rasie dud Glabal rzabon : Crvhead Enc oies 2 cd. Peb hte nr Fy J. press 2012, Trdiava U ie “SI 2 My life in the Bush of Ghosts: “World Music” and the Commodification of Religious Experience Steven Feld Schizophonia and Its Discontents Since the exey 1980s [have been tracking “wodld musi,” aterm I do not use trans- parently, as a benign generic gloss for human musical diversiry. My interest i pe- cifically in “word music as label oF industrial origin thar refers to an arnalgamaced global markerplace of soundsas eshnic commodities. Once more idiosyncratically and unevenly collected and circulated under labels like “primitive,” “lls” “eth- tic “race” ‘aditional,”“exotie,” or “international” music, oday’s world music tells new story, one about intersections of transnational capita, global economic niche expansion, technological ubiquity, and che contradictions of aesthetic plu- ralism and product homogenization, Ieisa story about he shaping power ofa global recording industry that ses the matketplace asthe actual arbiter and guarantor of ‘musical authentcicy. This i co argue thar the existence of the category of “world rmusie"—like the category of “fine art” examined by Fred Myers (2001) —derives from and is chiefly dependent on the marketplace, and not from formal genre dis- tinetions, autonomous aesthetic qualities, or geographic categories. Like other contemporary anthropological projects, mine owes a certain impe- ‘tus to Michel Foucaul’s (1977) insistence thac the modern world is full of cat- ‘gotizations experienced as normalizing routines that render things invisible but known. I find ic useful co examine many invisible bur known qualities of world 40 ‘music chrough the concept of “se ‘composer R, Murray Schafer (197 their sources. Unlike Schafer, I do to the technological proces of spi Tam concerned with the larger aret shor-term routes of éireulation an the spliting of sounds from soure is principally abou the recontextuc relationship of these social proces: ‘commoditization that [have been £ participate in what Arjun Appedur ‘My larger goal isto theorize ho ‘mediated and tied to recorded com the role ofschizophonia—a decile classic form of modernise anxiety. reducescultucal equity or creates de anxiety that world musio—whatew fests on conomie structures that tu labor. eis the amaiery tha this deta indigenous originators and steward: fsabout che enrichment of global co ship in centers of power, and the re Ieisure and pleasure. Alongside the production of chet tently, indeed, dialeetically, produce bration. leisthis celebratory narrati, pion and best fiend. This celebeato ‘as cultural signs of unbounded and tion of both indigenous autonomy ‘positives, moves thar signify the des blending, Here is where celebratory synonyinous with antiessenialisa, with a frurist hope or prediction o| Anssious narratives tend ra focus ‘emphasize how the music markerpla ities inthe aeas of copysight,roya tthe matker, They insist that the «yplcally reproduce and amplify the: tives, on the other hand, tend o pay sion enhance new connections and ¢ ties, new forms of recognition and trodification sic? aterm Ido not use trans al divesty. My interest is spe vchat refers to an amalgamated ‘Once more idiosyncratically like “primitive,” “fll” “eth- 1° music, today’s world music ‘onal capita, global economic oncradictions of aesthetic phi- « che shaping power ofa global actual atbiter and guarantor of once ofthe category of “world y Bred Myers (2001) —derives ind noc from formal genre dis- aphic categories. =, mine owes a certain impe- + modern world is full of cat ‘ar sender things invisible but four known qualities of world My Lif the Buthof Ghons 4 ‘music through the concept of “schizophonia.” a term introduced by Canadian composer R, Murray Schafer (1977, 90) co refer o the splitting of sounds from ‘heir sources. Unlike Schafer, I do noc use the term principally or simply to refer to the technological process of splitting that constitutes sound recording, Rather, Tam concerned with the larger arena where sound recordings move into long. and shore-term routes of circulation and patterns of consumption. At stake, then, in the spliting of sounds from sources isthe possibiliry of new social life, and this is principally about the recontextualization and resignification of sounds. Iris the relationship of these social processes of resignification and their relationship 0 commoditization that Ihave been following, specially how schizophonicthings participate in what Arjun Appadurai (1986) has called “regimes of value.” ‘My larger goal isto theorize how the experience of music is now increasingly mediated and tied o recorded commodities, but my specific interest iso explore the role of schizophonia—a decidedly nervous word, of course—in producing a classic form of modernist anxiety. This isthe ansiety that world music variously reducesculeural equity or ereates deeper cultura cleavagesand hierarchies. It isthe anviety chat world music—whatever good ic does, whatever pleasure i brings— resis on cconomicstructuresthat tucn intangible cultural hevtage into detachable labor. Iris the anxiety that this decachabilcy marginalize, exploits, or humiliates Indigenous originators and stewards It is the anxiety chat the underlying tale here isabout che enrichment of global corporations, he consolidation of music owner- ship in centers of power, and the reproduction of the West coursting the rest for leisure and pleasure. ‘Alongside the production of chese anxious narratives, world music has consis- «ently, indced, ialetically produced a mach more frequent narrative, one of ele- bration lis chiscelebratory narrative that sees world musicasindigencity’cham- pion and bese fiend. This celebratory narrative sees musical hybridity and fusion ascultural signs of unbounded and deterstovalized identities. lses the produc tion of both indigenous autonomy and culeural hybridity as unassailable global positives, moves that signify the desire for greater cultural respec, tolerance, and ‘Mending. Here is where celebratory discourse virtually proclaims world masie as synonymous with ant-essentalism, with borderlessness, with culuural fee flow, swith a Futurist hope or prediction of greater cultural and economic equilibrium. ‘Anxious nartatives tend to focus more sharply on economics and power. They ‘emphasize how the music macketplace is structurally founded on historical ineq- tices inthe areas of copyright, royalty structures, ownership regimes, and access to the market. They insist thatthe industry is currently organized in ways that typically eproduce and amplify these fundamental inequities. Celebratory narra- tives, onthe other hand, tend to pay more attention to how pleasure and participa- tion enhance new connections and close old gaps. They emphasize new possbil- ties, new forms of recognition and the potential for respect they bring. In short,42 | Steven Feld ‘embedded in both anxious and celebratory narratives of world music isa fraught cultural politics of nosalgla, that i, each is deeply linked to the management of loss and renewal in the modern world. And they each involve complex suspicions and idealizations about notions lke resistance and survival or tradition and heri~ tage. My project is devoted to untangling some of the strands of suspicion and idealization that bind ansious and celebratory narratives. It is in this mutusism and interdependence, chis play “from schizophonia to schismogcnesis” (se Feld 1994) that I locate the social core ofthe “world music” story (ee Feld 2000). ‘My life inthe Bush of Ghosts | now turn to 2 specific “world music” story to ask whac questions schizophonia might open up about the sonic ciculation of religious practice. What, in other words, docs schizophonia have to say about religion in che “world music” mazker- place? What does ic have to say about the commodity phase, when material ob- jectfication of religious sounds and practices in “world muse” zecordings ach particular recognition and value? What role does the incorporation of religious sounds play in world musics larger stories of recontexcualization and resignifiea- tion? I concentrate on the LP/CD My Life inthe Bush of Ghosts (MLBG) and the trend ithelped establish, namely, the material incorporation of spitituality and re- ligion—particularly the sounds of religious discouese—into the Western musical avant-garde's well-established primitivist project. ‘World music was not quite a newly emergent market category when My Life ix the Bush of Ghosts was released on LP in February 1981. But the LP certainly her- alded a great deal of what was to come in the 1980s-and 1990s under the banners of "world music” as well as “world beat” and “ethno-techno—the ewo subgenre terms thar most overtly celebrate exotic alterityas danceable hybeldity. The LP is 4 unique collaboration between British and Scottish art schoo! rockors—teaned visuallconcepeual/performance artists concentrating on music. Brian Enos work with Roxy Music, Robert Fripp and solo projects, and his work with U2, David Bowie, and Laurie Anderson clay established him as an avant-garde electronics and ambient pionect influenced by Karlheinz Stockhausen and John Cage. David Byrne emerged aswell as leader ofthe hugely popular pop group Talking Heads. ‘MLBG was recorded in 1979 and 1980, when Eno was prosucing two other LPs, Remain in Light and Fear of Music for Talking Heads, On MLBG a whole world ‘of pre-digital ambient atmospherics, electronic effects and mult-cack processing, and prominent bass and percussion dance grooves mix with the “found sounds” of radio shows and ethnogeaphic field recordings, The radio segments come from call-in shows featuringindignant hosts, politicians, evangelists,and Chistian preach- crs. The ethnographic recordings come from three LPs, one a compilation about Islamic vocal practice, another of African American spiritual from the Georgia Sea Islands, and the third an anthology of popular Arabic singers. In October 1990 MLBG was re-released on C style of many pop LP re-release, the LP. A cwenty-five-yearannive ‘Now put yourselfin the place this recording online at Amazon ages contain consumer reviews. in commentary then running on was titled “Why is Quiaran [i] n Brazil, writes: “his album is exce favourite [vl) is not on this CDI hhave a vinyl version, Ifyou don't h line is great” “The nex« consumer review, dat cited “A glimpse atthe futute— strongly appreciated the CD but where along celine, one track on Je nice rack, but the original LI ‘which conrained a recording of Alp LP notes) im assuming the tack able in these charged times but ve Arabic, I don't know whar verse fi something ‘inflamsmaory’) Ie prac ac the suits at Warner Bros/Sire wl ‘Notice the connected foc! in t bass line) and industry suspicion ( Size). Notice, too, thatthe musica ‘mentioned and thus not imagined dit. The suspicion is that either ‘Muslims whose voices ate include industry management, o both, ha ments, criticisms, and concerns § ‘were pulled, and a new edition wa sixth tack, titled “Quran,” was d ‘track appeared. “the deleted “Quran” piece was with excerpts from the frst track + Voice in the World of blam, publish in 1976, Iewas the Fist ina six LP tently available as thtee CDs) eit: the Horniman Musical Instrument of the Danish Folklore Archives in “Recitation of Verses,” and in thetarratives of world music is a fraught Lccply linked to the management of 2ey each involve complex suspicions + and survival or tadition aud heri- sme of the strands of suspicion and y narratives, Itis inthis murualism shonia to schismogenesis” Gee Feld 1d music” story (ee Feld 2000), o ase what questions schizophonia £ religious practice. What, in other Higion in the “world music” market -nmodity phase, when materal ob- 1 “world rmusic” recordings achieve does the incorporation of religious recontextualization and resignifica- the Bush of Ghosts (MLBG) and the Incorporation of spirituality and re- scourse—into the Western musical snc market category when My Lif in tary 1981, Bus the LP certainly hes- 1980s and 1990s under the banners ‘ethno-techno’—che two subgense yas danceable hybridity. The LP is cottsh art school rockers—trained ‘rating on music. Brian Eno’s work ects, and his work with U2, David him asan avant-garde electronics Stockhausen and John Cage. David popular pop group Talking Heads. Eno was producing two other LP, 3 Heads. On MLBG a whole world +effectsand multi-track processing, the “found sounds" ags. The radio segments come from 1s, evangelists and Christian preach- chee LPs, onea compilation about rerican spitituals from the Georgia jopular Arabic singers, In October My Life the Bush of Chass | 43 1990 MLBG was re-released on CD, the eleven original racks intact, pls, inthe style of many pop LP re-eleases, a twelfth bonus cack not previously found on the LP. A ewenty-fiveyear anniversary deluxe edition was issued in March 2006, "Now pu yourself inthe place ofa consumer who goes to purchase or previcw this recording online at Amazon.com. Like many websites, Amazon's product [pages contain consumer reviews. When I visited the ste saw that he ist write {in commentary then running on the MLB page was dated July 16, 2004, and vwas titled “Why is Quran [se notin this CD ?” The reviewer, from Si0 Paulo, Brazil, writes: “This album is excellent, buta song called Qu’aran (i (one of my favourite [yel) is not on this CD! Political reasons? I don't know. Forcunately 1 hhave a vinyl vetsion, I'you don’ know this song, try to find {it} in vinyl, the bass line is great” “Thc neat conse review, datcd March 19,200, fom Oklahoma Ci, wae tied “A glimpse at the farure—bur chambs down co WBiSite." The reviewer strongly appreciated the CD but withholds a five-star tanking “because, some- ‘there along the line, one trackon the album has been changed. Very, Very Hungry’ is anice crack, but the original LP contained a trac in its place called ‘Qu’ran; which contained recording of Algerian Muslims chanting Quran’ (asthe original LP notes). im asstiming the rack was removed for political reasons—understand- able in these charged times bat very disturbing nonetheless. (Since {don't speak Arabic, I don't know whac verses frorn the Quian the Algerians were chanting — something ‘infammatory’?) It practically amounts to censorship, and Im incensed at the suits at Warner BrovSire who (Ti sure) approved the change” "Notice the connected foci in these reviews on autonomous aesthetics (great ‘bass line) and industry suspicion (blaming che corporate lawyers at Warner Bros! Sire). Notice, oo, that the musicians who created and benefit from the CD are not mentioned and thus not imagined to bear any responsibility or authority in cs re- edit. The suspicion is that either the copied and contained voices—che Algerian ‘Maslims whose voices are induded without their knowledge ot permission—ot industry management, or bath, have made erouble, So what is driving these com- ments, criticisms, and concerns? Sometime in 1994 all copies of the CD reissue ‘were pulled, and a new edition was pur into circulation. On it, the CD's original sixth track, titled “Quran,” was deleted, and in its plece the original CD bonus track appeared. “The deleted "Qu’tan” piece was mix of Eno and Byme’s techno dance grooves with excerpts fiom the fist track of an ethnographic LP recording, The Human Voice in the World of dam. published by Tangent Records in the United Kingdom tn 1976, Jewas the first ina six LP anthology on music in the world of Islam (cur- rently available as three CDs) edited by wo ethnomusicologisss, Jean Jenkins of the Horniman Musical Instrument Museum in London and Pou Rovsing Olsen the Danish Folklore Archives in Copenhagen. The oxiginal LP rack was ted "Recitation of Verse.” and inthe liner notes Jean Jenkins, who made che recording44 | Steven Feld in Algeria in 1970, writes: “Verses of the Qu’ran by members ofa rligiousbrother- hhood. Thisis part of che regular Friday religious observance.” But on MLBG Eno ‘and Byene credictherrackas ‘Algerian Muslims chanting Qu?ran.” This, ofcourse, ‘makes clear that they neither read the liner cexe of The Human Voice inthe World of ilar nor grasped the cetical polat, enunciated there and widely known, chac in Islamic practice the Qu’ran is considered a text for recitation, quite inappropri- atc 10 imagine or render as sung vocal music or music for dance (see, eg, Nelson Davies 2002) The Context Changes ‘Whatever one thinks about Eno and Byrne's grooves, technological prowess with tape loops, hybridophilia, or sloppy liner notes, the global contextualization of their editing work changed radically precisely eight years afer the LP's publication, For in February 1989, in whac VS, Naipul famously called “the ultimate extreme in lieeraty criticise,” Salman Rushdie was condemned to death by the former Iranian spiritual eader Ayatollah Ruhollah Khomeini. The issue character in Rusbie's then new novel, Th Satanie Verses, was modeled on the Prophet Muhammad, and his transcription of the Qu’ran, quoted in the text, with touches from Rushdic, is portrayed in an unconventional light. The novel was banned in South Aftica and India, burned in several locales, and caused riots in others. Forced into hid- ing, Rushdie published, in 1990, an apology in which he reaffirmed his respect for Islam, But Iranian clerics did noc repudiate the death threats indeed, an aide ‘to Khomeini offered a million-dollar rewatd for Rushdie’ death. In 1993, in an event char generated international publicity, Rushdie's Norwe- {an publisher was acacked and seriously injured outside his home. An overlap- ping incident also gencrated international publicity In January 1994 designer Karl Lagerfeld and the House of Chanel officially apologized to Muslims worldwide after twas revealed that chree oftheir dresses, worn ina prime-time tele-spectacle by supermodel Clauclia Schiffer, featured texts from the Quran embroidered in ‘gray peas, Chanel was forced to destroy al the drescs as well as related photo- _graphie images and negatives, and urged private makers oc holders of photographs and videos vo destroy any existing images ofthe dresses. “The seriousness of these issues was shockingly rekindled more recently by the ‘iolent murder of renowned Dutch filmmaker Theo Van Gogh in Amsterdam on. November 2, 2004, atthe hands of Islamic radicals. Van Gogh wasa well-known provocateur, an outspoken opponent of Isamie extsemisi, and had repeatedly received death threats after che TV transmission, in August 2004, ofa shore film, Submision, which criticized the mistzearment of Muslim women. This film was a collaboration with Ayaan Hirst Ali, a Somali who fled to Holland in the early 1990s, became a political scientist, and then a member of the Dutch Parliament. She publicly renounced Islam in 2002, after which she also received numerous death chreats and had to be p Gogh reveals passages rom thy nique was meant to provolce di Tn the ight of the Rushalie “Quran? track was deleted an of protest fiom an Islamic o: LP's inical release and led to ¢ some European editions of the censorship dictated by the reca conscience ofthe artists theme ‘mained unclear and unobesins the cack deletions. Warner B: answer inquiries. The 2006 re package includes a new bookle of Ocean of Sound (1995), an booldes, in keeping wich al pre the"Quran” rack. Indeed, his taking those who made the or the contentious dimension of new fury of pubicsyand pri Bur the silence was finally Dahlen of Pitchfork magazine, about the decision to remove SC blasphemy by an Istamic orgar to the track's removal. Byrne re going to get accused ofall kin best we cam.” Lest this be take only contribuces w deception & sack was completely removed f ‘many not most LP issves thn ‘CD re-elease in 1990 and Before tarningto the questic ritual, afew remarks ate so nove here that the LP was ne -vorld. In August 1981 (even 2 consider the diferent quests tha the ‘Most important, all this rakes place in an aesthetic space dominated by dance snuisic, by the allure of physical participation and its promise of bodily pleasure. Danceabiliy is what sold pop and rock music, and Eno and Byrne well under stood that danceabilty was the critical step in resignification, che commodicy phase where the exotic tease never scrips the familiar. Again the anxious question ated wanderings” Eno means che as- book. He wants o share in che power artistic achievement, but a the same sng co Tutuol, eiher in terms of in vgcis the statement thar the LP began about vietual celigion comes into focus: Is MLBG, then or now, a simulacrum of sing its content as a coincidental after- increased spiritual contact that masks an unexamined reproduction of increased soas “an emergency of some kind,” is spiticual distance? of calling My Life in she Bush of Ghoses For the looped material we hear in the composition, Eno and Byrne could have ‘emergency is a harrowing part of the ‘used just about anything and the world would not have known the difference. andoned during a slave raid. . ‘Group vocal “chant” is widespread, recordings of ie quite common, and five sec= ‘ond loops with maximal textural ornamentation and minimal melodic ambit easy ‘rough co make, So choosing Qu’vanic recitation signals something important, ‘namely, the desire to become intimate with particular others through their rli- gious practices, to cozy up to their spittual power, technologically detach i, cut tyth and folklore ae cleatly evident arnt signs of European influence. The uterin the 8th Town of Ghosts agents sm, and schools and churches, not to ~the strongest of Totuol’s analogies and splice, ener nt it mysteries vache ape recorder sa musea instrument, crop up consisently in his narrator's ‘This is what Eno ceferted to, in celebratory mode, as the deste co “graft” cokute, yeted belief and realiies—of Yoruba to create a new hybrid of “primitive Futuris.” But put in mote anxious terms, sity and science—are woven together the schizophonic detachment performed createsa new tripartite socal form. Fst, vulations, which kad in equal measure spitiual capil isrecontextualized in a new sonic object second, spiritual pow50 | Steven Feld crs are resigified as hybrid art, vechnological mastery, and dance pleaser; and, third, ownership politics are cided or masked by autonomous aesthetics. "The regime of value issue is this: in the eyes of the pop music elite echno- sraphic recordings are tokens of raw authenticity. But they require ivlizing— “development” to use the common international aid metaphor—to become dance- worthy and pop sale-worthy. Thisis accomplished by schizophonic variations on four historically important techniques common to Western modernist avantgarde ‘engagements with the exotic decontextualization, incorporation, justaposiion, and curation (Feld 1996). In the space of the “Qu’ran” track, these techniques ‘combine with Western modernise avane-gardism’ reigning ideological principle: ‘anything cha’s possible is permissible, “The core modernist story here concerns how the aura—the detachable spiri- tual powers of others —Is called upon to replace or renew Wester senses of inner loss, The spiritual becomes an index of primal authenticity, a way to invest aa- ‘hentie difference into sound objects that are overtly hybrid and, in their acoustic ‘material form, familiar to Western pop. In “world music” marker rerms, religion Is recontextualized to become Value-added primitivism, value-added aura, valuc- added difference, value-added nostalgia. Religious sounds are key means for in corporating, juxtaposing, and curating spiritual otherness. Ths is because their key work in resignification isto create a special sense of contact with something Imagined to be more primal, integrated, coherent, pure, innocent, and passionate. And, of course, in the most critical contradiction, sptituality is meant to make the product seem ess commercial. Looking back, MLBG sevealsan originary moment ina critical “world music” story: theindustrialization of desire fr pleasure participation in spiritual difference. ‘And, since that moment in 1981, any incisive history of "world music” products will indicate how religion has been and remains critical tothe genre's markeryele ‘sinvigoration and niche expansions. For "world musi,” MLBG was a herald of |how religion can havea revitalizing effec in pop music, its lgacy the creation of ‘commodity phantom double whose artistic, marketplace, and consumer inter: ‘ests come together asa historical exemplar of the socal lif, and empice, of schizo- phonic things. Note “This estay was Gist presented as 2 leceute in easy fall 2004 for New York University’s [Center for Religion and Media, and Lam grateful wo Faye Ginsburg, the Center's direcron, {forthe challenge to write ic, and the audience for their thoughts. Later 2004 presenta sions, ar the Universities of Bergen, Copenhagen, Palermo, and Texas at Austin also pro- ‘duced stimulating conversions A version ofthis essay was published in italian, in 2007, as"My Life in the Bush of Ghost: a‘workd musi’ ela mercificazione del speicnza re ios,” in Incontr di erbmomusicloia: Seminar conferenze in ricardo di Diego Carpielle edited by Giovanni Giurari, 329-348, fr the EM serie Quaderni, Archivi di Ernocnusi- olga by Accademia Nationale rte ote wt Ana nal Calta the ek sur tan as tehcpnww populace seo Lebanese singe Duma ues Rosing Ole the co-dtor th fia ect ask nthe Wo ing te cua eon anshrng Interven wih Bin Po Fm dh References Appadura, Arjun, ed. 1986, The See (Cambridge: Cambridge Univers Byme, David. 1999, "I Hare Worl -pitchforkmedia.com/articlefeat Di Maio, Alesandra, ed. 2000, Zw: Rushdie, Salman. 1989, The Satanic V Schafer, R. Mucray. 2002. The Tuning ‘Talking Heads Net. 1999, elie ‘Toop, David. 1995. Osea of Sound. ‘Tutuola, Amos. 1952. The Pain-Wine 1954. My Life in the Bush of Ghseal mastery, and dance pleas ‘ked by auronomous aesthetics, 2e «76s of the pop music ec, ethno- icity. But chey require cvilizing — tonal aid metaphor—to become dance- ‘plished by schizophonic variations on ‘mon wo Western modernist avantgarde zation, incorporation, juxcaposition, the “Quran” track, these techniques edison’ reigning ideological principle: and, show the aura—the decachable spi= alace or renew Western senses of inner imal authenticity, a way to invest au- ‘e overtly bybrid and, in their acoustic “world music” marker terms, religion rimitivisn, value-added aur, value- cligious sounds are key means for in- situa otherness. This is because their Sclal sense of contact with something ‘erent, pure, innocent, and passionate. fiction, spirituality is meant to make ty moment inaertical “world music” re participation in pirtual difference, ve history of “world music” products Inseritcal to the genre's market-cycle ‘orld music,” MLBG was a herald of \ pop misc ts legacy the creation of ‘e, marketplace, and consumer inter- “the social life, and empire, of schizo~ Ay fll 2004 for New York Universiy’s 10 Faye Ginsburg, the Center’ dizecor, for teis thoughts. Later 2004 presenti. Palermo, and Texas at Austin also pro- $s essay wat published in Ilan, in 2007, + ela mercficzione dell sperieaza rele ‘onferenze in cord di Diego Carpivella, serie Quadeen, Archivi di Eenomust- ‘My Life in the Bash of Cbous | 51 sologi, by Accademia Nazionale di Santa Cecilia, Roma. A companion esiy researched snd written together with Annemecte Kieskegsard of che Universcy of Copenhagen, is “Entangled Complies the Prehistory of" Wodld Musi’ Poul Rovsing Olsen and Jean Jenleins Encounter Brian Eno and David Byroe in che Bush of Ghosts" published online ac bepllvorm popalar-musicology-online.com/2010. This ter adds the story of MIAG's ‘se of Lebanese singer Dunya Yunis’ voice, as necorded by Danish ethnomusicologis Pol Roving Olsen, the co-edior, with Jean Jenkins, of the LP The Human Voce in the World of hla, forthe Music in te Woxd of Islam series. Lam grata to. Ole Reitoy for review= Jng the curren version and sharing with mebotd his correspondence and his Danish radio lnterviews with Brian Eno from the peri ofthe recording’ initial release, References Appaduta, Arjun, ed. 1986, The Socal Lift af Wings: Comedies in Cultural Perspective. ‘Cambridge: Cambridge University res ‘iyme, David. 1999. "I Hare World Muse.” New York Times, October 3, hpllww «pitchforkmedia com/article/earure!37176/Interview_Interview_David_Byrne. DiMaio, Alessandra, ed. 2000. Turule a she Unverty The lialian Voice ofa Yoruba An- ceor, Roma: Bulzoni Editor, Eno, Brian, 2003. "The US Needs to Open Up to"The World” Tim, January 20, Feld, Steven, 1994, “From Schizophoa‘a to Schismogsnesis: On the Discourses and Prac- ‘ices of World Music’ and "World Beat” In Muse Grower ed. Chades Keil and Steven Feld, 257-289. Chicago: University of Chicago Press 1996. ‘Pygmy POP: A Geneslogy of Schizophonic Mimesis” Yeerbook fr Thai onal Mule 281-38, 2000, "A Sweet Lullaby for Wedd Musi” Public Culture 12 (0): 15-171. Reprinted in Arjan Appadura, ed. 2001. Giebalization, Dusham, NC: Duke University Pres, Foucault, Michel. 1977, The Archeology af Knowledge. London Tavistock, Myers, Fred, ed. 2001, The Empire of Thing: Regimes of Vale aud Material Culture. Santa Fe, NM: School of American Research Press, ‘Nelson Davies, Kefstina, 2002. “The Quran Recited." In The Garland Bueyclpedia of World Muse, el 6, The Middle Fa, ed, Viginia Danielson, Scott Marcus, and Dwight Reynalds, 157-163. New York: Routledge, Pareles, Joa, 1981. "Does‘This Global Village Have Two-way Trad? Review of My Life in the Bush of Chor” Rlling Stone, Nugus 2 Robertson, Sandy. 1981. “The Life of Brisn in the Bush of Ghosts, Incerview with Brian Eno” Sounds, March, 7. herp://www26.brinkster.com/brianenofindex htmlzeno _—erviews bea-frammeHOME, Rosado, Renato. 1989. “Iaperalst Nostalgis.” Repetentetions 26:107-122, Rushdie, Salman. 1989, Te Satanic Verse. New Yorks Viking, Schafer, R. Murray. 2002. The Taming ofthe World. New York: Knoph. ‘Talking Heads Net 1999. heepi/wwrwsalking heeds net/bushofghoststmi, ‘Toop, David. 1995. Ocean of Sound. London: Serpent's Tal. ‘Tutuola, Amos. 1952. The Palm-Wine Drinkard, London: Faber and Feber. =. 1954. My Lif inthe Bush of Ghosts, London: Faber and Faber,