Here comes my rant: These days it seems we throw the term "throat singing" around a bit loosely. It can get confusing. After all, Mongolian and Tuvan overtone singing (the technique of singing more than one note simultaneously) is called throat singing. But as far as I can hear, the Inuit singing technique does not deal with overtones.  Rather, it is about vocalising on both the inhaled and exhaled breath. Yet it is referred to as throat singing.  Personally I'd rather just call one overtone singing, and call the other Inuit singing (or two-way singing?).
That said, Tanya Tagaq visited us in the summer, and she was a trip, as you'll see from our interview.

We were also sent a fantastic short film that called "Tungijuq" in which she stars and provides soundtrack.  We're still trying to figure out if it's too strong for broadcast. It concerns itself with the cycle of life and death from an Inuit perspective, and it is not for the squeamish...or prudish. Be on the lookout for it, as it is just about to hit the film festival circuit.

My colleague Fernando Gonzalez has graciously contributed this exclusive eulogy for Mercedes Sosa who passed away last week. We both agreed that the video of her performance of "Todo Cambia" captures her passion, charisma and the love she elicited from her fans. Thank you, Fernando.

Mercedes Sosa

By Fernando Gonzalez

For an artist, becoming a political symbol is a double edged sword.
Argentine singer Mercedes Sosa, who died of in kidney failure in Buenos Aires on October 4, at age 74, was for many Mother Courage, The Voice of the Americas, The Mother of the Americas, The Voice of the Voiceless, and more.
Sometimes obscured by the mythmaking was the fact that she was an extraordinary artist.
A short, stocky woman, with Indian facial features and jet black hair (she was nicknamed La Negra, the black one), Sosa possessed an extraordinary alto voice, rich and powerful but also remarkably expressive. She could go from a whispered love song to a rousing flag-waver with stunning ease. Sosa was not a songwriter. But, quoting an old line, when Sosa sang a song, it stayed sung. She made her own songs such as “Gracias a La Vida,” “Alfonsina y el Mar,” and “Maria, Maria,” even when the songwriters were themselves major figures such as Violeta Parra and Milton Nascimento. 
She performed usually sitting center stage – although before health problems pretty much confined her to a chair on stage, she would also get up and dance, a memory perhaps from when Sosa was a teenager in Tucumán, a province in Argentina’s northwest, and she was a teacher of folk dances.
She started as a traditional folk singer but soon she was part of a group of poets and musicians who were, sometimes literally, rewriting folk music with what became known as Movimiento del Nuevo Cancionero, the New Song Movement, updating the standard folk lyrics to address the plight of the poor and disenfranchised. It set the tone for her entire career.

 “We were looking for a different poetic language, and musically we looked at jazz,” she once explained. “We spoke from truth and poverty, but didn´t forget about the landscape, because we didn’t want to grow apart from the people. They called us communists because any revolutionary act provokes fear and culture is the most important revolution. Governments don’t last. Culture is the greatest power.”
Notably, and especially after her return to Argentina in 1982 after a three year self-imposed exile, Sosa not only maintained a progressive attitude regarding the lyrics but applied it to her music, collaborating, for example, with rockers such as Charly Garcia and Fito Páez, and opening her repertoire to young, sometimes unknown, songwriters.
In recent years, in 1997 and again in 2003, she struggled with various health problems. In ‘97 the situation was so dire that, she acknowledged years later, she wrote her testament. Her problems in 2003, including severe depression, kept her off the stages for two years.
Sosa died after 13 days at the hospital. Her illness canceled plans to present a new two-disc set of duets featuring an all star cast of collaborators including García, Páez, Shakira, Julieta Venegas, and Joaquín Sabina. (It was released in the U.S. as one disc including selections from the two volumes.) It was, appropriately, called “Cantora,” singer.
For all the names she was called, this was the only title Sosa claimed for herself.
"Sometimes, one is made to be a big mouth or some sort of Robin Hood and it's not like that," she once told me, in the 90s. "I am a woman who sings, who tries to sing as well as possible with the best songs available. I was bestowed this role as big protester and it's not like that at all. I'm just a thinking artist."

World Music has expanded as a category so much in the past ten years that at this point it is harder to say what it isn't, than what it is. The Peruvian band Novalima manages to pack a world's worth of musical influences into what they do, including working the turntables as "Coba Soundsystem", and their sound is, to my ears, as refreshing and pop-oriented as any band out there. But they are very conscious of where they come from, and when I interviewed them, they were quite specific about their efforts to modernize and revive the Afro-Peruvian musical heritage.

They were all checking their cellphones when I walked over, which I thought was a fun place to start.

The light was kind of dreadful at the bar but it was the quietiest place I could find to interview the guys. So I boosted the color and contrast for a kind of comic-book effect...it's fun to experiment! But of course, I have to tell you the guys are much cuter than this makes them look :-) 

For those of you who love Desert Blues, that loping, hypnotic guitar music that we associate with the Tuareg and the Saharawis, consider this: The electric guitar has reshaped traditional Saharawi music, but the situation in the refugee camps grows more dire every day, with fewer and fewer guitars for young people to play, thus further endangering an already endangered cultural legacy.   
Got an electric guitar that is gathering dust somewhere?  Want to put it to truly good use? Check this out!

Okay, if you've gone to the URL above, you know that this is a great site.
It's maintained by my old friend Angel Romero, and it's a terrific resource for what is going on in world music, and as you can see, what is happening on many tangential levels.