Salvador Bahia Brazil Matrix

The Matrix Online Network is a platform conceived & built in Salvador da Bahia, Brazil and upon which people & entities across the creative economic universe can 1) present in variegated detail what it is they do, 2) recommend others, and 3) be recommended by others. Integrated by recommendations and governed by the metamathematical magic of the small world phenomenon (popularly called "6 degrees of separation"), matrix pages tend to discoverable proximity to all other matrix pages, no matter how widely separated in location, society, and degree of fame. From Quincy Jones to celestial samba in the favelas of Rio de Janeiro to you, all is closer than we imagine.

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  • From Brazil with love →
  • @ Ground Zero
  • El Aleph
  • If You Can't Stand the Heat
  • Harlem to Bahia to the Planet
  • Why a "Matrix"?

From Brazil with love →

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

This is not a European nation. It is not a North American nation. It is 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. It 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 — 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 an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

Harlem to Bahia to the Planet



Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world. Like a chessboard which could have millions of squares, but you can get from any given square to any other in no more than six steps..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

  • Alicia Svigals
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Alicia Svigals
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: Alicia Svigals, violinist/composer and a founder of the Grammy-winning Klezmatics, is the world's foremost klezmer fiddler. Alicia almost singlehandedly revived the tradition of klezmer fiddling, which had been on the brink of extinction until she recorded her debut album Fidl in the 1990’s. In February 2018, Svigals and jazz pianist Uli Geissendoerfer released her newest album, Beregovski Suite, a fantasy on klezmer melodies culled from the archive of early 20th century Soviet Jewish ethnomusicologist Moshe Beregovski.

    Svigals is also a composer who works in many genres. She was an NEA MacDowell Fellow in 2014, an honor for first-time fellows of “extraordinary talent.” She is the recipient of the Foundation for Jewish Culture's 2013 New Jewish Culture Network commission for her new live score to the 1918 Pola Negri silent film The Yellow Ticket, which she tours internationally with pianist Marilyn Lerner, and was commissioned to create an expanded version of the score for the Seattle Symphony’s clarinetist Laura DeLuca, premiering in May 2014. She was fellow at LABA: a Laboratory of New Jewish Culture in 2014, where she studied Jewish texts with a multidisciplinary group of fellows and wrote a song cycle for soprano, violin and accordion drawn from that experience. In June 2018, Flicker Alley released her score to the 1923 silent film Das Alte Gesetz, co-written with pianist Donald Sosin, which they are touring internationally.

    Svigals has taught and toured with violinist Itzhak Perlman, who recorded her compositions as duets with Ms. Svigals and the Klezmatics; and she was awarded first prize in performance at the Safed, Israel international klezmer festival. She’s been featured in Eve Ensler's Vagina Monologues (at Madison Square Garden with Phoebe Snow, Glenn Close, Whoopi Goldberg, Susan Sarandon, and Brooke Shields). She’s composed for the Kronos Quartet, and composer Osvaldo Golijov was commissioned to create a work for her and clarinetist David Krakauer (then a fellow band member in the Klezmatics) entitled Rocketekiya, recorded on the Milken Archives label and performed at Merkin Concert Hall and Jazz at Lincoln Center.

    In Svigals' band the Klezmatics, she created contemporary Jewish music that combined the joyous and mystical Yiddish tradition with a postmodern aesthetic and an overtly political worldview. She co-led and toured with the band for seventeen years and recorded albums which reached the top ten of the Billboard and European World Music Charts. They appeared on Prairie Home Companion, Rosie O'Donnell's Kids are Punny, Good Morning America, MTV News, Nickelodeon, the BBC, and NPR's Weekend Edition, and with them she composed music for theater, dance and film, including the score to Tony Kushner's A Dybbuk, first produced at the Public Theater in NY, and his work-in-progress It's an Undoing World, groundbreaking documentary filmmaker Judith Helfand's A Healthy Baby Girl, and for poets Allen Ginsburg (in performance at the first Berlin Jewish Culture Festival) and Israeli singer Chava Alberstein (on her collaboration CD with the Klezmatics, The Well). Alicia’s multi-media event The Third Seder, featuring Tony Kushner and the Klezmatics, was presented by La Mama and by the Jewish Museum in New York, and became the model for Michael Dorf’s Third Seder events. Alicia and the Klezmatics recorded two albums for EMI with violinist Itzhak Perlman, which became the best-selling folk albums of all time. They performed with him on PBS' Emmy-winning In the Fiddler's House and on David Letterman, and appeared with him in concert at Radio City Music Hall, Tanglewood, and Wolf Trap.

    Ms. Svigals plays and writes music from heavy metal to traditional Greek, and she's recorded on projects from Lipa Schmeltzer‘s Kol Nidre to the soundtrack for the TV series the L-Word. She wrote and recorded string quartet parts for singer/songwriter Diane Birch’s debut Bible Belt, and appeared playing Indian-style violin on Gary Lucas and Najma Akhtar’s Rishte. She was featured on Herb Alpert’s recording of Belz, arranged by Marvin Hamlisch, on A Jewish Songbook. She’s appeared in stadium shows with Robert Plant and Jimmy Page of Led Zeppelin, recorded for John Cale's (Velvet Underground) album Last Day On Earth, and the Ben Folds Five's Whatever and Ever Amen, and improvised with Marc Ribot and John Zorn, appearing on the Knitting Factory Cobra CD. She composed an Americana soundtrack to Judith Helfand's documentary The Uprising of 1934 with singer Peggy Seeger, arranged string quartets for singer/songwriter Debbie Friedman at Carnegie Hall (released as a live CD), provided original music for choreographers Risa Jaroslow, at Lincoln Center, Naomi Goldberg in L.A. at the Ford Theater, and Diane Germaine at the Aronoff Center for the Arts in Cincinnati. She has provided original music for author Thane Rosenbaum’s live readings from his novel Golems of Gotham, and for a theater production with acrobat developed from the novel at the 14th St. Y in NY; two characters in the novel are based on Svigals. She’s featured on Avraham Fried's Avinu Malkeynu. Her album Vodkazak, produced by Chabad rabbi Zalman Goldstein, feature her klezmer interpretations of Hasidic Nigunim and is a rare production from that community featuring a female artist.

    Svigals has played with performance artist Taylor Mac in the Yiddish song segment of his 24-hour popular song piece, recorded a klezmer “Three Blind Mice” for the permanent children’s room exhibit at the National Museum of American Jewish History, played Yiddish baseball songs for Peter Miller’s documentary Jews and Baseball: an American Love Story, performed Ethiopian Jewish-African pop with singer/songwriter Alula, led a giant fiddle string orchestra jam with whiskey on a Manhattan rooftop, recorded with Terry Dame’s funky/modal Monkey on a Rail Orchestra, studied Turkish maqams with Ross Daly, taught Klezmer to top young professional artists in Carnegie Hall’s Zankel Hall residency, performed David Krakauer and SoCalled’s Battleship Potemkin score for sampler, orchestral percussion, clarinet and violin at the Wintergarden Theater, was honored at the Bam Café’s performance evening entitled “Tribute to Alicia Svigals”, curated 60 shows in a month at John Zorn’s venue the Stone, worked tirelessly with Yiddish dancemaster Steve Weintraub to revive old-world klezmer dancing in the Jewish community and led concert/dance parties with him at Lincoln Center, the Brooklyn Public Library et al; led children’s shows introducing the next generation to Yiddish music and dance, and appeared all over the world with her allfemale band with the late Adrienne Cooper, Mikveh, her roots group Alicia Svigals’ Klezmer Fiddle Express and her Klezmer/new improv duos with pianists Marilyn Lerner (Klezmer Unfettered) and Uli Geissendoerfer. (Klezmer Reimagined) – everywhere from the Cite de la Musique in Paris to Carnegie Hall in New York to the Port Townsend Fiddle Festival.

    Svigals also writes and lectures on Jewish music and culture.

Contact Information

  • Email: [email protected]
  • Telephone: 1-917-734-0087

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://store.cdbaby.com/cd/aliciasvigals
  • ▶ Twitter: aliciasvigals
  • ▶ Instagram: svigals
  • ▶ Website: http://aliciasvigals.com
  • ▶ YouTube Music: http://music.youtube.com/channel/UC_4D8Lz6ipHaiMRuIO_AoxA
  • ▶ Spotify: http://open.spotify.com/album/0Hp7NSJrcvPaFtvXPvJ2Je
  • ▶ Spotify 2: http://open.spotify.com/album/0emWCoIUFCEXt5uSqsC4bJ
  • ▶ Article: http://newyorkmusicdaily.wordpress.com/2018/02/04/au/
  • ▶ Article 2: http://atlantajewishtimes.timesofisrael.com/music-modernizes-silent-film-at-the-ajff/

Clips (more may be added)

  • Masterclass: Alicia Svigals on klezmer. 1: Running semiquavers
    By Alicia Svigals
    248 views
  • Masterclass: Alicia Svigals on klezmer. 2: Playing the zhok
    By Alicia Svigals
    268 views
  • Masterclass: Alicia Svigals on klezmer. 3: Krekhts
    By Alicia Svigals
    342 views
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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Alicia Svigals:

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