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"The emphasis on collaborative components of the Graceland project does not negate the fact that some aspects of the project imply a process of appropriation, exploitation, and dominance. There are definitely indications of this. First and foremost, Simon benefits financially from the initiative more than anybody else."

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"The integration of a number of musicians representing a wide stylistic, geographical, ethnic, and sociopolitical range on the album also promotes a collaborative image."

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"Indeed,
South Africans respond to the project principally in three ways. It is embraced
by those who value the social collaboration it signifies. Conversely, it is
rejected by those who oppose the social collaboration it signifies. Some
South Africans, however, regard the signification of social collaboration as
irrelevant to the inherent value of the artwork and evaluate it in terms of
the success of its musical collaboration only."

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"Graceland not only combines and integrates many musical genres, but it also links and integrates diverse language types. Graceland's sense of cooperation is enhanced by the meticulous blending of Zulu and English in the lyrics, as well as the semiotics of the languages."

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Simon's use of different languages in "Graceland" has the purpose of contributing to the collaborative theme of the project, but on a broader scale integrates the various histories in a way that is reverent to each culture and conscious of history.

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"Simon's devotion to his coworkers and his reputation as a humanistic and well-intentioned collaborator were underlined by his financial management of the international promotional tour and the media surrounding the tour."

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"Simon's technique to composition changes depending on the song. Although none were created entirely by him, several have received more input from his fellow Graceland participants than others. "Homeless" is definitely the most jointly created song on the album."

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"The tour's financial management and concert scheduling also demonstrated the musicians' concern for worldwide social inequalities. Through
charity donations and choice of some concert venues the Graceland participants drew attention to racial inequalities in access to resources and expressed
the musicians' sense of responsibility to communities with which they share
a history of racial repression."

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"The song "Homeless" provides an example of linguistic integration. This song comprises alternate Zulu and English sections. The first and third sections are modelled on a traditional Zulu wedding song, the second, fourth, and sixth are composed in English by Simon.”

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Politics is core to not only the interpretation of music, but to the sonic qualities themselves as it is often "entangled" with the feelings that are being communicated.

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"this idea of collaboration presented by the music is understood differently by various interpreters, each coming to Graceland with a unique set
of accumulated sociopolitical and cultural experiences. Each set of experiences includes the listener's own ideas about what constitutes collaboration."

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“Precisely because Graceland's political ambiguity enhances the possibility of multiple readings, the album presents an ideal case in which to examine the contribution of the political implications of a project to its musical meaning.”  I find it so interesting how big of a part the political status of a song is, it’s something I would never think to have much of an importance. “the political is not merely an adjunct to the sound but embedded in it through strings of connected signs. The embeddedness of the political in the sonic means that the political becomes entangled in and communicated through affective experience.”

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"in the composition and production of Graceland, there is a deliberate effort to convey a sense of mutual cooperation and benefit in the international promotional tour organization, in the integration of musical styles and languages, and in the metacommentary about all of these aspects of the project."