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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.

 

  • Marc Ribot
    I RECOMMEND

CURATION

  • from this node by: Matrix

This is the Universe of

  • Name: Marc Ribot
  • City/Place: Brooklyn, NY
  • Country: United States
  • Hometown: Newark, NJ

Life & Work

  • Bio: Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 - 1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.

    Rolling Stone points out that “Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985's “Rain Dogs”, and since then he's become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp.” Additional recording credits include Soloman Burke, Neko Case, Diana Krall, Beth Orton, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, The Jazz Passengers, Medeski, Martin & Wood, Cibo Matto, Jamaaladeen Tacuma, James Carter, Vinicio Capposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Marisa Monte, Allen Ginsburg, Madeleine Peyroux, Sam Phillips, and more recently Joe Henry, Allen Toussaint, Norah Jones, Akiko Yano, The Black Keys, Jeff Bridges, Jolie Holland, Elton John/Leon Russell, Ceu and many others. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant's Grammy Award winning "Raising Sand" and regularly works with composer John Zorn.

    Marc has released over 25 albums under his own name over a 40-year career, exploring everything from the pioneering jazz of Albert Ayler with his group “Spiritual Unity” (Pi Recordings), to the Cuban son of Arsenio Rodríguez with two critically acclaimed releases on Atlantic Records under “Marc Ribot Y Los Cubanos Postizos”. His avant power trio/post-rock band, Marc Ribot’s Ceramic Dog (Pi Recordings), continues the lineage of his earlier experimental no-wave/punk/noise groups Rootless Cosmopolitans (Island Antilles) and Shrek (Tzadik). Marc's solo recordings include "Marc Ribot Plays The Complete Works of Frantz Casseus” , "John Zorn’s The Book of Heads" (Tzadik), "Don't Blame Me" (DIW), "Saints" (Atlantic), "Exercises in Futility" (Tzadik), and his latest “Silent Movies” released in 2010 on Pi Recordings was described as a "down-in-mouth-near masterpiece" by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2014 marked monumental release: “Marc Ribot Trio Live at the Village Vanguard” (Pi Recordings), documenting Marc’s first headline and the return of Henry Grimes at the historical venue in 2012, was included on various Best of 2014 lists such as Downbeat Magazine and NPR’s 50 Favorites.

    2018 saw the release of two politically charged albums: “YRU Still Here?” (Northern Spy/Yellowbird), the long awaited third album from Ribot’s post-rock/noise trio Ceramic Dog, and “Songs of Resistance 1942-2018” (featuring guest vocalists Tom Waits, Steve Earle, Meshell Ndegeocello and more on Anti- Records) voicing anger and outrage during these turbulent times, and both albums landing on various Best of 2018 lists including NPR’s All Songs Considered.

    Marc has performed on scores such as “The Kids Are All Right”, “Where the Wild Things Are”, "Walk The Line”, "Everything is Illuminated”, and "The Departed" (Scorcese)." Marc has also composed original scores including the French film “Gare du Nord” (Simon), the PBS documentary "Revolucion: Cinco Miradas”, the film “Drunkboat", starring John Malkovich and John Goodman, documentary films "Joe Schmoe”, “Under the Highline”, upcoming Discovery Channel’s limited series “Queen of Meth”, a feature film by director Joe Brewster titled "The Killing Zone", and dance pieces "In as Much as Life is Borrowed", by Belgian choreographer, Wim Vandekeybus, and Yoshiko Chuma's "Altogether Different". Marc also occasionally performs his live solo guitar score to Charlie Chaplin’s “The Kid”, which was commissioned by the NY Guitar Festival and premiered Jan 2010 at Merkin Hall, as well as live film scores to Jennifer Reeves experimental shorts.

    In 2009, Marc was named curator and musical director for the year’s Century of Song Festival, part of the Ruhr Triennale in Germany. The concert series sparked new collaborations with Iggy Pop, Marianne Faithfull, David Hidalgo of Los Lobos, master cajón player Juan Medrano Cotito, Carla Bozulich and Tine Kindermann.

    Marc's talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.

    2021 is filed with a flurry of activity and releases including Ceramic Dog’s “HOPE”, recorded during the pandemic, plus two reissues on vinyl for the first time: 1993’s long out-of-print “Marc Ribot Plays Solo Guitar Works of Frantz Casseus” & “Silent Movies” (2010). Additionally, Marc’s first collection of writings, “Unstrung: Rants & Stories of a Noise Guitarist”, will be published by Akashic Books this August with an audiobook also in the works, and Marc’s original score for limited series documentary, “Queen of Meth”, will premiere on the Discovery Channel.

Contact Information

  • Management/Booking: Management:
    Mary Ho - Noise Inc
    [email protected]
    [email protected]

    Bookings:
    Europe
    Saudades Tourneen
    [email protected]
    www.saudades.at
    North America
    Big Fish Booking Company
    [email protected] / [email protected]
    www.bigfishbookingco.com
    All other territories
    Transistor Inc.
    [email protected]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.marcribot.com/discography
  • ▶ Book Purchases: http://www.akashicbooks.com/catalog/unstrung/
  • ▶ Twitter: marcribotmusic
  • ▶ Instagram: marcribotmusic
  • ▶ Website: http://www.marcribot.com
  • ▶ YouTube Channel: http://www.youtube.com/user/marcribotmusic
  • ▶ YouTube Music: http://music.youtube.com/channel/UCUZHj3IQtP9B3wQgSjgfU5w
  • ▶ Spotify: http://open.spotify.com/album/3P7wuQxGz1q9jF9jY1AXKc
  • ▶ Spotify 2: http://open.spotify.com/album/2JNSjtYru5NE8WkmgWgPZe
  • ▶ Spotify 3: http://open.spotify.com/album/2y5uNiCJHyxObL4P2MjfEA
  • ▶ Spotify 4: http://open.spotify.com/album/7ziY8ofZzaNb3FHssFZlMt
  • ▶ Spotify 5: http://open.spotify.com/album/6h0amAqJiOPypw2LHLYKQ0
  • ▶ Spotify 6: http://open.spotify.com/album/39OkgKkLSsA1HXcmAZ9aqi

Clips (more may be added)

  • 0:07:04
    Ceramic Dog - The Activist
    By Marc Ribot
    91 views
  • 5:03
    Ceramic Dog: B-Flat Ontology
    By Marc Ribot
    94 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 Marc Ribot:

  • 3 Brooklyn, NY
  • 3 Composer
  • 3 Experimental Music
  • 3 Free Jazz
  • 3 Guitar
  • 3 Punk
  • 3 Soul
  • 3 Writer
  • Emicida Hip-Hop
  • Bob Reynolds Composer
  • João Camarero Composer
  • Kiko Souza Flauta, Flute
  • Dave Smith Percussion
  • Mestre Barachinha Brazil
  • Daru Jones Nashville, TN
  • Jason Parham Publisher
  • Muhsinah R&B
  • Clint Mansell Film Scores
  • Craig Ross Songwriter
  • William Parker Multi-Instrumentalist
  • Marcello Gonçalves Rio de Janeiro
  • Chano Domínguez Piano
  • Justin Stanton Multi-Cultural
  • Bruce Molsky Banjo
  • Tom Schnabel Radio Presenter
  • Kiko Loureiro Guitar Instruction
  • James Martin R&B
  • Dwayne Dopsie Singer-Songwriter
  • David Sedaris Humor
  • Ben Monder New York City
  • Anders Osborne Americana
  • Hercules Gomes Composer
  • Las Cafeteras Chicano Music
  • Chris Dave Drums
  • Negrizu Candomblé
  • J. Period Brooklyn, NY
  • Caroline Shaw Contemporary Classical Music
  • Mônica Salmaso Singer
  • Léo Rugero Música Nordestina
  • Jocelyn Ramirez Los Angeles
  • Dan Weiss Composer
  • Alicia Keys Singer-Songwriter
  • Caoimhín Ó Raghallaigh Irish Traditional Music
  • Julian Lage Jazz
  • J. Pierre Painter
  • Nettrice R. Gaskins Digital Artist
  • Kiko Horta Piano
  • Rosa Cedrón Cello
  • Yasushi Nakamura Jazz
  • Caridad De La Luz Puerto Rico
  • Glória Bomfim Brazil
  • Rudy Royston Composer
  • André Muato 8 String Guitar
  • Fred Hersch Composer
  • Ivan Sacerdote Choro
  • Gabriel Grossi Rio de Janeiro
  • Sérgio Pererê Minas Gerais
  • Ênio Bernardes Samba
  • Jas Kayser Panama
  • John Patrick Murphy Author
  • Marta Sánchez Piano
  • Oswaldinho do Acordeon Accordion
  • Alfredo Del-Penho Samba
  • Chris Dingman Vibraphone Instruction
  • Kimmo Pohjonen Composer
  • Toninho Nascimento Samba
  • Sérgio Pererê Percussion
  • Marc Cary Keyboards
  • D.D. Jackson Conservatory of Music at Brooklyn College Faculty
  • Endea Owens Composer
  • Paulinho da Viola Samba
  • Renata Flores Peru
  • Mickalene Thomas Sculptor
  • Antonio Sánchez Drums
  • Mark Lettieri Ropeadope
  • Ken Coleman Black American Culture & History
  • Django Bates Bern University of the Arts Faculty
  • Jazzmeia Horn New York City
  • John Doyle Irish Traditional Music
  • Matt Parker Mathematics
  • Yacouba Sissoko Kora
  • Rogério Caetano Composer
  • June Yamagishi Jazz
  • Victor Gama Multi-Cultural
  • Sammy Britt Mississippi
  • David Castillo Pierce College Faculty
  • Paul Anthony Smith Picotage
  • Brandon J. Acker Baroque Guitar
  • Rosa Passos Bossa Nova
  • Paulo Costa Lima Faculdade da UFBA, Federal University of Bahia Faculty
  • Ivan Huol Songwriter
  • Joshue Ashby Jazz
  • Nelson Ayres MPB
  • Karsh Kale कर्ष काळे Singer
  • Howard Levy Blues & Folk
  • Marcus Printup Arranger
  • Menelaw Sete Escultor, Sculptor
  • Jeff Coffin Record Label Owner
  • Ronaldo do Bandolim Composer
  • Ibrahim Maalouf Trumpet
  • Bukassa Kabengele Guitar
  • Nate Smith Music Producer
  • Burkard Polster Author
  • Larissa Luz Actor
  • Perumal Murugan Tamil Literature
  • Scott Yanow Music Critic
  • Johnny Vidacovich New Orleans
  • Warren Wolf Marimba
  • Márcia Short Bahia
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  • Manolo Badrena Percussion
  • Chris Thile Multi-Instrumentalist
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  • Gustavo Caribé Santo Amaro
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  • Donald Vega Nicaragua
  • Dermot Hussey Musicologist
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  • Brentano String Quartet Classical Music
  • Dan Tyminski Bluegrass
  • Rogério Caetano Samba
  • Jubu Smith Singer-Songwriter
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  • Kendrick Scott New York City
  • Mona Lisa Saloy Writer
  • Benjamin Grosvenor Classical Music
  • Archie Shepp Jazz
  • Philip Sherburne Menorca
  • Leigh Alexander Video Game Story Designer
  • Ryan Keberle MPB
  • Gearóid Ó hAllmhuráin Ireland
  • Doug Adair Music & Cultural Education
  • Cássio Nobre Guitarra Baiana
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  • Olivia Trummer Piano
  • Fapy Lafertin Guitar
  • Casey Benjamin Songwriter
  • Tony Austin Composer
  • Courtney Pine Composer
  • LaTasha Lee Soul
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  • Andrew Gilbert Writer
  • Nabih Bulos Los Angeles
  • Rez Abbasi Jazz
  • Victor Wooten Composer
  • Marc-André Hamelin Boston
  • Eamonn Flynn Singer-Songwriter
  • Matthew F Fisher Painter
  • Mateus Aleluia Filho Bahia
  • Regina Carter Multi-Cultural
  • Samba de Lata Brazil
  • Luíz Paixão Brazil
  • Sarah Jarosz New York City
  • Anissa Senoussi Matte Painter
  • Fabiana Cozza Writer
  • Katuka Africanidades Brasil, Brazil
  • Rumaan Alam Short Stories
  • Şener Özmen Artist
  • Carl Joe Williams Sculptor
  • Béla Fleck Banjo
  • Aubrey Johnson Montclair State University Faculty
  • Arismar do Espírito Santo Bass
  • Yilian Cañizares Havana
  • Bernardo Aguiar Percussion Instruction
  • James Poyser New York City
  • Emmet Cohen Composer
  • Margaret Renkl Nashville, Tennessee
  • Adriano Giffoni Rio de Janeiro
  • Yvette Holzwarth Violin
  • Roy Ayers Film Scores
  • Adonis Rose New Orleans
  • Anthony Hervey Actor
  • Theo Bleckmann Singer
  • Paul Anthony Smith Jamaica
  • Marc Ribot Experimental Music
  • Paquito D'Rivera Havana
  • Omari Jazz Composer
  • Saileog Ní Cheannabháin Classical Music
  • Richie Stearns Appalachian Music
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  • Bertram Recording Artist
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  • Makaya McCraven Jazz
  • Stefano Bollani Composer
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  • Lakecia Benjamin New York City
  • Booker T. Jones R&B
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  • Benoit Fader Keita Africa
  • Carla Visi Salvador
  • Karla Vasquez Chef
  • Nabihah Iqbal Music Producer
  • Joshua Abrams Bass
  • Ivan Sacerdote Composer
  • Asma Khalid White House Correspondent
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  • Bule Bule Salvador
  • Tommy Peoples Ireland
  • Gonzalo Rubalcaba Havana
  • Bill T. Jones Writer
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  • Mário Pam Bloco Afro
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  • Shannon Sims Journalist
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  • Rez Abbasi Indian Classical Music
  • Roque Ferreira Samba de Roda
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  • Luis Perdomo New York City
  • Dafnis Prieto Afro-Cuban Jazz
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  • Ivan Neville New Orleans
  • Jen Shyu Composer

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

 

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