No Ernest, they aren't just my assumptions. There are others, especially musicians of color who you would never find posting to this forum, who feel that the term 'world music' has been used to exploit them and their music cultures.

It isn't just music that does this. Nowadays, we have new code words/terms for race that are PC, and used almost exclusively by whites to define people of color. World music is one of those terms.

Don't want to get into citing chapter and verse cut-and-paste wars to "prove" someone is right, and someone is wrong.

I believe we call all learn from just discussing the subject.

'Other' is, to me and many thoughtful people, at the roots of all forms of prejudice, including racism--not excluding it, which is what I think you keep trying to do in this context.

And when it comes to the European constructs of race, we know that the British especially defined certain European cultures, like the Irish and the Germans and modern Greeks as 'other races' that weren't English.

I understand and appreciate this earlier historic categorization of Europe by race is still confounding to some people. But it is still easy to find references to it, even on the internet. Just try googling "Irish race" or "Mediterranean race" or "German race" and you will see what I'm talking about. First, it was sort of regional. Northern Europeans were perceived as being very different from Southern Europeans. Germans and Celts are often thrown together by ancient classical writers. This isn't anything new. But when you don't know the history of race constructs in Europe, it can get pretty confusing. Especially when you try and racially sort people in a contemporary vein, as the term 'world music' attempts to do.

Initially, 'world music' was intended to mean those 'other European races' because there is still an undercurrent in British identity especially, that draws from that historic well that defined southern Europe as a 'Mediterranean race'.

Does that make any sense to you?