Smart guy. It's interesting to see him on HN. I highly recommend his captivating book on music, How music works [1]. It's part an anthropological study and part an autobiography and but he goes into how music has evolved with regards to technology and the music industry in general. He's been touring a lot lately.
It's a fascinating read! I'll second the recommendation.
It made me realize just how relatively novel recorded music is. We take for granted the ability to listen to anything anywhere instantly, but For the vast majority of our history, music was ephemeral.
That list seems a little middle-classy, you have bands like Pet Shop Boys (which I admit I do love) but you have a great and unique artist like Fela Kuti missing, which invalidates it all. From his wiki page [1]:
> Fela Anikulapo Kuti (15 October 1938 – 2 August 1997), also professionally known as Fela Kuti, or simply Fela, was a Nigerian multi-instrumentalist, musician, composer, pioneer of the Afrobeat music genre and human rights activist. He has been called "superstar, singer, musician, Panafricanist, polygamist, mystic, legend.
and
> Fela Kuti was a political giant in Africa from the 70s until his death. Kuti criticized the corruption of Nigerian government officials and the mistreatment of Nigerian citizens. He spoke of colonialism as the root of the socio-economic and political problems that plagued the African people. Corruption was one of the worst, if not the worst, political problem facing Africa in the 70s and Nigeria was among the most corrupt countries of the time. The Nigerian government was responsible for election rigging and coups that ultimately worsened poverty, economic inequality, unemployment, and political instability, which further promoted corruption and thuggery. Fela's protest songs covered themes inspired by the realities of corruption and socio-economic inequality in Africa. Fela Kuti's political statements could be heard throughout Africa.
Later edit: Just found a 1999 David Byrne interview [2], with him talking about Fela Kuti and appreciating his work, he even mentions a Talking Heads song based on Fela Kuti's style, so all things considered this must have been just a slip (from David Byrne's part, I mean) or something similar:
> But it’s obviously informed by, he’s bringing a lot of what was happening on this continent back to Africa. Just amazing! The lyrics and everything, having something to say that wasn’t just party music, that made it pretty incredible too.
and
> So…in Talking Heads there’s a song we did called “The Great Curve” [on the Remain in Light album], where we tried to do a Fela-type groove and then kind of take it in another direction. There are some sections that are straight Afrobeat riffs and stuff.
In addition to the connection to Fela Kuti in particular, Byrne founded Luaka Bop, still a premier world music label. They have released hundreds of world music albums.
Yeah, saw that after I had last edited my comment. It kind of feels like cultural appropriation, I've also seen some interviews with Byrne where the interviewers mention this aspect just to immediately refute it afterwards.
I have also found some people on the internets mentioning it but admitting that they like Byrne's music nonetheless (the "culturally appropriated" one, I mean) so that I gave it a quick try but it just doesn't tick. It kind of never ticks when you take music out of its social and cultural environment and try to "transport" it somewhere else. Otherwise it seems like Byrne is a more than ok guy, so all the power to him.
Well, to put some of my cards on the table - I have followed Byrne since Remain in Light was issued, and I greatly admire his music and indeed his larger persona and work. I attended a small lecture he gave on his photography, many years ago, and he visited my wife's studio -- he is really quite unassuming in such a 1:1 context (she tells me).
I'm not 100% sure what you're saying in your second paragraph. One does get the feeling that part of his promotion of the music of Brazil, Cuba, and elsewhere in his post-Heads career might be Byrne paying the debt forward, and attempting to bring other flavors of music to people's attention.
Luaka Bop gives musicians a platform/wider audience, and in the case of someone like Brazilian musician Tom Ze, he toured on the basis of that wider exposure. He didn't need to take that money.
One thing that's admirable about David Byrne is how frank he is about racism. In 1997 he said "I am slowly overcoming the racism that was instilled in me by society."
Maybe he even tries too hard to redress these things in his work.
To be entirely honest, I feel sorry for anybody who can't leave the socio-politics out of music. I mean, for me personally, music transcends all those things. Yes, context is important if you want to understand why a song/piece was written the way it was written. But beyond that, it is a little naive to try to bring cultural appropriation into music.
Especially as someone from a country whose traditional music isn't exactly known at all, I would be more than happy to have anybody "culturally appropriate" it.
In fact the whole "Remain in Light" album was heavily influenced by Fela Kuti and its reissue even includes a bonus song named "Fela's Riff", so it's hard to believe Byrne could somehow forgot one his biggest inspirations. I think he simply confined to US/UK artists only.
There's also an Irish band, a Jamaican guy and a Spanish lady in that list, but I agree, the title was a little misleading, should have probably included the mention that this list is centered on the Anglosphere world.
I'm not a fan of the Randy Newman's Rednecks. I think most of Tom Lehrer's music would be a better, "I wanna go back to dixie" would even one up Newman on the same topic.
I think the "protest country" genre could be better represented. I'd take John Prine's "Paradise" or "Your flag decal won't get you into heaven anymore" over Johnny Russell.
Hadn't even known of John Prine until I found a stack of CDs in a case washed up on a beach in Olympia, Washington- I dried out the CD's and stuck them in the 1996 Jeep. Really awesome musician.
I think part of his premise is predicated on the popular notion that there haven't been any protest songs since since the Vietnam era. He's showing that's not the case with more obscure and/or modern protest songs.
No Laibach! Crime against humanity; 100% of their output, including while under actual totalitarian communism (aka skin in the game), was protest music.
They just released[1] a very interesting new album: their performance of The Sound Of Music in Pyongyang. Laibach is precisely the right choice to be the first western band allowed to perform in North Korea.
> while under actual totalitarian communism
Even the name "Laibach" itself - the name German occupying forces used for Ljubljana - was a blatant act of civil disobedience (they were banned from using the name under suspicion of being Nazi apologists).
> skin in the game
On the subject of bands making important music in spite of the risks... I suggest Palestinian hip-hop group "DAM"'s incredibly powerful protest song[2] against "honor killing".
[2] (the song is in Arabic; you might have to manually turn on Youtube's CC feature for English subtitles) [trigger warning: domestic violence, murdering women for "honor"] https://www.youtube.com/watch?v=UjnFbe7D9pY
Obligatory way to connect this to hackers: David Byrne is a big fan of the Creative Commons license[0], and was once profiled on WIRED magazine as part of their issue on CC, along with several other artists.
I like protest songs that ludicrously fit the genre, like "Riki Tiki Tavi" by Donovan, or "Rock and Roll ain't noise pollution" by AC/DC or "Joy to the World" by Three Dog Night. You know how many wars Phil Ochs and Bob Dylan stopped? Zero. Same as Three Dog Night.
[1] https://www.amazon.com/How-Music-Works-David-Byrne/dp/193636...
It made me realize just how relatively novel recorded music is. We take for granted the ability to listen to anything anywhere instantly, but For the vast majority of our history, music was ephemeral.
or his list of playlists, a new one released on the 1st of each month: http://davidbyrne.com/radio#filter=all&sortby=date:desc
David Byrne is an underappreciated American treasure. His 2018 show was spectacular.
* http://davidbyrne.com/radio/david-byrne-presents-the-beautif... Music from those countries that Trump doesn't want immigration from
* https://www.mixcloud.com/Todomundo/may-2014-fatboy-slims-fav... Beatles covers. You've heard all the songs before, now they're different.
* https://www.mixcloud.com/Todomundo/october-2013-covers/ Other covers. A-Capella Under Pressure. Macy Gray doing Creep.
> Fela Anikulapo Kuti (15 October 1938 – 2 August 1997), also professionally known as Fela Kuti, or simply Fela, was a Nigerian multi-instrumentalist, musician, composer, pioneer of the Afrobeat music genre and human rights activist. He has been called "superstar, singer, musician, Panafricanist, polygamist, mystic, legend. and
> Fela Kuti was a political giant in Africa from the 70s until his death. Kuti criticized the corruption of Nigerian government officials and the mistreatment of Nigerian citizens. He spoke of colonialism as the root of the socio-economic and political problems that plagued the African people. Corruption was one of the worst, if not the worst, political problem facing Africa in the 70s and Nigeria was among the most corrupt countries of the time. The Nigerian government was responsible for election rigging and coups that ultimately worsened poverty, economic inequality, unemployment, and political instability, which further promoted corruption and thuggery. Fela's protest songs covered themes inspired by the realities of corruption and socio-economic inequality in Africa. Fela Kuti's political statements could be heard throughout Africa.
Later edit: Just found a 1999 David Byrne interview [2], with him talking about Fela Kuti and appreciating his work, he even mentions a Talking Heads song based on Fela Kuti's style, so all things considered this must have been just a slip (from David Byrne's part, I mean) or something similar:
> But it’s obviously informed by, he’s bringing a lot of what was happening on this continent back to Africa. Just amazing! The lyrics and everything, having something to say that wasn’t just party music, that made it pretty incredible too.
and
> So…in Talking Heads there’s a song we did called “The Great Curve” [on the Remain in Light album], where we tried to do a Fela-type groove and then kind of take it in another direction. There are some sections that are straight Afrobeat riffs and stuff.
[1] https://en.wikipedia.org/wiki/Fela_Kuti
[2] https://arthurmag.com/2009/11/03/david-byrne-on-fela-kuti-19...
https://en.m.wikipedia.org/wiki/Luaka_Bop
And this historical interview— https://luakabop.com/history/
I have also found some people on the internets mentioning it but admitting that they like Byrne's music nonetheless (the "culturally appropriated" one, I mean) so that I gave it a quick try but it just doesn't tick. It kind of never ticks when you take music out of its social and cultural environment and try to "transport" it somewhere else. Otherwise it seems like Byrne is a more than ok guy, so all the power to him.
I'm not 100% sure what you're saying in your second paragraph. One does get the feeling that part of his promotion of the music of Brazil, Cuba, and elsewhere in his post-Heads career might be Byrne paying the debt forward, and attempting to bring other flavors of music to people's attention.
One thing that's admirable about David Byrne is how frank he is about racism. In 1997 he said "I am slowly overcoming the racism that was instilled in me by society."
Maybe he even tries too hard to redress these things in his work.
Especially as someone from a country whose traditional music isn't exactly known at all, I would be more than happy to have anybody "culturally appropriate" it.
https://www.youtube.com/watch?v=HAwhC_btAUU
I think the "protest country" genre could be better represented. I'd take John Prine's "Paradise" or "Your flag decal won't get you into heaven anymore" over Johnny Russell.
https://www.youtube.com/watch?v=DEy6EuZp9IY
I love that Tom Waits is on the list, but I can't help but think that Don McLean's "The Grave" is probably better known.
https://www.youtube.com/watch?v=xe6j0JBwEO4
I also feel like "The band played waltzing Matilda" should be almost-mandatory, but I'm not sure where it would squeeze in.
https://www.youtube.com/watch?v=cZqN1glz4JY
https://www.youtube.com/watch?v=Sl9ZkYViEIs
https://www.youtube.com/watch?v=3doBiU6nN0k
https://www.youtube.com/watch?v=okU56nT8tRg
* I'm Gonna be an Engineer - Pete Seeger
* What did you learn in school today? - Pete Seeger * Buy a Gun for Your Son - Tom PaxtonMidnight oil - beds are burning, US Forces, Blue Sky mine
Yothu Yindi - Treaty
Red Gum - walk in the light green / I was only 19
https://open.spotify.com/user/envoy510/playlist/5SqiISelGzsw...
Malvina Reynolds, "It Isn't Nice"
performed: https://www.youtube.com/watch?v=UvC4xq32AX8
lyrics: http://www.lyricsochords.com/It-Isn-t-Nice-Lyrics-Tab-Malvin...
https://www.youtube.com/watch?v=iaHDBL7dVgs
(mostly joking, but ready to defend our right to have our prurient interest aroused, if the specter of obscenity laws ever returns)
(Also, hasbot is right: why aren't the Dead Kennedys on this list?)
* Les milices by Jean-Roger Caussimon (https://www.youtube.com/watch?v=Z8vKeLAfiBs), a song as necessary now as it was in the 70s
* Parachutiste by Maxime Le Forestier (https://www.youtube.com/watch?v=b-P2hr4b-D0) a classic.
Edit: Manuel Freire, José Mario Branco, Sérgio Godinho would be another great ones.
Eve of Destruction - Barry McGuire
Where Have All The Flowers Gone - Pete Seeger
some way better ones - every rage song ever -
and
https://www.youtube.com/watch?v=j9c1vSIpHA0 https://www.youtube.com/watch?v=WErXa5AjIXg https://www.youtube.com/watch?v=tqnyhP7N0rs
-edit- No pete seeger either? https://www.youtube.com/watch?v=9XEnTxlBuGo
Killer Mike, Tom Waits, Bikini Kill and a lot of others on the list are less vanilla than RATM.
They just released[1] a very interesting new album: their performance of The Sound Of Music in Pyongyang. Laibach is precisely the right choice to be the first western band allowed to perform in North Korea.
> while under actual totalitarian communism
Even the name "Laibach" itself - the name German occupying forces used for Ljubljana - was a blatant act of civil disobedience (they were banned from using the name under suspicion of being Nazi apologists).
> skin in the game
On the subject of bands making important music in spite of the risks... I suggest Palestinian hip-hop group "DAM"'s incredibly powerful protest song[2] against "honor killing".
[1] https://www.nytimes.com/2018/12/11/arts/music/laibach-north-...
[2] (the song is in Arabic; you might have to manually turn on Youtube's CC feature for English subtitles) [trigger warning: domestic violence, murdering women for "honor"] https://www.youtube.com/watch?v=UjnFbe7D9pY
[0] https://www.wired.com/2007/12/ff-byrne/
[1] https://www.wired.com/2004/11/sample/
Get outta here.
I’d pick Praying though, I’m not aware of the song he picked.