by Rian Malan
Once upon a time, a long time ago, a small miracle took place in the brain of a man named Solomon Linda. It was 1939, and he was standing in front of a microphone in the only recording studio in black Africa when it happened. He hadn’t composed the melody or written it down or anything. He just opened his mouth and out it came, a haunting skein of fifteen notes that flowed down the wires and into a trembling stylus that cut tiny grooves into a spinning block of beeswax, which was taken to England and turned into a record that became a very big hit in that part of Africa.
Later, the song took flight and landed in America, where it mutated into a truly immortal pop epiphany that soared to the top of the charts here and then everywhere, again and again, returning every decade or so under different names and guises. Navajo Indians sing it at powwows. The French have a version sung in Congolese. Phish perform it live. It has been record- ed by artists as diverse as R.E.M. and Glen Campbell, Brian Eno and Chet Atkins, the Nylons and Muzak schlockmeister Bert Kaempfert. The New Zealand army band turned it into a march. England’s 1986 World Cup soc- cer squad turned it into a joke. Hollywood put it in Ace Ventura Pet Detective. It has logged nearly three decades of continuous radio airplay in the U.S. alone. It is the most famous melody ever to emerge from Africa, a tune that has penetrated so deep into the human consciousness over so many generations that one can truly say, here is a song the whole world knows.