Burundi beat, or, obtaining copyright for a rhythm is a difficult proposition

Musique du Burundi (1968)

Burundi beat is best known as an appropriated drum style of British New Romantics bands Bow Wow Wow and Adam and the Ants.

The original source of this tribal rhythm is a recording of 25 drummers of the Ingoma tribe, made in 1967 in a village in Burundi by Michel Vuylsteke and Charles Duvelle, a team of French anthropologists. The recording was included on an album, Musique du Burundi, issued by the French Ocora label in 1968. (pictured above)

In 1971 Mike Steiphenson grafted an arrangement for guitars and keyboards onto the Ocora recording for Barclay Records, and the result was Burundi Black, a seven inch that sold more than 125,000 copies and made the British best-seller charts. In 1978, Barclay released a twelve inch version.

In 1981, the track was re-released on Barclay and Cachalot records. This time, Rusty Egan, drummer with the new romantic band Visage, and a French record producer named Jean-Philippe Iliesco recorded a new pop arrangement over the Burundian drummers.

Mike Steiphenson holds the Burundi Black copyright. Adam and the Ants, Bow Wow Wow, and several other bands have made hits with the Burundi beat as a rhythmic foundation. The Burundian drummers who made the original recording are not sharing in the profits. In any case, as the Jamaican recording industry and the Amen break cases have shown, obtaining copyright for a rhythm is a difficult proposition.

Momus on paratextual pleasures

Momus

“As a student of literature, something you find yourself doing a lot is reading books about books — narratives which tear through the plot outlines, critical receptions and choicest quotes of other books, giving you some kind of rapid gist or taste of hundreds of titles you’ll probably never read. What I’ve always liked about these books-about-books.”

He mentions

He also mentions the fact that the paratext is often better than the text itself

“In a weird, inverted way, some of the books which must be most hellish to read in real life, in real time, turn out, in these metabook accounts, to be the most entertaining to read about” (see paratext).

Example of the latter:

This post reminds me of the following quote of O. Wilde:

“I never read a book I must review, it prejudices you so.” —Oscar Wilde

and my own recent research in thematic literary criticism and my earlier praise of secondary literature.

Via the comments to Momus’s post we come to reviews of books we’ve never read. Stanislaw Lem wrote a few sets of introductions to and reviews of fictional books here and Borges has An Examination of the Work of Herbert Quain

To top it off there is ‘How to Talk of Books We Haven’t Read?‘ by Pierre Bayard.

Inspired by The dream life of metabooks

Ear candy

[Youtube=http://www.youtube.com/watch?v=jveW_KFSX4A]

 

A 1983 album by King Sunny Adé produced by Martin Meissonnier.

 

[Youtube=http://www.youtube.com/watch?v=wDQLgYoCKlE]

 

Last Night a DJ Saved My Life (song)

 

[Youtube=http://www.youtube.com/watch?v=HoyB3rTw2Ps]

 

Fonda Rae

 

[Youtube=http://www.youtube.com/watch?v=hxEoU-oE0j4]

 

Stakker Humanoid

[Youtube=http://www.youtube.com/watch?v=mxMqpReA9hs&]

Cassius 99

 

Between Edie, The Science of Sleep and The Velvet Underground

[Youtube=http://www.youtube.com/watch?v=JTpIUTLjv_I]

In our six degrees network this song occupies the interstice between Edie, The Science of Sleep and The Velvet Underground. I watched Sleep and A Scanner Darkly within the space of a couple of days and in a comparison, Sleep was fantastic and Scanner bland. Am I the only one or did Scanner feel like an update of Soylent Green?

Introducing Isabella Santacroce

Isabella Santacroce & Maria Callas, a Youtube mix by FactoryB0y.

Introducing Isabella Santacroce.

Andrej, thanks for the links. Loved your post about the Kyrous (did not realize there was a second brother). I’ve made a stub for Ariel. I was intrigued by his reference to Shaolin Soccer, the term sounded so familiarly unfamiliar to my ears (is the film any good?). I would like to review Le Surréalisme au cinéma in greater depth but would just as rather publish its CAPs and SIPs analysis (in the style of what I am doing for Film as a Subversive Art), if that were possible.

For Santacroce: tip of the hat to Jaklien Teuwen.

Here is a film based on the work of Santacroce:

Luminal

Music writing informed by critical theory

[Youtube=http://www.youtube.com/watch?v=Y66nvB-PvZQ]

Beau Mot Plage (1999) by Isolée

This post dedicated to Woebot. Who else could write an article on canonical house music informed by critical theory? The answer is below the quote.

“I really admire exercises like Harold Bloom‘s “The Western Canon” and F. R. Leavis‘s “The Great Tradition“. It’s not just the critic’s job to dissect, it’s a crucial task to re-imagine and assemble. My recent idea has been, in the absence of any other strong generic competitor to it, to try and extract from within the tradition of House-music-proper a strand of what I’m calling “Mauve House”. If the methodology used in tackling the pyramidic proliferation of dance music genres, used to be naming each subset, nowadays a more appropriate approach might be like filleting a joint of beef, that’s to say stripping out one strand from the carcass.” http://www.woebot.com/2007/06/mauve_house.html

Answer: Simon Reynolds. Internal links are mine.