Byrne builds a book as he does his music, in context
David Byrne is, to use one of his favorite words, a context unto himself. Founding member of Talking Heads, he blew up the concept of that band at least three times before disbanding it in 1988 for good.
By then, he was already a film director, artist and composer, working on projects such as Robert Wilson's 1985 “The Knee Plays” and Twyla Tharp's 1981 ballet “The Catherine Wheel.”
In the years since, he has created a world-music record label, written movie soundtracks and published half a dozen books. The most recent, “Bicycle Diaries,” is nothing less than the manifesto of a committed bicyclist. And, last month, he released “Love This Giant,” a joint album with the singer-songwriter known as St. Vincent.
The idea of context is all over Byrne's new book, “How Music Works,” a musician's memoir that is not a musician's memoir but moves back and forth from the personal to more eclectic considerations: the various elements required to “make a scene” (appropriate venues, cheap rent, “a sense of alienation” from prevailing tastes in music) or the influence of technology on art.
“I didn't want to write a memoir,” Byrne says by phone from his Manhattan office. “So I started thinking about music in a different way.” Rather than just tell the story of his career, he preferred to see it as a path to something: a case study, an example of how to live the musician's life.
Byrne wasn't starting from scratch, exactly; he had some pieces, including the text of a Technology, Entertainment and Design conference that became the book's first chapter, and as he began to fit these components together, a familiar pattern asserted itself.
Byrne, after all, has often built his projects through accretion, going back to his days in Talking Heads. In “How Music Works,” he describes how a technique of “ ‘incomplete' recording” developed while working on the 1979 album “Fear of Music”: a process in which the band would lay down basic tracks and then embellish, Byrne improvising his lyrics to the groove.
“How Music Works” is something of a text equivalent of that, a collection of pieces that dovetail and overlap like the instruments in a song. It all grows out of that opening chapter, which asserts “that context largely determines what is written, painted, sculpted, sung, or performed.”
As an example, he cites CBGB, ground zero of the New York punk-new wave scene of the 1970s, the bar that nurtured the bands Television, the Ramones, Blondie and the Patti Smith Group, as well as Talking Heads.
All of these musicians, Byrne suggests, wrote songs to fit that atmosphere, where “(p)eople drink, make new friends, shout, and fall down, so the performers had to play loud enough to be heard above that — and so it was, and is.”
This is what Byrne means when he says that “music is affected by all these different contexts” — that it must exist in, and respond to, the outside world. It is a public art, first and foremost, whether we encounter it via digital recordings or on the concert stage.
“It was a huge revelation,” Byrne says, finding a link between punk rock and more formal world traditions, “to see performances of Kabuki theater, or Balinese gamelan music, where people wandered in and out of shows. It was like seeing a show in a club — nobody minded — which led me to make connections between different styles of music and performance.”
There is, in other words, an interplay between performer and audience, a sense of the moment, that all music shares.
To underscore these and other relationships, Byrne pushes “How Music Works” into unexpected directions, including two chapters on the history of recording, and others that describe what happens in a studio and how the music business works.
He uses his recordings as examples, at one point breaking down the numbers on his 2004 album “Grown Backwards,” for which he was paid an advance of $225,000.
“It gave my accountant pause,” he laughs. “He said, ‘You're going to do what?' ”
But Byrne has always like to push himself beyond his instincts — “don't tell somebody what you make” — and here, he used the information to explain the economics of recording from the inside.
Yes, $225,000 sounds like a lot of money, yet Byrne spent all but $7,000 of it making the record; even after selling 127,000 albums, he walked away with $58,000 on the deal.
“Now $58,000 doesn't sound too bad,” he writes. “That's what an elementary teacher makes in New Jersey.”
It's this brand of populism that is inspiring about “How Music Works,” which is never anything but accessible and direct. Among its primary arguments is one in favor of amateurism, which Byrne sees as essential to the art. “Music,” he enthuses, “is a way of getting together, and I think that's going to grow.”
David Ulin is a staff writer for the Los Angeles Times.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Consumer, core prices inch up
- Steelers’ defense on pace for fewest sacks in 16-game season
- Flyers continue mastery of Penguins at Consol
- Penn State defense returns to familiar spot atop Big Ten Conference
- Florida fugitive nabbed in Pittsburgh-area homeless shelter
- Pitt offense eyes healthy balance
- Canadians more fearful, aware after ‘very rare’ attack
- VA promotion for administrator stuns legislator
- Highmark seeks double-digit increase for more benefits, heavy use
- Starkey: Century mark beckons for Ben
- Contempt citation sought by state against Highmark for alleged violation of deal with UPMC