula
  • Greg Kot Chicago
  • Nelson Latif Viola Caipira
  • Leandro Afonso Bahia
  • Mariana Zwarg Saxophone
  • Ricardo Markis Guitarra Baiana
  • Marcus Rediker Poet
  • June Yamagishi Guitar
  • Ned Sublette Writer
  • Anoushka Shankar Author
  • Nardis Jazz Club Galata
  • Luciano Salvador Bahia Theater Composer
  • Seu Jorge Singer-Songwriter
  • Michael Formanek Jazz
  • Jeff Spitzer-Resnick Attorney
  • Daniel Jobim Rio de Janeiro
  • Ken Dossar Educator
  • Courtney Pine Bass Clarinet
  • Ana Luisa Barral Bahia
  • Branford Marsalis Saxophone
  • Bonerama New Orleans
  • Piti Canella Bahia
  • Tobias Meinhart Composer
  • Little Simz Actor
  • Fernando Brandão Pífano
  • Yilian Cañizares Havana
  • Yilian Cañizares Violin
  • Ron Mader Photographer
  • David Sánchez Puerto Rico
  • Miles Mosley Double Bass
  • James Andrews New Orleans
  • Marcel Camargo MPB
  • Armandinho Macêdo Choro
  • Elizabeth LaPrelle Singer-Songwriter
  • Roy Nathanson Jazz
  • Victor Gama Angola
  • Marcus Teixeira Brazil
  • Toninho Horta Belo Horizonte
  • Irma Thomas New Orleans
  • Alegre Corrêa Percussion
  • Howard Levy Chicago
  • Dorothy Berry Archivist
  • Şener Özmen Kurdistan
  • Moreno Veloso Guitar
  • Roberto Fonseca Composer
  • Larissa Fulana de Tal Brasil, Brazil
  • Terell Stafford Composer
  • Mário Santana Bahia
  • Marcos Portinari Diretor Artístico, Artistic Director
  • Miguel Atwood-Ferguson Composer
  • Mokhtar Samba Drums
  • Cainã Cavalcante MPB
  • Anton Fig South Africa
  • Johnny Vidacovich Drums
  • Daymé Arocena Cuba
  • Amy K. Bormet Piano
  • Peter Erskine Author
  • Itamar Borochov Israel
  • Howard Levy Record Label Owner
  • Gel Barbosa Paraiba
  • Jan Ramsey Culture Journalist
  • Seth Rogovoy Writer
  • Michael Sarian Trumpet
  • Jim Beard Jazz
  • Marc Johnson MPB
  • Welson Tremura Guitar
  • Shane Parish Athens, Georgia
  • Antônio Pereira Singer-Songwriter
  • Béco Dranoff DJ
  • Ariane Astrid Atodji African Cinema
  • Anthony Coleman Avant-Garde Jazz
  • Seckou Keita Multi-Cultural
  • Horace Bray Experimental, Electronic Music
  • Dale Barlow Australia
  • Guinga Rio de Janeiro
  • Kimmo Pohjonen Helsinki
  • Myron Walden New York City
  • Etienne Charles Composer
  • Inaicyra Falcão Cantora, Singer
  • Guto Wirtti Rio de Janeiro
  • Casey Driessen Composer
  • Nailor Proveta Choro
  • Bernardo Aguiar Pandeiro Instruction
  • Perumal Murugan Writer
  • Jonathan Finlayson Composer
  • Shannon Ali Liner Notes
  • Stephan Crump Composer
  • Elie Afif Bass
  • Alexia Arthurs Short Stories
  • Vijay Iyer Harvard University Faculty
  • Sharay Reed Jazz
  • Paulo César Pinheiro Poet
  • Lokua Kanza African Music
  • Don Byron Avant-Garde Jazz
  • Miles Mosley Singer
  • Gavin Marwick Scotland
  • Judith Hill Singer-Songwriter
  • José Antonio Escobar Barcelona
  • Adriana L. Dutra Screenwriter
  • Manuel Alejandro Rangel Classical Guitar
  • Horácio Reis MPB
  • Joe Lovano Composer
  • Antibalas Afrobeat
  • Philip Ó Ceallaigh Writer
  • Rebeca Omordia Classical Music
  • Ênio Bernardes Bahia
  • Howard Levy Harmonica
  • Diosmar Filho Geógrafo, Geographer
  • Chico César Singer-Songwriter
  • Brian Lynch Latin Jazz
  • Sabine Hossenfelder Author
  • Kyle Poole Jazz
  • Philip Glass Contemporary Classical Music
  • Marc Maron Los Angeles
  • Endea Owens Double Bass
  • Al Kooper Multi-Instrumentalist
  • Pretinho da Serrinha Brazil
  • Jonathan Griffin Reporter
  • Liz Dany Colombia
  • Fabian Almazan Havana
  • Zé Katimba Brazil
  • Alfredo Del-Penho Samba
  • Dwayne Dopsie Accordion
  • Jorge Ben Singer-Songwriter
  • Vijay Gupta Classical Music
  • Carlos Prazeres Oboé, Oboe
  • Cristovão Bastos Samba
  • Lauranne Bourrachot Movie Producer
  • Angel Deradoorian Los Angeles
  • Serwah Attafuah Singer
  • Emicida Rapper
  • Victor Wooten Bass
  • Congahead Latin Jazz
  • Stan Douglas Vancouver
  • Larnell Lewis Drums
  • João Parahyba Brazil
  • Otmaro Ruiz Piano
  • António Zambujo Portugal
  • Ivan Sacerdote Composer
  • Richard Galliano Tango
  • Lô Borges Cantor-Compositor, Singer-Songwriter
  • Academia de Música do Sertão Bahia
  • Asma Khalid Journalist
  • Donnchadh Gough Ireland
  • Jerry Douglas Dobro
  • Caetano Veloso MPB
  • Jon Faddis Manhattan School of Music Faculty
  • D.D. Jackson Composer
  • Nelson Cerqueira Ensaísta, Essayist
  • Restaurante Axego Pelourinho
  • André Becker Brasil, Brazil
  • Nancy Ruth Piano
  • Rogério Caetano Brazil
  • Lenine Brazil
  • Randy Lewis Music Critic
  • Nubya Garcia London
  • Dónal Lunny Record Producer
  • Lívia Mattos Bahia
  • Yotam Silberstein Israel
  • João do Boi Bahia
  • Caoimhín Ó Raghallaigh Theater Composer
  • James Sullivan Journalist
  • Sophia Deboick England
  • Mário Santana Brazil
  • Questlove DJ
  • Mike Moreno New York City
  • Derek Sivers Writer
  • Arto Tunçboyacıyan Armenian Folk Music
  • Phineas Harper Printmaker
  • Eric Harland Drums
  • Ed O'Brien London
  • Lucian Ban Jazz
  • MicroTrio de Ivan Huol Carnaval, Carnival
  • Chick Corea Jazz
  • Terence Blanchard Film Scores
  • Gabriel Policarpo Rio de Janeiro
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