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Victor Wooten inside
THE INTEGRATED GLOBAL CREATIVE ECONOMY
I CURATE

This is the Universe of

Name: Victor Wooten
City/Place: Boston
Country: United States

CURATION

from this node by: Matrix

Life & Work

Bio: Who is Victor Lemonte Wooten?

"Who am I? Now, that's a good question."

Victor Lemonte Wooten is a unique human being. Born the youngest of five boys, he began learning to play music at the tender age of two. He started performing in nightclubs and theaters as the bassist with the family band at age five, and at age six, was on tour with his brothers opening shows for legendary soul artist Curtis Mayfield. Soon after, he was affectionately known as the 8-year-old Bass Ace, and before graduating high school, he and his brothers had shared the stage with artists such as Stephanie Mills, War, Ramsey Lewis, Frankie Beverly and Maze, Dexter Wansel, and The Temptations. But, this only begins to tell the tale of this Tennessee titan.

Wooten, now a five-time Grammy winner, hit the worldwide scene in 1990 as a founding member of the super-group Bela Fleck and the Flecktones. Continuing to blaze a musical trail with the band, Victor has also become widely known for his own Grammy nominated solo recordings and tours.

Among other things, he is a loving husband and father of four, a skilled naturalist and teacher, a published author, a magician and acrobat, and has won every major award given to a bass guitarist including being voted Bassist of the Year in Bass Player Magazine's readers poll three times (the only person to win it more than once.) In 2011, Rolling Stone Magazine voted Victor one of the Top Ten Bassist of ALL TIME.

"I was born at the right place and the right time to a wonderful family."

Victor Lemonte Wooten was born September 11, 1964 to military parents on an air force base outside of Boise, Idaho. Soon after, the family packed up and moved on as military families often do. It was during the years stationed in Hawaii that the brothers began performing as a five-piece band. With Regi on guitar, Roy on drums, Rudy on sax, Joseph on keys, and Victor on bass, the Wooten Brothers band was born. Performing in their front yard, the band immediately began honing their skills. Victor credits the brothers' early ability to play a variety of musical genres to the experience of relocating frequently, the diversity of 1960's radio stations, and the unwavering support of their parents who provided many opportunities and booked all of their performances.

"My brothers, who were already playing music, knew they needed a bass player to complete the family band. Regi started teaching me as soon as I could sit up straight, and my parents let him do it."

Victor has been heralded as "the Michael Jordan of the bass" and "one of the most fearless musicians on the planet." These qualities were evident when, in 1981, his older brother, Roy, recommended him as a bluegrass fiddle player for a job performing at a nearby amusement park. Victor, having never played violin in his life, was thrilled to meet the challenge. He borrowed an instrument from his high school orchestra teacher and immediately began practicing. Quickly learning the most popular fiddle tunes and techniques, he took the job at Busch Gardens' The Old Country in Williamsburg, VA playing fiddle and bass in the Good Time Country Show.

"I remember getting that call from Roy. He trusted me. I had to learn to be a fiddler real quick, almost over night. I don't think the people who hired me ever knew I'd never played before."

What they soon found out was that the brothers were quickly becoming star attractions. The Wooten Brothers rapidly became staple figures and star attractions at the park throughout the 1980's working in the German, Italian, Country and Bluegrass, and Americana shows.

The years 1980 and 1981 found the brothers performing for US troops overseas as the band for the Busch Gardens USO show. Traveling the world was an eye-opening time of learning for young Victor, but it was one summer performing in the country show that, unbeknownst to him, changed his life forever. That was when he became aware of a unique banjo player named Béla Fleck.

"My brothers and parents were the foundation. They prepared me for just about anything by teaching me to keep my mind open and to learn to adapt."

While messing around with a friend's banjo between shows, the friend commented on Wooten's unique banjo sound. Because the instrument is tuned different from a bass, Victor's lines came out sounding pretty strange when he played his friend's instrument. With a thick southern accent, the friend told him that he sounded just like a banjo player named "Baylor Fleck". Wooten couldn't imagine anyone playing a banjo that way, so he sought out to find out who this Baylor guy was. When he finally heard a recording of Béla's band New Grass Revival, he was hooked.

In 1987, Victor traveled with his friend to Nashville, TN. During their short visit, he connected with the banjoist Fleck for the first time. After their initial meeting, Wooten and Fleck kept in touch and continued sharing musical ideas. In 1988, Wooten found himself living in Nashville. Later that year, Béla and Victor, along with Victor's inventive brother Roy "Future Man" Wooten, and harmonica & piano wizard Howard Levy, formed the eclectic ensemble Béla Fleck and the Flecktones. With a dozen recordings under their belt, the band has created a completely new sound and has become known for its genre-defying music. Currently, over twenty years later, the band is still going strong.

"Musically, that means not being rigid and not having to play in a certain way."

A few years after he began touring with the Flecktones, Victor released his first solo project, A Show of Hands. Recorded with only a 4-string bass, no multi-tracking, and a lot of groove and soul, this revolutionary CD was voted one of the most important bass records of all time.

Musicians wanting to learn Victor's unique style and elusive techniques began seeking him out for lessons and seminars at music stores and schools around the world. These workshops became the training ground that lead to the formation of his acclaimed Bass/Nature Camp in 2000, which eventually expanded into Victor Wooten's Center for Music and Nature. These "intensive" style programs, now in its thirteenth year, welcome all instrumentation and vocalists, and have helped thousands of people of all ages from all corners of the world enhance their musical and personal lives.

"People frequently thank us for sending their new spouses home."

In 2009, Wooten Woods became the new home for all of Victor's camps. The nearly 150-acre retreat, owned by Victor and his wife, is located on the beautiful Duck River west of Nashville, TN. This picturesque retreat center, largely built by the hands and hearts of past students, has provided many more opportunities for Victor and his staff to share their lifelong experiences with others.

"We give students the opportunity to completely let go and be themselves while congregating in a peaceful non-competitive manner on an equal playing ground with each other and their instructors. We've found this to be the best environment for learning."

April 1st, 2008 marked the debut of two new releases by Victor Wooten. Palmystery (Heads Up) is his sixth solo recording and contains a collection of all new music. It features Bootsy Collins, Mike Stern, Keb Mo, Carl Denson, Jd Blair, Derico Watson, Saundra Williams, Anthony Wellington, Steve Bailey, Will Lee, Dennis Chambers, The Lee Boys, The Wooten Brothers, and others. The album showcases Wooten's jazz composition and arranging skills with songs like "Two Timers", 'Flex', and "Song for my Father", but also brings to the forefront his artistically humble side with the celebratory track "Bass Tribute" and the thought provoking "I Saw God".

On the same date, Victor released The Music Lesson-A Spiritual Search for Growth Through Music, a self-published novel about Life and Music. The book presold hundreds of copies before its release quickly becoming a "must-read" for musicians world-wide. The choice of using this unconventional approach to sharing unique ideas about music was a surprise to all. Offering an intriguing story full of anecdotes and mysticism, The Music Lesson has helped free the minds of musicians worldwide. Soon after its release, it was picked up and published by the Berkley Publishing Group/ Penguin USA Inc. Now translated into multiple languages, The Music Lesson is currently used as required reading and part of curriculums in study groups, schools, and universities including the prestigious Berklee College of Music and Stanford.

With the success of the book came the release of The Music Lesson audiobook (Tantor Audio). Victor lends his voice as the narrator and main character, but enlisted many of his friends and fellow musicians to read the parts of all the remaining characters. Victor also wrote and performed the musical score to the audio book, which was voted as a one of five finalists at the 2011 Audie Awards (the audio book's equivalent to the Grammys) in the category of Personal Development.

"My mom always said the world needs more than just good musicians. She said we need good people."

Wooten's sought-after skills and growing popularity have lead to recordings and performances with artists such as Chick Corea, The Dave Matthews Band, Bootsy Collins, Branford Marsalis, Mike Stern, Prince, India Arie, Keb Mo, Dennis Chambers, Susan Tedeschi, Gov't Mule, Bruce Hornsby, Stanley Clarke, Marcus Miller, Frank Gambale, the legendary Moroccan group Nass El Ghiwane, and many others.

His respected reputation as a teacher and speaker/lecturer on the subjects of both Music and Nature have garnered invitations for him to speak and teach at schools, universities, classes and spiritual centers around the world. Some of these places include Strathmore College, Berklee College of Music, Stanford University, Harvard, Mississippi State, Miami University, Middle Tennessee State University, The Haven (Gabriola Isle BC, Canada), Various Nature Centers and camps, and The NYC "Y" with Dan Levitin, author of "This Is Your Brain On Music".

Along with recording Grammy winning and Billboard charting albums with Béla Fleck and the Flecktones, Victor also spearheaded the formation of the super-group SMV with two of his childhood heroes, Stanley Clarke and Marcus Miller. He continues to record and tour with the Flecktones, various other artists, and as a solo artist. He also currently leads six to eight camps at Wooten Woods each year (which he takes part in all day every day). With all of this going on, it would seem like Victor Wooten would have no time for anything else, but that is not the case.

Taking matters completely into his own hands, Wooten has recently formed his own record label. Vix Records, Wooten's self-proclaimed "Label of Love", entered the scene in 2011 with a re-mastered version of his pioneering debut solo CD. The new version, A Show of Hands 15, contains three bonus tracks and is also released on vinyl.

"If the world were to follow you today, where would you lead them?"

Continuing to grow and always willing to share his gifts with all who desire to learn, it seems that Victor Wooten has no plans of slowing down.

I'm currently writing the sequel to The Music Lesson, and have at least three more books planned after that. I feel like we're just getting started with the camps and Wooten Woods. Now that we are officially recognized as a not-for-profit organization (501c3), the door is wide open. Vix Records has already released multiple products and we're not even a year old yet. Writing music for movies and television is the next logical step, and with the amazing team I have helping me, including my manager Danette Albetta, my assistant Dave Welsch, and my wife Holly, I'm sure we'll accomplish all of our dreams and more. You know, my kids are actually starting to play gigs on their own now. Who knows, I may be able to retire soon and become their manager. I'm just happy that people like what I do and that I have a lot of support. You can't beat that.

Contact Information

Management/Booking: MANAGEMENT
Danette Albetta
Personal Manager
[email protected]

TOUR
Jack Trifiro
Production Manager | Tour Manager
[email protected]

BOOKINGS (except Europe)
Crossover Touring | Barron Ruth
1-404-793-7023 [email protected]

EUROPEAN BOOKINGS
BILive Music Tours | Via Roma 41 A 45030 Crespino Italy
+39-338-384-0376
[email protected]

PRESS INQUIRIES
LPC Media | Lellie Capwell
[email protected]

Media | Markets

▶ Buy My Music: (downloads/CDs/DVDs) http://vixrecords.com/wp/vix-records-store/
▶ Twitter: victorwooten
▶ Instagram: victorwooten
▶ Website: http://www.victorwooten.com
▶ Website 2: http://vixrecords.com
▶ Website 3: http://www.wootenwoods.org
▶ YouTube Channel: http://www.youtube.com/user/victorwooten
▶ YouTube Music: http://music.youtube.com/channel/UCjZZSnBKOtmE_TYfU3jn0dA
▶ Spotify: http://open.spotify.com/album/5YiTpi7O0xx1yXTNXCTHFb
▶ Spotify 2: http://open.spotify.com/album/3TUlnfqz2PyHIzKdAjPwz2
▶ Spotify 3: http://open.spotify.com/album/1TP1qgFrX4iLjF23NE5Ouv
▶ Spotify 4: http://open.spotify.com/album/5WbTfCHnFWp2pKiRkUU78D
▶ Spotify 5: http://open.spotify.com/album/6qqLP6JQpjTttLxLj6qAH8
▶ Spotify 6: http://open.spotify.com/album/21Z7adomy7MXUBERGXn8Fh

Clips (more may be added)

Music as a Language: Victor Wooten at TEDx
By Victor Wooten

388 views

Victor Wooten Curated

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 anybody 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.

SALVADOR BAHIA BRAZIL

English ↓ Português →

Sprawled across broad equatorial latitudes...

Stoked and steamed and sensual in the broadest sense of the word...

Limned in prosody & cadenced song...

Set in a conundrum wrapped in a smile inside an irony...

From Bahia, with love: All of this — based in short-range connections between vastly disparate people and entities in the (integrated) global creative economy — began among the sublimely moving people below, and below them. Music: Assis Valente of Santo Amaro, Bahia; Video: Betão Aguiar of Salvador, Bahia

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."

You are now within the vast, virtual, arboreal canopy of a rainforest tree rising from Brazil ... concatenating, intertwining branches encircling the planet...manifesting writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…from Brooklyn, Berlin, Buenos Aires, Cape Town, Mombasa, Tokyo... all inexorably tending to close-connectedness with all others.

This matrix began with a question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

Answer: Include them in a seemingly preternaturally interaccessible curation system (the magic herein is mathematics) which would also include members of the creative economy from everywhere else.

Thus it becomes possible for anybody who knows of Quincy Jones to discover João do Boi ("John of the Ox", the vastly important Son House of Brazil) in just four (or conceivably fewer) steps (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

And if Herbie Hancock is inside the matrix then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.

...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers, chefs...everywhere — do also. Artificial intelligence not required (nor capable). Real intelligence, yes.

These are not isolated examples. Short pathways of few steps between widely disparate creative people are universal throughout the matrix. Such is the mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the matrix’s superpower.

Question: What's with the Hebrew letter on matrix media pages?

Answer: Web Aleph.

Question: How is this a matrix?

Answer: The original meaning of "matrix" is "source", derived from "mater", Latin for "mother" (hence our motto: We're a real mother for ya!). The Matrix Online Network is a virtual realization of Web Aleph, allowing people to actually move from members of the Global Creative Economy to other members of the GCE (thus an Integrated Global Creative Economy: IGCE) in accessible steps. The matrix opens up and unites the creative world in a way which hasn't been possible since mankind first blew through a bone flute some 40,000 years ago.

Question: Why not use Artificial Intelligence rather than human curation?

Answer: Artificial Intelligence makes personal music recommendations based upon what any given person has chosen to listen to previously (and upon what people deemed to have similarities to any given person have chosen to listen to previously). But matrix curation is general, not personal. And moreover, while AI recommendations for music can satisfy some people, such recommendations are currently impossible for the work of writers, painters, choreographers, filmmakers, actors, chefs...

The Matrix is capable of reaching deeply, per João's village of São Braz, in the Bahian Recôncavo...

Landings of Enslaved by Numbers

Endpoint of a centuries-long enforced odyssey, the region of the Bahian Recôncavo received more enslaved human beings than any other port-of-call throughout the entire history of mankind. One irony is that these people created some of the most physically & spiritually uplifting music ever sung and danced to. Another irony — true in the United States as well — is that their music would evolve to become the national music of the country which had enslaved them. A meta-irony then is that these two gargantuan ironies are almost completely unknown.

Number of Embarked/Disembarked Enslaved at Selected Landings from 1514 to 1866:

Bahia, port unspecified *

Embarked: 1,339,627

Disembarked: 1,206,934

* “Bahia” above is the archaically used name for the city of Salvador. These are the numbers for Salvador and the Recôncavo.

The numbers below are for Bahia including Taipu and Porto Seguro:

Bahia

Embarked: 1,347,121

Disembarked: 1,213,691

Rio de Janeiro

Embarked: 1,216,113

Disembarked: 1,099,908

Brazil

Embarked: 3,515,638

Disembarked: 3,165,307

Mainland North America

Embarked: 359,628

Disembarked: 301,740

Our source is the Trans-Atlantic Slave Trade Database centered at Emory University and available online at http://slavevoyages.org/

Dear friend, wherever (and whomsoever) you may be—

Have you 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 (the Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind's existence on this planet), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present...

Brazil is not a European nation. It is not a North American nation. It is not an East Asian nation. Brazil 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.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* "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...

The network was built in an obscure record shop evincing this cauldron (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

...it was inspired in (the kabbalah-inspired fiction of) Borges' (phenomenal 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 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

(0ur radio — built below — is here)

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

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, music which remains a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to on pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.

The Brazilian "aleph" doesn't hum... it dances and sings. And all is more connected than we imagine.

Welcome to the kitchen!

From Salvador with love,

- Pardal "Sparrow" Roberts

Years ago in NYC (I've lived here in Brazil for over 30 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).

But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great. In a sense, this rainforest tree sprouted from a streetcorner in Harlem.

Greatness and fame are too often conflated. The former should be accessible independently of the latter.

Imagine João do Boi!

Espalhados por amplas latitudes equatoriais...

Empolgante e fumegante e sensual no sentido mais amplo da palavra...

Delineado em prosódia e canção cadenciada...

Situado num enigma envolto de um sorriso dentro de uma ironia...

Da Bahia, com afeto: Tudo isso – baseado em conexões de curto alcance entre pessoas e entidades muito díspares na economia criativa global (integrada) – começou entre as pessoas sublimemente comoventes abaixo, e abaixo delas. Música: Assis Valente de Santo Amaro, Bahia; Vídeo: Betão Aguiar de Salvador, Bahia

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."

Você está agora dentro do vasto, virtual, dossel arbóreo de uma árvore da floresta tropical que se ergue do Brasil... concatenando, entrelaçando galhos que circundam o planeta... manifestando escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos... do Brooklyn, Berlim, Buenos Aires, Cidade do Cabo, Mombasa, Tóquio...

Este matrix começou com uma pergunta: Como é possível fazer com que os músicos historicamente mais importantes do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

Resposta: Inclua-os em um sistema de curadoria aparentemente sobrenaturalmente interacessível (a magia aqui é matemática) que também incluiria membros da economia criativa de todos os outros lugares.

Assim, torna-se possível para quem conhece Quincy Jones descobrir João do Boi (o imensamente importante músico de raizes profundíssimas) em apenas quatro (ou concebivelmente menos) passos (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

E se Herbie Hancock estiver dentro do matrix, então qualquer pessoa em sua página – seja acessando de um campus em L.A., um pub em Dublin, um shebeen na Cidade do Cabo, uma barraca na Mongólia – estará a poucos passos transitáveis de Raymundo Sodré, mesmo que não saibam nada do Brasil e desconheçam que Sodré canta/dança neste planeta. Sodré, derrubado do poleiro da fama pela ditadura brasileira, tem agora a alternativa de acesso ao mundo através do vasto potencial da teoria das redes.

...na medida em que outros artistas e tal — escritores, pesquisadores, cineastas, pintores, coreógrafos, chefs... em todos os lugares — também têm. Inteligência artificial não necessária (nem capaz). Inteligência real, sim.

Este não é um exemplo isolado. Caminhos curtos de poucos passos entre pessoas criativas amplamente díspares são universais em toda a matriz. Tal é o poder matemático do fenômeno do mundo pequeno, o fenômeno responsável pelos “seis graus de separação”, unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Esta é a superpotência da matriz.

Pergunta: O que há com a letra hebraica nas páginas da mídia matrix?

Resposta: Web Alef.

Pergunta: Como isso é uma matrix?

Resposta: O significado original de "matrix" é "fonte". A Matrix Online Network é uma realização virtual da Web Alef, permitindo que as pessoas realmente passem de membros da Economia Criativa Global para outros membros da ECG (portanto, uma Economia Criativa Global Integrada: ECGI) em etapas acessíveis. O matrix abre e une o mundo criativo de uma forma que não era possível desde que a humanidade tocou pela primeira vez uma flauta de osso há cerca de 40.000 anos.

Pergunta: Por que não usar Inteligência Artificial em vez de curadoria humana?

Resposta: A Inteligência Artificial faz recomendações pessoais de música com base no que uma pessoa escolheu ouvir anteriormente (e no que as pessoas consideradas semelhantes a alguém escolheram ouvir anteriormente). Mas a curadoria matricial é geral, não pessoal. Além disso, embora as recomendações de IA para música possam satisfazer algumas pessoas, essas recomendações são atualmente impossíveis para o trabalho de escritores, pintores, coreógrafos, cineastas, atores, chefs...

O Matrix é capaz de atingir profundamente...

Desembarques de Escravizados por Números

Ponto final de uma odisséia forçada de séculos, a região do Recôncavo baiano recebeu mais seres humanos escravizados do que qualquer outro porto de escala em toda a história da humanidade. Uma ironia é que essas pessoas criaram algumas das músicas mais edificantes fisicamente e espiritualmente já cantadas e dançadas. Outra ironia - verdadeira também nos Estados Unidos - é que sua música evoluiria para se tornar a música nacional do país que os escravizou. Uma meta-ironia, então, é que essas duas ironias gigantescas são quase completamente desconhecidas.

Número de Escravizados Embarcados/Desembarcados em Desembarques Selecionados de 1514 a 1866:Bahia, porto não especificado *

Embarcados: 1.339.627

Desembarcados: 1.206.934

* “Bahia” acima é o nome arcaico usado para a cidade de Salvador. Esses são os números de Salvador e do Recôncavo.Os números abaixo são para a Bahia incluindo Taipu e Porto Seguro:

Bahia

Embarcados: 1.347.121

Desembarcados: 1.213.691

Rio de Janeiro

Embarcados: 1.216.113

Desembarcados: 1.099.908

Brasil

Embarcados: 3.515.638

Desembarcados: 3.165.307

América do Norte continental

Embarcados: 359.628

Desembarcado: 301.740

Nossa fonte é o Trans-Atlantic Slave Trade Database centrado na Emory University e disponível online em http://slavevoyages.org/

Caro amigo, onde (e quem quer que) você esteja—

Você já reparou como lugares diferentes espalhados pela face do globo parecem quase existir em universos diferentes? Como se estivessem permeados por algo semelhante ao éter luminífero do século XIX, único, determinado pela história daquele lugar? É como um truque de luz da mente (suponho), mas de pé na praia ou escarpa em Salvador e olhando para a Baía de Todos os Santos para o grande Recôncavo, e atento ao que aconteceu lá (o Recôncavo foi o último porto de - clamar por mais seres humanos escravizados do que qualquer outro lugar ao longo de toda a existência da humanidade neste planeta), deve-se ser levado à inevitável conclusão de que estamos em um lugar único para a história e para o presente...

O Brasil não é uma nação europeia. Não é uma nação norte-americana. Não é uma nação do leste asiático. O Brasil atravessa - selva e deserto e centros urbanos densos - tanto o equador quanto o Trópico de Capricórnio. O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América e é um repositório de divindades africanas (e sua música) hoje amplamente esquecidas em suas terras de origem. Era uma espécie de refúgio para os sefarditas que fugiam de uma Inquisição que os seguiu através do Atlântico (aquele símbolo não oficial da música nacional do Brasil – o pandeiro – quase certamente foi trazido para o Brasil por essas pessoas).

Pelas savanas ressequidas do interior do nordeste/nordeste culturalmente fecundo do Brasil, onde o feiticeiro Hermeto Pascoal nasceu na Lagoa da Canoa e foi criado em Olho d'Águia, grande parte da população aborígene do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi. Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta sem precedentes. Pandeirista no telhado. Em nenhum outro lugar, mas aqui.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* Observado durante uma conversa que ia da Bahia ao Haiti e Cuba a Nova Orleans e o lado sul de Chicago e Harlem às aldeias da Irlanda e aos acampamentos ciganos e shtetls da Europa Oriental...

A rede foi construída em uma obscura loja de discos evidenciando este caldeirão (Kareem Abdul-Jabbar o encontrou) em uma cintilante cidade portuária brasileira...

...foi inspirada na (ficção inspirada na cabala) de Borges (conto fenomenal) El Aleph, aquele no pilar da Mesquita de Amr, no Cairo, onde o universo em sua totalidade ao longo de todos os tempos é perceptível como um zumbido infinito das profundezas da pedra.

Ela "funciona" em virtude do fenômeno do "mundo pequeno"... o mesmo responsável pelo fato de que a maioria dos 7 bilhões ou mais de seres estão dentro de 6 graus ou menos uns dos outros.

Ela foi descrita (até certo ponto) e pode ser acessada através deste artigo do jornal britânico The Guardian (que elegeu nossa rádio de artistas matrix como uma das dez melhores do mundo):

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

(O nosso rádio — construído abaixo — está aqui)

Com David Dye para o Rádio Nacional dos EUA, National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

De acordo com o "espírito" acima, nosso logotipo é um cortador de cana. Foi projetado por Walter Mariano, professor de design da Universidade Federal da Bahia para refletir as origens da música em que a loja se especializou, música que continua sendo uma força potente no restante de sua terra natal, o Recôncavo propriamente dito, onde é dançada à terra batida, sob o luar quebrado por folhas de bananeira, palmeira e manga, erguendo as almas de seus participantes quase como algo religioso, o que era, e deuses à parte, é.

O "alef" brasileiro não cantarola... dança e canta. E tudo está mais conectado do que imaginamos.

Bem-vindo à cozinha!

De Salvador com amor,
- Pardal "Sparrow" Roberts

Anos atrás em NYC (vivo aqui no Brasil há mais de 30 anos) eu "resgatei" royalties não pagos (performance e mecânica) para artistas/compositores incluindo Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass e muitos outros. Aretha me ligou do nada em relação ao dinheiro devido pela Atlantic Records. Allen Klein ligou sobre o dinheiro devido ao espólio de Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) ligou apenas para ver se ele tinha algum dinheiro não pago circulando por aí (o mundo da realeza era uma selva cheia de tubarões, para destruir metáforas, e duvido que tenha mudado).

Mas o cliente (e amigo) pertinente no presente contexto é Earl "Speedo" Carroll, dos Cadillacs. Earl passou de doo-wopping nas esquinas do Harlem para o sucesso no topo das paradas para trabalhar como zelador na escola primária PS 87 no lado oeste de Manhattan. Com tudo isso, ele nunca perdeu o que o fez grande. De certa forma, esta árvore de floresta tropical brotou de uma esquina no Harlem.

A grandeza e a fama são muitas vezes confundidas. O primeiro deve ser acessível independentemente do segundo.