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  • No princípio...
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  • Carpe diem

The Birth of the Matrix →

No princípio...

Imagine uma rede em que, por alguma mágica fantástica, todos dentro tenderiam a poucos passos detectáveis ​​de todos os outros... na rede e no planeta...

 

Imagine uma rede que seria mais sobre pessoas que você não conhece do que sobre pessoas que você conhece. E ainda mais importante: sobre pessoas que não o conhecem, mas cujas vidas seriam enriquecidas se o conhecessem...

 

Imagine uma rede que incluiria todos na economia criativa global da humanidade...

 

Você está imaginando O Matrix (Rede Online)!

 

 

Esse Matrix baiano foi fundado (com afeto!) numa questão fundamental: Como é possível fazer com que os músicos mais importantes historicamente do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

 

A resposta foi incluí-los num matrix no sentido original da palavra: “fonte”, de “mater”, latim para “mãe”...

 

...um matrix que também incluiria membros da economia criativa de todo o mundo: escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos…

 

Por este meio, podemos pessoalmente alcançar profundamente a realidade da economia criativa global que está realmente lá fora: Roberto Mendes de Santo Amaro pode recomendar João do Boi de São Braz. Munir Hossn de Salvador, mas agora morando em Paris, pode recomendar Roberto Mendes. Alfredo Rodriguez de Havana, mas agora morando em Nova York, pode recomendar Munir Hossn. E Quincy Jones de Los Angeles pode recomendar Alfredo Rodriguez. Quem conhece Quincy Jones agora pode descobrir João do Boi (entre os músicos absolutamente mais fundamentais do Brasil) em apenas quatro passos.

 

Este não é um exemplo isolado. Caminhos curtos de apenas alguns passos entre pessoas criativas amplamente díspares são universais em todo o Matrix. Tal é o fantástico poder matemático do fenômeno do pequeno mundo, o fenômeno responsável pelos "seis graus de separação", unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Essa é a superpotência do Matrix baiano.

 

O Matrix baiano está aberta a todos da economia criativa global. Foi construído numa loja de discos no Centro Histórico de Salvador por um americano que trabalhou anteriormente em Nova York recuperando royalties não pagos para artistas como Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, o primeiro produtor de Bob Marley, Clement Dodd, o mestre de jazz Jim Hall e outros.

 

Agora o projeto é mostrar ao mundo o que é que a Bahia tem. Ao permitir que todos na economia criativa global também podem estender a mão ao redor do mundo e mostram ao mundo o que é que eles têm.

 

O Matrix é capaz de atingir profundamente... esta é a vila de São Braz, no Recôncavo baiano, criada por escravizados que escaparam para uma liberdade marginal...

 

In the beginning...

Imagine a network wherein by some fantastic magic everybody within would tend to within scant, discoverable steps of everybody else... in the network, and across the planet...

 

Imagine a network that would be more about people you don't know than people you do know. And even more importantly: about people who don't know you but whose lives would be enriched if they did...

 

Imagine a network which would include all in humanity's global creative economy...

 

You are imagining The Matrix (Online Network)!

 

 

This Bahian Matrix was founded (with love!) on a fundamental question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

 

The answer was to include them in a matrix in the original sense of the word: “source”, from “mater”, Latin for “mother”...

 

...a matrix which would also include members of the creative economy from everywhere else: writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…

 

By this means we can personally reach deeply into the reality of the global creative economy that is really out there: Roberto Mendes of Santo Amaro can recommend João do Boi of São Braz. Munir Hossn of Salvador but now living in Paris can recommend Roberto Mendes. Alfredo Rodriguez of Havana but now living in New York City can recommend Munir Hossn. And Quincy Jones of Los Angeles can recommend Alfredo Rodriguez. Anybody who knows Quincy Jones can now discover João do Boi (top photo; "John of the Ox" in English, the vastly important Son House of Brazil) in just four steps.

 

This is not an isolated example. Short pathways of just a few steps between widely disparate creative people are universal throughout the Matrix. Such is the fantastic mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the Bahian Matrix’s superpower.

 

The Bahian Matrix is open to all in the global creative economy. It was built in a record shop in Salvador’s Centro Histórico by an American who formerly worked in New York city retrieving unpaid royalties for artists including Aretha Franklin, Barbra Streisand, Led Zeppelin, Cat Stevens (Yusef Islam), Astrud Gilberto, Airto Moreira, Mongo Santamaria, Ray Barretto, Bob Marley’s first producer Clement Dodd, jazz great Jim Hall and others.

 

Now the project is to show the world o que é que a Bahia tem (what it is that Bahia has). By letting everybody in the global creative economy likewise reach out across the planet to connect as they wish and show the world what it is that they have too.

 

The Matrix is capable of reaching deeply...this is João's village of São Braz, in the Bahian Recôncavo, created by enslaved who'd escaped to a marginal freedom...

 

Carpe diem

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  • Becca Stevens
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  • ALL IS CLOSER THAN WE IMAGINE
    (Imagine Becca Stevens)
    I RECOMMEND
    You can recommend Becca Stevens from below when logged in ←

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Becca Stevens
  • City/Place: Brooklyn, NY
  • Country: United States

Life & Work

  • Bio: Since making her debut with the 2008 album Tea By Sea, singer/songwriter/multi-instrumentalist Becca Stevens has tested the limits of musical identity, mining everything from jazz to Irish folk to indie-rock in her striving for complete and authentic expression. In her latest musical endeavor—the five-track EP WONDERBLOOM and a soon-to-follow full-length of the same name—the North Carolina-bred, Brooklyn-based artist again defies all expectation, this time dreaming up a groove-heavy, dance-ready sound infused with elements of pop and funk and R&B. But despite its brighter textures and uptempo rhythms, WONDERBLOOM finds Stevens achieving a profound complexity in her lyrics, ultimately redefining what’s possible in creating music that elevates and edifies.

    Centered on the captivating vocal presence she’s showcased as a member of David Crosby’s Lighthouse Band, WONDERBLOOM telegraphs an unabashed joy that Stevens partly attributes to the project’s production. In a bold new turn for her musical career, Stevens co-produced and co-engineered WONDERBLOOM alongside Nic Hard (Snarky Puppy, Ghost-Note, The Church), overseeing every aspect of the recording and claiming a sense of agency that had long eluded her in the studio.  “Nic and I truly worked as equals, trusting each other to get the job done, and it was an incredibly empowering experience for me,” she says.

    In another major departure, Stevens purposely brought a communal sensibility to the making of WONDERBLOOM—an undertaking that resulted in more than 40 musicians contributing to the album, including Vulfpeck guitarist Cory Wong, longtime collaborator Jacob Collier, and all of her Lighthouse bandmates (keyboardist Michelle Willis, Snarky Puppy bandleader Michael League, and David Crosby himself). “My earlier records were all written by me, arranged by me, then performed by me and my band,” says Stevens. “But going into making this one, I made a rule for myself that anytime I had the instinct to turn inward and tough it alone, to instead stay open and share the process. And each time I did that, I was rewarded tenfold by what we all created together. Even with so many collaborators, the end result feels more honest than ever.”

    In selecting songs from the dozens of demos she’d recorded in recent years, Stevens landed on 14 tracks rooted in her finely detailed, emotionally layered storytelling. “Some of the stories are very personal, some are from other people’s lives, and the rest are a bit more like fantasy,” she says. Co-written with Grammy-nominated musician Kaveh Rastegar, WONDERBLOOM’s lead single “Good Stuff” represents the album’s autobiographical component, emerging as a distinctly timely anthem. “It’s a song about things I’ve gone through in my career, and the struggles that so many women face in this industry,” Stevens says. Proving her ingenuity as a songwriter and performer, Stevens transforms those struggles into a triumphant pop epic, channeling a radiant confidence in her vocal delivery and embedding the song with soul-stirring gospel harmonies - which  is actually just 64 layers of Michael Mayo singing in 50 different personalities/vocal timbres.

    A far more darkly toned track, “I Will Avenge You” shows the immense depth of Stevens’s imagination. “That was inspired by a script that Michael Showalter sent me for a pilot he was directing/producing called ‘In The Dark,’ explains Stevens, referring to the actor/producer who directed the Oscar-nominated 2017 film The Big Sick. “The show is about an alcoholic/self-destructive blind woman who’s determined to solve the murder of a young drug dealer who saved her life.” With its jagged guitar work and mesmerizing vocal performance, “I Will Avenge You” attains a cinematic intensity all on its own, gracefully unfolding as a narrative of irrepressible power and raging passion.

    While much of WONDERBLOOM embodies the sheer effervescence of tracks like “Good Stuff,” the album ends on the heavy-hearted meditation of “Heather’s Letters to Her Mother” - a beautifully slow-building piece written for Heather Heyer, the 32-year-old woman killed while peacefully protesting at the 2017 white-nationalist rally in Charlottesville. “David Crosby and I were on the tour bus one day, and he challenged me to find a song in the moment when Heather met the driver of the car that took her life… that these two humans should have met in some other way… any other way,” Stevens remembers. “After trying a thousand approaches to the song, I ended up thinking of the lyrics as little messages from Heather to her mother, leading up to the event and then finally from beyond the grave asking her mother to finish what she started.” Quietly heartbreaking and ineffably tender, the starkly arranged six-minute track takes on a subtle hope as a choir of children (including Stevens’s nieces and nephews, Hard’s teenage daughters, Crosby, Willis and Michael “Maz” Maher) lend their voices to the song’s breathtaking finale.

    All throughout WONDERBLOOM, Stevens imbues her songs with unfiltered emotion, an effect achieved through equal parts spontaneity and intentionality. “From the beginning I set a goal for myself to be more direct, both lyrically and musically,” she says. “I have a tendency to overthink and over-edit, but for this record I really challenged myself to just say what I wanted to say and leave it at that.” Driven by a desire to “create music that allows and inspires me to be real, raw, and human when I perform it,” Stevens sometimes introduced a deliberate physicality into her performance. In recording the album-opening “Low on Love,” for instance, she conjured the track’s delicate ennui by lying down on the studio floor. “I was depressed and run ragged when I recorded my original home demo, so it felt right to get back to that energy tracking the song in the studio,” says Stevens.

    Although most of WONDERBLOOM came to life in Brooklyn, Stevens journeyed to Los Angeles, North Carolina, and France in order to capture certain performances. Those travels included a trip to Paris to work with harpist Laura Perrudin, where the two musicians spent five days holed up in Perrudin’s apartment. “Laura is like some kind of mad-scientist fairy,” Stevens says. “She’d sit there turning knobs on her pedals, then take a shish-kebab skewer and put it to the strings and whack it with a padded drumstick, and suddenly it sounded like Satan’s cocktail party or something. “Laura created so many other worldly sounds like nothing I’d ever heard before.”

    In reflecting on the six-month-long process of recording and producing WONDERBLOOM, Stevens recalls the relentless focus and often 18-hour workday with an unequivocal fondness. To that end, the album’s title nods to the Titan Arum, a plant whose singularly massive cluster of flowers takes a staggering eight years to blossom. “What inspires me about the Titan Arum is how hard it works and how long it takes to bloom, and how beautiful the payoff is,” says Stevens. “It’s about working for the long game rather than instant gratification, and resisting that temptation to get hung up on all the little things on the way to something great.”

    For Stevens, the most glorious payoff in WONDERBLOOM lies in her utter delight in the album’s outcome. “This is the first record that I feel inspired to dance to, and I think that has everything to do with how much I shared the experience as I went along,” she reveals. And with the release of WONDERBLOOM, Stevens hopes that her audience might feel a similar lightening of the spirit. “I feel very strongly that music is a lifting force, and that many people don’t realize how deeply we need that right now,” she says. “I would love for people to have fun to this album, and to enjoy it in happy times and in sad times—the same way I find strength in all my favorite records.”

Contact Information

  • Management/Booking: Management/Booking:

    Moema Parrott / CEO - Polyarts /
    HarrisonParrott
    [email protected]

    Tabitha McGrath / Artist Manager - Polyarts / HarrisonParrott
    [email protected]

    Ed Williams / Logistics - Polyarts /
    HarrisonParrott
    [email protected]

    Jan Esbra / Personal Assistant
    [email protected]​

    Publicity:
    Rob Krauser / Media Room REK (US)
    [email protected]

    Sue Harris / Republic Media (UK)
    [email protected]

    Uwe Kerkau (GAS)
    [email protected]

Media | Markets

  • ▶ Twitter: beccastevensbsb
  • ▶ Instagram: beccastevensbsb
  • ▶ Website: http://www.beccastevens.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC8Q5rPInalv6Yz_6eyqjt8A
  • ▶ YouTube Music: http://music.youtube.com/channel/UCUmwwA-7wXZQrqIJAidR-Rg
  • ▶ Spotify: http://open.spotify.com/album/1wfcewOdGGm8oqJL9E0Yap
  • ▶ Spotify 2: http://open.spotify.com/album/31DZzWTKtdnl4P3mt49ZKL
  • ▶ Spotify 3: http://open.spotify.com/album/0jHwBbCbMbUZGAGEoNYOxI
  • ▶ Spotify 4: http://open.spotify.com/album/38Z3ThlrNxIzvnPCNKNViE
  • ▶ Spotify 5: http://open.spotify.com/album/5dWvYzqdPCbXvWuhcJWTI0
  • ▶ Spotify 6: http://open.spotify.com/album/4ITWxingprskqcinkENWlK

Clips (more may be added)

  • Bathtub - Jacob Collier & Becca Stevens
    By Becca Stevens
    415 views
  • Becca Stevens - Queen Mab (Official Music Video)
    By Becca Stevens
    388 views
  • Becca Stevens - Well Loved (Official Music Video)
    By Becca Stevens
    338 views
  • Becca Stevens Band - Imperfect Animals
    By Becca Stevens
    258 views
  • Becca Stevens Band - Thinkin Bout You
    By Becca Stevens
    386 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 anybody 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.



  • 1 Brooklyn, NY
  • 1 Multi-Instrumentalist
  • 1 Singer-Songwriter

From Harlem to Bahia to the World, the Why & How of this Matrix: Window below in Portuguese here!
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