‘The story of Graceland’s origins,’ writes Ashley Kahn in his deep dive into Paul Simon’s multi-million-selling album, ‘is the story of a cassette: a bootleg tape.’ when, in addition to half-inching the tape itself, Simon promptly went off and made a record in South Africa. Instead of discouraging the singer, he applauded him for putting ‘the music into the ears of people who would otherwise never bother about South Africa’. That album was, like Simon’s, partially recorded in South Africa and made liberal use of Mbaqanga musicians without crediting them. Kahn cites Simon’s method of piecing together songs from mere fragments of different recordings and manipulating in digital post-production as the mitigating factor here.