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* WriterRevolt: When compact discs were first introduced, they were often packaged in a "long box" - bulky packaging longer than the disc itself that was meant to allow stores to file them in the same place as records, and was also seen as a theft deterrent; this was seen by many as wasteful. David Byrne's ''Uh Oh'' was one of the last [=CDs=] to be released with this format, and he had a sticker attached to the packaging that read:
-->THIS IS GARBAGE.
-->(This box, that is). The American record business insists on it though. If you agree that it's wasteful, let your store management know how you feel.
-->THIS IS GARBAGE.
-->(This box, that is). The American record business insists on it though. If you agree that it's wasteful, let your store management know how you feel.
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* HeAlsoDid: In addition to his work as a musician, Byrne has also occasionally dabbled in {{Record Produc|er}}tion, handling Music/TheB52s' EP ''Mesopotamia'', Music/TheFunBoyThree's album ''Waiting'', and songs for Margareth Menezes and Music/{{Selena}}.
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* DoingItForTheArt: [[DiscussedTrope Discussed]] in "[[https://www.wired.com/2007/12/ff-byrne/ David Byrne's Survival Strategies for Emerging Artists -- and Megastars]]," in which creative freedom and financial success/support are illustrated as being inversely proportional: the more creative freedom you want, the less money you'll be entrusted with; the more money you want to make, the sooner you'll be expected to make back the massive amounts that were entrusted to you. The article serves to give creative people realistic goals and how every variation of becoming professionally creative will have its pros and cons.
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* DoingItForTheArt: DoingItForTheArt:
** In the overtime portion of his ''Series/SixtyMinutes'' interview, Byrne states that his solo career and refusal to reform Music/TalkingHeads are both born out of this trope. According to him, he's perfectly content with with his creative freedom as a solo act and doesn't consider it worth throwing that away for the more lucrative option of rejoining his old band.
** [[DiscussedTrope Discussed]] in "[[https://www.wired.com/2007/12/ff-byrne/ David Byrne's Survival Strategies for Emerging Artists -- and Megastars]]," in which creative freedom and financial success/support are illustrated as being inversely proportional: the more creative freedom you want, the less money you'll be entrusted with; the more money you want to make, the sooner you'll be expected to make back the massive amounts that were entrusted to you. The article serves to give creative people realistic goals and how every variation of becoming professionally creative will have its pros and cons.
** In the overtime portion of his ''Series/SixtyMinutes'' interview, Byrne states that his solo career and refusal to reform Music/TalkingHeads are both born out of this trope. According to him, he's perfectly content with with his creative freedom as a solo act and doesn't consider it worth throwing that away for the more lucrative option of rejoining his old band.
** [[DiscussedTrope Discussed]] in "[[https://www.wired.com/2007/12/ff-byrne/ David Byrne's Survival Strategies for Emerging Artists -- and Megastars]]," in which creative freedom and financial success/support are illustrated as being inversely proportional: the more creative freedom you want, the less money you'll be entrusted with; the more money you want to make, the sooner you'll be expected to make back the massive amounts that were entrusted to you. The article serves to give creative people realistic goals and how every variation of becoming professionally creative will have its pros and cons.
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Moved from YMMV.
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* CreatorDrivenSuccessor: Composition-wise, Byrne himself described "Poor Boy" as this to "Born Under Punches (The Heat Goes On)", with both being chaotic, polyrhythmic songs with preacher-esque lyrics and vocals.
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His early solo albums weren't 'critically panned'.
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* CareerResurrection: Following the breakup of Talking Heads, Byrne fell out from the limelight, with his solo albums being critically panned and making little to no commercial impact despite being acclaimed among fans, in part because his work with Talking Heads set the bar ''that high''. That changed with ''Grown Backwards'' in 2004, which marked a huge resurgence of popularity for Byrne among critics thanks to it crafting a niche that allowed him to more readily stand out on his own, and he spent the remainder of the 2000s and 2010s further rising as an indie favorite, ultimately becoming Talking Heads' main BreakupBreakout. ''Music/AmericanUtopia'' in 2018 seemed to galvanize the trend, being his first solo record to crack the top 10 and returning him to mainstream prominence for the first time in roughly 30 years.
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* CareerResurrection: Following the breakup of Talking Heads, Byrne fell out from the limelight, with his solo albums being critically panned and making little to no commercial impact despite being acclaimed among fans, in part because his work with Talking Heads set the bar ''that high''. That changed with ''Grown Backwards'' in 2004, which marked a huge resurgence of popularity for Byrne among critics thanks to it crafting a niche that allowed him to more readily stand out on his own, and he spent the remainder of the 2000s and 2010s further rising as an indie favorite, ultimately becoming Talking Heads' main BreakupBreakout. ''Music/AmericanUtopia'' in 2018 seemed to galvanize the trend, being his first solo record to crack the top 10 and returning him to mainstream prominence for the first time in roughly 30 years.
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* SequelGap: ''Music/AmericanUtopia'' released 6 years after ''Music/LoveThisGiant'' and ''14 years'' since his previous solo album, ''Music/GrownBackwards''.
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* SequelGap: SequelGap:
** Discounting soundtrack releases, ''Rei Momo'' released 8 years after ''Music/MyLifeInTheBushOfGhosts'', owed to Byrne prioritizing his work with Music/TalkingHeads during most of the '80s. Meanwhile, Byrne's second collaborative album with Music/BrianEno, ''Music/EverythingThatHappensWillHappenToday'', released a whopping ''27 years'' after ''Bush of Ghosts''.
** ''Music/AmericanUtopia'' released 6 years after ''Music/LoveThisGiant'' and ''14 years'' since his previous solo album, ''Music/GrownBackwards''.
** Discounting soundtrack releases, ''Rei Momo'' released 8 years after ''Music/MyLifeInTheBushOfGhosts'', owed to Byrne prioritizing his work with Music/TalkingHeads during most of the '80s. Meanwhile, Byrne's second collaborative album with Music/BrianEno, ''Music/EverythingThatHappensWillHappenToday'', released a whopping ''27 years'' after ''Bush of Ghosts''.
** ''Music/AmericanUtopia'' released 6 years after ''Music/LoveThisGiant'' and ''14 years'' since his previous solo album, ''Music/GrownBackwards''.
