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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...

 

It 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..."

 

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.

 

  • Charles Munka
    I RECOMMEND

CURATION

  • from this node by: Matrix+

This is the Universe of

  • Name: Charles Munka
  • City/Place: Hong Kong
  • Country: China
  • Hometown: Lyon, France

Life & Work

  • Bio: Not every artist thinks of a painting as a place. For many artists—I would venture to guess the vast majority—a painting can be anything from a discrete object or a window into a fantasy to an object out of time or a representation of an ongoing practice.

    Some painters, though, think of painting in architectonic terms, imagining how future viewers somewhere down the long temporality of art history might approach the work, wondering what kind of spaces paintings might one day be displayed within, considering how paintings themselves might evoke or even create spaces for meditation, conflict, romance, salvation. This is, in some important ways, the more classical approach to painting, in that it is beholden to a religious sensibility. Every painter of a medieval altarpiece, for instance, knew exactly where that painting would reside for the duration of its worldly existence; removal would be tantamount to cataclysm.

    Through modernism, the artist wrests control of the siting of the work away from the commissioning institution—the image slinks from the church to the museum, freed from something spiritual and bonded instead to systems of circulation.

    Museums are, all of them, tomb raiders. In the twentieth century, artists who have built homes for their prized works have been subject to ambiguous admiration and derision, the accusation of arrogance and egoism no doubt stemming from a lingering religious aura that has, despite it all, never been entirely stripped away from painting: in creating paintings for particular spaces the artist is seen as rejecting the invisible hand of circulation, and in creating spaces for particular paintings the he builds a temple to his own hand.

    The Rothko Chapel, which technically functions as a place of worship; Ellsworth Kelly’s Austin, often oddly described as an atheist temple; Monet’s Water Lilies, suspended in the air against a wall of their own; Mark Bradford’s Pickett’s Charge, and its immediate predecessor in the Gettysburg Cyclorama. These are all grand, masculine gestures that stake their claims into the frontier like so many flagpoles thrust into the surface of the moon, or the wastelands west of the Mississippi.

    Charles Munka, forever a guest on the island of Sado, treads more softly. Working on the site of an old Noh stage, his paintings make place by being born of a place, as he suggests in the title: Riken no Ken, to see a detached seeing, to understand at a distance, to grasp formalized beauty and its referent—real, past, or imagined—all in the same instant.

    On the exterior of the Haguro Shrine’s stage, he constructs five dark panels, five paintings of negative space that derive their graphic forms from the abstract choreographic manuals of the Noh tradition. The same pattern is repeated topographically, in Adrift, by stacked cairns of scavenged buoys, an object that washes up locally on the tides after being loosened, by nature or by accident or by villainy, from grids engaged in the aquaculture of oysters. They are nautical navigational aids, sculptural reinventions of the diagrams, street signs, and informational graffiti that Munka has lifted from the surfaces of walls, streets, and roadmaps time and time again, from rural France to the dense heart of Hong Kong. One imagines the criss-crossing wakes of the ships that have brought him here. His choreography appears again, a third time, inside of the shrine, but here reversed: crisp black lines on a light canvas, a confusion of routes that may once have traversed this very space, sucking all of the air and all of the history out of a room that nearly collapses under its own weight. Every mark, from beginning to end, is revealed to be intentional.

    In making a place for these paintings, in making a place out of these paintings, Munka maps paths that do not move forward but rather pull us backward, spin us around, and deliver us right back to where we started. As viewers we stand at an altar without a specific purpose, other than to remind us that we can see what we are seeking only by stepping back from what is in front of us, to see our own detachment, and to allow the world to wash over us in waves.

    by Robin Peckham

Contact Information

  • Contact by Webpage: http://www.charlesmunka.com/contact

Media | Markets

  • ▶ Twitter: charlesmunka
  • ▶ Instagram: charlesmunka
  • ▶ Website: http://www.charlesmunka.com
  • ▶ Article: http://theartling.com/en/artzine/on-the-rise-charles-munka/

More

  • Quotes, Notes & Etc. Charles Munka is art director for BTS Radio/Records and for Flying Lotus's Brainfeeder label.

Clips (more may be added)

  • 0:08:09
    Iki, the island of gods - New Territories
    By Charles Munka
    144 views
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YOU RECOMMEND

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 Charles Munka:

  • 1 Collage
  • 1 Drawings
  • 1 Hong Kong
  • 1 Painter
  • André Becker Brasil, Brazil
  • John Morrison Music Journalist
  • Regina Carter Americana
  • Dan Trueman Violin
  • Jacob Collier Multi-Instrumentalist
  • Elza Soares Rio de Janeiro
  • Fabian Almazan Jazz
  • Ari Rosenschein Indie Pop
  • Judith Hill R&B
  • Cleber Augusto Rio de Janeiro
  • Bill Pearis Editor
  • Sharita Towne Printmaker
  • Jamz Supernova Record Label Owner
  • Jon Batiste Multi-Instrumentalist
  • Léo Rugero Ethnomusicologist
  • Owen Williams Marketer
  • Martyn Drum and Bass
  • Brian Stoltz New Orleans
  • Tia Fuller Jazz
  • Herlin Riley Drums
  • Tom Schnabel Author
  • Sunna Gunnlaugs Jazz
  • Will Vinson New York City
  • Buck Jones Brasil, Brazil
  • Aditya Prakash Ropeadope
  • Jim Lauderdale Nashville, Tennessee
  • Ariane Astrid Atodji Yaoundé
  • Paulo Dáfilin Composer
  • Gabriel Grossi Choro
  • Melanie Charles Actress
  • Bruce Williams Composer
  • Sérgio Mendes Rio de Janeiro
  • Sergio Krakowski Jazz
  • Chris Speed Clarinet
  • Missy Mazolli Composer
  • Lenna Bahule MPB
  • Varijashree Venugopal Flute
  • Sandro Albert Composer
  • Bebel Gilberto Singer-Songwriter
  • Caetano Veloso Bahia
  • Chris Thile Multi-Instrumentalist
  • Jupiter Bokondji African Music
  • Bobby Vega Rock 'n' Roll
  • David Bragger Guitar Instruction
  • Antonio Sánchez Drums
  • Ron Wyman Documentary Filmmaker
  • Silas Farley Ballet
  • Inaicyra Falcão Dançarina, Dancer
  • Yelaine Rodriguez African Diaspora Culture
  • Elisa Goritzki Salvador
  • Leo Genovese Argentina
  • Imani Winds Classical Music
  • Tomo Fujita Guitar
  • Barney McAll Australia
  • Rodrigo Caçapa Composer
  • Sandro Albert Brazilian Jazz
  • Gino Banks Mumbai
  • Hendrik Meurkens Samba
  • Marc Cary Keyboards
  • João Luiz Choro
  • Cedric Watson Singer-Songwriter
  • Shez Raja London
  • Toumani Diabaté Mali
  • Michael Formanek Peabody Conservatory of Music Faculty
  • Catherine Bent Jazz
  • Zé Luíz Nascimento Barcelona
  • OVANA Cunene
  • Swami Jr. Forró
  • Yotam Silberstein New York City
  • Fred Hersch Classical Music
  • Gord Sheard Composer
  • Stuart Duncan Bluegrass
  • Yo La Tengo Film Scores
  • Justin Stanton Keyboards
  • Arturo O'Farrill Latin Jazz
  • Ricky (Dirty Red) Gordon Louisiana
  • Tony Austin Recording Engineer
  • Myron Walden Jazz
  • Leci Brandão Pandeiro
  • Kenny Barron Jazz
  • Jonga Cunha Record Producer
  • Michael Olatuja Nigeria
  • Babau Santana Partido Alto
  • João Camarero Guitar
  • Endea Owens New York City
  • Liz Dany Barranquilla
  • Mayra Andrade Cape Verde
  • Vijay Iyer Composer
  • Raynald Colom Jazz
  • Margareth Menezes Bahia
  • Riley Baugus Luthier
  • Cuong Vu Jazz
  • Jean Rondeau Paris
  • Peter Mulvey Singer-Songwriter
  • McCoy Mrubata Cape Town
  • Gui Duvignau Jazz
  • David Wax Museum Charlottesville, Virgina
  • Walmir Lima Brazil
  • Gabriel Geszti Jazz Brasileiro, Brazilian Jazz
  • Nettrice R. Gaskins Lesley University Faculty
  • Antonio García Film Scores
  • Joel Ross Brooklyn, NY
  • Oleg Fateev Amsterdam
  • Anoushka Shankar Piano
  • Forrest Hylton Salvador
  • Julie Fowlis Scottish Gaelic
  • Sara Gazarek Los Angeles
  • Avishai Cohen אבישי כה Folk Jazz
  • Arthur Verocai Piano
  • Sameer Gupta Drums
  • Thiago Espírito Santo Baixo, Bass
  • The Weeknd Singer-Songwriter
  • Greg Kot Writer
  • Nublu Experimental, Electronic Music
  • Raphael Saadiq Neo Soul
  • Dona Dalva Bahia
  • Hamilton de Holanda Rio de Janeiro
  • Issa Malluf Riq
  • Gilson Peranzzetta Clarinet
  • Liz Pelly Journalist
  • Hercules Gomes Samba
  • Lalah Hathaway Record Producer
  • Nath Rodrigues Multi-Instrumentalist
  • Duncan Chisholm Traditional Scottish Music
  • Shuya Okino DJ
  • Cedric Watson Cajun Music
  • Júlio Lemos Brazilian Jazz
  • Chau do Pife Pífano
  • Glória Bomfim Afoxé
  • Philip Glass Film Scores
  • Woody Mann Blues
  • Daymé Arocena Havana
  • Steve Lehman Saxophone
  • Melissa Aldana Composer
  • Menelaw Sete Brasil, Brazil
  • Wayne Krantz Jazz
  • Khruangbin Houston, Texas
  • Ron McCurdy Jazz
  • Celino dos Santos Samba de Roda
  • Monarco Singer-Songwriter
  • Anne Gisleson New Orleans
  • Nicolas Krassik Composer
  • Seckou Keita Percussion
  • Henrique Cazes Choro
  • Gian Correa Brazil
  • Darryl Hall Bass
  • Flavio Sala Classical Guitar
  • Dan Tepfer Jazz
  • Mauro Diniz Singer-Songwriter
  • Fernando Brandão Composer
  • Joe Lovano Author
  • Francisco Mela Composer
  • Nahre Sol YouTuber
  • Arto Tunçboyacıyan New York City
  • Leandro Afonso Salvador
  • Jorge Alfredo Bahia
  • Steve McKeever Record Label Owner
  • Amilton Godoy Piano Course Online
  • Marcus Teixeira EMESP Tom Jobim Faculty
  • Yvette Holzwarth Singer
  • Geovanna Costa Violão, Guitar
  • Nilze Carvalho Brazil
  • Tobias Meinhart Composer
  • Raphael Saadiq Multi-Instrumentalist
  • Michael Janisch Bass
  • Manassés de Souza Viola de Doze
  • Helado Negro Multi-Instrumentalist
  • J. Period Remixer
  • Aaron Goldberg New York City
  • David Ritz Lyricist
  • Márcia Short Cantora, Singer
  • Keyon Harrold Hip-Hop
  • Rayendra Sunito Record Producer
  • Otto Pernambuco
  • Julian Lage Blues
  • Lenine Brazil
  • Kareem Abdul-Jabbar Actor
  • Mauro Diniz Brazil
  • THE ROOM Shibuya Hip-Hop
  • James Gadson Drums
  • Nelson Ayres MPB
  • Huey Morgan DJ
  • Elodie Bouny Lisbon, Portugual
  • Mulatu Astatke Percussion
  • James Andrews New Orleans
  • Arismar do Espírito Santo São Paulo
  • Zé Katimba Samba
  • Ken Avis Singer-Songwriter
  • Ravi Coltrane Record Producer
  • Adriene Cruz Textile Artist
  • Shemekia Copeland R&B
  • Ivan Lins Singer-Songwriter
  • Jas Kayser Panama City
  • Dona Dalva Cachoeira
  • Áurea Martins Rio de Janeiro
  • Merima Ključo Theater Scores
  • Orlando 'Maraca' Valle Havana
  • Susheela Raman London
  • G. Thomas Allen Columbia College Chicago Faculty
  • Pharoah Sanders Composer
  • Tomo Fujita Author
  • Tiganá Santana Trilhas Sonoras, Film Scores
  • Lô Borges Cantor-Compositor, Singer-Songwriter
  • Taylor McFerrin Beatboxer
  • Rodrigo Amarante Singer-Songwriter
  • Alicia Keys Record Producer
  • Welson Tremura Choro
  • Terence Blanchard New Orleans
  • Edsel Gomez Jazz
  • Chris Dave Houston
  • Leon Bridges Singer-Songwriter
  • Giveton Gelin Jazz
  • Rumaan Alam Novelist
  • Nigel Hall New Orleans
  • Nubya Garcia DJ
  • Restaurante Axego Bahia
  • Joshue Ashby Timba
  • Bob Mintzer Saxophone
  • Marta Sánchez Composer
  • Marcel Powell Brazil
  • Luciano Salvador Bahia Singer-Songwriter
  • Sammy Britt Mississippi
  • Johnathan Blake Drums
  • Jan Ramsey Culture Journalist
  • Iuri Passos Ethnomusicologist
  • Susheela Raman Singer-Songwriter
  • Jon Faddis Purchase College Conservatory of Music Faculty
  • Trombone Shorty Songwriter
  • Mazz Swift Brooklyn, NY
  • Mika Mutti MPB
  • Antônio Pereira Brazil
  • Nelson Ayres Brazil
  • David Bragger Mandolin Instruction
  • Adam O'Farrill Multi-Cultural
  • Ben Azar Guitar Instruction
  • Ivan Huol Salvador
  • Ênio Bernardes Pandeiro
  • Rita Batista Salvador
  • David Castillo Moorpark College Faculty
  • Martyn DJ
  • Questlove Hip-Hop
  • Andrew Finn Magill Appalachian Music
  • Michelle Mercer Music Critic
  • Ronell Johnson Funk
  • Plamen Karadonev Berklee College of Music Faculty
  • Iuri Passos Brazil
  • Andrew Finn Magill Ropeadope
  • Ivo Perelman Saxophone
  • Nelson Faria Brazilian Jazz
  • Nettrice R. Gaskins Writer
  • Jeff 'Tain' Watts Drums
  • Carwyn Ellis Brazil
  • Ronald Bruner Jr. Composer
  • Melissa Aldana Chile
  • Paulão 7 Cordas Record Producer
  • Celso Fonseca MPB
  • Seth Rogovoy Journalist
  • Chris Boardman Arranger
  • Gabi Guedes Brazil
  • Deesha Philyaw Short Stories
  • Larnell Lewis Toronto
  • Ben Cox Director of Photography
  • Mário Santana Candomblé
  • Elodie Bouny Venezuela
  • Anoushka Shankar Author
  • Ken Coleman Detroit, Michigan
  • Tom Piazza Music Writer
  • Djuena Tikuna Brazil
  • As Ganhadeiras de Itapuã Folk & Traditional
  • Ethan Iverson Jazz
  • Evgeny Kissin Contemporary Classical Music
  • Tero Saarinen Dancer
  • Leci Brandão Brazil
  • Romero Lubambo New York City
  • Greg Osby Record Label Owner
  • Ben Okri Nigeria
  • Jay Blakesberg San Francisco
  • Paulo César Figueiredo Rio de Janeiro
  • Nego Álvaro Rio de Janeiro
  • Rachel Aroesti Writer
  • Leo Nocentelli Guitar
  • Cleber Augusto Guitar
  • Caterina Lichtenberg Mandolin
  • Tommy Orange Novelist
  • Ken Coleman Black American Culture & History
  • Júlio Lemos Composer
  • Sameer Gupta Percussion
  • Kiko Horta Brazil
  • Cássio Nobre Viola Brasileira
  • ANNA DJ
  • Zara McFarlane Vocal Coach
  • Carlos Blanco Salvador
  • Amitava Kumar Journalist
  • Gevorg Dabaghyan Armenian Folk Music
  • Ricky (Dirty Red) Gordon Frottoir
  • Jaques Morelenbaum Songwriter
  • Harish Raghavan Educator
  • Roque Ferreira Bahia
  • Daymé Arocena Cuba
  • Terence Blanchard Film Scores
  • Harish Raghavan Composer
  • Zakir Hussain Tabla
  • Gabriel Grossi Brazilian Jazz
  • Marcel Camargo Brazil
  • Antonio Sánchez Composer
  • Gabrielzinho do Irajá Partideiro
  • Bright Red Dog Albany, New York
  • Abhijith P. S. Nair Composer
  • Jonathan Scales Jazz Fusion
  • Paulo Dáfilin Guitar
  • Paulinho da Viola Rio de Janeiro
  • Kiko Souza Jazz Brasileiro, Brazilian Jazz
  • Zé Katimba Singer-Songwriter
  • Maladitso Band African Music
  • Omar Sosa Cuba
  • Zara McFarlane London
  • Marko Djordjevic Jazz
  • Bruce Williams Composer
  • Paulinho do Reco Bahia
  • Sam Yahel Hammond B-3
  • Corey Henry Tremé
  • Gabrielzinho do Irajá Cavaquinho
  • Tia Fuller Composer
  • Zachary Richard Poet
  • Mônica Salmaso Singer
  • Angel Bat Dawid Singer
  • Carlinhos 7 Cordas Samba
  • Shannon Sims Writer
  • David Bruce YouTuber
  • Dave Eggers Publisher
  • Jared Sims Jazz
  • Gabriel Geszti MPB
  • Edsel Gomez Puerto Rico
  • Issac Delgado Composer
  • Regina Carter Multi-Cultural
  • Şener Özmen Photographer
  • Stephen Guerra Guitar
  • Stephan Crump Jazz
  • Nels Cline New York City
  • Nublu New York City
  • Emicida Singer-Songwriter
  • Rogê Singer-Songwriter
  • Jim Lauderdale Americana
  • Matt Garrison Bass
  • Andrés Prado Universidad Católica del Perú Faculty
  • Mika Mutti Salvador
  • Rob Garland Guitar Instruction
  • Ron Blake Juilliard Faculty
  • Giorgi Mikadze გიორგი მიქაძე Piano
  • Tank and the Bangas Soul

 'mātriks / "source" / from "mater", Latin for "mother"
We're a real mother for ya!

 

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