Introduction to Music

When asked at random what they like to do with their spare time, a vast majority of people would likely respond: listen to music. Really, since humans have developed into their current, ‘modern’ form, encompassing thousands of years of history, music has provided an outlet to express love, hate, misery, excitement, or even desire. Whether explicit in this expression or more subdued, all music does indeed have a purpose and attempts to illicit a certain response as determined by the writer or artist.

The understanding of this purpose and response is at the heart of the final assignment presented in FST 180, Mediterranean Modernity. With class readings in mind and greater knowledge of the region as a whole, each student was asked to critically reflect upon a song that has been covered by ‘Eastern’ artists associated with the Mediterranean region (and in some cases, songs with Mediterranean ideals or subject matter). Presented with an extensive list of material and originals from Bob Dylan, James Brown, and Billie Holiday just to name a few, I chose The Bangles 1986 #1 hit “Walk Like An Egyptian”. To fully understand the transformation of the song, I have broken down the analysis of this late ‘New Wave’ hit into the following outline:

Part One (Stumbling on Ferries=Walking Like An Egyptian?)
The Bangles-The Original-1986
-Association with writer Liam Sternberg
-Background on The Bangles-End of the 80s New Wave
-Elements of Walk Like An Egyptian
-Conclusion of The Bangles/lyrics

Part Two (Working Class Egyptians Approve)
Hakim/Cleopatra-Cover-2004
-Background on Hakim
-Purpose of cover?
-Stay true to tradition?
-Elements of cover—relation to original

Part Three (Egypt Goes Reggaeton)
Wilman de Jesus-Cover 2006
-Background (or lack thereof)
-Purpose of cover?
-Stay true to tradition?
-Reggaeton genre
-Elements of cover—relation to original

Part Four
Final Conclusion-Final Project
-Relation in-class topics
-Other projects during semester
-Significance of the Mediterranean/modernity/rambling

Stumbling on Ferries=Walking Like An Egyptian?

What was writer Liam Sternberg’s first thought when seeing people stumble on a ferry in 1985? No, he harbored no inclination to help them. Rather, seeing them stumble reminded him of figures moving awkwardly in Ancient Egyptian reliefs. Associated with the ‘Akron Scene’ movement of the late 1970s and the theme from the television series 21 Jump Street, Sternberg also helped to launch new wave artists Devo (best known for “Whip It”) and The Waitresses (known for “I Know What Boys Like”). However, Sternberg’s “Walk Like An Egyptian” remains his most successful creation.

After offering the track to Toni Basil (“Mickey”), producer David Kahne suggested the arrangement to The Bangles as an addition to their 1986 album Different Light. No one expected the trippy track to be such an immense and immediate hit, not even Bangles members, which at the time included Vicki and Debbi Peterson, Susanna Hoffs, and Michael Steele. Steele stayed mostly in the background of all band activities (the band was focused on the women) as shown by the covers of all Bangles records.

But why record a track like “Walk Like An Egyptian”? The song carries little or no relation to the rest of the tracks on Different Light, though it did help propel the album to #2 on Billboard Charts in 1986. In fact, it is safe to say it is as if the song was accidentally tacked onto the end of the wrong CD! At the time, it was popular to release music with Arab themes or subject matter to protest the decline in U.S. relations with Eastern nations. Iran had just banned music in the rock genre from its country only years earlier (protested by The Clash in “Rock the Kasbah”) and the Gulf War wasn’t far off in the future. Could there be political implications to “Walk Like An Egyptian”? Sadly, we are not so lucky—“Walk Like An Egyptian” is purely about having fun and making a fool of oneself and others. After all, think of the origin of the song—people stumbling on a boat hardly justifies a song written about an imagined or perceived method of walking for Ancient Egyptians. Gotta love the 80s.



However, in many ways “Walk Like An Egyptian” still sits very well alongside other late 80s hits. ‘New Wave’ was on its way out, but still hugely popular among many audiences. In the United States, ‘New Wave’ referred to most artists in the late 1980s that used synthesizers as well as real instrumentals when creating music—subject matter often revolved around something offbeat if not absurd, and for this reason, the subgenre today is often not taken seriously. Certainly, “Walk Like An Egyptian” was intended to be an escapist track and continues in that tradition today. Unfortunately, as with many tracks from its time, much of the music from the ‘New Wave’ period is often somewhat forgotten or seemingly stuck in a perpetual 80s time capsule—the track sounds like a freak hit or novelty record, which, essentially, is spot on. “Walk Like An Egyptian” really had little to do with The Bangles persona or identity as a band, even if it does paint a telling portrait of the confusing 1980s pop landscape.

Still, “Walk Like An Egyptian” should be a part of everyone’s music library. In what other song can you pretend to be Egyptian, sing oh-way-oh, lose your cigarette to a crocodile, drop your books, and strike a pose on a Cadillac? You aren’t afforded these opportunities very often—I’m guessing a trip to Cairo wouldn’t even allow for a pose on a Cadillac. I know I’ve never felt more Egyptian.

The Bangles, “Walk Like An Egyptian”
Different Light, 1986.
-0:14 second intro, very repetitive, extremely Westernized view of Egypt (punk rock, metal, Cadillac, blonde waitresses, cops at the donut shop)
-Electric guitar, Western drum set, tambourine, synthesizer

All the old paintings on the tombs 

They do the sand dance don't you know 

If they move too quick (oh whey oh)
They're falling down like a domino 



All the bazaar men by the Nile
They got the money on a bet 

Gold crocodiles (oh whey oh) 

They snap their teeth on your cigarette 



Foreign types with the hookah pipes say 

Ay oh whey oh, ay oh whey oh 

Walk like an Egyptian 



Blonde waitresses take their trays 

They spin around and they cross the floor
They've got the moves (oh whey oh) 

You drop your drink then they bring you more 



All the school kids so sick of books 

They like the punk and the metal band 

When the buzzer rings (oh whey oh) 

They're walking like an Egyptian 


All the kids in the marketplace say 

Ay oh whey oh, ay oh whey oh 

Walk like an Egyptian 



Slide your feet up the street bend your back 

Shift your arm then you pull it back
Life is hard you know (oh whey oh) 

So strike a pose on a Cadillac 



If you want to find all the cops 

They're hanging out in the donut shop 

They sing and dance (oh whey oh) 

Spin the clubs cruise down the block 



All the Japanese with their yen 

The party boys call the Kremlin
And the Chinese know (oh whey oh) 

They walk the line like Egyptian 



All the cops in the donut shop say 

Ay oh whey oh, ay oh whey oh 

Walk like an Egyptian 

Walk like an Egyptian

Now that you know the lyrics, you can sing along! The video below was extremely popular on MTV in its earliest years. You know, when it actually played music. Enjoy!

Working Class Egyptians Approve!

Though other covers of “Walk Like An Egyptian” were created before Hakim and Cleopatra’s in 2004, none of the previous covers were ever truly legit. What could be better than an Egyptian-born artist covering a Westernized ‘New Wave’ track that supposedly is of Egyptian subject matter? The answer? Nothing. Add in some Arab vocals to the original lyrics and you have yourself an irresistible worldwide hit! Did I mention Hakim’s ‘boyish good looks’? Uh oh, now there’s trouble.

Hakim, Arabic for “judge, arbitrator, ruler or governor,” obviously used good judgment in the decision to re-record “Walk Like An Egyptian” for what he intended to be a new audience. Hakim grew up with the sound of the working-class tradition of Sha’bi—the basis of southern Egyptian music. If this weren’t enough to persuade you of how big Hakim really is, he has recorded with American Soul singer James Brown. I wonder what James Brown thought of “Walk Like An Egyptian?”

But in all seriousness, since the ‘World Music’ craze ended early in the new millennium, Egyptian music has been hard to come by for outsiders. Egyptians have incredibly insular musical tastes, and much of the music produced there often does not leave the borders for others to enjoy. However, Hakim has proved to be one Egyptian artist that has attempted to globalize Sha’bi music, and has even toured in the U.S. As popular as The Bangles’ “Walk Like An Egyptian” was in America, Hakim’s duet with Cleopatra and adoption (and really approval of U.S. pop culture) has made him all the more popular worldwide. As with most music produced in the Mediterranean and ‘Eastern’ nations, modern Western musical stylings hold great influence, but these elements are combined with local and national musical traditions.



At the same time, Hakim’s choice to re-record “Walk Like An Egyptian” (on the album Desert Roses 3) probably signifies the lack of real content in the song (once again, his choice to record is most likely due to the fun factor derived from the track). Had there been political implications regarding Egypt or the ‘East’, he most likely would not have recorded or even thought of covering The Bangles’ worldwide hit. As far as musical traditions go, the addition of Cleopatra helps to retain much of the vocal feeling and edginess inherent to the original, and yet Hakim’s Arab verse adds a new layer of meaning to a song that really essentially lacks much in the importance category. If an Arab artists sees “Walk Like An Egyptian” as a viable piece of work, enough so to spend time and money on a cover that first must appeal to working class Egyptians, he or she must be pretty confident of the song’s ability to be a hit. Finally, The Bangles receive a little recognition (as does Sternberg).

In his cover, Hakim surrenders 98% of the vocals to Cleopatra and focuses on arrangement and his one, spectacular Arab verse. The intro is more than twice as long as The Bangles’ (and is infused with Hakim’s Arab vocal techniques), but when Cleopatra comes in soon thereafter, her vocals are remarkably close to those in the original. Surprisingly, the beat is sped up and the presence of more synthesized background instrumentals can be felt, though the instrumentation remains a decidedly Western interpretation of ‘Eastern’ sounds. In fact, Hakim has said that he wanted a modern sound that blended Western, Middle Eastern, and Oriental instrumentation for a new outlook on “Walk Like An Egyptian”. The main difference in Hakim’s cover involves the expansion of instrumental sections, and his entrance and insertion of the Arab verse at 2:15. At the very end, he proclaims, in English no less, “I am Egyptian, come with me.”

Below is an Egyptian dance routine by a group called Shadows of Fire from Fayetteville, NC at a performance in Virginia Beach, VA. Hakim's version of "Walk Like An Egyptian" doesn't start until about 1:40, so fast forward to that point. Its not a bad routine.

Egypt Goes Reggaeton

Wilman de Jesus. Ever heard of him? Apparently no one else has either. The only biography available on him resides on his website—along with a description solely in German? Interesting. And yet, Wilman’s funky video and cover of “Walk Like An Egyptian” has over 10,000 hits on the public video site Youtube. Much of the reason for the lack of information on Wilman likely has to do with the fact that he is a fairly new artist—his cover is very recent, released in 2006, and my guess is no one has taken the time to type up a biography for him in English. His public anxiously awaits.

However, what is important about Wilman de Jesus’ remake is not his necessarily is background, but rather his musical style. As soon as his cover starts—you know what I am talking about. Wilman continues the tradition of The Bangles and Hakim while blending it with the ‘Reggaeton’ subgenre. Reggaeton is a from of urban music which became popular in Latin America during the early 1990s. Originating in Panama, the subgenre blends Jamaican, reggae, and dancehall with sounds from Latin America such as bomba, plena, salsa, merengue, and Latin pop. Hip hop, R&B, and electronica all have a great deal of influence as well.

But why would Wilman de Jesus decide to record “Walk Like An Egyptian?” There seems to be no link to his heritage, and it is hard to imagine him loving The Bangles and all their 80s glory. Maybe Hakim and Cleopatra did it for him with their remix Arab overtones? Doubt it. My guess is, once again, that Wilman was attracted to the song due to its fun factor. Essentially, that’s what Reggaeton is all about, and if you watch the video at the end of this post, this fun is incredibly apparent throughout the entire piece. In fact, fun seems to be the only goal. Hooray for bicycles in pools! Talk about fun.

Somehow, even with all these added layers, Wilman seems to hold true to the tradition of “Walk Like An Egyptian.” His track is certainly more reggae and aggressive, even though is has been dubbed the “Kairo (Cairo) Mix.” The beat is also noticeably sped up, even from the version produced by Hakim and Cleopatra. Very clear in the synthesized Spanish-tinged instrumentals, “hey!” is repeated over and over, as the drum machine drives the beat and complicated sounds present in the background. Both the bass and the accompaniment are very Western in musical nature. The Spanish rap at 1:45 is an interesting addition, that somehow, seems to fit, and essentially, is the Spanish version of Hakim’s Arab verse in his remake. If I had to compare Wilman de Jesus’ “Walk Like An Egyptian” to another song, it would “Gasolina” by Daddy Yankee, another track that follows the Reggaeton subgenre.

Below is Wilman de Jesus’ video for “Walk Like An Egyptian.” Prepare yourself. Its non-stop fun, which may or may not be a good thing depending on who you ask.

Final Conclusion (I Know, Repetitive)-Final Project

Just as with the other projects completed in Mediterranean Modernity this semester, the study of music has once again proven that everyone should attempt to understand cultures that are different from one’s own. As was the case with Ali Baba and the Forty Thieves, typically ‘Western’ and ‘Eastern’ themes can combine to formulate a view of society that may not have been considered before. As is the case with “Walk Like An Egyptian,” each artist’s new interpretation of the song demonstrates their own understanding of the track, but also the tradition of fun incorporated by The Bangles during the late 1980s ‘New Wave’ movement. Hakim’s Arab infused vocals and Wilman de Jesus’ Reggaeton dance explosion are both different renditions on what is essentially the same song—a tradition withheld for other generations to enjoy. Which, I suppose, is also the purpose of a cover in its most innocent form (eliminating money as propelling force).

As a conclusion to the course, the Mediterranean region has proved to function more as a unified ‘region’ than as separate countries, specifically in recent history. The consideration of literature, film, and music have all aided in this conclusion, a conclusion that follows modern social patterns. As the world continues to expand, information and media will continually travel at a greater pace and to more specific clientele (I found the Youtube videos on this page in a matter of minutes). This globalization will surely continue to alter our perceptions of what we see as ‘modern,’ or as inherent to a certain culture. Before long, it seems the world will share one global, shared culture, armed with more choices than ever before. Literature, film, and music are only the beginnings. Just ask the writers of The Arabian Nights. All 1,100 of them or so, if you catch my drift. It won’t be long before everything has been remade or redone. But that’s no reason to fret. Its part of life in the modern world, and there’s still much to be done. Or redone. It depends on how you look at it I suppose. A glass half full/half empty type thing. Let’s settle on that.

-Ryan Benson

Thank you Dr. Mallette!