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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 Cut Worms:

  • 1 Americana
  • 1 Brooklyn, NY
  • 1 Singer-Songwriter

What's Up

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  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - Castle In The Clouds
    “Castle in the Clouds” the new song by Cut Worms out now on Jagjaguwar.
    • June 9, 2020
  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - Like Going Down Sideways (Official Video)
    Cut Worms - "Like Going Down Sideways" from ‘Alien Sunset EP’
    • June 9, 2020
  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - Cash For Gold (Official Video)
    “Cash For Gold” from LP “Hollow Ground”
    • June 9, 2020
  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - "Song of The Highest Tower" | A Do512 Lounge Session
    Recorded live in Austin, Texas
    • June 9, 2020
  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - Don’t Want to Say Good-bye (Official Video)
    “Don’t Want To Say Good-bye”
    • June 9, 2020
  • Cut Worms
    A video was posted re Cut Worms:
    Cut Worms - "Till Tomorrow Goes Away"
    KUTX presents Cut Worms playing "Till Tomorrow Goes Away" Live from SXSW / March, 2018
    • June 9, 2020
  • Cut Worms
    A category was added to Cut Worms:
    Americana
    • June 9, 2020
  • Cut Worms
    A category was added to Cut Worms:
    Singer-Songwriter
    • June 9, 2020
  • Cut Worms
    A category was added to Cut Worms:
    Brooklyn, NY
    • June 9, 2020
  • Cut Worms
    Cut Worms is matrixed!
    • June 9, 2020
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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...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one 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.

 

@ 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...

 

From Harlem to Bahia



  • Cut Worms
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Cut Worms
  • City/Place: Brooklyn, NY
  • Country: United States
  • Hometown: Strongsville, Ohio

Current News

  • What's Up? “The cut worm forgives the plough.”
    – William Blake, Proverbs of Hell

Life & Work

  • Bio: Cut Worms is the nom de plume of Max Clarke, assumed while studying illustration at Chicago's Columbia College.

    Despite a .300 batting average and a 63 mph curveball from the mound, Cut Worms' Max Clarke was the black sheep of his baseball-centric, Midwestern family. He was drawn to the creative shadows, drawn to the basement 4-track and late nights in the art studio as much as he was the dugout. He had a born knack for conjuring warm sounds and fine images. His songs in particular crackle with the heat of a love-struck nostalgia: golden threads of storytelling, like visceral memories, woven together with a palpable Everly Brothers' influence and 50s/60s naiveté. But the kid still has a pretty mean curve. Like one of his creative pillars David Lynch, Clarke's songs and artwork are also curveballs with a curious underbelly.

    A Cut Worms song may impress an innocent summer stroll across fields of tall grass and lavender, but there's undoubtedly a severed ear out in there in the grass. Some unseen dark forces are always lurking at the edges of songs' sunbursts. Bright, beautiful lap steel or a cheery harmonica accompaniment often belie an impending doom or crestfallen narrator.

    Clarke didn't necessarily seek out a life as full time musician. Before releasing music under the moniker of Cut Worms, Clarke went to school for illustration with the idea of a sensible career in graphic design, then took on a string of handy-man type odd jobs. Still, songwriting - that semi-secret practice Clarke had been cultivating since the age of 12 - kept gnawing at him. It was the only sort of work that didn't feel like work. Plus, if there's ever a time to do something as unreliable, unrealistic, and imprudent as throwing yourself wholly into music, might as well be done when you're in your twenties.

    A number of songs that make up his LP, Hollow Ground, bloomed from his time in Chicago during period of driven creativity. In particular, "Like Going Down Sideways" and "Don't Want To Say Good-Bye" find new life on Hollow Ground, polished from their initial appearances on Cut Worms' 2017 introductory Alien Sunset EP. Both still fizzle with a lo-fi 60s sound, but cleaned up, they gleam.

    The remainder of Hollow Ground was written in Clarke's current home in Brooklyn, where he still home-demos songs. The record was recorded partially in Los Angeles at the home studio of Foxygen's Jonathan Rado, and partially in New York with Jason Finkel at Gary's Electric. Clarke, who plays keyboards, bass, and lap steel in addition to his main guitar, handled most of the instrumentation across the set. He explains he's always strove toward a specific musical aesthetic, and Hollow Ground marks the closest he's gotten to hitting it thus far.

    Hollow Ground is imbued with a sharp, self-aware lyricism; as strong as the music is here, Clarke shows an affinity for evocative storytelling, striking the balance between cerebral and simplicity. Look no further than the chiming, rollicking standout "Cash For Gold." For a song with so much sock hop energy, it's actually about being trapped in one's introvert head — stuck on the couch or against the wall at the edges of the dance floor.

    Sometimes, on Hollow Ground, we find characters impossibly lustful, sometimes brooding, while in other parts they fumble along, hopeful and painfully self-aware. If the music can be said to have any sort of through-line, it revolves around Clarke's obvious delight in singing his heart out through varying degrees of agony. His songwriting both evokes and explores the raw realm of youth, its weightlessness and possibilities, but channels it through the lens of someone more restrained, who's been through it all before. Someone who's old enough to know better but still gets drawn back in to the romanticism of teenage feelings - and knows how to take the listener along, too.

Contact Information

  • Management/Booking: MANAGEMENT | Cut Worms
    [email protected]

    BOOKING - U.S. | Carly James
    [email protected]

    BOOKING - E.U. | Clemence Renaut
    [email protected]

    LICENSING | Jon Coombs
    [email protected]

    PUBLICITY - US | Jim DeLuca
    [email protected]perfectpr.com

    PUBLICITY - E.U. | Michelle Kambasha
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://cutworms.bandcamp.com/
  • ▶ Twitter: cut_worms
  • ▶ Instagram: cutworms
  • ▶ Website: http://www.cut-worms.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCz5hJCVnP3Ncst-wbeni7gw
  • ▶ Spotify: http://open.spotify.com/album/5DjGD8R6AQvAWvH1MapfKK
  • ▶ Spotify 2: http://open.spotify.com/album/1S8gajzgABaeR8H97cEYi5
  • ▶ Spotify 3: http://open.spotify.com/album/1VVWKqYxHbbSMujAfHjECQ
  • ▶ Spotify 4: http://open.spotify.com/album/4KT0AeT5CkE4vt3B9udfo2
  • ▶ Spotify 5: http://open.spotify.com/album/3ZmKoFGptmMcYODWwlsqws
  • ▶ Spotify 6: http://open.spotify.com/album/1EPukiudJ8qDehmB6sQjGR

Clips (more may be added)

  • Cut Worms - Castle In The Clouds
    By Cut Worms
    310 views
  • Cut Worms - Like Going Down Sideways (Official Video)
    By Cut Worms
    194 views
  • Cut Worms - Cash For Gold (Official Video)
    By Cut Worms
    196 views
  • Cut Worms - "Song of The Highest Tower" | A Do512 Lounge Session
    By Cut Worms
    262 views
  • Cut Worms - Don’t Want to Say Good-bye (Official Video)
    By Cut Worms
    170 views
  • Cut Worms - "Till Tomorrow Goes Away"
    By Cut Worms
    232 views
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