# data[].attributes.body
Red = Anxiety of World Music and Anxiety Narratives
Green = Permission + Credit
Yellow = Marketing World Music
Purple = Globalization in World Music

# data[].attributes.body
"Olsen says that Deep Forest and Garbarek “earned millions” from the song but that the recordist and performer didn’t get “a

penny.” My voice follows, and is translated, to say that Western copyright law is not comprehensive enough to equitably include indigenous cultures, creating a

new kind of imperialism, one that musicians and record companies must engage

rather than avoid."

# data[].attributes.body
The feeling of wanting something special and unique and to fit exactly to an individuals tastes even if it is mass produced is what is driving the music industry to use more samples that create this feeling of newness and uniqueness.
"globalization’s basic economic clichés: the drive for more and

more markets and market niches"

# data[].attributes.body
in some anxious narrative, the very term global comes to be synonymous with displaced... At the same

time  anxious  narratives  want  to  claim  the  potential  and  hope  that  every  loss

opens up for resistance, for reassertion, for reclamation, for response.

# data[].attributes.body
Artists will try to use pop star curation and samples of world music in order to create a certain effect on their audience however they often end up referring to the music they sample as being of the past. Deep Forest said that the samples they used represented "your past" (156)

# data[].attributes.headline
Get the permission / right to use the music from remote areas

# data[].attributes.subject
Get the permission / right to use the music from remote areas

# data[].attributes.body
1. Aunakwa's “Rorogwela”  & Deep Forest's “Sweet Lullaby”
2. Deep Forest think this is the use of “raw material, an opportunity to cross and blend.”
3. Music producer from remote community should be respect for the right to use of their music

# data[].attributes.body
"Celebratory narratives of world music tend to normalize and naturalize globalization... celebratory narratives stress the costs to “tradition” as rather

surface ones, ones that will, in the larger sweep of things, be overcome by creativity, invention, and resilience.

# data[].attributes.body
1. Capitalist concentration and competition in the recording industry.
2. Doubt about whether world music incite or erase the music diversity.
3. "Global" = "Displaced"
4. Commodification of ethnicity.

# data[].attributes.body
When music from different locations is not generalized under the genre of world music, it will be labelled with its region. This means that when you listen to the music you are already aware of the identity of the artist.
"Music’s deep connection to

social identities

has been distinctively

intensified by

globalization. "

# data[].attributes.body
1. 1980s pop-star curation
2. 1990s rapid product expansion & support of entertainment industries.
3. No longer dominated by academic documentation and promotion of traditions.

# data[].attributes.body
Musical globalization is experienced and narrated as equally celebratory and contentious because everyone can hear equally omnipresent signs of augmented and diminished musical diversity.