Now is a suitable time to listen to Gogol Bordello, a Manhattan-based “gypsy punk” band (website; wiki). Their lead singer Eugene Hütz was brought up in Kyiv, making his way to the USA in 1990 at the age of 17. Now he is active in raising funds to relieve the plight of Ukrainians suffering from the Russian invasion (cf. Jamala and other artists).
Formed in 1999, inspired by Roma music with elements of punk and dub, Gogol Bordello was originally titled “Hütz and the Béla Bartóks”, but he recalls that they decided to change the name because “nobody knows who the hell Béla Bartók is in the United States” (cf. the missed opportunity for an early punk band Gurdjieff and the Truth Seekers). In the revised title, the name Gogol pays homage to the way the author “smuggled” Ukrainian culture into Russian society, rather as the band was doing with east European music in the USA.
Hütz and the band have appeared in several films, including Everything is illuminated (Liev Schreiber, 2005), a drama about the Nazi purges in Ukraine. Here’s a trailer for the documentary Gogol Bordello non-stop (Margarita Himeno, 2008):
Here’s American wedding (2007):
And Pala Tute, opening track of their 2010 album Trans-continental hustle—here live in Paris (with funky fiddling from Sergey Ryabtsev):
The band has long been subsumed under the alternative Manhattan world music scene—and it’s “not that Hütz himself originally set out to educate the world about eastern Europe”:
Believe me, that’s not really my thing. And, truth be told, Ukrainians are pretty humble. Which is probably why things were easily hijacked from them for so long. We’re like, well, we’re rich in culture, so it ain’t gonna hurt us.
But the Russian invasion has given Hütz an urgent new mission as cultural ambassador. His benefit single Zelensky: the man with the iron balls, with Les Claypool, Stewart Copeland, Sean Lennon, Sergey Ryabtsev, and Billy Strings:
Hütz also draws our attention to a recent song by the choral group Bortnichanka in Kyiv:
The unsuspecting world music fan might easily mistake it for a nice bucolic wheat-threshing song—but no:
And armoured personnel carriers were in flames
The Muscovites stood nearby
They were in complete stupor
Burning bastards were in flames…
For more on female polyphony, as well as early recordings of Ukrainian immigrants to the USA, see under Ukraine: traditional soundscapes. For the musicking of other immigrants, see under Accordion crimes. For conflict as a lens on societies under threat, see e.g. Afghan and Uyghur cultures.