"Carol Rio (Carol Sant´Anna) é uma das melhores cantoras da nova geração" por Rido Hora
Nascida no subúrbio carioca, Carol Rio recebeu o samba e a folia dos braços de seu avô, Edson Sant´Anna, compositor e o Rei Momo mais popular da história. Envolvida pelo som das escolas de samba, cresceu entre baterias das Escolas de Samba e, aos finais de semana durante a adolescência, aos domingos participava do pagode no quintal da família no subúrbio do Rio - onde amadureceu entre repiques, pandeiros, tantans e agogôs.
Atualmente, lançando primeiro disco solo na web e em todas as plataformas digitais, Carol se prepara para a produção do seu terceiro videoclipe e o lançamento do single Samba Diferente em parceria com rapper DUGHETTU. 
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Mas esta história tomou rumo profissional em 2001, quando começou a estudar música. Formou-se em Percussão Popular pela EM Villa Lobos em 2003. Aos 15 anos tocou com Nação Leão Coroado, acompanhando Mestre Salustiano, estudou e vivenciou com mestres das principais Nações de Maracatu de Baque Virado, em Pernambuco.
Participou do grupo Rio Maracatu durante 11 anos.
Estreou na Marquês de Sapucaí aos 16 anos, entrando para história, com a primeira bateria composta somente por mulheres na avenida. Passou pela bateria da Escola de Samba São Clemente. Em 2009 virou ritmista da Bateria da Estação Primeira de Mangueira. Participou do disco das Escolas de Samba do grupo Especial 2011, gravando timbal. Carol foi a primeira mulher a desfilar tocando timbal na Marques de Sapucaí e também foi a primeira mulher a gravar no disco oficial das Escolas de Samba de 2011, pela verde e rosa. Em 2013 gravou Cuíca no Disco Oficial das Escolas de Samba pela Estação Primeira.
Em 2008 Carol foi premiada Melhor Zabumba do FENFIG e em 2009 Revelação do Festival Nacional de Itaúnas, o maior festival do gênero do país!
Sua rica pesquisa cultural pela África em 2009, no Senegal (com Grupo Gorée Afro Djembé), com luthier Sidiki Kamara no Mali, Cabo Verde com passagem no Festival lusófono Há Mares – em Matosinhos, Portugal, ao lado do cantor, compositor e Ministro da Cultura Mario Lucio foi fundamental para seu amadurecimento.
Em 2010, lançou disco com Forró de Ponta, grupo em que era vocalista e zabumbeira - com participação do Trio Virgulino.
Percorreu a Europa em tourne (Abril a Jul 2010) por: Inglaterra passou por Ronnie Scotts, Hideaway, Guanabara, City of London Festival, acompanhou Chico Chagas, dividiu palco com Simon Mulligan e Davi O'Higgins; França (Toulouse, Perpingnan), Alemanha (Laboratorium Jazz Club – dueto com Chico Chagas) ; Festival Forró de Domingo,, Escócia (Festival Uniting Against Breast Cancer), Lituânia (Kaunas Jazz Festival com Chico Chagas Braziian Roots Nigth. Na EMI London gravou no disco de Chico Chagas. Acompanhou Miltinho Edilberto, após a tourne Europa (2010), no projeto Voa Viola em 2012, dividindo palco com Jair Rodrigues.
Foi Produtora Musical do FESTLIP – Festival Internacional da Língua Portuguesa – por 6 anos.
Em 2013, foi escolhida vencedora, pelo júri artístico (Arlindo Cruz e Leandro Sapucahy) do concurso Talentos do Samba da Antarctica, 
Sua musicalidade voltou a Europa, a convite do governo da Noruega (em 2014 ministrou oficinas e apresentações entre Fevereiro e Março e; novamente em Setembro), República Tcheca (2014, Hoffa Bar), viajou a Macau e Hong Kong, na China (Maio/Jun 2011) e Guiné Equatorial (Out 2013), fazendo shows na Bateria da Beija Flor.
Em 2015 participou da tourne “Trem do Samba”, na Franca (Paris, Lile e Nice) e em 2016 realizou 2 tournes na Europa, passando por Portugal (Porto; Lisboa - Forro de Lisboa Festival; Festival Andancas) e Inglaterra (Grace Bar, Carnaval de Notting Hill, Tia Maria, Forro Festival UK).
Hoje residente na Europa, a artista carioca da gema e cria do subúrbio participa dos principais eventos e festivais de Forró  e Samba do Brasil e no velho continente.

Sou a poeira perdida em pleno avesso...
Sou o caminho que leva ao precipício...
Fui e serei sempre o início 
Pois o fim é sempre o recomeço.
Sou Poeta, sou Raul.

 The story of UB40, and how this group of young friends from Birmingham transcended their working-class origins to become the world’s most successful reggae band is not the stuff of fairytales as might be imagined. The group’s led a charmed life in many respects it’s true, but it’s been a long haul since the days they’d meet up in the bars and clubs around Moseley, and some of them had to scrape by on less than £8 a week unemployment benefit. The choice was simple if you’d left school early. You could either work in one of the local factories, like Robin Campbell did, or scuffle along aimlessly whilst waiting for something else to happen.

By the summer of 1978, something else did happen, and the nucleus of UB40 began rehearsing in a local basement. Robin’s younger brother Ali, Earl Falconer, Brian Travers and James Brown all knew each other from Moseley School of Art, whilst Norman Hassan had been a friend of Ali’s since school. Initially, they thought of themselves as a "jazz-dub-reggae" band, but by the time Robin was persuaded to join and they’d recruited Michael Virtue and Astro – who’d learnt his craft with Birmingham sound-system Duke Alloy – the group had already aligned themselves to left-wing political ideals and forged their own identity, separate from the many punk and Two Tone outfits around at that time. The group had nailed their colours to the mast by naming themselves after an unemployment benefit form. Their political convictions hadn’t been gleaned second hand either, but cemented in place whilst attending marches protesting against the National Front, or rallies organised by Rock Against Racism.

By the time Chrissie Hynde invited them to tour with the Pretenders during the summer of 1980 and their debut single "King b/w Food For Thought" had sailed into the UK Top 5, all the essential elements of UB40 were already in place. Their line-up will remain unchanged for almost thirty years, and they will continue playing a mix of original material and inspired choice of reggae covers in a style that’s instantly accessible with its bright melodies and sweeping horn arrangements – one that’s allied to a formidable rhythm section, capable of holding its own with anything from Jamaica.

UB40’s first album was released the following September, on Graduate Records. Their deal allowed them more creative freedom than if they had signed with a major label. The cover artwork memorably duplicated an unemployment benefit card, with the title "Signing Off" rubber-stamped in red, but it was the music that quickly worked its way into the affections of a young, mainly student crowd with its knowing lyrics, solid reggae rhythms and dubby, instrumental passages, offset by warm horn solos and Jamaican style scatting. There was nothing else like it at the time. As a multi-cultural band from Birmingham, UB40 weren’t drawn into trying to sound "authentic," and there was considerably more depth to their music than that of many punk and 2Tone bands. "I’m a British subject, not proud of it, whilst I carry the burden of shame," they sang on one of the tracks. Accepting the truth of their own situation amidst a sea of other reggae songs proclaiming black heritage gave us a valuable insight into where UB40 were coming from. They were unafraid to stand up and be counted, and British audiences instinctively loved them for it. "Signing Off" duly went to No. 2 in the UK and stayed on the nation’s album charts for 72 weeks.

On September 2nd, 2013, UB40 released their latest album ‘Getting Over The Storm’ on Universal/Virgin Records.

Brazilian vocal group from Rio de Janeiro.

In 1999, their seed was planted in Burkina Faso. It sprang in Portugal and, since then, has spread its fruits around the world, between musical research expeditions and live shows on the most important world music festivals. Recently, they have been given recognition by the Songlines Music Awards 2011, with a nomination in the Best Group category.With Terrakota, the world map is turned upside down, and borders are swept by their multilingual music, as if Portuguese, Creole, Wolof, Spanish, English, Arabic, were a single language. Carrying a passport for a ride around the world, their dance steps journey across mandinga and afro-cuban rhythms, soukous, maracatu, arab music, rap, chimurenga, and, more recently, indian music influences. Their work speaks for itself: it joins together different people, languages and cultures. It struggles for a recognition of the universal human nature: strong political beliefs become embodied in the energy of their shows. But their solid musical identity, always inventive and well seasoned, is constantly being built and improved, with traditional and contemporary elements, on a global scale.

Fernandes Victor is following