As we have seen the power of pop music as a potentially political and creative expressive art form voicing generational concerns has made it a synonym for post-war youth culture. However the study of both of these entities has often been conducted in a selective way.This chapter continues the underlying theme of internationalism in pop and youth culture in this book by turning to two styles that are often decribed perhaps rather unsatisfactorily as ‘world music’, although their practioners and publics include large numbers of second generation youth of minority ethnic origins.These are raï music, originally from the middle East, and the twin styles bhangra and Asian Underground which stem from migration from the Indian subcontinent to the UK. I will begin with a general discussion of world music before turning more closely to address bhangra and raï to look at the meanings of both these diasporic musics and how they can be situated within studies of popular music at large. Questions to be tackled include the place of world music in contemporary pop, whether minority musics can move from the margins to the mainstream, the musical agency of minority youth, media depictions of these musics, their marketing and the role of gatekeepers in these processes. My point of departure will be the ways in which world music is marketed.