![]() “In South Africa, we had no opportunity,” recalled saxophonist Barney Rachabane in 2012, “You could have dreams, but they never come true. This view was shared by practically all of the musicians who played with Simon on Graceland. There are many who would argue that the South Africa cultural boycott was a deeply flawed strategy that did more harm than good for the black population it was put in place to support. Famed South African trombonist and anti-apartheid activist Jonas Gwangwa summed up the thoughts of countless black artists when confronted with Graceland ‘s success: “So, it has taken another white man to discover my people?” Simon’s insistence that the album was a true collaboration is arguable, but at the very least Graceland provided a platform to a group who were legally prohibited from participating on an international stage. Still, some elements of the project remain problematic. South African musicians and singers were invited to share the spotlight with Simon, giving many of them mainstream international exposure for the first time. But Graceland was groundbreaking for wearing its influence for all to see. ![]() ![]() Whether you call it “borrowing,” “paying homage to,” “riffing on” or “stealing,” white artists had been incorporating traditionally black music into their work for most of the 20th century. Terms like “cultural appropriation” barely existed when Graceland was recorded. The latter question is made more complicated by the passage of time. The fundamental debate hinges on a double-pronged query: Was Simon right in breaking the boycott, and did he have the right to make the album at all? “Part of the criticism was ‘Here’s this white guy from New York, and he ripped off these poor innocent guys.'” “The intensity of the criticism really did surprise me,” he reflected years later. Still more felt he was a little more than a common thief. To some he represented a rebellious hero taking a stand against bureaucracy and totalitarian regimes to others he was a naïve fool who undermined the anti-apartheid cause. Though striving to make art that transcended politics, Simon quickly found himself at the center of a dire human-rights crisis. “Their morality comes out of the barrel of a gun.” “What gives the right to wear the cloak of morality?” he railed at the time. Simon had ventured to South Africa to record the album with local musicians, ignoring an international boycott set in place by the United Nations Anti-Apartheid Committee. Paul Simon‘s joyous, vibrant Graceland, released 30 years ago today, remains one of the most beloved albums in pop history.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |