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CURATION
from this page:
by Augmented Matrix
Network Node
Name:
Betão Aguiar
City/Place:
Rio de Janeiro
Country:
Brazil
Life & Work
Bio:
É músico profissional desde os 11 anos de idade. Trabalhou com grandes nomes da música brasileira, como Caetano Veloso, Marisa Monte, Gilberto Gil, Carlinhos Brown e Arnaldo Antunes. No cinema, trabalha como produtor musical (assinou a trilha sonora de Ó Paí, Ó, de 2007) e é diretor de curtas documentais, como Dona Cadu (2018) e Chegança, no Jardim das Belas Flores (2020). Seu primeiro longa-metragem é Samba de Santo - Resistência Afro-Baiana.
English:
He has been a professional musician since the age of 11. He has worked with big names in Brazilian music such as Caetano Veloso, Marisa Monte, Gilberto Gil, Carlinhos Brown, and Arnaldo Antunes. In the film industry, he works as a music producer (credited for the soundtrack of "Ó Paí, Ó" in 2007) and is a director of short documentaries, including "Dona Cadu" (2018) and "Chegança, no Jardim das Belas Flores" (2020). His first feature film is "Samba de Santo - Afro-Bahian Resistance."
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Artistic and creative universalization from Brazil:ˈmātriks / original meaning: WOMB or SOURCE / derived from "mater", Latin for "mother" (we're real mothers for ya!)
Bahia — stoked, steamed and sensual in the broadest sense of the word, sprawled across broad equatorial latitudes, limned in prosody and cadenced melody, bewitching and bewitched — is where the magic (mathematical and otherwise) and enchantment upon which this matrix is based, begins...
A matrix wherein it's not which pill you take, it's what pathways you take, pathways originating in the sprawling cultural matrix of Terra Brasilis: Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian... Matrix Ground Zero being the Recôncavo, contouring the Bay of All Saints, Earth's absolute center of gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's inffable Black Rome: Salvador da Bahia.
("Black Rome" is an appellation per Caetano Veloso, son of the Recôncavo, via Mãe Aninha of Ilê Axé Opô Afonjá.)
The Matrix is a small world network in which creators may recommend other creators and be recommended by other creators. And where, like stars coalescing into a galaxy, creators in the Matrix mathematically gravitate to proximity to all other creators in the Matrix, no matter how far apart in location, fame or society. This gravity is called "the small world phenomenon".
While the Matrix's utilization of small world gravity is unprecedented (position everybody in the creative universe within discoverable range of everybody else in the creative universe), small world networks are all around us, even inside us: our brains contain small world networks. Humanity itself is a small world network, wherein over 8 billion human beings average 6 or fewer steps between any two given people, anywhere. Those steps are seldom all transitable though. In the Matrix they are. In a small world great things are possible.
Conceived in conversation with Raymundo Sodré (now 75 years old ~ born among the trod-upon folk of the Brazilian hinterlands ~ rocket-like career smashed under Brazil's dictatorship) — during a discourse connecting the quilombos and senzalas of Cachoeira and Santo Amaro to the wards of New Orleans to the South Side of Chicago, to the sidewalks of Harlem to the villages of Ireland to the Roma camps of France and Belgium, to the Vienna of Beethoven to the shtetls of Eastern Europe — and wherein Sodré opined for the ages something now inscribed on the wall of Plato's cave: "Where there's misery, there's music!"
I built the Matrix in the place below (I'm below left, with David Dye & Kim Junod for U.S. National Public Radio) 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 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 Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira, with Mateus Aleluia... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter; designed by Walter Mariano of the Federal University of the Recôncavo of Bahia).
Developed here in the Historic Center of Salvador ↓
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).