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* ProductionForeshadowing: Simon had famously done some experimenting with WorldMusic earlier in his career, doing an adaptation of the Peruvian song "El Condor Pasa" on the Music/SimonAndGarfunkel farewell album ''Music/BridgeOverTroubledWater'', and having solo hits with the heavily Latin-influenced "Me and Julio Down by the Schoolyard" and "Late in the Evening".
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* ShoutOut: To Zydeco legend Clifton Chenier in "That Was Your Mother". His son C.J. Chenier made a guest appearance on Simon's follow-up album ''The Rhythm of the Saints''.
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* ShoutOut: To Zydeco zydeco legend Clifton Chenier in "That Was Your Mother". His son C.J. Chenier made a guest appearance on Simon's follow-up album ''The Rhythm of the Saints''.
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* AbortedArc: When the album kicks off you hear a lot of African instruments and you expect the record to go deeper into this, but no. Only "Under African Skies" has lyrics that directly reference Africa.
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* AbortedArc: When the album kicks off you hear a lot of African instruments and you expect the record to go deeper into this, but no. Only "Under African Skies" has lyrics that directly reference Africa.Africa (with "You Can Call Me Al" making a couple references as well).
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* LyricalDissonance:
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* LyricalDissonance: In general, pairing up WorldMusic influences with lyrics that are in the wry, New York-centric style that Simon is famous for gives the whole album an interesting contrasting vibe.
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The album is famous for featuring the cooperation of many South African musicians, thus providing a very African atmosphere and giving those musicians the ColbertBump. However, that same cooperation ended up attracting significant amounts of controversy for Simon, as it meant that he was visiting and operating in South Africa during a time when the United Nations had instituted a cultural embargo against the country, with artists being encouraged to avoid visiting in protest towards Apartheid.
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The album is famous for featuring the cooperation of many South African musicians, thus providing a very African atmosphere and giving those musicians the ColbertBump. However, that same cooperation ended up attracting significant amounts of controversy for Simon, as it meant that he was visiting and operating in South Africa during a time when the United Nations had instituted a cultural embargo against the country, with artists being encouraged to avoid visiting in protest towards Apartheid.
[[UsefulNotes/TheApartheidEra Apartheid]].
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[[AC: Side One]]
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[[AC: Side Two]]
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--> ''I'm going to Graceland, Graceland, Memphis, Tennessee''
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--->''These are the days of miracle and wonder
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--->''These are the days of miracle and wonderwonder\\
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* NiceShoes: "Diamonds On The Soles Of Her Shoes".
-->''She is a rich girl, she don't try to hide it\\
Diamonds on the soles of her shoes''
-->''She is a rich girl, she don't try to hide it\\
Diamonds on the soles of her shoes''
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Removed Unfortunate Implications
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Simon's visit to South Africa was seen as a defiance of this popularly-supported boycott, with the UnfortunateImplications behind it being something that Simon would end up spending the rest of his career adamantly refuting. Simon additionally drew criticism from African-American groups in the United States for what they perceived as [[PrettyFlyForAWhiteGuy cultural appropriation]], despite Simon actively working with South African artists to provide a proper and authentic representation of their culture.
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Simon's visit to South Africa was seen as a defiance of this popularly-supported boycott, with the UnfortunateImplications problematic aspects behind it being something that Simon would end up spending the rest of his career adamantly refuting. Simon additionally drew criticism from African-American groups in the United States for what they perceived as [[PrettyFlyForAWhiteGuy cultural appropriation]], despite Simon actively working with South African artists to provide a proper and authentic representation of their culture.