In 1987, a group of white British independent label bosses introduced 'world music' to market interest in global artists, inspired by the success of Paul Simon's Graceland.
Joe Boyd, a producer involved in the inception of 'world music', defends the term against critiques of colonialism, emphasizing the positive career impacts for diverse musicians.
The success of 'world music' led to its recognition at the Grammys, but the term has since been criticized for evoking a patronizing, colonial mindset.
Despite the criticisms, Boyd argues that the creation of a distinct marketing category allowed many musicians to reach wider audiences and transform their careers.
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