That's the title of a review article in the current issue of Trends in Ecology and Evolution (TREE), the highest-cited peer-reviewed science journal in evolutionary biology. The review was written by the journal's editor, Dr. Paul Craze, who just emailed me to say that the review is now the number one most-downloaded article on the TREE website. I was going to post a link and invite you all to read it, but like most science journals they charge by the article and if you aren't a subscriber it would cost you $31.50 to download the pdf! So here's the full text, which I have extracted for purely educational purposes. I like to joke in my show about how it's the first-ever scientifically peer-reviewed rap, but up until now that was a pretty tongue-in-cheek statement. Now it's literally true. Enjoy!
The hip-hop Richard Dawkins? Paul G. Craze Trends in Ecology and Evolution, Volume 25, Issue 7, July 2010
Evolutionary biology and poetry might not seem remotely suited to each other but nonetheless, some have experimented with bringing them together. Erasmus Darwin, grandfather of the more famous Charles, famously wrote his work on the transmutation of species in the form of verse [1] and much more recently, in the days before impact factors gathered enough tyrannical power to put a damper on anything the least bit quirky, this very journal re-published some of the evolution-inspired poems written by friends and colleagues of J.B.S. Haldane to mark his 60th birthday [2]. Suffice it to say, both works are of more note for their intrinsic interest than their literary merits.
Perhaps this just shows that evolutionary biologists are not much good at poetry and poets don’t see anything in evolution to inspire them. The first of those sentiments might well be true but the second has now been comprehensively disproved. Canadian rapper Baba Brinkman’s The Rap Guide to Evolution is an intelligent, lyrical, witty collection of performance poetry that also manages to be an accurate, popular-science discussion of modern evolutionary theory and its wider implications. Those of you with an aversion to rap music bear with me; this is not rap as you might know it. This is rap with an intelligent twinkle in its eye. It is rap with warmth and humanity, far removed from the stereotype of the style as aggressive, violent and divisive. It is also rap that doesn’t simply use its subject matter of evolution as an amusing gimmick but rather draws on modern Darwinism with accuracy and insight. The accuracy is ensured by instigator of the project Mark Pallen, Professor of Microbial Genomics at the University of Birmingham, author of The Rough Guide to Evolution [3], making this the first rap album ever to be peer reviewed (as Brinkman is justly fond of telling his audiences). The insight I’m sure is Brinkman’s own, particularly when he becomes self-referential and cleverly uses the process of writing and performing rap as an example of the evolutionary process on Performance, Feedback, Revision or of sexual selection on Hypnotise.
In common with many works of popular evolutionary biology, there is a bias towards those topics that appeal directly to our primate brains (Hypnotise, Sexual Selection and Sexual Selection Theory all exploiting that obvious, perennial primate favourite, for example). But given the wide and unusual audience the music is likely to reach, that can hardly be a criticism, particularly when the material is handled by someone with the wit and humanity of Baba Brinkman. For example, in Brinkman’s hands a rap inspired by a song promoting Black Nationalism (Dead Prez’s I’m A African) becomes a plea to recognize the unity of our common descent: genetically we are all Africans, which, in Brinkman’s words, makes I’m A African the most ironically inclusive song ever written. What makes this much more than well-intentioned humanism is the frequent reference to the scientific evidence. To continue with I’m A African, there is reference to the fossil and mitochondrial evidence for the Out Of Africa theory, all in rhyme and with a rhythmical beat. And again in Group Selection there is no vague philosophizing but instead the sometimes difficult ideas about altruism and cooperative behaviour are faced head on with exuberant openness. Find me another rap album that references endosymbiosis, the evolution of multicellularity, Dictyostelium and cheater detection, let alone one that uses this evidence to such high-minded effect or includes suggestions of further reading in the sleeve notes.
I have just two criticisms. Once or twice there seems to be an equating of fitness with physical strength. It would be a pity if such an insignificant part were quoted out of context, especially since Brinkman eloquently describes the complexities of fitness elsewhere on the album. My second criticism is not strictly a criticism at all. I wonder if the Rap Guide will remain something enjoyed by those of us in the know, those who already get all the jokes, the allusions to evolutionary theory and the references to biologists. As Brinkman himself regrets with a knowing wink in Sexual Selection; while educated, thinking, older women wait to talk to him after his performances, their daughters and granddaughters are at gangsta rap gigs, being exposed to a very different set of views. There is an opportunity here to communicate good science to those who might never think of it as having anything to do with them. Fortunately, Brinkman seems well aware of this and is working tirelessly to promote the work as widely as possible.
I will leave you with some thoughts on the album’s last track, Darwin’s Acid, in which Brinkman argues against the claim that an acceptance of evolution means an end to compassion and personal morality. It is quite the opposite, his rapping tells us over a gentle musical background: the choices we make directly influence the evolution of culture, current biological fitness and the composition of future generations. In Brinkman’s vision, Darwinism becomes the ultimate argument for personal and democratic morality and his humanistic version of directed reproduction means that "refusing to sleep with mean people" gives us a good shot at utopia. While the complexities of inheritance and human mate choice make this less simple in practice, such a sincere argument for a Darwinian morality at least points to the absurdity of claiming that an evolution-based worldview means the collapse of society into violence, selfishness and greed. To Brinkman, this personal responsibility combined with unity of common descent is the grandeur Darwin saw in the evolutionary view of life. With humility, Brinkman leaves the last word to Darwin with a reading by Richard Dawkins of the famous last sentence of The Origin of Species, in which there is grandeur and the evolution of endless forms most beautiful [4]: perhaps the one sentence above all others that shows evolutionary biologists might know a thing or two about poetry after all.
References
1 Darwin, E. (1803) The Temple of Nature, J. Johnson 2 Maynard Smith, J. (2001) Cautionary tales for aspiring species or the beast’s book of blunders. Trends Ecol. Evol. 16, 717–720 3 Pallen, M. (2009) The Rough Guide to Evolution, Rough Guides 4 Darwin, C. (1859) On the Origin of Species, John Murray
So when the review by Olivia Judson came out a few weeks ago in the New York Times, one of the main points of contention in the comments section was over my claim (in my online bio) that I have personally planted over one million trees. A number of commentators cried foul (starting at comment #13 and precipitating from there), liberally exercising their cheater-detection instincts by opining that such a thing was impossible and I had clearly blown my credibility by making outlandish claims. The truth is I had indeed made the claim without knowing the exact number of trees I had planted, so yes, it was a rough estimate. All I knew for sure was that I planted for seven full seasons and six partial season and I was pretty fast with a shovel back in the day (my best day was 4400). I knew it was pretty damn close to a million, but what if I had claimed "over a million" and it turned out to be a few thousand shy? The shame would have been unbearable.
So today I went to the head office of Brinkman & Associates Reforestation in New Westminster to sit in on a meeting there, and I asked the head of payroll, a dear old family friend named Kitty Ypma and an excellent accountant and book-keeper, if she would be so kind as to pull my employee files going all the way back to when I planted my first tree at the age of 15 in 1994, and tally up my yearly totals to see whether or not I was full of it. Well, I just got the email from Kitty a few minutes ago confirming that my total trees planted from 1994 - 2010 is precisely 1,046,105, so thankfully I do not owe the New York Times or anyone else a contrite retraction, (though I admit I was holding my breath!)
Speaking of planting, I had been planting with my brother's crew for the past few weeks, but I left a week ago to fly to New York for my appearance on the Rachel Maddow Show last Friday, and when I returned Erik informed me that there was a truck broken down and he needed to lay someone off until it was fixed, so I volunteered. So I've been holed up in Vancouver for the past couple of days working on my Beowulf adaptation for the Edinburgh Fringe and writing video treatments for the Wellcome Trust Rap Guide to Evolution videos, but tomorrow I'm heading back out to camp for another week or so of planting before I fly to the UK for the summer festival circuit.
By the way, at the camp party ten days ago we filmed a music video with Smoky Tiger for our song "The Road Northwest" so look out for that on my youtube channel in a few weeks, directed by Syd Woodward at getgrounded.tv. If you aren't familiar with Canadian tree-planting sub-culture, check out the video for Smoky Tiger's anthem "The Tree Planter's Waltz" which we filmed last year in camp. 'Til next time, stay vigilant!
Well, the day before yesterday I returned from my first off-Broadway run, landed in Vancouver, and promptly came down with a wretched case of strep throat. My friend Dodd from NY wrote me a message to say "New York done broke you down!" and I wrote back to say "Yeah, well I stole the fire, so the NY gods had to punish me". Stole the fire? That's a little megalomaniacal isn't it? Judge for yourself.
The first show I did on Tuesday last week had an audience of 35 in a venue that seats 300, and although it was a good show, things weren't exactly looking good for making my mark. But like Perseus overcoming adversity with the help of Athena, a science demigoddess reached down from above to bestow a few gifts on me at just the right time (I didn't say I stole the fire unaided). The helper-spirit in this case was the biologist Olivia Judson, author of "Dr. Titania's Sex Advice to All Creation", who was the opening speaker at my show two weeks ago in Barnstaple, North Devon. Olivia also happens to be a columnist for the New York Times, and she went on to write the most gushingly positive review I have had yet, even going so far as to refer to me as "brilliant" and "burly" in consecutive paragraphs (evidently she was aiming to win me more than just an audience). Her review was soon at the top of the front page of nytimes.com, and was the number four most-emailed link of the day last Wednesday. Here's the link if you want to read it yourself: click here.
If you have time, take a moment to check out the comments, especially the hilarious debate about whether or not I've blown my credibility by claiming in my bio that I have personally planted over a million trees. Commentators with varying degrees of knowledge about the process of tree-planting weigh in as to whether it's possible (including myself, at the bottom of page one). The New York Times editorial staff also highlight their favorite comments, and here's one of the ones they selected (from Brazil, on page four): "It seems that every religion has the music it deserves. Christianity has Palestrina, Bach, Handel and Mozart; the new faith of evolutionism has Baba Brinkman rapping about Darwin." Ouch! I'd be offended if I weren't so tickled by the guy's wit, although I would add that every system of thought also has the intellectuals it deserves.
And the outcome? My website crashed from the traffic surge and I was glutted with an onslaught of approximately five hundred emails in three days, many of them from people downloading the CD or asking to join the mailing list (welcome aboard!) and many others from people inviting me to perform in sundry lands, my absolute favorite kind of onslaught. Other outcomes were that after Thursday we sold out the whole rest of the run, with capacity crowds on Friday and Saturday, and even the extra show we added on Sunday. Furthermore, I was invited to speak/perform at TEDxEast, the regional TED conference that took place in New York last weekend, where I got to meet Richard Saul Wurman, the founder of TED talks, as well as a score of other inspiring individuals. I even ended up on the main page of conservapedia.com (the right-wing propaganda version of wikipedia) which accused me of "promoting evolutionary nonsense". There were other outcomes as well, even more tantalizing ones, but without inked agreements I will refrain from announcing anything prematurely. Suffice to say, I expect to be spending a lot more time in New York before too long.
So now I'm in Merritt, BC, where I'll be tree-planting with my brother's crew for the next few weeks, while also sorting through my email glut and working on new material for Edinburgh. Then in June I'm back in England for Glastonbury and other gigs, but the first order of business when I get to London, I'm sure you'll all agree, is to take Olivia Judson out to dinner to thank her. If you haven't read Dr. Titania yet I highly recommend it, and no, that isn't just reciprocal altruism talking. All the best from the Rocky Mountains,
Because let’s face it, everyone knows someone who lives or recently lived in New York. In less than two weeks The Rap Guide to Evolution will be doing its first off-Broadway run at the Bleecker Street Theatre, with performances May 4, 6, 7 & 8. The venue is large and the city is bustling, so our challenge is to get the word out to all and sundry, especially theatre people, science people, education people, and hip-hop people. I say “especially” because those are the people most likely to pass on the invitation to their networks as well, even though the show really is for everyone with opposable thumbs, bipedal locomotion, language use, an enlarged cranium, African ancestors, a sense of humour, or any number of other traits that unite us as Homo sapiens.
The New Yorker recently emailed me asking for an exclusive quote to add to their listing (apparently they don’t stoop to quoting press releases) and I gave them this:
“Having performed The Rap Guide to Evolution in England, Scotland, Australia, Hong Kong, Canada and the USA, I’ve decided I need to focus my efforts on performing in the States. Why? Because it seems like everywhere else I’m preaching to the converted, but in America evolution is – bafflingly – still controversial. We’ll see how they feel when I get through with them.”
Hubris aside, my aim is to use this off-Broadway run as a showcase to attract a professional booking agent who will help me set up a major tour of the USA in 2011, because I do sincerely feel like that’s where the show will have the greatest impact and get the most passionate response, positive or negative. So I would be sincerely grateful if you would pass on the invitation to anyone you know who might like to come see it, or who might know someone who might like to come see it, since this is something of a make-or-break endeavor! The e-flyer is attached, and here’s the event listing on Facebook.
And what else have I been up to? I’ve been in England doing some gigs and also writing and recording lyrics for my two (count them!) new shows/albums which I’m currently writing for Edinburgh this year. The first is a sequel show entitled “The Rap Guide to Human Nature” about the scientific study of human behaviour, and the second is a follow up to the Chaucer show, which I’m calling “Rapconteur”. So far I have written and recorded rap adaptations of the Finnish Kalevala and the Epic of Gilgamesh, and I will be adding several more oral epics to the collection over the next few months (my end target is five in total). So get set for some seriously mind-blowing scientific and literary comedy rap this summer (oops, there’s that hubris again, just think of it as the cerebral equivalent of hip-hop swagger).
For those of you in London, I’ll be performing the Rap Guide to Evolution at the Greenwich Theatre Monday April 26th, so please come see the show if you can (we’ll be filming it for the Wellcome Trust videos). Here’s the link.
Or if you’re not on Facebook here’s the venue link.
And for those of you in Devon (South West England), I’ll be performing there this week as well. Click here for the listing.
And for those of you thinking: “yeah, great, but what about your trip to the Middle East?!?”, well, Egypt and Palestine really were the most exhilarating and challenging places we’ve performed the Rebel Cell to date, and I have written a few blog entries about it and will write more when I have a moment. Suffice to say, doing a politically-themed show for politically-engaged audiences in a politically-tumultuous part of the world is bound to be a complicated experience. Here’s what I’ve written so far, and bear with me for the rest.
We arrived in Cairo a few days before our show and took some time to check out the city and go over our material. We were staying in a hotel just a few blocks from the Culturewheel venue, which was built in the concrete space beneath an overpass (what the British call a “flyover”) leading to a nearby bridge over the Nile. Large posters adorned the pillars and walls around the venue with our pictures and the heading: “Rebell Cell – British Hip-hop Band”. This may have been a “lost in translation” moment or it may have been a deliberate strategy by the venue to try to pull a crowd with the promise of a concert, but either way the result was misleading since the Rebel Cell is definitely a theatrical performance. Rehearsing the show in our hotel room the day before the gig with the Islamic call to prayer lilting through the window, the familiar material we had performed so many times in England and Scotland felt freshly provocative and alien, the outcome uncertain.
The Rebel Cell is a kaleidoscope of satirical Anglocentric cultural references, complex lyricism, and overt calls for political and creative freedom. Its political debate is not left vs right, more like left vs further left, liberal vs libertarian. How would it be received in an Arabic-speaking country with a record of dodgy democracy and human rights abuses and a socially conservative Muslim population?Our anxieties turned out to be misplaced, for the most part. At the request of venue management we had to make several adjustments including censoring the (two) curse words in the script, and Dizraeli’s freedom-invoking naked dance was done in a t-shirt and shorts instead of his usual birthday suit. This was yet another example of “phenotypic plasticity”, or the necessity of adapting to one’s environment (see my previous post about performing The Rap Guide to Evolution in the American South). It felt ironic that the political content turned out to be less controversial than the profanity and Dizraeli’s naked torso, but it also felt like an apt compromise, since swearing and stripping are luxuries when compared to voting and speaking your mind. Or, to put it another way, government oppression is a more pernicious problem in the world than simple prudishness. And the political content of the play was very well received. The turnout was low, about 40 or so people in a venue that held over 200, but the comments afterwards revealed an engaged and politically astute audience, keenly interested in the different strategies of resistance articulated by the play. One woman said she loved our arguments but couldn’t bear to watch Dizraeli’s character limping around the stage after being beaten by police for his political activism, since she had experienced that herself. It was clear from their restlessness (and garish hip-hop attire) that some people sitting in the audience had come expecting a rap concert only to find a couple of white guys on stage having a Socratic debate in rhyme, but at least one of them stepped to us after the show (yo!) and said he was really disappointed at first but that we won him over and he really loved it by the end.
With a free day the next day we went to see the pyramids (complete with sphinx-side cypher) and the plan was to leave the following morning for Israel by bus in order to be in Tel Aviv that night for the Seder, the Jewish feast marking the first day of Passover. Noa was in Tel Aviv for the holiday and had invited us to stay at her mother’s place and join the ritual family feed, but Dizraeli and Billy (his documentary-making companion) had dropped their laundry off at a local place without checking when it opened the next morning, and it soon became clear that they would either have to ditch their clothes or miss the bus and spend an extra day in Cairo (they chose the latter).
Even though I had done all of my travel by air up until that point, I was intending to join in the overland adventure just for the Egypt/Israel portion of the trip. This was partly out of team solidarity with Dizraeli and partly to get a different view of the terrain and partly for the adventure but definitely not because I think consumer boycotts of air travel offer a viable solution to climate change. I agree that flying should be avoided when overland travel is a proportionate option, but in this case I was utterly unwilling to be held hostage and miss the Seder feast because of their laundry cock-up, so when the reality of the situation sank in I explained my position to Dizraeli and Billy (with regrets to the loss of solidarity) and hastily booked a plane, arriving in Tel Aviv the next day in time for lunch. In the spirit of his unplaned project, Dizraeli pointed out later that I wasn't really hostage to his laundry, that I could have taken the bus on my own and still made it there by dinner, and he's right. So the bottom line is that I flew for the same reason everyone does: because it was easier and faster and I didn't need the hassle.
Next: I get stuffed at the Seder feast and do my one performance in Israel, and we experience both Israeli and Palestinian hip-hop, float in the Dead Sea, and perform the Rebel Cell in the West Bank.
Two weeks ago I touched down in the UK after twelve days in the Middle East, including Rebel Cell performances in Egypt and Palestine, and a visit to Tel Aviv, and my impressions of the trip have been percolating constantly ever since, trying to find a smooth exit, but it's mostly been gridlock. However, the further I get from the experience the less of it I am likely to capture with any lucidity, so I'm going to try to piece it together.
The trip was originally initiated by a grant from the UK Economic and Social Research Council, which has a fund for promoting cultural exchanges with Egypt, especially ones with a political or democratic slant, and the play Dizraeli and I co-wrote in 2008 apparently qualifies. The play is about the politics of resistance and progressive change, set in a totalitarian future dystopia, and it takes the form of a Socratic dialogue between two ideological adversaries. Dizraeli’s character argues for the collectivist anarchist model of direct action and my character argues for participatory democracy and the social contract. At the root of this debate is the question of whether “the system” (ie capitalism and liberal democracy) is inherently exploitive and requires an overhaul (or overthrow), or whether it provides collective net benefits and only needs to be regulated and fine-tuned to correct specific abuses and injustices. This question is largely academic in England and Canada, since there are very few people here who would endorse an armed revolution (hence the dystopian future setting), but in Egypt and Palestine, where the right to vote, freely travel, peaceably assemble, and speak your mind are routinely suppressed with state violence, the question of “revolution vs reform” weighs much more heavily.
We were booked to perform the Rebel Cell at the El Sawy Culturewheel in Cairo on March 27th and had our travel and fees covered from the UK and back by the ESRC, just for a single performance, so naturally we decided to cast our net a bit wider. We reached out to contacts in both Israel and Palestine, hoping we could arrange performances of the Rebel Cell on “both sides of the fence”. Our rationale was that the subject matter of the play is highly relevant to both Palestinians under occupation and conscientious Israelis who oppose the occupation, and it would foster dialogue and possibly provide a small means to “reach across the divide”, etc, since that is essentially what the play is about: the importance of respectful debate and of friendships that cross ideological boundaries. If our motives sound naïve, I should add that Dizraeli and I are not particularly well versed in the politics of the region, nor did we really do our homework before embarking on this trip. My only excuse is that I’ve been too busy over the past few months, but busy is always relative. In retrospect I feel a bit like a kid who has been skipping through a field, oblivious to the sign nearby that says “Danger! Landmines!” Why does the child miss the sign, because he is merely engrossed in his thoughts, or because he has a psychological incentive to overlook it? And why do I suspect there is something quintessentially Canadian about this feeling? In the case of this trip, the sign said: “Danger! Cultural Boycott!”
Our first clear glimpse of the danger sign came when we were planning the dates of our trip: should we try to go to Israel/Palestine before Egypt or after? When we floated this idea to Dr. Caroline Rooney, the Zimbabwean professor of post-colonial studies who secured the funds and coordinated everything for us, she said it wouldn’t be possible to get us flights to Israel because of the cultural and academic boycott (ie: as an academic she would play no part in arranging this or funding it). So we had to get our flights in and out of Cairo and travel to Israel in between. Actually at this point I should mention that when I say “our flights into and out of Cairo” I am only referring to myself and the Rebel Cell DJ, but not Dizraeli. This is because Dizraeli undertook his journey to the Middle East entirely overland with a documentary filmmaker in tow, taking trains and buses from England through Europe, Turkey, Syria, Jordan, and finally to Egypt, ten days in each direction, as a form of climate change activism. The concordance between our travel decisions and the arguments of our characters in the play is uncanny and could inspire an entire doctoral thesis, but for now I will treat this as a tangent, since the bottom line is that we had to arrange to be in the same place at the same time, one way or another, in order to do the play. If you want to learn more about Dizraeli’s overland adventure and its purported political significance, check out UnPlaned.com.
So what to do about this boycott question? When we heard the news from Dr. Rooney about our travel funding restrictions Dizraeli and I had a conversation: should we perform in Israel? What if we get offered gigs in Israel but not Palestine? What if we get offered gigs in both, by a peace-building NGO, but the funding all comes from Israel? What if the Palestinian venues won’t host us after playing in Israel? The two closest friends I have who are knowledgeable about the area are Daniel, a British MC living in Israel, who is also one-half of a Jewish/Muslim hip-hop group (the Jewish half), and Noa, an Israeli living in England, and both of them advised us to play both sides, essentially to ignore the boycott for the reasons cited above, ie to “keep artistic dialogue open despite possible disagreements”. Let's call this the "Leonard Cohen approach", since he recently played a concert near Tel Aviv, and answered the boycott call by attempting to set up a gig in Ramallah to "balance" the Israeli one (sound familiar?), which fell through in the face of strong opposition from the boycott campaign. He then offered the proceeds from his Israel concert to support peace-building efforts through a fund that was to be administered by Amnesty International, but Amnesty also divested in the face of boycott pressure, so the funds instead went to a charity called Parents Circle. However, Daniel was at the concert and he tells me Leonard Cohen made repeated calls for peace from the stage, calls for both Palestinians and Israelis to respect the suffering and humanity of the other side, and in his view this was a positive event that brought peace closer.
Noa and Daniel also both pointed out that when it comes to boycotting oppressive regimes, it would be pretty inconsistent to play Egypt (a politically-closed society with widespread censorship) but not Israel (a politically-open and self-critical society). So we decided to keep our options open and see whether any offers came through, but to use our discretion in terms of who was funding the gigs, venues, etc.
When the British film director Ken Loach (The Wind that Shakes the Barley) pulled his most recent film out of the Melbourne Film Festival because the festival was partially funded by the Israeli government, he and his co-producers defended their decision in the Guardian by saying “Israeli film-makers are not the target. State involvement is”. This was essentially our position as well: how could we reach out to individual Israeli citizens without providing support in any way for the state of Israel?
However, with our Cairo performance only ten days away we still hadn’t been offered any gigs in either Israel or Palestine, so the entire debate was beginning to look, once again, academic. Since we had already booked our trains and planes and committed to the dates it was starting to look like we would end up doing the tourist thing after all, visiting Israel and Palestine but not performing in either, and since you get to Palestine via Israel from Egypt anyway there seemed to be very little controversy. But then we got word from a contact of Dizraeli’s, Baha, that we would be performing the Rebel Cell at two different venues in the West Bank, in Beit Sahour (near Bethlehem) and Ramallah April 1st and 3rd.
I had read some arguments for and against the cultural boycott online in the run-up to our trip, but my instinct in such cases is to suspend judgment until I’ve seen for myself what is at stake. In the next installment, I’ll try to explain what I saw, and how it has affected my views on this quintessential question: what is the best way to promote justice?
Hey y'all - my new rationalist anthem "Off That" is a blatant rip-off of my favorite song on Jay-Z's latest album, but since I'm not selling it or profiting from it in any way, he can't touch me! The song is basically about moving on, out with the old and in with the new, only Hova's version is about fashions and mine is about ideas. Out with superstition, in with science, out with faith, in with reason, etc. If you haven't seen it yet, check it out here: http://www.youtube.com/watch?v=aAYVY2eLMck
So the big news is that it just passed 20,000 views on Youtube after just 8 days online! There is also a very lively debate going on with over a hundred comments, most of them positive, but some pretty negative, so obviously something in the song has struck a chord. It's meant to be provocative so as far as I'm concerned mission accomplished, but that doesn't mean I don't stand behind the message of the song. I mean it 100%, but I don't always phrase my views as strongly. It's kind of refreshing.
If you don't have a strong opinion about it either way then I hope you enjoy the top-notch production and visuals, but if you do have a strong opinion, please leave a comment and join the debate!
