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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 Susheela Raman:

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What's Up

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  • Susheela Raman
    A category was added to Susheela Raman:
    London
    • August 17, 2020
  • Susheela Raman
    A category was added to Susheela Raman:
    Indian Classical Music
    • August 17, 2020
  • Susheela Raman
    A category was added to Susheela Raman:
    Multi-Cultural
    • August 17, 2020
  • Susheela Raman
    A category was added to Susheela Raman:
    Singer-Songwriter
    • August 17, 2020
  • Susheela Raman
    A video was posted re Susheela Raman:
    Susheela Raman - Going Down
    ‘Going Down’ is sung from the perspective of somebody dying on a battlefield, killed by an almost invisible enemy, whatever the side they may be fighting for. The music is a fascinating composition, with Gunarto’s hypnotic non-traditional Gamelan arrangem...
    • August 17, 2020
  • Susheela Raman
    A video was posted re Susheela Raman:
    Susheela Raman - Ghost Child
    ‘Ghost Child’, filmed on location in Indonesia, captures the haunting atmosphere of her ‘Ghost Gamelan’ album (naïve). Chosen by Le Monde and The Guardian among their albums of the year, Raman’s seventh studio offering matches her sinuous voice with the ...
    • August 17, 2020
  • Susheela Raman
    A video was posted re Susheela Raman:
    Susheela Raman - Tomorrow Never Knows (Live)
    Susheela Raman - Tomorrow Never Knows (Live)
    • August 17, 2020
  • Susheela Raman
    A video was posted re Susheela Raman:
    Susheela Raman - Tanpa Nama
    Susheela Raman – Tanpa Nama means ‘nameless’ in Indonesian. Unsure if there is any name for this music, this unruly song that asks how we can even imagine silence. A statue interrogates itself about what it can never reveal . A gong is being born in a bac...
    • August 17, 2020
  • Susheela Raman
    A video was posted re Susheela Raman:
    Susheela Raman - Ghost Gamelan (trailer version courte)
    Susheela Raman - Ghost Gamelan (trailer version courte)
    • August 17, 2020
  • Susheela Raman
    Susheela Raman is matrixed!
    • August 17, 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



  • Susheela Raman
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Susheela Raman
  • City/Place: London
  • Country: United Kingdom

Life & Work

  • Bio: Susheela Raman as singer, composer and curator moves between genres, across frontiers into new spaces with uncanny ease. Born to South Indian parents in London and raised in Australia, she is about release her seventh studio album (‘Ghost Gamelan') and is known for her beguiling and her incandescent and otherworldly stage presence . As the Guardian said Susheela is “wildly original, passionate and dangerous” . A song-driven artist, she has the rare ability to shape-shift from a Sanskrit Mantra to a Throbbing Gristle cover and to one her own borderless compositions, which vary from roots-infused melodic to twelve-tone and experimental. Though her music has sometimes been described as ‘World’, categorisation does sit easily with her and prefers to call it ‘unearthly’, which captures more of its magical and enigmatic character.

    Susheela’s musical accomplice throughout her journey has been Sam Mills, a founder member of 80’s cult post-punk experimentalists 23 Skidoo. Perhaps the most ‘post-punk’ aspect of her music is its denial of restrictions and the emphasis on continuous change and evolution in her sound. Whilst driven to experiment, Susheela also never neglects her gift for delivering a melody straight to the heart. Susheela and Sam met in London in 1997 and have since created a string of ambitious cross-cultural works; albums and live projects often exploring different dimensions of South Asian music, whether classical, folk or contemporary. Musicians from South and South East Asia, West and East Africa, Russia, Greece, Turkey, and North Africa have all featured in their collaborations, including their own recent multi-artist creation, ‘Sacred Imaginations’ at the Barbican in 2017. Serious ongoing collaborations include Russian polyphonic singers, Byzantine chant, Indian folk and classical virtuosos, Contemporary string players, and Pakistan’s very finest Sufi Qawali singers.

    Susheela’s iconoclastic take on her Indian roots bypassed the ingrained hierarchies of the classical music field as she forged her own approach to the tradition in which she was schooled when young. When she first performed in Chennai (Madras), The Hindu newspaper took half a page to denounce her for corrupting the classics; ‘dancing like a woman possessed by the devil’ and ‘misleading our youth into an alien hybrid culture’, despite their admiration for her voice! Nevertheless she has also earned huge popularity as well as notoriety in South India for her re- interpretation of songs from the ecstatic Bhakti tradition of South India, particular for her fission and fusion of these works with Sufi Qawali: A particularly Dionysiac performance in 2012 at the South Bank in London spawned 5-star reviews in the Guardian and the Financial Times as well as, more interestingly, viral videos on whatsapp shared numberless times amongst the South Indian diaspora. Bringing different audiences into juxtaposition, playing on multiple levels, is exactly how her music works.

    Raman and Mills are now focussing strongly on their ‘Ghost Gamelan’ album, a work with gamelan players led by ‘kontemporer’ composer Gondrong Gunarto to be released globally in June on all formats by Naive Records /Believe Digital. Recorded in Surakarta and London with a unique, mercurial sonority which somehow succeeds in aligning Susheela’s own melodic, harmonic and lyrical gifts with the delirious microtonality and virtuosity of the Javanese Gamelan. As Susheela says “people underestimate the importance of Gamelan in all contemporary music; it has informed all smart music-makers from Debussy and Satie to John Cage, Miles Davis, Steve Reich and Sonic Youth. Its slippery DNA is on everything from Modal Jazz to EDM, so playing with the gamelan is more about connectedness than any kind of exoticism. Bringing a South Indian perspective to it also uncovers another kind of resonance.” The record also graced by one of her musical heroes, the fearlessly inventive This Heat drummer and singer Charles Hayward, a pathbreaker for many in the the avantgarde and experimental music world. Susheela has performed live with her ‘Ghost Gamelan Orchestra’ at Roundhouse, London and had performances scheduled later in 2018 at the Queen Elizabeth Hall and at Peter Brooks Bouffes du Nord Theatre in Paris. She will meanwhile be performing the songs from the album live with a string quartet from the London-based Phaedra Ensemble in Paris in June.

    Raman and Mills both feel this is a game-changing album for them. Says Raman “we have been getting incredible reaction for its sound and also for the songs themselves which the best we have ever written” With the new album coming out Susheela is looking forward to performing it around the world and to continuing her adventures in South East Asia, Europe, Australia and beyond. It is a thrilling new chapter in a unique musical journey.

Contact Information

  • Contact by Webpage: http://www.susheelaraman.com/booking-1#booking

Media | Markets

  • ▶ Twitter: susheelaraman
  • ▶ Instagram: susheelaramanofficial
  • ▶ Website: http://www.susheelaraman.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCU2ABJguWsQ2nWBLceQs1HA
  • ▶ YouTube Music: http://music.youtube.com/channel/UChcIouN-ww8ZqejPhwVRsWw
  • ▶ Spotify: http://open.spotify.com/album/2oCSrobEfBAwDBwRMJ7UWY
  • ▶ Spotify 2: http://open.spotify.com/album/2rl5fd68wMezEwqNnxD6Xg
  • ▶ Spotify 3: http://open.spotify.com/album/2NgwHi2wFG1Mketphlhpiq
  • ▶ Spotify 4: http://open.spotify.com/album/2voNbOYGY7qKTQYdpwWIMd
  • ▶ Spotify 5: http://open.spotify.com/album/0b7lSz8UsmDpkvIFWvJZ0A
  • ▶ Spotify 6: http://open.spotify.com/album/1s9p7WNYugdko1GuwSjmeQ
  • ▶ Article: http://www.thehindu.com/entertainment/music/susheela-raman-on-her-journey-with-music-that-traverses-borders-genres-and-identities/article30514143.ece

Clips (more may be added)

  • 0:07:23
    Susheela Raman - Going Down
    By Susheela Raman
    165 views
  • 0:06:22
    Susheela Raman - Ghost Child
    By Susheela Raman
    179 views
  • 5:47
    Susheela Raman - Tomorrow Never Knows (Live)
    By Susheela Raman
    138 views
  • 5:53
    Susheela Raman - Tanpa Nama
    By Susheela Raman
    162 views
  • 2:09
    Susheela Raman - Ghost Gamelan (trailer version courte)
    By Susheela Raman
    173 views
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  • Nelson Sargento Brazil

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

 

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