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    Add as FriendGlobalization and the Rise of World Music

    by: Rogers

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    1 : Globalization and the Rise of World Music
    2 : During the 1980s The boundary between mainstream and marginal music became fuzzy. The twin pressures to expand the global market for American popular music and create new alternative genres and audiences within the American market grew ever stronger. A new category called “world” music emerged.
    3 : World Music The term was first systematically adopted in the late 1980s by independent record label owners and concert promoters. It replaced categories such as “traditional music,” “international music,” and “ethnic music” in the popular music marketplace.
    4 : World Music While transnational entertainment corporations successfully marketed American pop music around the globe, most of the world’s music continued to have little or no direct influence on the American marketplace.
    5 : World Music Examples of international influence on the American pop mainstream before the 1980s: Cuban rumba Hawai’ian guitar Mexican marimba records of the 1920s and 1930s Indian classical musician Ravi Shankar’s album Live at the Monterey Pop Festival (Number Forty-three in 1967) “Grazing in the Grass” (1968), a Number One hit by the South African jazz musician Hugh Masekela “Soul Makossa” (1973), the Top 40 dance club single by the Cameroonian pop musician Manu Dibango
    6 : “The Lion Sleeps Tonight” Rock ’n’ roll hit by the Tokens (Number One in 1961) Adaptation of a hit single by the urban folk group the Weavers, titled “Wimoweh” (a Number Fourteen pop single in 1952) “Wimoweh” had in turn been an adaptation of a 1939 South African recording by a vocal group made up of Zulu mine workers, Solomon Linda and the Evening Birds. This sort of rip-off reflected the global imbalances of power that had initially been created by Western colonialism.
    7 : World Music Later world fusion or world beat projects helped redress this imbalance to some degree: Paul Simon’s pioneering albums Graceland and The Rhythm of the Saints The annual WOMAD (World Music and Dance) festival, initiated in 1982 by Peter Gabriel Various recordings by David Byrne and Ry Cooder
    8 : Juju Music by King Sunny Adé 1982 album by a Nigerian group called the African Beats, led by the guitarist King Sunny Adé; became popular in America Featured an infectious brand of urban African dance music that blended electric guitars, Christian church hymns, and Afro-Caribbean rhythms with the pulsating sound of the Yoruba “talking drum” Sold over 100,000 copies and rose to Number 111 on Billboard’s album chart
    9 : King Sunny Adé Succeeded in establishing a market for so-called Afro-pop music, opening the door for African popular musicians: Youssou N’dour (Senegal) Salif Keita (Mali) Thomas Mapfumo (Zimbabwe) Ali Farka Touré
    10 : Adult Alternative Albums By 1990, when the heading “world music” first appeared above a Billboard record chart, it was as a subcategory of the broader heading “adult alternative albums.” This latter category included New Age music. Genre of instrumental music designed to facilitate contemplative and mystical moods Sometimes loosely linked with the religious and healing practices of Native American, African, and Asian cultures
    11 : What, then, is world music? In a strictly musical sense, it is a pseudo-genre, taking into its sweep diverse styles: African urban pop (juju) Pakistani dance club music (bhangara) Australian Aboriginal rock music (the band Yothu Yindi) The Bulgarian State Radio and Television Female Vocal Choir, whose evocatively titled 1987 release Le Mystère des Voix Bulgares (The Mystery of the Bulgarian Voices) reached Number 165 on the Billboard album chart in 1988
    12 : Two World Music Collaborations Ali Farka Touré and Nusrat Fateh Ali Khan By the 1990s, collaborations between American and foreign musicians had become more common: Folk and alternative music fans searched for a broader range of musical experiences The globalization of the music industry Two particularly interesting examples of this sort of transnational collaboration: The album Talking Timbuktu, which won the Grammy for Best World Music Recording in 1994 Sampler album inspired by the film Dead Man Walking, which reached Number Sixty-one on the album charts in 1996.
    13 : Talking Timbuktu Produced by the singer and guitarist Ry Cooder (b. 1947 in Los Angeles) Cooder’s career as a session musician and bandleader encompassed a wide array of styles, including blues, reggae, Tex-Mex music, urban folk song, Hawai’ian guitar music, Dixieland jazz, and gospel music. The sound and sensibility of Talking Timbuktu are derived from the music of Ali Farka Touré (b. 1950), a guitarist and traditional praise singer (griot) from the West African nation of Mali.
    14 : Talking Timbuktu An American listener will notice that “Diaraby” has similarities to blues styles in America. Touré’s style was directly influenced by American blues musicians such as John Lee Hooker, whose records he discovered after his career was established in Africa. Talking Timbuktu features contributions by the blues guitarist and fiddler Clarence “Gatemouth” Brown and various prominent session musicians.
    15 : Talking Timbuktu The result, as exemplified by “Diaraby,” sung in the Bambara language, hews close to its African roots, with the American musicians playing in support of Touré. The lyric of the song is itself reminiscent of the bittersweet emotion of some American blues. The sound and sensibility of “Diaraby” provide additional evidence of the deep links between African and American music.
    16 : “The Face of Love” Features The lead singer for the Seattle-based alternative rock band Pearl Jam, Eddie Vedder (b. 1966 in Chicago) The great Pakistani musician Nusrat Fateh Ali Khan (1948–97) Produced by Ry Cooder
    17 : Nusrat Fateh Ali Khan (1948–97) Khan was a leading performer of qawwali, a genre of mystical singing practiced by Sufi Muslims in Pakistan and India. Sufism was founded in Iran between the ninth and twelfth centuries C.E. A response to orthodox Islam, Sufism emphasizes the inner kinship between God and human beings and seeks to bridge the distance between them through the force of love.
    18 : Qawwali singing Qawwali singing is traditionally accompanied by a double-headed drum called the dholak (or a tabla, used in Indian classical music) and a portable keyboard instrument called the harmonium, which creates a continuous drone under the singing. In traditional settings, the lead singer (or qawwal) alternates stanzas of traditional poetic texts with elaborate melodic improvisations, in an attempt to spiritually arouse his listeners and move them into emotional proximity with the Divine.
    19 : Nusrat Fateh Ali Khan During the 1990s, Nusrat Fateh Ali Khan became the first qawwali artist to command a large international following. Performed at the annual WOMAD festivals curated by the rock star Peter Gabriel Made a series of recordings released on Gabriel’s Real World label
    20 : Dead Man Walking The 1996 film Dead Man Walking—the story of a nun’s attempt to redeem the soul of a convicted murderer on the verge of execution—was the first to foreground Khan’s contributions. Many reviews of Dead Man Walking emphasized the contribution of Khan’s voice to the haunting, mystical, and spiritual atmosphere of the film.
    21 : “The Face of Love” Based on a simple melody, sung first by Khan with lyrics in the Urdu language, and then with English lyrics by Pearl Jam’s lead singer Eddie Vedder The sound of the music and the mysticism of the Sufi poetic text resonate with the atmosphere of the film—the contemplative mood of a man sentenced to die by lethal injection.
    22 : Dead Man Walking Khan’s appearance on the soundtrack of Dead Man Walking led to his being signed by the indie label American Recordings Managed by Rick Rubin, formerly the mastermind behind Run-D.M.C. and the Beastie Boys. The label’s roster included not only Nusrat Fateh Ali Khan but also the “death metal” band Slayer, the rap artist Sir Mix- A-Lot, and the country music icon Johnny Cash

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