I recently read an article in The New York Times about a new book detailing the making of Paul Simon's landmark album Graceland. This year marks the album's 40th anniversary. (?!?!--I know, right? 40! I can barely believe it my own self!) The book, Days of Miracle and Wonder, was written by Ashley Kahn, who was a member of the Graceland tour's production team.
Apparently--and I haven't read the book, although I'd like to--it brings up a lot of old debates and issues. Kahn apparently presents valid perspectives on both sides of those debates. When I think about it with (again) 40 FREAKING YEARS of hindsight, those debates and issues were things I somehow missed when the album came out. An argument could be made that I was too young to fully understand them.
If you were too young to remember the brouhaha, or, if you just need a refresher course--a lot of artists in the 1980s boycotted the country of South Africa for its policy of apartheid. Long story short--Simon broke that boycott and traveled to South Africa. There he connected with musicians that he'd heard on a bootleg cassette someone had given him. He was inspired to record Graceland, largely in South Africa, with them.
(It should also be noted that the album features contributions from noted American artists including Linda Ronstadt, Los Lobos, Good Rockin' Dopsie and The Twisters, and even his early idols The Everly Brothers.)
When the album was released, it introduced many Americans to South African performers such as The Gaza Sisters, The Boyoyo Boys, and Ladysmith Black Mambazo. While many praised the album--it did go on to be nominated for four Grammy Awards, winning two for Album of the Year and Record of the Year--many cried foul and essentially accused Simon of cultural appropriation, a debate which apparently continues to this day. Even Linda Ronstadt's appearance generated controversy.
I was 12 when the album was released. As I said, somehow I have no recollection of the controversy. At the time, I was more enamoured with the music of my parents' generation than my own. When "You Can Call Me Al" hit the charts, I was just pleased that someone I actually liked was getting radio play. (My sister and I even developed our own hand motions for the third verse.) I only became aware of the controversy after watching the DVD that came with the special 25th anniversary edition of the CD.
But, like a lot of Americans, I was entranced by the music. It was different. It was exciting. It was new... to us, anyway. I even became a fan of Ladysmith Black Mambazo. According to the Times article, Mark Braude wrote that in his book, Kahn presented Simon's argument of the whole "appropriation" debate, which is that, "music is by nature a fluid, unsteady thing, to be shared and misheard and re-evaluated by anyone and everyone, thriving through cross-pollination." Honestly, I think it worked--beautifully.
I personally have issues with the whole "cultural appropriation" argument. I know it's easy for me to say as a white guy and I'm not saying it didn't actually happen--especially in the early days of rock 'n' roll--but I genuinely feel that if you aspire to do anything, especially anything creative, you will take what came before you and influenced and inspired you, appropriate it, and--if you're really good--synthesize it into something that is uniquely yours. If you're even better, your fans will seek out those influences and become fans themselves. It's always worked for me.
I reject the notion that Simon appropriated anything. And I don't do this outright because I'm white or a fan of his music. I've actually given this a lot of thought and consideration. It's because of Graceland that I am a fan of Ladysmith Black Mambazo--whose members have referred to Simon as their brother--and have a deep appreciation for African music in general. It's because of Graceland that I am a fan of zydeco music. Am I not allowed to appreciate these things just because they were introduced to me by a famous white American musician? That just doesn't seem right to me. But the debate continues. And, honestly, I think it should continue. Please, by all means... debate away.
What I really love is the fact that Graceland wasn't the beginning or the end of Simon's musical exploration. His next album moved to another country on another continent and explored new sounds and cultures. Weirdly, I don't remember any controversy over this album. Maybe it was because Nelson Mandela was out of prison and apartheid was on the verge of ceasing to exist. Maybe nobody cared if he experimented with Brazilian music and musicians. Maybe they did but thought it was pointless to complain--people and critics loved Graceland, they would probably love this one too.
Maybe there was a controversy and, like with Graceland, I missed it too. Because, like with Graceland, I was so taken with what I was hearing that any issues with it went over my head. I'm probably in the minority on this, but I'll go as far as to say that I like this album better than Graceland. It might even be my favourite of his albums--or if it isn't, it's certainly close.
The album featured appearances by Uakti, Grupo Cultural Olodum, Milton Nascimento, both Randy and Michael Brecker, J.J. Cale, Jerry Douglas, and even Ladysmith Black Mambazo, among many others. It went on to receive two Grammy nominations including Album of the Year. This week, please enjoy the one and only Paul Simon with his 1990 release, The Rhythm of the Saints.
Until next week, stay safe, be good to your neighbours, and please remember that if at first you don't succeed, then skydiving definitely isn't for you.
Yours in peace, love, and rock 'n' roll!
The Reverend Will the Thrill
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