David Byrne’s new manifesto slash memoir, How Music Works, has been written many times before. Ethnomusicologists and philosophers, from Theodor Adorno to Walter Benjamin to David Suisman, have chronicled the historical shift from classical to popular music, lamenting it, praising it, and/or evaluating the societal changes brought about by it and its corresponding technology. Byrne’s book, which illustrates the history of analog and digital recording, narrates the advent of the music industry, and claims to describe how to create a music scene or subculture offers almost nothing new. One could learn a similar amount about modern musical historical shifts through a single listen of LCD Soundsystem’s “Losing My Edge.” So what gives David Byrne the right to write?
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