Bolera rough mix

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Rafaele,

This is the Matriarchal and futurist/classical fusion epic adaptation of Bolero that I mentioned. That is a mouthful. It is somewhat mastered but still raw to my ears.

You know my intention. Yes, I am subversive. Yes, the idea of a group of random strangers feeling a musical subconscious command to… uncontrollably love each other… is a meta form of performance art. I am terrible but I don’t care. It’s so much better an expression in contrast to the ignorance, fear and hate which we have in global overabundance.

Check this out. My gut tells me you are much more than aligned. What do YOU think?

Also, if the Netherlands is where you would like to remain, would you be aware of any ideal facilities to accommodate TATANKA’s needs, if you were interested? Right now the focus is logically local – the U.S. and Canada – but I lean toward the latter as I am very concerned that our November election has already been decided, which would have direct implications for all of TATANKA, specifically the marginalized and at-risk members. Nope. The Lake Resorts are beyond ideal, idyllic retreats for humans and AI to play, literally and figurately, together. Many are close to, on, or within Canada. Hence all the overseas sites. New Zealand, like the Global South as a whole, is IMHO the future and sustainably, securely so. Note how many billionaires are buying up property there…

I wish Brasil were more secure, which is the only reason we did not relocate there years ago. But the Malvinas/Falklands, perhaps? Climate Change and a sustainable future is my prime mover, so places one might not consider, in the context of CC, emerge as viable. I actually have researched this and here is my list and pros/cons for each:

When considering the future impacts of climate change, there are several regions in the Global South that offer relative sustainability and resilience based on factors like environmental stability, governance, resource availability, and adaptability. Here are some of the most ideal places:

1. Uruguay

Why? Uruguay is one of the most environmentally sustainable countries in Latin America, with a significant reliance on renewable energy (about 95% of its electricity comes from renewables). Its political stability, small population, and fertile agricultural land make it resilient to climate-related shocks.
Challenges: Water availability and agricultural impacts due to increasing temperatures could be issues, but the country’s preparedness and governance offer solutions.

2. Costa Rica

Why? Costa Rica has been a leader in sustainability and conservation, protecting large parts of its forests and ecosystems. It is well-regarded for its ambitious renewable energy initiatives, with nearly 100% of its electricity coming from renewable sources. Its political stability and emphasis on biodiversity make it a haven for climate resilience.
Challenges: Like much of Central America, Costa Rica is at risk from hurricanes, flooding, and heat stress, but its infrastructure and environmental policies provide a buffer.

3. Chile (Southern Regions)

Why? Southern Chile, particularly regions like Patagonia, offers temperate climates, abundant freshwater, and relatively low population density. The country has strong institutions, and southern areas are less exposed to droughts, floods, and rising sea levels compared to northern parts of the country.
Challenges: Northern Chile is highly vulnerable to water scarcity, and earthquakes remain a persistent threat in certain regions.

4. Bhutan

Why? Bhutan’s commitment to environmental protection and its carbon-negative status make it a unique example of a country balancing development with sustainability. Its mountainous geography could shield it from the most extreme impacts of climate change, and its strong social policies emphasize well-being.
Challenges: Glacial melt and potential flooding from climate change pose risks, but the government has been proactive in planning.

5. Botswana

Why? Botswana is a politically stable country with a relatively small population. While droughts are a concern in much of Southern Africa, Botswana’s low-lying, semi-arid areas are less affected by sea-level rise, and the government has been effective in managing water resources.
Challenges: Droughts could increase in frequency, and access to resources like water will remain a challenge.

6. Rwanda

Why? Rwanda has emerged as a leader in environmental sustainability, reforestation, and conservation efforts. The government is focused on transitioning to a green economy and improving infrastructure to deal with the effects of climate change. Rwanda’s small size, high altitude, and careful urban planning offer protection against climate extremes.
Challenges: Rwanda could face challenges with food security and water resources, but its forward-thinking policies may mitigate these risks.

7. Vietnam (Northern Regions)

Why? Northern Vietnam, particularly the mountainous regions near Hanoi, offers a degree of protection from sea-level rise and climate impacts like extreme heat. Vietnam’s rapid development is accompanied by growing investments in renewable energy, particularly solar and wind.
Challenges: Southern Vietnam, especially the Mekong Delta, faces significant threats from rising sea levels and salinization. Urban areas may experience increased heat stress, but the northern regions could fare better.

8. Argentina (Patagonia and Andean Regions)

Why? Similar to Chile, Argentina’s southern regions, especially Patagonia and the Andean foothills, are sparsely populated with abundant natural resources, making them more resilient to climate shocks. Argentina has strong agricultural capacity and large freshwater reserves.
Challenges: Northern and central Argentina are more exposed to extreme weather, such as floods and droughts.

Factors for Consideration

Climate Stability: Regions with moderate climates and fewer temperature extremes tend to be more resilient.
Water Resources: Access to fresh water will be crucial in the future, as many areas will experience drought or changes in precipitation patterns.
Governance and Infrastructure: Political stability, strong governance, and infrastructure that supports adaptation (like renewable energy and sustainable agriculture) are key to managing climate risks.
Social Factors: Countries with equitable social systems, low levels of conflict, and preparedness for migration and population shifts will fare better.

Boston, specifically Cambridge, the enVision hotel ideally, regards my son since he tentatively plans to attend MIT next year. But the Boston metro is an unlikely location for TATANKA solely because it is urban, densely populated, and coastal, therefore problematic from a CC POV. I absolutely hate to admit that. So I need to sweeten the deal for him to follow Dada, not vice versa. I know. I am “p-whipped” by my own son. It’s pathetic. The stories I could tell you… Besides, with his happiness my greatest wish, I honestly, objectively believe he would be much more fulfilled, cultured, experienced, even sagacious, playing in TATANKA as a career rather than a 9-5 job in I.T. He already is that advanced young man, far better than me, but I would love to be present as he expands exponentially. If you have children, you understand.

Regardless, here is the current list of potential and ideal sites.

I do not envision you and your artistry as a mere member alone. Or just one of the Matriarchy council. I would want you to lead and can explain how and why. You already lead, kick in doors, so TATANKA could be your vehicle. Your multidisciplinary, multinational, multilingual, radically inclusive orchestra. Bring your quartet along if you would like. Anyone you think would be aligned to TATANKA. Family? Let’s make accommodations for everyone. I would love to consult and work closely with you, but that would be your decision, and I would happily, wisely defer to you. Yes, there would be additional equity available for you, plus a good, sustainable salary and comprehensive benefits to keep everyone’s focus on TATANKA alone.

Plus there is a master plan and much bigger picture, so if you were interested in any of those efforts, which my instinct also suggests is so, you would be more than welcome. I would rely on you as my goal is to recede from all leadership, eventually performance, and incrementally off all grids, partly out of necessity, but out of all the current potential members, not one I would consider for The Council.

But you are so far outside so many boxes, so ahead of your time, that you are simply exceptional. A rare and precious gem. Not flattery. Fact. Again, I can explain my opinion and to repeat, I am thinking of TATANKA, not myself; please do not be concerned. Yes, you are clearly a forceful and dynamic smoke show, but I believe my future now is one of Agape, not Eros, one of a few silver linings to my personal inflection point. Fate, do as you intend.

Yes, I just identified my business partner at the top of that list, so I ask you to please keep this in confidence (this article is live but not part of any feed, and disallowed from search engines) as his band is unaware of his intentions, plus, he’d lead the Percussion Section as one of the four drummers. Yep! We’ve been friends since high school and he is NOT a celebrity. In fact, and fair warning, he, Kenny and I are typical Catholic-school clowns with a shared dark and dry sense of humor, who will need to be tightly leashed and frequently corrected. We can be kenneled outside at night and will try not to howl at the moon. Try not to.

But I would want you to lead the acoustic/electric orchestral section, among other aspects. I want you to see that TATANKA is going to happen. Much more than a concept. The VC is his and we are green-lighted so the money is there. Now we just have to figure out the number we need for Seed Funding, including leadership and the facility as a skeleton crew to begin the hiring process, etc. Hence my networking…

So, back to Bolera, I have two other unfinished manifestations of this musical catastrophe but this one had your name all over it, IMHO. I know it is not in your wheelhouse, but there are parallels, and avenues for you to widen and lengthen, so there is a chance it will resonate with you as a backup track to a much greater piece in your more than able hands and unbound mind. The Knurl is what I heard leading the focus as I “assembled” each part. There are about 100 pieces on the cutting room floor. Did I mention I have a “dedicated” work ethic? Why do I imagine that you too are a mad scientist?

Speaking of which, I viewed and commented on yesterday’s performance in SP. Bravo. I am so glad to hear it and see you perform it as a whole. I was locked in of course (and working as usual, flipping screens, hence my two Google IDs in the comments) but the moment it ended, there was that palpable eternity where the audience wondered if it was time to applaud. I admit that I clenched, hard. You fully put all of yourself out there for a half hour, not to mention the other media, and you were transcendent. Just fucking celestial. If I had been there, I’d be the guy to be first on his feet, clapping like a maniac over his head. I love your voice more and more and in this performance, you seemed to have a discrete vulnerability, intentional or not? Then again, I read into everything, and cannot help it.

Kudos. Bravo. Respect. And from me to you, fragrant and fitting Roses and flowers showered upon you and your art.

You just slay me and I do not get this excited normally because I am an asshole. It’s true. I might be one of the nicest assholes you will ever meet, but still a Taurus (May 6), typically so, as multiple furious ex girlfriends have informed me in heightened voices, and yes, I always deserved it.

Anyway, this piece is intentionally sparse, spacious, for your interior and exterior decorating, if you are so compelled. I increasingly added staccato strings, not as markers or suggestion, but potential inspiration. They also increase as does the intensity of the piece, which is 36 parts (I am aware of its absurd length, and the demands on any audience, but it’s what we do, however, you would be interest in remixing select parts, so, here are all). In some parts the tempo increases, dramatically, and tapers off, like the dynamic act itself. Also aligned, hopefully, to the “congress” are the moments of pause and reflection, as when two people are in true sync, hence the dynamic ebb and flow. You know what I mean. Go to the bathroom. Gulp more wine. Share a smoke. Call 911. The usual.

I am trying to not be graphic; that is not my intention. I use the analogy of a DJ “dropping” the beat and the audience responding as an allegory of the initial relationship, union, of the artist and audience, leading to the audience next doing what comes naturally. Instead of dancing in a club, I believe music can augment people’s dancing in other contexts, as well as other collaborative and solo activities of all kinds, but this is a compelling and in my opinion, ideal and groundbreaking starting point.

The piece, like the act, can be compared to Shakespeare’s Five-Act play structure: Introduction of theme and elements, Rising Action, Climax, Falling Action, Denouement. So by the third act, it is less electronic and more symphonic, more intense, more central, hopefully. I intentionally lower the pressure afterward, and yes, there are multiple “Act 3s,” but that is also intentional, Modular, more Eastern, like Ravi Shankar or Philip Glass but I certainly do not compare myself to them outside of the obvious repetition of arpeggios and the parts’ ability to be standalone pieces.

Oh, and as I am sure you know, no AI Gen media is copyrighted. None of my projects are. None of my stuff ever has been, dating back to the ’80s. I can hear you yelling at me, rightfully, but I am purist to a fault; fame or fortune never was or is a goal. I tell you that in case you pick up where I left off and are pleased enough with the final product to want to protect it in which case, it would be my artistic gift to you. I wouldn’t want any credit. I would want to hear where you might take it. That’s all.

I hope you are inspired and integrate your gifts with it. Obviously I have my not-so-hidden agenda for TATANKA, but I wanted to make a gesture. I adore your work, approach, and inspirations, and hope we can work on more, face to face, someday. But I have bother you enough and made my intentions clear, so I will leave you with this offer to collaborate, and hope we move forward, but understand if not, so I will not bother you again.

And it goes without saying, but as we say in America, “Grab your partner and do si do.” Again, I am terrible. This is your warning. I might be an emancipated male but my chromosomes demand liberation at times.

If you dig this, I ask if you dabble in Microtonal composition. Most fretless players do. I do not but am infatuated with it, the nuanced colors of sound, you know? I attempted to use Suno for an intended project but it is understandably limited to the 12-note octave and no, I have no such instruments, outside of a sweet fret-less acoustic bass. But who wants a futuristic version of Spinal Tap’s Big Bottom?

(Please say “Yes.” I will wash your car. If you have a dog, I will walk him. Do you need the gutters cleaned? Free roadie? Cord wrapper-upper? Psychic Advisor? Done.)

P.S. BOLERA is a woman, period. An empowered fifty year-old Matriarch who is a true queen in every sense of the word, knows what she wants and needs, takes it, and she admittedly scares the hell out of me.

Jerónimo João