[weekly world music 14: weaving voices]

America is Waiting | New Feet by Brian Eno and David Byrne (My Life in the Bush of Ghosts)

Dhyana and Donalogue | Speaking in Tongues I | Sacred Stones by Sheila Chandra (Weaving My Ancestors’ Voices)

In 1979, Brian Eno and David Byrne, who had been working together on Talking Heads records, embarked on a remarkable project, the result of which was the 1980 album My Life in the Bush of Ghosts. Lavishly reissued by Nonesuch, Bush of Ghosts sounds perhaps better today than it did then. Inspired by then-obscure African and Arabic music as well as the nascent hip-hop scene and its elision of the roles of composer, performer and curator, Eno and Byrne set out to create the music of an imaginary culture.

There were twists and turns along the way — fascinatingly described in the intelligent new liner notes by Byrne — and the final product, made up of rhythm tracks and found vocal samples, captured the zeitgeist of an uncertain time during which convulsions in the Third World intruded on the consciousness of the First. The period during which the album was made was one of relentless coverage of the Iranian hostage crisis. It also saw the independence of Zimbabwe and the kidnapping and murder of the American ambassador to Afghanistan. In America, Ronald Reagan was elected president. The album’s vocal samples of African and Muslim singers, African-American and white American preachers, angry political talkshow hosts and laughing exorcists create an ominous swirl of cross-cultural superstition and ecstaticism that reflected the atmosphere of those times and resonates strongly today.

“America is Waiting” probably reflects the atmosphere of the hostage crisis most clearly, but its mood of expectation, condemnation and menace could have come straight from today’s talk radio. “New Feet” is an outtake that uses beautiful samples of Muslim (I think) singing. You can listen to snippets of all the tracks at the Bush of Ghosts website, which is chock full of goodies, including a remix site, and well worth a look.

A very different approach to voice across cultures is that of Sheila Chandra, the first English pop singer of Indian descent to chart a hit. On her album Weaving my Ancestors’ Voices, she specifically wanted to move past the idea that fusion is about mixing up exotic instruments, so she limited herself to voice and drone. The fusion is all in the vocal style. “Dhyana and Donalogue” is an adaptation of a very old Irish ballad, with some wordless Muslim-style lament thrown in. “Speaking in Tongues I” is a bravura performance of Indian spoken percussion. And we end with “Sacred Stones,” a gorgeous blending of Christian and Hindu prayers and harmonies. Amen, Shiva!

[goin’ to chicago]

Update: Looks like no Chicago after all, or at least not until the end of August. Jenny’s been extended in Pennsylvania instead. Ah, well.

Original post: Like a Mississippi sharecropper, it looks like Jenny is goin’ to Chicago. Okay, not much like a Mississippi sharecropper, considering she’ll be going as a business consultant to develop a cost-benefit analysis for what could turn out to be a very large transportation project. She’s scheduled to leave her current project with CIGNA at the end of the month and begin her new gig in August.

In terms of travel, Chicago may actually turn out to be less arduous than all of the schlepping to Philadelphia and Bethlehem, Pennsylvania for her current project. Jenny was told that travel time for the new gig would probably average two to three days per week, and while it’s unclear how that would be divided up, that would be a distinct improvement over the ongoing four-day travel schedule she’s been on. Of course, these things have a way of expanding. However it works out, though, I’m glad Jenny gets to move on (finally!) from her first project as a consultant and start a new adventure in a new city.

Bonus: A theme song, of sorts, for Jenny’s new assignment (gotta listen to the very end) (via music (for robots)).

[weekly world music 13: songs for the dear leader]

Song of General KIM IL SUNG | Don’t Ask My Name | Children’s Music 1 (Music Gallery of the Democratic People’s Republic of Korea)

애국가 (Aegukga) (National Anthem of the Republic of Korea)

Been hankering for creepy marches and disturbing paeans to terrifying totalitarian dictators? Your search is over!

In honor of North Korea’s recent erectile dysfunction, here are a few tracks from the DPRK’s charming Music Gallery, as filled with joy as everything produced in the jolly North. My Korean isn’t good enough to understand most of the lyrics, and I’m not about to go wandering around the South Korean UN Mission in search of someone to translate North Korean propaganda ditties, so unfortunately I can’t tell you exactly what these tunes are about. I did catch the children singing “김정일 ... 우리 아버지” (Kim Jong-il … uri abeoji, or Kim Jong-il … our father) at one point, but you knew that was in there somewhere.

In the interest of fairness, I’ve also included the national anthem of the Republic of Korea, whose title translates to The Patriotic Song — you may recall hearing it following some short-track skating event in the Winter Olympics. It’s better than the North Korean stuff, although I find it disappointing that so many Asian countries have gone for poignant yet rousing anthems in the European classical tradition. Like, wouldn’t it be cooler if the national anthem of Indonesia was the Kecak, or if India’s was a raga that took 45 minutes? If Nepal can have its wacky flag, shouldn’t someone have a truly bizarre national anthem?

Oh, and if you happen to be wondering why a “weekly” feature appears as sporadically as Weekly World Music, let’s just say that I’m on summer schedule, and also that I’m sorta lazy. I’ll try to keep up with it every week, but some weeks it’ll slide. Life is full of broken promises.

[new beck record coming]

Guero came out just last year, but it turns out Beck is already nearly finished with a new album — a Nigel Godrich production, like Mutations and Sea Change, but also supposedly a hip-hop record, whatever that might mean coming from Beck. In any case, if the album comes out in the fall, as promised, it’ll be the quickest turnaround between records since Midnite Vultures followed hard on the heels of the supposedly unofficial Mutations. Even better, there’s enough material in the can for several albums, which means more may be on the way, at least in the form of a flurry of B-sides.

[why i live in new york city]

In the warmth on Saturday, Jenny and I went for a long walk through Prospect Park. On our way we were passed by a Haitian protest supporting Aristide and denouncing American and French intervention.

The next day, I went to a John Edwards rally at Long Island University. On a stage full of soldiers, black people and Chassidim, he gave exactly the same stump speech he always gives, except he said he was glad to be at LIU and welcomed all the Deaniacs to his camp. I could hardly see him — the stage was actually lower than the gallery where we all crowded around — and the whole thing had the surreal atmosphere of being inside of a giant infomercial. Which is, more or less, my problem with Edwards: like a good infomercialist, he has one pretty good speech that he performs pretty well. And that’s it.

Probably the best thing about the whole event was waiting on line next to a Trinidadian woman who wandered up, asked what we were lined up for, asked if it was free, and declared, “Well, I’m stayin’ then.” She shared her views on all the candidates. She liked “that little guy from Ohio,” and she didn’t like Kerry, and she thought Edwards was okay, but she was going to vote for Sharpton on Tuesday because “He brings them to the table,” and without him, she said, the candidates would never have talked about Haiti or about black people. She has a point. Then she started in about her great dream of one day visiting Czechoslovakia (never mind that it doesn’t exist anymore). She’d heard Prague was beautiful, and that was where she wanted to go.

After the Edwards rally, I met Jenny at Satalla in Manhattan to hear Huun-Huur-Tu, the throat-singing quartet from Tuva, a small republic within the Russian Federation somewhere off near Mongolia. Playing soulful folk songs that are all about horses, they create fascinating harmonic overtones in their throats — something roughly like a Tibetan monk’s growl, or perhaps an astonishingly lovely burp, that manages to ascend into the higher registers and make melodies there that dance over the earthy strains of their bowed and plucked instruments. If they come to your town, go hear them; recordings don’t do the music justice.

[coming home]

 What I love about New York City is that you can go to a free De La Soul concert in the park and meet the daughter of the former royal physician of Nepal.

For those of you who don’t follow hip-hop, De La Soul had a big hit with a song called “Me Myself and I” in the late 1980s and have since gone in a more experimental direction, putting out a number of musically innovative, politically savvy records that have entered them in the New York hipster pantheon with artists like Sonic Youth and Public Enemy. Their free Summer Stage concert attracted what looked to be the entire under-40 population of the western half of Brooklyn. Jenny and I were clever enough to arrive an hour early, and even then the line already stretched for several blocks and looked like some kind of pro-diversity advertisement: frizzy-haired Jewish lesbians, thirtysomething African-Americans with picnic baskets, Asian college kids all lined up to share an afternoon with each other.

Once inside the concert grounds, we wended our way to an open patch and sat down behind a blanket that was shared by three Indian girls. Gradually over the course of the day, something like fifteen Bengalis managed to gather on that blanket, all of them terribly excited about their pot-laced cigarettes and their beer, and I actually heard someone say, “De La Soul isn’t coming on for hours, yaar!” As happens at these kinds of public events, we all got to talking, and when I mentioned to one of the guys that I’d been to Nepal, he grabbed the girl next to him and told her.

“I’m Nepali!” she exclaimed. “I feel such a kinship with you!” She was born here but had been back about a dozen times, most recently to experience a bit more of the country and go trekking up to Muktinath, the same shrine we visited. I asked whether she was Hindu — she was — and then which of Nepal’s ethnic groups she belonged to. “Actually my family is from Bengal,” she explained. “My father is a doctor. Do you know the prince who shot everyone?” I nodded, having heard in detail the story of the crown prince who went mad, killing most of the royal family and then himself. “My father delivered him when he was born,” she said.


Central Park in summer is a glorious carnival. From certain angles it looks like a liesure painting by Seurat or Renoir — indeed, it was exactly this sort of Romanticism-inspired urban park that so interested the Impressionists — except that it’s as if the exotic characters in Rousseau’s and Gaugin’s paintings had taken over from the prim French ladies with bustles. On Sunday I found myself back in the park, this time with my friend Maggie. We ended up at Summer Stage again, where we watched a couple of terrible acts from New Zealand, then continued on toward Bethesda Fountain. In the plaza above we heard drumming and followed the sound into a dense crowd of people. At the center were a group of drummers — some African, some Carribean, some Latino, some Caucasian. They made a fantastic noise with their congas and djembes and rattles and gourds, and in front of them danced a small crowd, led by an African man draped in cowrie shells, sporting a fantastic multicolored cap and waving some kind of brush in the air. There was also a stunningly beautiful African woman wearing very little, her body covered in a sheen of sweat as she stomped and twirled and shook her hips in a manner that would make Shakira jealous. Soon the two African dancers were pulling people out of the crowd and giving impromptu African dance lessons, until the central space was filled with bouncing, grooving bodies. Some of the other dancers were very good, but there was something about the African pair — a kind of intimacy or naturalness — that made me think they’d probably been doing this — exactly this — for their whole lives. I thought about what it must feel like to live in such an incredibly alien place as America must be to them, and then to come to the park and dance as they might have back home; I had the strange thought that it must be something like the feeling I got when I was in Korea and I opened up a box full of New Yorker magazines.

We moved on from the drum circle and promptly passed another, this one involving some kind of large metal horns. Next to them rollerbladers were threading their way down an impromptu track of empty bottles. Down by Bethesda Fountain a man was going through a well-worn acrobatics-and-comedy routine, and just beyond were two young white guys playing a classical trumpet duet. We walked from there up into the Ramble, the wonderful part of the park that is meant to feel like wild nature, and in which you can almost forget you’re in the middle of a giant metropolis. As we lay upon a lawn watching a gondolier punt along the lake, Maggie picked up a tune on the air: it was the same song she’d been singing that morning in her capoiera class. Sure enough, we walked back to the fountain and discovered a white-clad circle of dancers taking turns performing the Brazilian combat-dance, while a few others played exotic Brazilian percussion and string instruments.


Yesterday I got in touch with my friend Daniel to see what he was doing for the evening. “Going to see Antibalas in Fort Greene Park,” he told me. Antibalas, which means “bullet-proof” in Spanish, is a 13-piece orchestra that plays Afrobeat, a heavy funk sound invented by the Nigerian pop star/political leader/demigod Fela Kuti. They’re sort of charmingly collectivist — one guy makes the announcements and political pronouncements, another sings, yet another conducts the group — and they manage to put over radical leftist politics without coming off shrill. And, well, they lay down a tremendous groove. Fort Greene Park was bouncing, and again I found myself dancing in a racially mixed crowd, many of whom were local to the neighborhood. When Antibalas sang a song with the chorus, “Is this America?” I wanted to shout, Yes! Yes, this is America, this park full of people from everywhere, all dancing to one beat, free to groove to a political rant or to go buy a hotdog instead, beautiful and open and smiling and swaying on a cool summer evening with fireflies.

I’ve come home.