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  • (Bahia)
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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.

 

  • Daphne A. Brooks
    I RECOMMEND

CURATION

  • from this node by: Criador acima/Creator above

This is the Universe of

  • Name: Daphne A. Brooks
  • City/Place: New Haven, Connecticut
  • Country: United States

Current News

  • What's Up? LINER NOTES for the REVOLUTION

    “Effortlessly poetic, deeply historical, and insistently imaginative, Liner Notes for the Revolution doesn’t merely give voice to unheeded and crucial innovators; it offers a new method for approaching music history itself.”
    — Ann Powers NPR music critic

    "A sui generis and essential work on Black music culture destined to launch future investigations."
    —Kirkus Starred Review

    “This enlightening survey a fresh perspective on more than a century’s worth of Black female musicians…Brooks combines an impressive archive of musical works and the artists’ own words to convincingly reveal how they each impacted popular culture.
    Music aficionados should take note.”
    —Publisher’s Weekly

    “Daphne Brooks has written a gloriously polyphonic book. Moving through the tumult of the twentieth century and the millennium, she scores, archives, and curates the history of Black woman musicians and their radical modernities, all created in a culture that presumed they had no voices or minds. What did they do to be so Black, brilliant, and blue? Listen. And read on.”
    —Margo Jefferson, author of the National Book Critics Circle Award–winning Negroland

    “For Daphne Brooks, black feminist sound is sensuous thought. In Liner Notes for the Revolution, she feels and shows and says this with such devotion, such critical and emotional intelligence, such archival commitment and dexterity, and such urgent social aspiration that listening itself is new again.”
    —Fred Moten, author of All That Beauty

    “Liner Notes for the Revolution is a groundbreaking and breathtaking volume from one of our leading cultural historians that will forever change the way we write and think about American culture. Daphne Brooks insists upon the genius of black women music-makers, listeners, and critics. This transformative work of intellectual generosity is sure to join the ranks of classic works such as Amiri Baraka’s Blues People and Greil Marcus’s Lipstick Traces.”
    —Farah Jasmine Griffin, author of Harlem Nocturne

Life & Work

  • Bio: Born and raised in the San Francisco Bay Area, Daphne A. Brooks earned her BA in English from UC Berkeley and her PhD in English from UCLA. She also clocked some serious hours rolling through the aisles of Tower Records, Amoeba Records, Rasputin’s and Rhino Records.

    Brooks is the author of three books—Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910 (Durham, NC: Duke UP), winner of The Errol Hill Award for Outstanding Scholarship on African American Performance from ASTR, Jeff Buckley’s Grace (New York: Continuum, 2005), and Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Cambridge, MA: Harvard UP, 2021). She is currently at work on a Black feminist rereading of DuBose Heyward and the Gershwins’ Porgy and Bess as well as a multi-volume study of Black women and popular music culture entitled Subterranean Blues: Black Women Sound Modernity, of which Liner Notes for the Revolution is the first installment.

    Her writing has appeared in the New York Times, The Nation, The Guardian, Pitchfork.com, Artforum, Slate, Oxford American Magazine, NPR.org, the Los Angeles Review of Books and other press outlets. Brooks is currently editing an anthology of essays forthcoming from Duke University Press and culled from Blackstar Rising & The Purple Reign: Celebrating the Legacies of David Bowie and Prince, an international 3-day conference and concert which she curated.

    She has authored numerous articles on race, gender, performance and popular music culture including “Sister, Can You Line It Out?: Zora Neale Hurston & the Sound of Angular Black Womanhood” in Amerikastudien/American Studies; “‘Puzzling the Intervals’: Blind Tom and the Poetics of the Sonic Slave Narrative” in The Oxford Handbook of the African American Slave Narrative; “Nina Simone’s Triple Play” in Callaloo; and “‘All That You Can’t Leave Behind’: Surrogation & Black Female Soul Singing in the Age of Catastrophe” in Meridians.

    Brooks is also the author of the liner notes for The Complete Tammi Terrell (Universal A&R, 2010) and Take a Look: Aretha Franklin Complete on Columbia (Sony, 2011), each of which has won the ASCAP Deems Taylor Award for outstanding music writing, and her liner notes essay for Prince’s Sign O’ The Times deluxe box set was published in fall of 2020.

    From 2016-2018, she served as the co-editor of the 33 1/3 Sound: Short Books About Albums series published by Bloomsbury Press. With Professor Brian Kane, she is the co-founder and co-director of Yale University’s Black Sound & the Archive Working Group, a 320 York Humanities Initiative.

Contact Information

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

Media | Markets

  • ▶ Book Purchases: http://www.hup.harvard.edu/catalog.php?isbn=9780674052819
  • ▶ Website: http://www.daphneabrooks.com
  • ▶ Articles: http://www.daphneabrooks.com/select-writing

Clips (more may be added)

  • 1:06:19
    2021 MAAH Stone Book Award Event
    By Daphne A. Brooks
    42 views
  • 1:05:05
    Daphne Brooks & Tracy K. Smith The Intellectual Life of Black Feminist Sound
    By Daphne A. Brooks
    34 views
  • 1:38:36
    Women’s Jazz Festival - The Intellectual Life of Black Feminist Sound
    By Daphne A. Brooks
    37 views
  • 1:08:10
    ‘Sort of Like an Archaeologist’: Exploring the Archive of a Blues Music Feminist
    By Daphne A. Brooks
    36 views
  • 1:10:21
    Black Feminism and the Sonic Archive
    By Daphne A. Brooks
    34 views
  • 1:24:41
    Rewriting Rock: New Takes on Black Women in Rock & Pop History
    By Daphne A. Brooks
    35 views
  • 0:45:14
    Between The World And Me (2020): The Collegiate Panel | HBO
    By Daphne A. Brooks
    31 views
  • 1:47:53
    Kevin Beasley in conversation with Daphne Brooks and Jace Clayton | Live from the Whitney
    By Daphne A. Brooks
    32 views
  • 0:28:34
    2017 Whidden Lecture: The Knowles Sisters’ Political Tour with Dr. Daphne A. Brooks
    By Daphne A. Brooks
    32 views
  • 1:39:01
    Daphne Brooks, 'Lemonade from Lemons: Black Women Artists & the Gershwin Problem, 1935-2020' Pt. 1
    By Daphne A. Brooks
    40 views
  • 1:49:50
    Daphne Brooks, 'Lemonade from Lemons: Black Women Artists & the Gershwin Problem, 1935-2020' Pt. 2
    By Daphne A. Brooks
    36 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 Daphne A. Brooks:

  • 2 Black American Culture & History
  • 2 Journalist
  • 2 Liner Notes
  • 2 Music Critic
  • 2 Writer
  • 2 Yale Faculty
  • Alphonso Johnson Bass
  • Sombrinha Guitar
  • Orrin Evans Record Label Owner
  • Lula Moreira Composer
  • Philip Ó Ceallaigh Ireland
  • Vanessa Moreno MPB
  • Musa Okwonga Essayist
  • Yuja Wang Classical Music
  • Cinho Damatta Bahia
  • David Bragger Banjo
  • Keola Beamer Slack Key Guitar
  • Airto Moreira Brazil
  • Adanya Dunn Canada
  • Luíz Paixão Ciranda
  • Kamasi Washington Saxophone
  • Mestre Barachinha Maracatu
  • Asma Khalid Journalist
  • Mariene de Castro Brazil
  • Marisa Monte MPB
  • Echezonachukwu Nduka Writer
  • Alicia Svigals Violin
  • Frank Beacham New York City
  • Edward P. Jones Short Stories
  • Yosvany Terry Jazz
  • Gui Duvignau Brooklyn, NY
  • Jurandir Santana Guitar
  • Alexa Tarantino Woodwinds
  • Varijashree Venugopal Jazz
  • Emmet Cohen Piano
  • Vincent Valdez Printmaker
  • Tarus Mateen R&B
  • Mario Ulloa Guitar
  • Michael Janisch Double Bass
  • Mark Bingham New Orleans
  • Ênio Bernardes Pandeiro
  • Luques Curtis Bass
  • Lenine MPB
  • Philip Cashian London
  • Marcus Teixeira EMESP Tom Jobim Faculty
  • Alex Rawls Music Writer
  • Plínio Fernandes Classical Guitar
  • David Sánchez Afro-Caribbean Music
  • Gord Sheard Multi-Cultural
  • Shuya Okino Music Venue Owner
  • Lucía Fumero Spain
  • Julie Fowlis Scotland
  • Emicida Singer-Songwriter
  • Jorge Pita Brazil
  • André Vasconcellos Jazz Brasileiro, Brazilian Jazz
  • Amitava Kumar Writer
  • Bobby Vega Funk
  • Custódio Castelo Guitarra Portuguesa, Portuguese Guitar
  • Munir Hossn Record Producer
  • André Mehmari Brazil
  • Weedie Braimah Drums
  • Ceumar Coelho Brazil
  • Soweto Kinch Hip-Hop
  • Tonynho dos Santos Bahia
  • Angel Deradoorian Music Producer
  • Miles Mosley Film Scores
  • Derek Sivers Writer
  • Dwandalyn Reece Ethnomusicologist
  • Beth Bahia Cohen Viola
  • Dan Trueman Composer
  • Simon Brook Filmmaker
  • Matthew F Fisher Collaborative Artist
  • Nubya Garcia Flute
  • Eddie Kadi Voiceover Artist
  • Cedric Watson Louisiana Creole Music
  • Mykia Jovan Singer-Songwriter
  • June Yamagishi R&B
  • Julia Alvarez Dominican Republic
  • Andy Romanoff Photographer
  • Gaby Moreno Multi-Cultural
  • Chris Dave Drums
  • The Weeknd Singer-Songwriter
  • Itiberê Zwarg Brazil
  • Andrew Finn Magill Forró
  • Rogê MPB
  • Diedrich Diederichsen Writer
  • Fred P Berlin
  • Bebel Gilberto Samba
  • Darryl Hall Bass
  • Yamandu Costa Composer
  • Saul Williams Writer
  • Jussara Silveira Samba
  • Jeff Ballard Jazz
  • Shabaka Hutchings London
  • Carlinhos Brown Multi-Instrumentalist
  • Jorge Alfredo Brasil, Brazil
  • Django Bates Theater Composer
  • Immanuel Wilkins New School Faculty
  • Oscar Bolão Author
  • Harish Raghavan Jazz
  • Stephanie Foden Montreal
  • Shemekia Copeland Chicago
  • Hamilton de Holanda Mandolin
  • Shaun Martin Ropeadope
  • Congahead Afro-Cuban Jazz
  • Danilo Brito Mandolin
  • Siobhán Peoples Irish Traditional Music
  • Sam Eastmond Record Producer
  • Fabiana Cozza São Paulo
  • Plínio Fernandes Choro
  • McCoy Mrubata South Africa
  • Luíz Paixão Composer
  • Carlos Blanco Bahia
  • Fernando Brandão Flute
  • Kurt Andersen Essayist
  • Jack Talty University College Cork Faculty
  • Oded Lev-Ari Piano
  • Jan Ramsey Second Line
  • Kotringo Japan
  • Tank and the Bangas Funk
  • Trombone Shorty Second Line
  • Riley Baugus Banjo
  • Fábio Zanon Royal Academy of Music Visiting Professor
  • Tiganá Santana Salvador
  • Gêge Nagô Brazil
  • Ta-Nehisi Coates Journalist
  • Colm Tóibín Writer
  • Armandinho Macêdo Bahia
  • Grégoire Maret Composer
  • Edsel Gomez Multi-Cultural
  • Jim Lauderdale Nashville, Tennessee
  • Steve Earle Country
  • Tom Schnabel World Music
  • Paquito D'Rivera Classical Music
  • Theo Bleckmann New York City
  • Casa Preta Bahia
  • Emmet Cohen Composer
  • Eddie Palmieri Ropeadope
  • Adriano Souza Brazilian Jazz
  • Rick Beato Songwriter
  • Ayrson Heráclito Cachoeira
  • André Mehmari MPB
  • Shannon Sims New Orleans
  • Missy Mazolli Mannes School of Music Faculty
  • Molly Tuttle Guitar
  • Nettrice R. Gaskins Cultural Critic
  • Michael Olatuja Nigeria
  • Dale Barlow Flute
  • Garth Cartwright London
  • Nelson Faria Guitar Instruction, Master Classes
  • Jessie Reyez Singer-Songwriter
  • Kenyon Dixon R&B
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  • D.D. Jackson Jazz
  • Tatiana Campêlo Dancer
  • Siba Veloso Ciranda
  • Keith Jarrett Classical Music
  • Plamen Karadonev Berklee College of Music Faculty
  • Dorian Concept Electronic Music
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  • Shuya Okino Radio Presenter
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  • Greg Ruby Author
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  • Julie Fowlis Scottish Gaelic
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  • Mou Brasil Jazz Brasileiro, Brazilian Jazz
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  • Gevorg Dabaghyan Yerevan
  • Walter Blanding Jazz
  • Bule Bule Brazil
  • Max ZT Hammered Dulcimer
  • Darius Mans Economist
  • Khruangbin Houston, Texas
  • Leon Bridges Singer-Songwriter
  • Irmandade da Boa Morte Bahia
  • Custódio Castelo Produtor de Discos, Record Producer
  • Ajeum da Diáspora Brazil
  • Nelson Latif São Paulo
  • Giveton Gelin New York City
  • Darryl Hall Composer
  • Hugues Mbenda Chef
  • Albin Zak Author
  • Julian Lloyd Webber London
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  • Fábio Luna Violão, Guitar
  • Flying Lotus Hip-Hop
  • The Brain Cloud Americana
  • Ivan Neville New Orleans
  • Caterina Lichtenberg Author
  • Ron Miles MSU Denver Music Faculty
  • Vânia Oliveira Bahia
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  • Jorge Pita Candomblé
  • Henry Cole Drums
  • Brad Ogbonna Brooklyn, NY
  • Christopher Seneca Writer
  • Gregory Hutchinson Drums
  • Manolo Badrena Puerto Rico
  • Jared Jackson Columbia Faculty
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  • Michael W. Twitty Washington, D.C.
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  • Anat Cohen New York City
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  • Michael Peha Talent Management
  • Paulinho Fagundes Rio Grande do Sul
  • Leyla McCalla New Orleans

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

 

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