The other day I posed a question on my Twitter feed: What is the music of Occupy Wall Street? As a veteran of many street protests and an amateur historian of popular music rabble rousing, I've been waiting for someone to grab center stage in Zuccoti Square and emerge as a new Bob Dylan or Joan Baez.
Originally published on Mon January 30, 2012 5:54 pm
<p>Left to right: Aimee Mann, Sheryl Crow, Suzanne Vega.</p>
Credit Frank Micelotta / ImageDirect/Getty Images/Hulton Archive
On today's jam-packed session, host David Dye takes us on a journey through the singer-songwriter movement of the 1990s, with artists who were at the forefront of the World Cafe program in its infancy.
We hear from Suzanne Vega, seen by many as the standard-bearer for this moment in music with her impeccable knack for storytelling in a neo-folk style. She stopped by the studio in 1993, in the wake of "Tom's Diner," one of her most popular hits.
<p>Thom Yorke at Radiohead's Sept. 28 concert at Roseland Ballroom in New York.</p>
Credit Kevin Mazur / WireImage
Radiohead's first hit, "Creep," was everywhere in 1993. The band could have reacted as many other modern-rock acts did in the '90s: by repeating the same old sound, album after album, before fading into the background. Instead, the group made each record a reinvention, from the spare and haunting Kid A to In Rainbows, which sounded, well, sexy. It's all helped make Radiohead one of the most inventive and important bands in the world.
Audio Only: Fountains Of Wayne's Tiny Desk Concert
Fountains of Wayne has always been slightly miscast as a chipper band of power-pop ironists, thanks in part to the omnipresence of the 2003 novelty hit "Stacy's Mom." But even that song is infused with a melancholy churn: Sure, "Stacy's Mom" makes light of adolescent desire and delusion, but songwriters Chris Collingwood and Adam Schlesinger still find a way to relate to the raw, unrequited want that exists at the core of every undersexed teenager — and in the spirit of everyone who's