The song's co-writer Mike Campbell said "Refugee" was one of the first songs he wrote, and recounted, 'I just wrote the music and handed it to Tom [Petty] and he put the words over it, and when he did he found a way to make the chorus lift up without changing chords.'[4]
"Refugee" is widely regarded as one of Petty's best songs. In 2017, Billboard ranked the song number 10 on their list of the 20 greatest Tom Petty songs,[9] and in 2020, Rolling Stone ranked the song number two on their list of the 50 greatest Tom Petty songs.[10]
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This is the most powerful music video I've seen in ages. Inspired by the death of a child, in the midst of a huge refugee crisis, "In Harms Way" takes on a question that songwriter and singer Amanda Palmer says is absent from current political conversations: "Have we forgotten how to be generous?"
"While the media can't help but train its lenses on Trump and Weinstein, looming large and villainous in the foreground while we all try to find sanity and equality in this massively complicated political landscape, the constant shadow of the refugee crisis and climate change are threatening to devour the entire god**** picture.
Lili Haydn, the violinist for this Los Angeles-based quartet says "Caravan" takes inspiration from the multitudes of immigrants we see and hear about daily in the news and in our everyday encounters. In fact, it's the basis for the band Opium Moon itself. "Three out of four of us are immigrants" says Lili Haydn in an email, "coming from Iran, Israel, and Canada. So, the growing global refugee crisis is close to our hearts. This song is both a very intimate sensual piece and also a dream of a more inclusive, kinder world, pregnant with the joy and sorrow of all of us in our 'caravan' toward freedom. Our music is created by listening to each other deeply and loving across traditional boundaries of state, religion, and harmony... really, the embodiment of the change we'd like to see in the world."
Wafia was born in the Netherlands; her mother is Syrian and her father is Iraqi. Although she and her parents now live in Australia, much of her extended family is currently trapped in Syria, where they face violence and other health risks daily, despite their efforts to flee. "Bodies," which is part of a forthcoming EP called VIII out on October 13, contrasts lyrics about the crisis with upbeat pop instrumentals, a deliberate attempt on Wafia's part to make the song's message reach audiences beyond those already concerned with the Syrian conflict. (She wrote the song on the same day her mother's family had their refugee visas rejected by the Australian government.)
Does the rest of your music address topics like the Syrian refugee crisis?
I try to treat each song individually, so this topic doesn't get visited again in the EP, but I talk about my first experience loving someone that just so happens to be female, and that's something I've never talked about in my music, or ever really said out loud. "Bodies" fits into the theme of necessity, which is a theme that comes up a lot.
Song to a Refugee was produced by Diana Jones and David Mansfield. All songs were written by Jones. Additional musicians on the album include Mansfield (guitar, mandolin, mandocello, dulcimer, violin), Jason Sypher (bass), Will Holshouser (accordion), Joe DeJarnette (bass), Glenn Patscha (piano), Richard Thomposn (guitar, harmony vocals) and Steve Earle, Peggy Seeger, Zara Phillips and Chapin Sisters (harmony vocals).
This article is the fourth of a five-part series of portraits of refugees from different countries, with diverse backgrounds, bound by shared fears and hopes as they enter 2024. Read the first, second and third parts here.
This important book documents two areas, the history of the Vietnamese traumatic emigration to the U.S. from 1975 to the early 1990s and the central role of music in Vietnamese responses to diaspora. Because ethnographic studies of the Vietnamese diaspora are still limited in number, and this is the first focused on Vietnamese expressive practices, Songs of the Caged is a major contribution on both fronts. Unlike many accounts of the Vietnamese American experience, Reyes' book is based on extended field research and addresses big issues with attention to history and to real people in real situations often conveyed through intimate portraits. The breadth of Reyes' often difficult research (over many years and thousands of miles) grants this study a remarkable scope. She presents Vietnamese refugees as a diverse group of people with different histories and priorities. Reyes argues that music making is central to the ongoing construction of difference within Vietnamese American communities: she demonstrates how music, particularly singing, looks back nostalgically to pre-1975 Vietnam as well as forward to new Vietnamese American identities and even optimistically to the reclamation of a non-communist Vietnam.
By the time I got to middle school my uncles had moved out, started their own families. I missed their company and laughter, the way they always took us kids out for ice cream. They provided my first education in American music. I had watched as their turntables gave way to cassette players and CD players and their music collections grew. On any given day I could hear Springsteen, Donna Summer, Lynyrd Skynyrd, ABBA, the Guess Who, Rita Coolidge, Santana, Bob Dylan. For a while, the songs let us be somewhere else.
In another piece on songs about roots, I concluded with a number that disparaged the very concept of roots, a song about following your dreams and searching for freedom. "People have the ability to lay down their own roots, wherever and whenever they want," I noted. "Maybe part of growing up is not accepting the roots you came with but setting down your own roots in a place and with people of your own choosing."
Which brings us to the subject of migrants, immigrants and refugees. People have been on the move since time immemorial. They have been searching for more hospitable climates, better working opportunities and sadly, to escape slavery and tyranny - to find freedom.
We close with the most tragic of people on the move - refugees. In her powerful N So (Home), Malian singer songwriter Rokia Traor tells us that there were 5,500,000 people forced to flee their homes in 2014. The video that tells this story is heartbreaking. Chip Taylor tells of Refugee Children he met in Sweden. And Crowded House tells of the boat people fleeing tyranny in Africa. In a spoken introduction actor Benedict Cumberbatch tells us "Nobody puts children in a boat unless the water is safer than the land." The song is interspersed with short clips from actual refugees. One young person asks, "Where's the humanity?" Help is Coming, the song assures them. You have to watch this video to understand the desperation that compels someone to become a refugee.
These playlists were inspired by readers' song nominations from last week's topic: Movement of the People: songs about migrants, immigrants and refugees. The next topic will launch on Thursday at 1pm UK time.
Fancy a turn behind the pumps at The Song Bar? Care to choose a playlist from songs nominated and write something about it? Then feel free to contact The Song Bar here, or try the usual email address.
To hear more about these standout songs, tune in to CBC Music Mornings every Thursday (Canada-wide) with producer Ryan Chung and host Saroja Coelho, and Here and Now with Gill Deacon every Wednesday afternoon (in Toronto). Both are available via CBC Listen.
The songs in this section are by contemporary Christian artists and are all available as professional recordings. They would work well as special performances by a church music team (you would need to get the permission of the artists).
Comprising David Gungor and John Arndt, The Brilliance is among my favorite music groups. Liturgy, beauty, and social justice are key values and commitments of theirs. I love how they build the majority of their songs around a string quartet.
In the midst of singing about joy and peace on earth, many peoples can feel the weight of hopelessness. While in this song we have hardly begun to nick the surface of the suffering in our world, we wanted to address the pain of refugees, black people living in America who have experienced police brutality, and those (especially our children) affected by gun violence. This is not meant to be a song that is divisive or attacking, it is a lament about the pain of our brothers and sisters who may feel they are lacking in power or voice. There are so many names, faces, shattered lives and heart-wrenching losses that we mourn in these words. We hope you will go with us past agreeing or disagreeing and just sit with the pain and the deep brokenness in our world.
Like most people, the photo of little Alan Kurdi being carried out of the water shook me to my core. We often read about the tragic plight of refugees but I think that picture exposed us to the reality in such a raw way that the truth became inescapable. From where I sat in my comfortable living room nursing my newborn son, the tiny child in that wrenching image could have been my own little boy. I felt overwhelmed by a profound protective instinct for him and people like him.
Writing songs has always been my way of dealing with strong feelings and this situation obviously stirred up a lot of emotions. So initially I started writing about it just to try and make some sense out of something so senseless.
I am Stella Wadiru, a third-year ethnomusicology doctoral student at the University of Pittsburgh. My passion is understanding how music functions in the lives of refugees and Internally Displaced Persons (IDPs). I wish to take a career trajectory of promoting music and dance for post-conflict and disaster recovery in affected nations in an African context. Earlier in 2010, I researched Acholi popular music in the peace process in northern Uganda, which resulted in a series of musical projects for peacebuilding among war-affected youth in the north of Uganda. 0852c4b9a8
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