Global Pop

[srigi001]

The idea for this piece came to me while attending a course in University named “Introduction to World Music”. In addition to listening to and analyzing music from various countries and cultures, we (the class) discussed in depth the meaning of the term “World Music” in regards to ourselves (how we perceived it). One of the main conclusions we arrived to was that a heavy portion of the meaning of the term was influenced and dictated to us by record companies and the western music industry in general. Significant questions were raised and talked about, questions such as: “ If this band from that country is considered world music here then what are they considered in their own country? ” or “ Is music that’s composed mainly by sampling an ethnic musician and sticking on it programmed beats and sounds considered world music? And if not then why do we (the western music consumer) feel comfortable seeing that sort of CD on a rack labeled “World Music”? “
These questions lingered in my mind until I came across a book titled “Global Pop: World Music, World Markets” by Timothy Taylor (hence the name of the piece), which gave me a bit more insight to the world of “World Music”.
I came to a realization of my own: there is a certain amount of disrespect towards the term “World Music” to which the western music industry is accountable for. Generally speaking, this aforementioned industry, utilizing various marketing techniques, can pretty much package anything as being “World Music” and that the average non-musically trained consumer will, for a lack of a better word, “swallow” it.
I based the essence of this piece around that exact notion; the main theme is a simple melody I wrote for the guitar a few years back. My social commentary/criticism, if you will, manifests itself through the production and arrangement of the piece and not through the musical substance itself. The variety of instruments I use is border-line absurd: Harpsichord, African drums, Australian didgeridoo, Chinese flute, acoustic drum kit, bass guitars, electric organ, string quartet … (all of these sampled), electric and 6/12 string acoustic guitars (played by myself) and of course a singer reciting a text quoted from the book:
“In the summer of 1987, a series of meetings took place in an upstairs room of a north London pub, the Empress of Russia. Present were about 25 representatives of independent record companies, concert promoters, broadcasters, and other individuals active in the propagation in Britain of music from around the world. The objective was to discuss details of a modest promotional campaign for the autumn, and to boost sales of the increasing numbers of records being issued, as the boom in interest in African music continued and extended to other parts of the world. One of the obstacles to persuading record shops to stock much of the new international product was reported to be the lack of an identifying category to describe it, record shop managers didn't know whether to call it "ethnic", "folk", "international", or some other equivalent, and were inclined in the absence of an appropriate niche in their racks simply to reject it. It was decided, as part of a month-long promotion that October, to create such a tag and attempt to spread it's use via one or two music press adverts, a cassette compilation of music on the various labels involved in the campaign, and distribution to record shops of "browser cards" bearing the new appellation, to be placed in the sections it was hoped they would now create in their racks. After a good deal of discussion the term chosen was World Music... “
My goal was to produce and arrange this piece in such a way that despite the absurd use of all these instruments and styles, together it would sound totally natural to the average western consumer, I’m almost ashamed to say that I had to “fool” the listener in order to make my point.

[kensuguro]

yeah yeah yeah, it's the big bad boys bullying the small good boys story... I think this sort of thing used to be true 10 years ago, but with internet broadcasting / distribution, and the break down of the record industry itself (not just the "west"), I think we're beyond that point. Which actually is a good thing from your political viewpoint, because the mainstream industry is breaking down because of their short-term strategies.

On the other hand though, it seems like the popular problem of mixing up truth and symbols. There is no truth about whatever "world music" points to. Obviously, it isn't what "world music" in mainstream music points to, but beyond that, I don't think there is a definitive truth. It's the same thing with everything. There is only relative truth, a consensus amongst a set group of people. So to say that "the big record companies call this stuff world music, but it's wrong" is a little strange, because they can call it whatever they wish. You and I are free to call it whatever we wish, and we are also free to define world music as we wish. It's senseless in getting caught up in the details of semantics.

Rather than riding the broken system and proving that the consumer mass infact, will percieve anything with the slightest hint of exotic samples as "world music", I don't see why you wouldn't just come straight and present whatever it is that you think world music should be. That's the true benefit of the media rich internet age. I don't think it's so much a fight against the big boys.. The big boys have already lost, or atleast going to break down really soon. it's more about doing what you think should be done, and doing it well.

[srigi001]

First let me say that I agree with you regarding the matter of "relative truth". Semantics and Titles are indeed a relative and personal point of view. However, my critisism is less about the misuse of the phrase (although after reading my post again I see how that could be misunderstood) but more about the cultural rape that's being commited every day and being nicely packaged for the holidays.
Regarding creating something that in my eyes would be considered "World Music"...I chose not to, I preffered to critisise in this case.
Cheers for the reply.

[kensuguro]

I don't necessarily see it only as a bad thing though. Being Japanese, I've seen plenty of cultural mishaps ranging from the california roll to every posible misconception about ninjas and samurais.. But heck I think california roll is good. Sure it's a remixed version of the real thing, altered to suite the american taste, but the idea turned out pretty good. And thanks to the rolls and other such "ideas", sushi has become pretty popular in the US, and has even become an everyday commodity. Funny thing is, california roll's become pretty popular in Japan as well.

The thing is, if there wasn't that intermediate phase, of a repacked, "easy to eat" version, then maybe sushi would have never become popular. It never would have reached the naive joe who thought sushi is eaten by asian chicks wearing red kimonos, in a room with samurai swords and nunchucks.

So, the same with world music. I'm sure it's done wrong, and wrapped with too much butter and cheese, but atleast it creates an interest towards exotic music from all over the world. It's far from cultural rape, it's a good thing I think.

Like in your piece, you had a chinese flute in there.. Funny coincidence is that I'm half chinese as well, and I play the chinese flute. Well, it's nice to know that you didn't misuse a shakuhachi sample in its place, or used some other crazy wrong sample instead. And it's also nice to hear that many of the chinese flute's trademark articulations are in there too. Frankly, I think that's all there is to it. Just because you chose to use a chinese flute, doesn't mean you need to know the complete traditional chinese music repertoire, know how traditional chinese orchestras are formed, and all the other cultural what nots surrounding traditional chinese music. If you had to, then no one would be able to use anything chinese. Sure it's cool if you knew some of this stuff, since it'll aid you in using things in context. But then that's not why you'd mix it with other "out of context" instruments in the first place is it.

The whole movement of mainstream "world music" I think has given many intrumentalists a chance to get some of their stuff out. Many erhu players got out to the world that way, and I'm sure there are many other people like that. So, I'm not really sure why you're so unhappy with the situation.

btw, I'm just talking because I too find this issue very important and interesting. My position is in line with you at the root.

[srigi001]

You have given me much to think about, I enjoy reading your repllies.
It feels good to compose something that sparks up a debate regarding social matters and not just musical
And on that note...I am curious to your thoughts about the technical/musical aspect of the production, please feel free to hurt me

[kensuguro]

Musically, I don't have a clear idea what was supposed to be accomplished, other than exactly what you did: put different elements together that seemingly do not fit. But obviously, they will fit because of the progression and the musical structure surrounding it. Sonically, I don't think any of the instruments do not "belong" together as you can make things fit through arrangement, and if not through mixing.

The part after the reading sounds much too hot, I'd tone it down a bit so that it retains a bit more dynamic range. The bass is clipping in that part. Overall, the track seems very compressed. The strings especially seem to need more breathing space. I like how you took the basic progression and adapted it to the different parts of the song.

[srigi001]

good advice guro...thanks