Are you familiar with Devo? Those quirky musicians donned in red plastic hats and jumpsuits? The New Wave group behind the amusing “Whip It” music video? They embodied that distinct, angular ’80s aesthetic, but there’s more to their story than what meets the eye.
The newly released Netflix documentary titled “Devo” delves deep into the art-rock band from Ohio, presenting a case that they may be one of the most misunderstood bands in history. It premieres on the streaming platform this Tuesday.
“We were often underestimated and confined to certain stereotypes,” co-founder Gerald Casale shared in an interview with The Associated Press. “This documentary provides us the opportunity to express our true motivations and creative intentions.”
Directed by Chris Smith, “Devo” utilizes historical footage and interviews to chronicle the band’s journey, featuring appearances from notable fans like David Bowie, Iggy Pop, and Neil Young. Devo first captivated audiences in 1977 with their frenetic rendition of “(I Can’t Get No) Satisfaction” by the Rolling Stones, which secured them a coveted appearance on “Saturday Night Live.” On stage, they adopted bizarre movements and donned attire reminiscent of “Ghostbusters” characters.
The band introduced their debut album, produced by Brian Eno, titled “Q: Are We Not Men? A: We Are Devo!” in 1978, and achieved platinum status with their 1980 record “Freedom of Choice,” which included the hit “Whip It,” released just as their record label was on the verge of dropping them.
Beneath their eccentric neck braces and knee pads was a foundation built upon profound artistic and literary concepts reflecting their views on societal decline. They derived their name from the notion that contemporary life was experiencing a process of “devolution.”
“We observed a reality starkly contrasted with the idealized vision of the future promoted in the ’50s and ’60s,” Casale remarks in the film. “What we perceived was a regression.”
The band’s core was molded by tragedy: Casale and Mark Mothersbaugh met at Kent State University, where they experienced the horrific events of 1970, when four unarmed anti-war students were killed by the National Guard. This experience ignited a shared sense of anti-establishment and anti-capitalist sentiment in the duo, blending highbrow art history with popular culture. They were inspired by Dadaism and Andy Warhol, and their gray overalls and clear plastic face masks were influenced by Akron’s factories, symbolizing the dehumanization portrayed in the film “Metropolis.”
“We took a meta-approach,” Casale explained to the AP. “Our perspective was multimedia and ambitious. Music was just one aspect, connected to a broader worldview.”
Devo’s strength lay in their visual presentation, as their music videos were filled with political messages. The upbeat track “Beautiful World” included clips of police brutality, the KKK, and bombings, while “Freedom of Choice” cautioned against the risks of conformity.
“Whip It” was inspired by Thomas Pynchon’s dense postmodern science fiction novel “Gravity’s Rainbow.” The accompanying video, featuring cowboys, perilous gunplay, and mock violence, satirized President Ronald Reagan’s aggressive conservative approach.
Despite making television appearances and engaging with hosts like David Letterman, Devo’s satirical commentary struggled to resonate.
“People didn’t want to hear discussions about the duality of human nature or the threats of groupthink and the deterioration of critical thinking skills,” Casale lamented. “They preferred stories about drugs and sex.”
Rock music has always benefited from bands like Devo, which critique the corporate industry. The influence of Devo can be seen in contemporary acts like M.I.A., whose audacious gesture during the Super Bowl halftime show in 2012 echoed their spirit. The members of Devo also recognize bands like Rage Against the Machine and System of a Down as carrying on their legacy.
“We can only hope to foster awareness and combat complacency, but history suggests otherwise,” Mothersbaugh stated to the AP.
“I’ve always held onto the belief that devolution could be corrected and that our message might become obsolete. Sadly, it appears more relevant than ever.”
After Devo, Casale shifted to directing music videos and commercials, while Mothersbaugh composed for film and television projects including “Pee-Wee’s Playhouse” and “Rugrats.”
Today’s live performances by Devo reflect a glimmer of hope. Mothersbaugh observes an influx of younger fans, many of whom use smartphones to bypass traditional media barriers.
“We see plenty of gray-haired folks in the crowd, which is expected. But what surprises me is the number of younger attendees, likely due to their ability to leverage technology to their advantage.”
Devo is set to embark on a co-headlining tour with the B-52’s this fall. The Cosmic De-Evolution Tour opens on September 24 in Toronto and concludes on November 2 in Houston.
While fans may categorize Devo as New Wave, early electronica, or synth-pop, they perceive themselves as true punks. “We defined punk as questioning illegitimate authority while staying authentic to our vision,” Casale asserts. “That’s the essence of punk.”
