The Matrix began by connecting Bahia to the wider African diaspora.

 

 

Afro-Indigenous Raymundo Sodré, first into the Matrix.

A Massa (do povo carente) / The Masses (of people in need)

A Massa (do povo carente) / The Masses (of people in need)
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I'm Sparrow, left below, with David Dye & Kim Junod for U.S. National Public Radio. The Matrix you are on was built here 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 Raymundo 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 project was conceived in heavy history and built on surprising mathematics: I used the contract below, Bob Marley's first, co-signed by his aunt because he was under 21 — this is a copy I made of Clement Dodd's original — to retrieve unpaid royalties from CBS Records (now Sony Music). The small world phenomenon connects us all, ephemerally. This matrix — in the case of creators — turns ephemeral into virtual reality.

 

 

The magnificent art and souls of Alumínio and João do Boi Saturno (black hats below), Brazil's analogues to the greatest Delta bluesmen, permeate this matrix.

SPARROW/PARDAL ROBERTS